Interview

Lucky charms, safe journeys

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arts@sfbg.com

VISUAL ART A sense of play — more street-smart than sentimental; international, but also attuned to a universal understanding of nature — is central to Yukako Ezoe’s art. Ezoe’s vividly colorful paintings and collages and vibrant jewelry work are informed by her experiences as a student and teacher, and often directly connected with everyday necessities and pleasures. Ezoe has curated and contributed to a show of kite art and made a revealing single-edition photo-interview book about the myriad barbershops in the Mission. She and her husband, the artist and DJ Naoko Onodera, often show work under the name Bahama Kangaroo, and she’s used that moniker for her first solo show, at Kokoro Studio. Ezoe has upcoming shows at Ritual Cafe and Edo Salon, and this week she’s taking part in “Rise Japan,” a fundraiser for earthquake and tsunami relief in Japan. We sat down together recently for a midafternoon talk.

SFBG How did the name Bahama Kangaroo come about?

Yukako Ezoe Naoki [Onodera] has an album titled Bahama Kangaroo. It’s beachy ’70s disco. Jonh Blanco and I were working on an event for Indie Mart and trying to figure out what the name of our craft team, and I asked Jonh to listen to the record. He said, “Our team should be Bahama Kangaroo!” Then Naoki and I ran with it.

SFBG The badminton dreamcatchers you’ve made have a number of facets: the spider’s web-like stringing and also the MP3s you place in the badminton racquets’ handles to record dreams or ideas. What was the inspiration behind them?

YE Futurefarmers had asked me to contribute to a show in which the theme was “What’s your learning journey?” While I went to school, I learned and got ideas while I was hanging out with friends and playing. So the voice recorder in the badminton dreamcatchers is like a memo or school tool.

The gold badminton dreamcatchers were part of a badminton show that Hana Lee, Leslie Kulesh, and I did at the Diego Rivera Gallery at San Francisco Art Institute. We turned the whole gallery into a gym.

SFBG Is there a creative interplay between your teaching and art making?

YE I think so. I get ideas from students. Seven-year-olds will draw something monstrous and I’ll be influenced by it.

The homeless kids I work with [at Larkin Street Youth Center] are super-ambitious and straightforward. They’ll crush something to make it fit within a work. The kids at Lark Inn are in survival mode. If I’m trying make a dreamcatcher, they don’t want to do it. If I do sewing or make wallets or notebooks, they’re into it.

SFBG Two artists mentioned in the writing connected to your current show at Kokoro Studio are John Audubon and Yokoo Tadonori. They make for a great, unexpected combination.

YE I love Yokoo Tadonori’s use of composition and his juxtapositions. One of his pieces has a salaryman hanging right in the middle of it. I don’t like it, but it’s brutal and cruel — and true.

SFBG Your compositions are often symmetrical. Why’s that?

YE I used to do monoprinting, and I was obsessed with the geometric [aspects of] library catalogs, airplane tickets, and blueprints. That’s stuck with me. I’m also OCD-ish, too, I have a whole bunch of drawers filled with weird things.

SFBG Kokoro Studio’s writing for “Bahama Kangaroo” also mentions self-portraiture, which might not be obvious when you look at the work. I went in wondering if there were going to be paintings of you.

YE No way! [laughs] A solo show is sort of about you — artist ego [laughs]. But the pieces are portraits of my thoughts and ideas. In one, I’m like an owl, spacing out and thinking. The two lions in some pieces are like me and Naoki doing a high five. Another piece, Too Many Bats, has to do with how hard and competitive it is to be an artist. I’ll think of people and turn them into characters.

SFBG Framing is present as an element within some of your recent paintings and collages. How did that come about?

YE I’ve been influenced by Afghan trucks. There’s a book of photos of them [Afghan Trucks, by Jean-Charles Blanc]. They’re a bit like trucks with murals on the side. Back in the day, travelers would decorate their camels with lucky charms so they’d have safe journeys, and nowadays they do it with trucks.

SFBG What are you working on at the moment?

YE Right now I’m making jewelry, altering clothing, and cleaning my room. I go back and forth [between different activities and forms].

I used to work for a bridal jewelry store that was really bling-y. I want my jewelry to be more sculptural, and to have a clustered quality that’s similar to the collages I make. *

BAHAMA KANGAROO: ART BY YUKAKO EZOE

Through Thurs/24

Kokoro Studio

682 Geary, SF

(415) 400-4110

www.kokorostudio.us

RISE JAPAN: JAPAN EARTHQUAKE AND TSUNAMI RELIEF FUNDRAISER

Kokoro Studio

also: Gallery Heist

679 Geary, SF

(415) 563-1708

www.galleryheist.com

Our weekly Picks: March 23-29, 2011

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THURSDAY 24

MUSIC

Music For Animals

The catchy tunes of the self-proclaimed “cult” Music For Animals — San Francisco quartet Nick Bray (guitar), Jay Martinovich (vocals), Eli Meyskens (bass guitar), and Ryan Malley (drums) — evoke 1980s classic pop rock while simultaneously embodying the twee music of the here-and-now. While comparisons have been drawn to other electropop acts like the Killers and Kaiser Chiefs, Music for Animals’ neon-retro fans have embraced the band as its own indie rock entity. Its high-energy shows can include wacky antics, making for a perfect opportunity to bust a move. Join the cult! (Jen Verzosa)

With Foreign Resort and Matinees

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

www.hemlocktavern.com

 

FILM

Disposable Film Festival

Hollywood churns out a huge number of what you might call disposable films (Drive Angry 3D: use once and destroy). San Francisco’s Disposable Film Festival applies the adjective instead to the technology used to create each of its entries: readily available and often handheld devices like cell phones, point-and-shoot cameras, webcams, and so on. Celebrate the all-access-ness of 21st century filmmaking by checking out tonight’s always-popular competitive shorts program; weekend events include an industry panel entitled “How to Become A Disposable De Palma,” a spotlight on filmmaker Christopher McManus, a concert and workshop with YouTube music-video darlings Pomplamoose, and more. (Cheryl Eddy)

Through Sun/27

Competitive shorts night tonight, 8 p.m., $12

Castro Theatre

429 Castro, SF

www.disposablefilmfest.com

 

EVENT

Neil Strauss

I’m not sure what I like most about Neil Strauss. A six-time New York Times best-selling author and contributing editor at Rolling Stone, he coauthored memoirs with Jenna Jameson and Mötley Crüe. He lived with Dave Navarro for a year and went undercover in the “seduction community” to write about pick-up artists. He was in Beck’s gloriously goofy “Sexx Laws” video. His new book of celebrity chatter, Everyone Loves You When You’re Dead: Journeys Into Fame and Madness, features pop culture personalities from Britney Spears to Stephen Colbert. But his 227 “moments of truth” aren’t in-depth, traditional Q&A pieces. Instead, Strauss wove together the most intriguing few minutes of each interview. Huh? How? Ask him yourself. (Kat Renz)

7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com

 

MUSIC

Phantom Kicks

Taking after the Grizzly Bear-meets-Radiohead, now-disbanded Raised By Robots, the San Francisco-based trio of Tanner Pikop (guitar-vocals-keyboard), Phil Pristia (guitar-vocals), and Mike Rieger (drums) — better known as Phantom Kicks — is experimental, ethereal post-punk born of white space à la the xx. Even without an album, Phantom Kicks’ eerie electro pop has garnered notoriety throughout the Bay Area after gigs at numerous local venues and festivals, sharing the bill with other local indie greats like My First Earthquake, the Dont’s, Skeletal System, and Sunbeam Rd. And its days as a live-only entity are soon to end: Phantom Kicks’ debut EP, Tectonics, is due in April. (Verzosa)

With Adventure and Exray’s

8 p.m., $6

Milk Bar

1840 Haight, SF

www.milksf.com

 

FILM

San Francisco Dance Film Festival

Now in its second year, the San Francisco Dance Film Festival, presented by Motion Pictures and the Ninth Street Independent Film Center, features three evenings of screenings as well as workshops on shooting and editing dance footage. In addition to selections of work by local and international dance filmmakers, Friday night’s lineup includes the San Francisco premiere of NY Export: Opus Jazz, a reimagining of Jerome Robbins’ 1958 “ballet in sneakers” danced by members of the New York City Ballet. This is the first return of Robbins’ choreography to the streets of New York City since the 1961 movie version of West Side Story. (Julie Potter)

Through Sat/26

6:30, 8, and 9:15 p.m., $10

Ninth Street Independent Film Center

145 Ninth St., SF

(415) 625-6100

www.sfdancefilmfest.org

 

FRIDAY 25

PERFORMANCE

Free: Voices from Beyond the Curbside

Destiny Arts Center in Oakland has been around so long — it was founded in 1988 — that you tend to take it for granted. Better stop doing that, especially in this climate of shrinking resources for socially-engaged arts programs. Destiny provides a safe place, activities, and role models during after school, weekend, and summer programs. Students ages three to 18 learn martial arts, dance (modern, hip-hop, and aerial), theater, self-defense, and conflict resolution. All these elements come into play one more time during this year’s Destiny Youth Company’s big-time production at Laney College. Created by the students with the guidance of adult artist-teachers, Free explores concepts of personal and social freedom (and the lack thereof). The program also features documentary filmmaker David Collier’s video of the process that made Free possible. (Rita Felciano)

Through April 3

Fri.–Sat., 7:30 p.m. (also April 2–3, 2 p.m.), $6–$25

Laney College

900 Fallon, Oakl.

1-800-838-3006

www.brownpapertickets.com

 

ROCK

Vastum

Vastum, from the Latin vastus: immense. Empty. Wasted. It’s easy to feel that way bumbling home from a dime-a-dozen metal show — depthless, bored, and boozed. But the three times I’ve seen Vastum, I almost pissed myself with joy: my fingers can form horns again, my head bangs rather than bobbles, my tired faith is revived. With members from two stalwart San Francisco bands, Saros and Acephalix, the five-piece delivers precision death metal with a little punk, classically fast and aggressive with none of the cheesiness often befalling the genre. The venue’s a gem, too: an all-ages Oakland warehouse run by an old-school artist and a gargantuan raptor. (Renz)

With Embers, Atriarch, and Headless Lizzy and Her Icebox Pussy

9 p.m., $6

First Church of the Buzzard

2601 Adeline, Oakland

Facebook: Vastum

 

MUSIC

Wye Oak

Rock duos tend to strive toward sounding greater than their parts. Wye Oak, composed of Baltimore-based musicians Jenn Wasner and Andy Stack, are no exception. Rather than pure bombast, the two play into the contradiction of expectations on almost every track. Wasner’s guitar and lyricism are the initial focus, typically heavily folk-influenced backed by true multi-instrumentalist Stack, who plays drums and keyboard at the same time. As the melodic verses build into the explosive choruses, so do the 1990s alternative rock influences, recalling Yo La Tengo, Sonic Youth, and My Bloody Valentine. It’s an attention-grabbing effect and in a smaller venue should be impossible to ignore. (Ryan Prendiville)

With Callers and Sands

10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

SATURDAY 26

DANCE

“Pilot 58: Fight or Flight”

It may not take a village to produce a dance concert, but a collective of choreographers sure makes the process more creative and exciting. Or at least that’s the lesson gleaned from the participants in Pilot, ODC’s self-producing incubator that selects six dance artists to work together on a shared bill. Known as a springboard for emerging choreographers, Pilot showcases new and under-the-radar dance from fresh choreographic voices: Raisa Punkki, Byb Chanel Bibene, Bianca Cabrera, Katharine Hawthorne, Ashley Johnson, and Erica Jeffrey. Arriving at choreography through notably different experiences, the evening brings a host of ideas to the table, from moving light sources to little dance cartoons. (Potter)

Sat/26–Sun/27, 8 p.m. (also Sun/27, 4 p.m.), $12

ODC Studio B

351 Shotwell, SF

(415) 863-6606

www.odcdance.org

 

SUNDAY 27

MUSIC

Rotting Christ

Though not as famed as other loci of Lucifer, Greece has a long and distinguished black metal history. Delightfully named Rotting Christ was founded in 1987 by brothers Sakis and Themis Tolis, who have been plying their blast-beaten trade ever since, much to the dismay of born-again Christian headbanger Dave Mustaine of Megadeth, who refused to play at a Greek music festival once he learned that Rotting Christ was on the bill. The hellbound Hellenic quartet is joined on its current tour by cult favorites Melechesh, a “Mesopotamian” metal band — composed of Israeli expatriates based in Amsterdam — whose distinctive sound combines razor-wire riffing with idiosyncratic Middle Eastern harmonies and rhythms. On a more somber note, this show will be the last promoted by Shawn “Whore for Satan” Phillips, whose retirement will be a deeply-felt loss for metal, both in San Francisco and elsewhere. (Ben Richardson)

With Melechesh, Hate, Abigail Williams, and Lecherous Nocturne

7:30 p.m., $25

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

 

MONDAY 28

MUSIC

Röyksopp

Fame can go in divergent ways. For Norwegian electronic duo Röyksopp, the breakthrough was “Remind Me,” a catchy 2002 cut featuring vocals from Kings of Convenience’s Erlend Øye. In the U.K. it picked up Best Video at the Europe Music Awards that year. In the U.S., however, a version of the song is associated with a Geico commercial featuring a caveman. Look past that though, as the pair of musicians have otherwise proven themselves as standouts on the electronic scene, releasing ethereal downtempo compositions. Live, their performances are more amped up and free-ranging, involving unexpected covers like Queens of the Stone Age’s “Go With The Flow.” (Prendiville)

With Jon Hopkins

8 p.m., $30

Regency Ballroom

1300 Van Ness, SF

1-800-745-3000

www.theregencyballroom.com


TUESDAY 29

DANCE

Alvin Ailey American Dance Theater

Under the directorship of Judith Jamison, Alvin Ailey American Dance Theater became the country’s most popular dance troupe, with an impressive infrastructure and a $3 million budget. Now it will be up to Robert Battle, its new artistic director, to build a repertoire that matches the troupe’s organizational achievements. His appointment was something of a surprise; he never danced with Ailey and, at 37. he is young to assume that kind of responsibility. (Jamison was 43). Programs A and C on this year’s Zellerbach schedule each feature one of his choreographies. Whatever he does in terms of programming, he is not likely to offer fewer glimpses of Revelations, the company’s bread and butter. But how about presenting it with live music? The Bay Area has some excellent gospel choirs. (Felciano)

March 29–April 2, 8 p.m. (also April 2, 2 p.m.);

April 3, 3 p.m., $34–$62

8 p.m., $34–$62

Zellerbach Hall

Bancroft at Telegraph, Berk.

(510) 642-9988

www.calperformances.org 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Thornfield calling! Director and star discuss the new “Jane Eyre”

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It’s not exactly the oldest story in the book, but with an 1847 publication date and dozens of adaptations, Jane Eyre has been done before. That presented director Cary Fukunaga, an Oakland native, with a unique challenge — making his 2011 film version of Jane Eyre (out Fri/18) different from what had been done in the past. But after his last movie, 2009’s critically acclaimed Sin Nombre, it was a project he was eager to take on.

“[Jane Eyre] was a story I knew as a kid,” he said in a recent roundtable interview. “The ’44 version Bob Stevens directed was one of my favorites. After spending six years on my last film, I really wanted to do something different in terms of scenery and style and location and even time period.”

But despite Jane Eyre’s status as 19th Century Gothic romance, Fukunaga felt it worked for a modern audience. Mia Wasikowska, who stars in the titular role, was inclined to agree.

“It kind of doesn’t need reinterpreting,” she reflected. “The popularity, as a character and a story, it hasn’t died down — it’s continued to grow, and people continue to connect to her story. If you took away all the costumes and the setting, at the heart of it is a story about a young girl trying to find love and a family, and that’s so, so much a part of what happens every day here.”

For Fukunaga, it was important to adhere closely to the novel, whose tone he believed had often been muddled in film adaptations. His Jane Eyre is consistently dark, with elements of mystery and suspense that remain even for those who know the story well.

“I wasn’t trying to make it more gothic than the novel,” he explained. “It was more that other adaptations had stayed more in the period drama sort of realm, and whenever you had elements of the story that seemed gothic or suspenseful, they seemed tonally out of the film you were watching.”

Fukunaga also split the story up in a non-linear fashion, a more modern conceit that adds to Jane Eyre’s tension and helps speed the classic romance along. With flashbacks throughout, the film reveals itself over time while engaging its viewers in a complex mystery.

“The structure was a way to turn the story into a modern tale,” Fukunaga said. “Typically these days you want to lure an audience into a story with just bits of information. Especially with our attention spans the way they are now, you don’t want to … start with just a chronological tale.”

Of course, it helps that Jane is such a timeless, relatable character. She’s more assertive than some of her literary counterparts, making independent choices that were uncommon among her contemporary women. Wasikowska fell in love with Jane when she was reading the novel for the first time, to the extent that she asked her agent to look for any upcoming Jane Eyre projects before Fukunaga’s adaptation was announced.

“What I love about her is that she has such a strong sense of self and a strong sense of who she is and what’s right and what’s wrong by her,” Wasikowska offered. “She’s not going to compromise herself for somebody else, and that’s the best thing. She’s going to make sure that before she commits herself to somebody, she’s a fulfilled individual and that she’s done everything she could to be that.”

While Fukunaga and Wasikowska reflected positively on the filming experience, it had its share of ups and downs. The tight schedule forced a lot of work in a short period of time. Meanwhile, Wasikowska had to contend with a different kind of tightness, squeezing into a corset for period realism.

“Painful. Awful. Everyone says corsets are hell, and I understand that, but until you’re really in there, it’s like a whole other thing,” she said. “They’re really helpful physically for the character. You really get a sense of the repression and the restriction.”

Fukunaga elaborated. “It basically takes your guts and squeezes them in half, and some of the guts go down and some of the guts go up,” he explained. “It’s really unhealthy.”

But the pain was worthwhile — Wasikowska’s portrayal of Jane Eyre is certain to be celebrated. Fukunaga’s interpretation as a whole is one of the story’s best cinematic adaptations. Perhaps some of the success comes from the deep understanding the director and actor had for the original novel.

When Fukunaga was asked about his interest in Jane Eyre, he rejected the common perception and offered his own analysis instead.

“For me, it’s not the bodice-ripping,” he said. “It’s more, I think, probably this kid’s journey and the person she became … Love can be all-consuming, and too often people compromise what they are in order to achieve it. And it’s the rare individual who can not do that.”

Jane Eyre opens Fri/18 in Bay Area theaters.

American Idol: Elvis and the Lion Queen

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I was out at the SPJ FOI Awards event early in the evening, so I missed the first few performances, but no worries: Vivian and Michael were taking excellent notes and filled me in. And the best stuff came at the end anyway.


First: What was UP with J-Lo’s hair? I can’t find any pix on the web (Idol is insanely protective of its imagery) but trust me: She looked like something out of the Lion King. And the leopard-print dress didn’t help much. It’s a jungle out there, Jennifer. Grrr.


Next: The background video/light show continues to be utterly moronic, mixing psychedelia and syrup pretty much at random. With the millions they’re making from the Ford commercials, they could get a decent designer.


Also: These people are all so young. The night’s theme was picking a song from the year you were born; for Scotty, that was 1993. As his backstage producers noted, “I have a pair of jeans that were born in 1993.” Five of the finalists aren’t even old enough to buy a drink. No OGs in the lineup this year; Paul clocks in as the senior citizen at 26.


The baby and kid pics were cute; I loved watching Scotty as Halloween Elvis. And with 12 contestants, there wasn’t a whole lot of time for nonsense; the show kept moving. Oh: Casey’s back form the hospital and seems fine.


The details: Naima does “What’s Love Got To Do With It.” Eh. From Viv: “J-Lo thought it was a little pitchy and Randy agreed. Really, it was just okay.”


Paul: Elton John. “I Guess That’s Why They Call It the Blues.” Not Sir Elton’s best song, not Paul’s best performance.


Thia: “Colors of the Wind.” Again, nothing special.


So overall a slow start — until James hit the stage with Bon Jovi. Steven Tyler was so impressed he offered to quit Aerosmith (can you really quit a band that isn’t really there anymore?) and join him onstage. The kid can rock.


Haley: Whitney Houston. Oops.


Stefano, the guy who almost got sent home, turned the entire show around with “If You Don’t Know Me By Now.” His parents weren’t out of diapers when Harold Melvin and the Blue Notes first released that, but somebody else did it 22 years ago, so it counts. Perfect song for him, perfect rendition of a tough piece.


Pia: Whitney Houston, too. The girl is drop-dead beautiful and has a stunning voice — but that horrid white outfit looked like someone had wrapped her in a plastic garbage bag. (“You can’t say it made her look fat,” Jean told me harshly. And it didn’t, really, because she isn’t, but it might have.) Hideous, I almost couldn’t listen to the song. 


Scotty is always solid, born to be a country singer. He’s so good it’s almost boring.


Karen: Marge Simpson hairdo. Devo-meets-Vegas outfit. The song was okay, and the interview with her mom was too cute for words, but next time let mom check the look before you go out the door, okay?


Casey went on with his bass and tried to be Kurt Cobain — and oddly, it worked. Kind of scary, actually. But it worked. Steven: “Crazy and talented — that’s the goop that great stuff was made of.” J-lo still thinks he’s sexy. Grrrr, Lion Queen.


Lauren’s got the flu, but did a great job with Melissa Ethridge. Jacob tried Heart, and failed.


Naima, Haley and Jacob — bottom three. And Naima’s going home. Tune in tomorrow; I’m never right.

Touching from a distance

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arts@sfbg.com

HAIRY EYEBALL “Art enables us to meet my parents again after they have departed,” the contemporary Chinese artist Song Dong says in a statement that introduces his current show at Yerba Buena Center of the Arts. “In my art, they have never been away, and will live with us forever. I think they might still be worrying about our children and us. I wanted to have an exhibition where we would bring them back to us and tell them, ‘Dad and Mom, don’t worry about us, we are all well.’ “

Taking its title from that final reassurance of filial piety, this deeply personal and truly monumental exhibit is a testimony to Song’s sincere belief in the power of art as a means to connect. And you will likely leave a believer too. Art, as Song elaborates in the two decades of work collected here along with accompanying explanatory texts commissioned for the exhibit, allowed him to rebuild his once-strained relationship with his parents while they were still alive. It also allowed him to create a record of their lives together as a family who weathered the worst years of the Cultural Revolution (1966-76), and to help himself and his young daughter connect to the stories and the struggles of his parents’ generation.

Making daily life the stuff of creative practice has its art historical precedents in conceptual art, a label that has often been attached to Song’s output. But such contextualization is largely beside the point in the face of the electric current of emotions — sadness, longing, remorse, gratitude — that it’s hard not to feel while watching the earlier video pieces Song made with and about his father, or surveying the massive installation piece, titled Waste Not, that he collaborated on with his mother.

The video works, the first pieces viewers encounter, offer variations on a simple yet effective technique: Song films himself or someone else sitting in front of a projection of an earlier recorded interview (usually with his father), continually having the person align their face with the face of whoever is speaking in the projected video. Sometimes it is Song aligning himself with his father; sometimes with his father and mother. And in one piece, a viewer can put himself in a Song family portrait via a similar process (the resulting snapshots are uploaded to YBCA’s Flickr account). The effect is ghostly, blurring the projected subject and the filmed subject into a new, purely virtual being.

The sprawling Waste Not is undoubtedly the heart of “Dad and Mom,” which displays the entire contents of the house Song’s mother lived in for 60 years, and where she married and raised Song and his younger sister. Here, organized into neat piles that fill up YBCA’s entire large gallery, are the contents of a life: clothes, kitchen utensils, toiletries, school supplies, shopping bags, toys, shoes, furniture. At the center of the space hang the remains of the house’s walls and room, a skeleton of beams that seems an impossible vessel given the sheer volume of its former contents.

Having grown up amid the lean years of the Great Leap Forward, Song’s mother subscribed to the belief that nothing should go to waste (from which the installation takes it title), so she recycled and saved everything she could, from plastic bottles and fabric scraps to gasoline canisters and balls of string. Song, in turn, saw creating the installation with her as a way to continue this practice. By turning her accumulated junk into a traveling archive, nothing would have to be discarded and everything would be meaningfully preserved.

Originally conceived by Song in 2005 as a way to help his mother cope with the grief over her husband’s sudden death three years earlier, the work has now become a memorial to her memory as well. SONG DONG: DAD AND MOM, DON’T WORRY ABOUT US, WE ARE ALL WELL

Through June 12 Yerba Buena Center for the Arts 701 Mission, SF

(415) 978-2787

ww.ybca.org

Holy paint rollers

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caitlin@sfbg.com

CULTURE In the Mission there are few things more — and less — sacred than a mural. Every day in the neighborhood a communion is performed: new street art is produced, and in exchange, other street art is mangled, marred by tags scrawled by unimpressed or jealous (depends on who you ask) hands. But some wall pieces in this storied land of concrete canvases are holy in more than just the figurative sense. Two neighborhood mural projects in particular fit this frame, one blessed by priests and one possessing clues about the earliest days of the Mission Dolores.

Caledonia Alley runs alongside St. John the Evangelist’s Episcopal Church. Jesus looks down on the narrow street, which was once so thoroughly covered in needles that Elaine Lew, who was born and raised in a house on Caledonia, says, “You couldn’t drive your car down it because you’d pop your tires.” Every Sunday, families lined up for the free food the church distributed, sharing the space with people openly selling and using drugs.

But since Jesus came to the alley, things have been different. Street artist Dan Plasma happened upon Caledonia looking for fresh wall space to paint, and proposed to the church that he cover their heavily-tagged alley wall with something space-specific. St. John’s acquiesced, so Plasma and his friends, respected artists Mike Giant and Mark Bode, went to work on a spray paint tableau of the crucifixion, with St. John and other biblical figures in supporting roles.

“It really made a big difference in the alley,” says Lew, who notes that the blatant drug activity has subsided in the year since the crew completed the piece. The church recognized the change, and the rector let Plasma know that it would be officially blessing the mural in a ceremony. “I called up Mark and Mike and told them, ‘It’s going to get sprinkled with holy water. We gotta put on some clean shirts,’ ” says Plasma. A year later, the wall is still utterly free of the tags that go on so many other works.

Funds allowing, a miracle of a different sort will soon be watching over the neighborhood’s only weekly farmers market. Artist Ben Wood has made a habit of finding our city’s little-known historical perspectives and presenting them to the San Francisco of today. In 2004, he spent the Fourth of July projecting images of the Ohlone onto Coit Tower and Andrew Galvan, Mission Dolores’ curator — and direct descendent of Ohlone who converted at the church — told Wood there was an original Ohlone mural hidden behind the mission’s central reredos, or altar.

“It’s been hidden for 200 years,” Wood says in a phone interview. “The possibility of recreating the mural for the public — it would allow people to ask questions about life back then.” He and a Presidio historian set to work documenting the piece, dropping a camera into the crawl space between mural and altar and eventually coming up with a composite image of a spiraling, curving design of purple lines and dagger-pierced hearts they hope to recreate on a wall of the historic Mission Market that abuts the relatively new, open-air Mission Community Market.

“The mural is really telling about the tradition of being a muralist in San Francisco,” says [CORRECTION: Jet Martinez clarifies that this is a misquote. The Guardian regrets the error.]

Jet Martinez, street artist and central figure in the Clarion Alley collective, was selected by Wood to work on the piece because of his mastery of intricate patterns in past murals of Oaxacan embroidery and prehistoric plant life. Their team created a Kickstarter account (www.kickstarter.com/profile/missiondoloresmural) for the project and hope to collect the majority of the $8,000 needed for the work by the end of the month. If they succeed, it will add another dimension to the canonization of street art in one of muralismo‘s most well-known neighborhood of galleries.

March to the rainbow

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culture@sfbg.com

IRISH Whether you live in Dallas or settle in SoMa, March is the month when Americans throw out their stale V-Day candy hearts and bring out the greens. Not the ones you smoke, silly, we’re talking St. Patrick’s Day here. Along with the rest of the country, San Franciscans will bite into green bagels, take a swig of something Irish, and head down to the St. Patrick’s Day parade (ours is early this year, Saturday, March 12) to join in the Celtic revelry. But — typical — there’s something about our Irish celebrations that set SF apart — our St. Patrick’s Day parade is one of few in the country to welcome the LGBT community to the party.

While it’s easy to forget over here at the end of the rainbow, most St. Patrick’s Day celebrations in the U.S.A. have a strict no-gays policy when it comes to who is allowed to march — which is sad and ironic considering that Irish Americans once faced the same discrimination that their parade associations now seem to be condoning when it comes to gay Americans.

Three cities in the country allow gay groups to participate in their St. Paddy’s parades: Queens, N.Y., SF, and Key West, Fla. (editor’s note: not exactly true, as it turns out — check out our correction for the other bergs around the country to welcome the queer community into the St. Paddy’s fold) The Queens parade was created as an all-inclusive alternative to the New York City parade, which still does not allow LGBT groups to participate despite years of protests — after Irish pride, these demonstrations may be NYC’s second highest profile St. Paddy’s Day tradition. This year the president of Ireland, Mary McAleese, has refused to participate in the Big Apple’s march on account of the parade’s regrettable policy. She’s not the only one: Boston’s mayor has refused to march in his city’s parade for the past few years.

But here in the country’s queer mecca, we can shake our heads in smug, gay disapproval at the St. Patty’s wars of the rest of the country. SF has a history of hoisting our rainbow shamrock high: this city’s parade is all-inclusive, which the president of SF’s Irish Societies (the organization behind the parade and concurrent Civic Center Plaza festival), Dermot Philpot is glad about.

“We include everybody, and we look for them to be in the parade,” Philpot told us in a recent phone interview. “When we include LGBT groups and individuals in our parade, it shows that [the SF Irish community] is part of a larger community.” Although there are no nominally gay groups marching in the parade, unlike in years past, Philpot says he hopes “[the LGBT community] feels included and that they will be there.”

The San Francisco Lesbian/Gay Freedom Band is one LGBT group that has high-stepped for Irish pride, making its most recent St. Patrick’s Day parade appearance in 2000. Doug Litwin, who is the secretary for the band’s board of directors, says the band had been participating in the parade even before he and his clarinet joined the group in 1985. Although marching on St. Paddy’s Day is a subject of contention for queer groups in other parts of the country, for the SF Lesbian/Gay Freedom Band the parade is about as run-of-the-mill as any. “The bottom line is in San Francisco it’s just not that big of a deal to be openly gay anymore,” says Litwin. “Our band was declared the official band of San Francisco by two different mayors. Some of these parade organizers practically beg us to march.”

Openly gay senator Mark Leno is another familiar face on parade day. Leno is unable to attend the event this year because of an out-of-town speaking engagement, but says he’s been included in the parade as far back as 1998, when he was first elected to office. “I’ve always been proud of the fact that San Francisco’s parade is inclusive. And as long as I have been in office, I’ve always felt welcome in the parade.” Only once has he ever gotten negative reactions from the parade crowds. As Leno recalls, that year he had opted to ride through the parade in a Jaguar. “I heard booing and hissing right as I got up to Second Street.” At issue: red-blooded parade watchers were upset that Leno hadn’t chosen an American car for his cruise through the crowds.

ST. PATRICK’S DAY PARADE

Sat/12, 11:30 a.m., free

Begins at Market and Second streets, SF

(415) 203-1027

www.uissf.org

Keep David Crane away from your government

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Sen. Leland Yee continues to strongly push his case against confirming San Francisco venture capitalist David Crane to the UC Board of Regents, finding allies among labor unions and Sen. Ted Lieu (D-Torrance), chair of the Senate Labor Committee, but failing so far to win over legislative leaders that Yee has alienated himself from with his quixotic budget stands of recent years.

It’s a sign of just how bad things have gotten for public employee unions that Crane, a last minute appointment by former Gov. Arnold Schwarznegger, wasn’t immediately rejected by Legislature after writing an op-ed siding with right-wing attacks on public employees in Wisconsin and calling for an end to public employee union’s collective bargaining rights in California.

After all, Crane – while he considers himself a Democrat – is little more than a right-wing shill wielding misleading data to justify his thinly veiled contempt for the public sector. He didn’t return my call about the latest controversy, but I did interview him a few years ago as he and Arnold tried to torpedo the California high-speed rail project before voters could approve it.

I didn’t expect much from a corporate Democrat who was working for a Republican governor, but I was still fairly astounded by his arrogant condemnation of public officials and agencies and his indignation at being challenged in his basic belief in the infallibility of capitalists. Simply put, the guy was a world-class jerk (an opinion that’s widely shared) who has no business working for government agencies because his only interest in them seems to be to weaken or destroy them.

George W. Bush loved to put guys like this in charge of government agencies, which is why Halliburton fleeced taxpayers, FEMA utterly failed New Orleans after Hurricane Katrina, oil companies ran dangerously amuck, and on and on. But in California under Gov. Jerry Brown and a big Democratic majority in the Legislature, someone like David Crane should have the door to government quickly slammed in his face if there’s any integrity left to the political system.

UPDATE: Crane just returned my call, but he did little to forthrightly answer my questions, instead referring me to his interview with KGO’s Ronn Owens last week. When I asked whether he thinks it’s fair that his critics are calling him hostile to the public sector, he told me to read his op-ed. And when I said that I did and the he seemed to be siding with the Republican governor of Wisconsin, he said disdainfully, “That’s an interesting interpretation.”

That seemed to be the clear intention of his piece, to tell readers that they’re simply wrong in seeing Wisconsin (and then Ohio, and other states that might eventually include California) as a right-wing attack on public employee unions, which is itself part of a long-running attack on the public sector by conservative capitalists like Crane. As Crane wrote in his first sentence, “The battle in Wisconsin is not over collective bargaining rights generally but rather the appropriateness of those rights in the public sector.”

Sure, this former attorney tries to couch his narrow, convoluted argument in legalisms and distorted history lessons, but the message seems clear, even if he acts as people just aren’t smart enough to understand his wise point (one that he didn’t use the opportunity of our interview to clarify). And when I noted that he has a history of anti-government animus, including trying to derail the high-speed rail project, he said indignantly, “I’m responsible for that thing making the ballot.”

By which he probably means that after trying and failing to delay the vote, he led the effort to require more detailed financial analysis of the project’s fiscal challenges, which he helped execute — and which had nothing to do with voters approving a measure that the Legislature had placed on the ballot years earlier, only to go along with Arnold’s efforts to delay it twice.

Or maybe I’m wrong and this self-described libertarian really just wants to make government stronger and more efficient. What do you think?

What can’t be said

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DANCE Rehearsing The Unsayable at the Margaret Jenkins Dance Lab, the performers of Hope Mohr’s newest work march together. The row of marchers is composed of her company members (Cameron Growden, Derek Harris, Risa Larsen, Rogelio Lopez Garcia, and Tegan Schwab), and artistic partners who are war veterans (Carol Roye, Katharine Conley, Paul Ramirez, and David Fish). They stand erect with puffed chests, and settle only slightly when a voice calls, “At ease.” Taking turns, the performers speak, shift formation, and splinter into dance, bravely sharing personal anecdotes, including the ugly, the tender, and the uncomfortable.

Mohr’s deeply human collaboration springs from work with VA medical centers in San Francisco and Palo Alto, and Swords to Plowshares. “We’re a country at war, and it’s easy to forget about that. The project is in part my response to feeling isolated from that,” she explains, in interview. “I wanted to do something to engage dancers and the general public in the emotional reality that we are a country at war.”

Mohr conducted seven months of outreach, culminating in workshops with a small group of veterans. Influenced by Daria Halprin and the Tamalpa Institute, the workshop process involved first creating a safe space for the highly-charged work. Ground rules made clear that workshop participants could select what would be included for the performance. Each veteran maintained ownership of his or her story.

Improvisations pairing dancers with veterans incorporated drawing, text, and movement to explore themes like home, the flag, and the body. In drawing the dancing, and dancing the drawing, Mohr aimed to “try to triangulate that relationship, so the stories go beyond the head space and it becomes a more body-based, physical storytelling process.”

Workshops for The Unsayable adapted the methodology Mohr developed in 2008 when working with cancer patients for her piece Under the Skin. While her goal is not to heal anybody, the collaboration provides an opportunity for creative expression and community engagement while commenting on the role of art in time of war. “This project reflects my interest in making work that is not only socially engaged but also aesthetically sophisticated,” she says. “It’s been a huge challenge to balance the integrity of a group emotional process and also to make choreography that is very well-crafted.”

Using transcriptions from the workshops, novelist Bart Schneider compiled the script and voice-overs for the performance. “My role coming in was to help facilitate conversations between the veterans and the dancers,” says Schneider, when asked about this process. “Even from the first session, it was really intense stuff. And it’s an interesting process when you don’t happen to be a therapist, because stuff comes up and you can really tap into some deep material that can go any which way. I think as a group we did a really good job of building a sense of trust.” In the studio, eye contact and careful listening helped build compassionate relationships between the dancers and veterans.

“I think it was a transformative experience for everyone.,” says Schneider, who has also worked on VA oral histories. “[The veterans felt] ‘Wow, I’m not alone, these people are really listening, and I get to experience the complex qualities of my experience in more ways than just verbally.’ I think sometimes when material like this is involved, the art is a bonus. The experience itself is what really matters.”

Regarding the transition from workshops to stage, Mohr says, “The performance piece is an important part for the veterans. I’m trying to support them in performing with their senses open, so that it’s a continuation of a process that’s about self-awareness and bodily awareness. I really believe in the dancing body. As dancers, we are trained in the somatic sense, having a self-sense of where we are in space and time — being really present in the moment and in our bodies; being really connected to what’s going on internally. I think all of those skills are relevant for healing from trauma.”

THE UNSAYABLE

Thurs/3–Sat/5, 8 p.m.; Sun/6, 2 p.m.; $10–$18

Z Space

450 Florida, SF

www.zspace.org

As close to the lens as possible: A (too brief) Q&A with David Weissman

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One of the strongest aspects of the film We Were Here is the intimacy and depth of its interviews (read our review here), so it’s with embarrassment and regret that I’m presenting this relatively casual Q&A with director David Weissman with the caveat that it’s been marred by a snafu. While transcribing, I discovered that the ‘Rec’ button on my ancient tape recorder had been triggered when it was in my carrying bag, and a sizable portion of the talk – including passages about archives, filmmaking, community, San Francisco, the cultural influence of The Cockettes, and a younger generation’s view of AIDS – had been replaced by the muffled sound of footsteps and traffic. The conversation is lost, but the story isn’t: We We Here is screening at the Castro Theatre through Thurs/3. Here’s some of what Weissman and I discussed.

SFBG What was the response to We Were Here like at Sundance?
David Weissman Sundance was great. We’d had a sneak preview at the Castro, and an even earlier one in Portland at the festival [the Portland Gay and Lesbian Film Festival] that I curate with Russ Gage up there, but Sundance was the first really mixed audience. The Salt Lake City screening was particularly fantastic.

SFBG How so?
DW You can feel the energy in the room, and people cry a lot at this movie. But I think that people cry in a way that by the end of the movie they feel good. That was one of the most important things to me – I didn’t want to make a movie that would just be devastating. It was important to me that it be inspiring. In almost every review and every response, people talk about it being uplifting.

Trailer for We Were Here:

SFBG In some ways We Were Here continues a tradition in San Francisco of oral history in documentary. I wanted to ask about your methodology in terms of doing interviews, because spoken interview accounts are a fundamental, powerful part of the film. You really devote time to the people whose stories you tell, or to flip it, those who tell their stories.
DW The only person I knew I was going to interview at the beginning was Ed [Wolf] and that’s because we’d known each other through doing HIV work, and I knew he had a passion about this story being told, and there was enough existing personal trust between us that I knew he would be an easy person to experiment with.
Right before I interviewed him, I woke up in the middle of the night with a start and thought, “Oh my god, I’ve done no research and have no notes. What am I thinking?” On The Cockettes [2002] we’d done tremendous research before each interview. Then I quickly calmed down and realized, “This is my story. This is my history. I lived through this entire thing.”
The interviews were totally unplanned and they went where they went. Rather than being conventional subject-object interviews, they were deep, mutually therapeutic conversations between people who shared a painful history.

SFBG How did you find and choose the film’s subjects?
DW It was completely intuitive. Other than Ed, the only way any of these people wound up in the film is that I bumped into them somewhere. In the course of conversation, I’d think, “Oh, you’d be good,” and [from] their unambiguous [affirmative] response, I’d decide to go with it. To some degree, their willingness to be interviewed is reflective of their generosity during the years of the epidemic. They clearly got a lot out of being interviewed personally. Having that kind of focus on such an intense part of one’s life for the first time is a powerful experience. But each of them really did it for the community and for the world.

SFBG Some of the answers are obvious, but how was making this film different from making The Cockettes, as an experience?
DW In many ways, the two films are very similar. The experience was different emotionally simply because there was so much pain involved in revisiting [We Were Here‘s] history. But both ultimately wound up being films in which a very large historical moment is evoked by a very small number of people, without a lot of extenuating materials to contextualize the times. The idea was to have the times emerge from the storytellers. There’s a great similarity in that choice.
The intention of the two films is also similar. In describing my intention with The Cockettes over the years, I’d say it had a twofold purpose, in validating the complexity and beauty of a period of time for the people who lived through it, and illuminating it in a rich and complex way for people who didn’t know anything about it. I’d use the exact same language for We Were Here.
The emotional aspect was much different. This film was much less celebratory and more wrenching. But there was something gratifying about being strong enough to engage with the material. The working experience with [co-director] Bill [Weber], the shared quality, was profoundly beautiful and extraordinary.

SFBG In making this film, I’d think any tasks or parts of the process you did on your own would be difficult.
DW When I see other documentaries and look at the credits, there’s name after name, but basically, it’s me and Bill. Each of us wears multiple hats. There’s also the production crew, Marsha [Kahm] and Loretta [Mollitor], who were incredible, and we had some archival help, too. But the big tasks of the movie belonged to me and Bill.

SFBG How did the film structure and approach of the film develop? Was it an intuitive process, as you suggested earlier?
DW The Cockettes had a clear narrative arc that Bill and I [as co-directors] agreed on from the beginning, and it didn’t have the burden of an entire community of people who had a stake in the story being told. The burden of how people would respond to We Were Here was a huge one that I worried about every day.
I don’t think Bill initially trusted that we could do [We Were Here] with this few people. From my vantage point, it was the fewer the better. And the less music the better. I came into it at the beginning saying, “No music at all.” Bill said, “You’re insane, we’re going to need some,” and I decided, “When we get there, let’s deal with it, but I want to start from zero.”

We evolved together, and Bill’s an enormously sensitive editor, both visually and with music. We were a good team. Bill said he kept having to unlearn his normal way of doing things, because some of what we were doing was so contrary – people are on screen for a long time, and they breathe, and they pause, and they make mistakes, and there is no augmentation of sentiment through music.

Sundance Film Festival: David Weissman:

SFBG Did you both do the film’s interviews?
DW I did all the interviews. With The Cockettes, we were co-directors. With We Were Here, I’m the producer and director, and Bill is the editor, and he got a co-director credit because his editorial role was so important.

SFBG Were there points while looking at archival material or doing interviews where you encountered anything that changed your ideas about what you were making?
DW Yes. One of the more conventional beliefs when making a film about recent events is that filmmakers generally prefer to use moving images instead of archival and still images. At a certain point, we shifted away from that, particularly when covering the pre-epidemic period in San Francisco. We focused on faces, and almost all of  the faces are looking directly into the lens. That sense of personal intimacy is central to how the whole film works.

SFBG There’s a counterbalance that works well in direct relation to that decision – you move from those still images to the footage of people in clinics.
DW Some of that footage came from Tina Di Feliciantonio’s Living With AIDS [1987], and from Marc Huestis’s Chuck Solomon film [Chuck Solomon: Coming of Age, 1987]. I don’t know if we got any clinic footage from Ellen Seidler’s Fighting For Our Lives [1987], but we got a lot of footage from it. All of those films were made between 1985 and 1986. And there’s the footage from Silverlake Life [1993]. I still can’t bring myself to watch Silverlake Life all the way through. Bill did, and he chose the footage.
When I’m interviewing – and this is also true with The Cockettes – I sit with my ear literally on the camera. I want people looking as close to the lens as possible.

 

Redevelopment debate full of bum choices

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At the Potrero Hill Democratic Club’s debate about Gov. Jerry Brown’s proposal to ax local redevelopment agencies to balance the state’s $26 billion deficit, folks attempted to evaluate if redevelopment agencies are essential for job creation and community revitalization, if reform, not total destruction, is possible, and if bum choices are all we have to look forward to.

The Chronicle’s Marisa Lagos, who moderated the debate, noted that redevelopment agencies were created over 60 years ago to create economic development opportunities by borrowing against future tax increases that agencies think they can create.

 “That’s a fancy way to say ‘borrow against future taxes,’” Lagos joked, pointing to the Candlestick Point/Hunters Point Shipyard project as an example of an ongoing project, and the Yerba Buena project as an example of a completed success.

 “The Governor is arguing that when the state is cutting schools and other essential services, this is not the best use of tax dollars,” Lagos stated.

 Panelist Olson Lee, deputy executive director of San Francisco’s Redevelopment Agency, pointed to affordable housing as evidence of the agency’s positive impact.

 “I think Redevelopment is important because of the good things it has done,” Lee said, pointing to 11,000 units of affordable housing that the agency helped build in the city.

 Panelist Carroll Wills, the communications director for the California Professional Firefighters, said “many wonderful projects” have occurred under Redevelopment. But he pointed to what he called “a decade of tricks and games,” on the part of Redevelopment agencies as one reason why the state is in a fiscal crisis that threatens firefighters’ jobs.

 “Concrete does not trump core services,” Wills said, arguing that it’s not clear that many affordable housing projects would not have been built without redevelopment aid

Arc Ecology’s Saul Bloom accused Gov. Brown of “short-circuiting” what could have been an important statewide discussion about redevelopment reform, with his bombshell suggestion in January to eliminate redevelopment agencies entirely

 “I’m sympathetic to the argument that Redevelopment takes money away from core services,” Bloom said. “But what do we do to replace it? And is economic development versus core services a false choice?”

Lee pointed to Mission Bay as further evidence of Redevelopment’s success.

“It was considered a brown field, and through development, it’s much different,” Lee said, noting that 20 percent of tax increment financing goes to the General Fund to pay for redevelopment infrastructure. “Clearly the university would not have been there. It was an opportunity to place UC there and generate economic opportunities.”

 Wills argued that Redevelopment Agencies are a luxury we can no longer afford, even as he acknowledged being unfamiliar with local redevelopment projects.

“At best, redevelopment moves around the pieces,” Wills said. “It doesn’t increase economic development and it doesn’t necessarily pay for itself.”

Bloom noted that developments like Mission Bay are dependent on large institutions, like the University of California, which can’t be forced to implement city laws like local hire.

And he said he found it “disappointing” that there wasn’t much more of a dialogue around the plans to redevelop Candlestick Point and the Shipyard, despite the fact that the city held hundreds of meetings over the past decade.

“It was more a case of, Here’s our idea, tell us what you think of it,’” Bloom said. “Perhaps if we had invited the nation’s largest industrial developer, instead of the nation’s second largest home developer, we would have had a different dialogue.”

 Lee replied that the Shipyard has been under discussion for 15 years.

“It’s a very large project, the largest in the Western United States,” Lee said. “It’s a brownfield, though I know Espanola will say it’s a Superfund site,” he continued, as Bayview elder Espanola Jackson bristled under her hat, and the audience wondered if Lee meant that the US E.P.A. somehow got it all wrong.

Lee further shocked audience members by saying Treasure Island was not a redevelopment project (leading Bloom to clarify that Treasure Island is under the jurisdiction of the local Treasure Island Development Authority, if not the SF Agency).

“People felt they wanted economic development at the shipyard,” Lee continued, noting that the neighborhood suffered after the Navy withdrew from the shipyard in the 1970s. But he did not mention that major bones of contention around the redevelopment proposal, centered on plans to build 10,000 mostly market-rate condos, a bridge over an environmentally sensitive slough, the taking of a chunk of the community’s only major park, and no proof that thousands of promised jobs will materialize.

Wills noted that most local redevelopment commissions are peopled by the members of each municipality’s city council, a situation he believes leads to a lack of accountability. But members of the audience, including this reporter, noted that San Francisco’s Redevelopment Agency consists entirely of mayoral appointees, who, unlike elected officials, can’t easily be voted off the proverbial island.

It was at this point that panelist Calvin Welch, a longtime housing activist, showed up at the debate, apologizing for being late, but blaming his tardiness on being on a phone call with Sen. Mark Leno to discuss Brown’s redevelopment proposal.

And from there, the conversation veered towards discussions of what could happen to existing redevelopment projects if Brown goes through with his elimination threat.

 Lee noted that if projects simply had a disposition and development Aagreement (DDA), but Redevelopment was no longer there, there would be no project financing. “The devil’s in the details,” Lee said. “Because if you don’t have bonds, what’s the point of having an agreement.”

 Wills opined that Gov. Brown’s proposal has “a vehicle to roll back the bum’s rush” of projects that local municipalities have been trying to push across the finish line, ever since Brown dropped his Redevelopment elimination bomb in January.

 Welch went off on a historical riff about how the San Francisco Redevelopment Agency (SFRA) was met with controversy and outrage until 1988, when Art Agnos was elected mayor, and brokered a deal under which SFRA could do tax increment financing, provided the majority of funds were used for affordable housing.

“It became a finance agency to build infrastructure and affordable housing,” Welch said, noting that attempts to build out Mission Bay around commercial offices and high rises failed, until the Agency used tif to redevelop the site.

 “But mark my words, Lennar is going to come out of this just fine,” Welch added, reminding me of a recent comment that former Lennar executive Emile Haddad reportedly made that suggests Haddad believes the California housing market is poised for a rebound.

(The article outlined how Haddad sold 12,000 acres in California for a $277 million profit at the housing market’s peak four years ago, reacquired it at half the price in 2009, and is now saying it’s time to build in his new role as CEO of FivePoint Communities Inc., which is developing four new master-planned communities with a combined 45,000 residences at Newhall Ranch north of L.A., the El Toro Marine Corps Air Station in Orange County, the Candlestick Point/Hunters Point shipyard and Treasure Island  in San Francisco, with investors including Lennar, Michael S. Dell’s MSD Capital LP, Ross Perot Jr.’s Hillwood Development Co. and Rockpoint Group LLC. “I don’t want the party to show up and I’m not dressed,” Haddad, 52, reportedly said in a recent interview. “When the market says ‘I’m here,’ we’ll be one of the few that can deliver inventory.” 

(The Haddad article, which appears to be a non-bylined reprint from Bloomberg News, also claimed that Hunters Point sales are set to begin by late 2012 with prices starting at $525,000, as the Navy continues its cleanup of the 700-acre site. And that the plan now calls for as many as 12,000 homes, 3 million square feet (of commercial space and a new stadium for the 49ers. And that 7,000 homes may eventually be built on Treasure Island and adjoining Yerba Buena Island, under terms of a final development agreement that may go before the San Francisco Board of Supervisors for approval in May, with units averaging  $800,000 and reaching up to $2 million, according to Lennar V.P Kofi Bonner.)

And during the Potrero Hill Dems debate, Bloom noted that the Treasure Island plan is being “sped up” and that the Board is expected to vote on the plan as soon as possible. “But since these plans were not bonded before January [when Gov. Brown took office], what’s the point of speeding up the process?” Bloom asked.

“We’re basically seeing a brick wall,” Welch interjected. “There are virtually no funds for permanent affordable housing in San Francisco.But Jerry Brown is not going to commit financial hari kari. Every major developer of market rate housing will come out just fine, because of state actions, not because of a local vote. Deals are going to be made. It’s the question of affordable housing that’s our challenge. You’re gonna be stuck with public housing, as it is, unless there’s affordable housing financing.”

 Wills claimed that Prop. 22, which voters approved last November, “created a mechanism so rigid,” that the state’s only option was to eliminate redevelopment. “Basic services are dying on the vine,” he said. “We can’t afford to give developers subsidies.”

 Lee noted that SFRA built thousands of affordable units over the years that saved the city thousands in terms of core services it would otherwise have to provide. “Affordable housing is so basic, you can’t do things we take for granted if you are living under a freeway,” he said.

 Bloom suggested Redevelopment could do a better job of economic development, including the creation of permanent and sustainable jobs, like his proposal to create maritime uses at the Shipyard—something not entertained under the city’s Shipyard plan.

 Welch connected the dots between the taxpayer revolt that led to Prop. 13’s passage and the current fiscal woes of municipalities unable to raise taxes on commercial development. “That’s a killer,” he said, noting that housing costs more to build and maintain than it generates property taxes, especially if it’s family housing. ‘It’s those damn kids,” he joked.

Welch noted that Gov. Brown used redevelopment money to enable market rate development in downtown Oakland when he was mayor of Oakland—and claimed that Brown equated affordable housing with crime, at the time.

“We love Brown better than Meg Whitman, but it’s 2011 and we face bum choices.”

Community advocate Sharen Hewitt, who heads the C.L.A.E.R. project, asked if the panel thought San Francisco could be a “demonstration model” for using Redevelopment funds to build 50 percent affordable housing.

Welch said conversations have “already happened” between Mayor Ed Lee and Gov. Jerry Brown that have led him to believe that, “all of San Francisco’s redevelopment projects will be made whole, affordable housing will be protected and Brown will be committed to a San Francisco model.”

“It’s like the film Casablanca, when people are shocked to find out that gambling is going on in a casino,” Welch said. “People are shocked to find out that capital talks in a capitalist system.”

 Espanola Jackson asked Welch what will happen to the shipyard development, in face of a lawsuit that POWER brought that’s due to be heard March 24.

“The shipyard plan has a political function,” Welch said, noting that it was the result of a citywide vote in 2008. ‘We opposed it, but we lost. The structure of that deal flows from the vote.”

 City College Board member Chris Jackson expressed frustration that the Redevelopment conversation had devolved into a housing conversation.

“Mission Bay is all about biotech, but who works at UCSF?” Jackson said, noting that Redevelopment, as a state-funded agency, does not have to agree to the city’s newly approved local hire law.

Welch acknowledged that there has never been a study to determine the tipping point required to lift the Bayview out of poverty.

Lee admitted that Redevelopment’s focus has been housing, “because San Francisco is such an unaffordable city.” But he claimed that SFRA had a “much more aggressive program on local hire than the city, for many years.” Noting that SFRA has tried to attract restaurants and food establishments to Third Street, over the years, Lee said, “It hasn’t been something we’ve been particularly successful at.”

Welch opined that the “skills and abilities of the San Francisco community are far greater at stopping projects and protecting neighborhood character, but we can’t figure out how community-based organizations can employ their own people.”

 And then it was time to go back out into the cold March wind and try to wrap our minds about the true meaning of “bum choices” in 2011.

Henderson drops out of D.A’s office and race, SFPD Chief turned D.A. Gascón appoints DeBerry as new chief of staff

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I wondered what Willie Brown was talking about when he wrote that making sure that D.A. office insider Paul Henderson was “taken care of” was one of only two details to be worked out, following former Mayor Gavin Newsom’s shocking last-minute appointment of former police chief George Gascón as the next District Attorney  And now I think I found out: Henderson, who was former D.A. Kamala Harris’ chief of administration and her preferred pick, announced yesterday that he is dropping out of the D.A.’s race and will serve as Lee’s public safety czar.

Henderson starts his new job March 8, meaning 15 months has passed since former U.S. Attorney Kevin Ryan resigned from the Mayor’s Office of criminal justice—leaving everyone unsure what Henderson’s new post entails, and whether it comes with a staff and/or a budget.

Henderson says his new job includes involvement in the Taser debate, the next police chief selection, and assessing how budget cuts impact public safety. And he certainly didn’t publicly let on that he was anything but delighted about this latest twist in the ever evolving race to be the next elected district attorney.

“I’m excited about helping our Mayor shape this new position and about what we can accomplish under his leadership to enhance public safety in the City,” Henderson, who is  reportedly backing Gascón in the D.A.’s race, told the Guardian.

But Henderson’s move brings us back to the other detail Brown referred to in January, namely, “assessing the odds of Gascón winning the D.A.’s race in November.”

Currently, David Onek, a senior fellow at the UC Berkeley Center for Criminal Justice and served in the Mayor’s Office of Criminal Justice under Newsom and Alameda County Deputy District Attorney Sharmin Bock, are the only remaining contenders. And while little has been heard from Bock since she filed in January, Onek has been doing all he can to stay relevant, including holding house parties, raising money, calling for transparency in the D.A.’s Office around officer-involved shootings, and interviewing criminal justice experts as part of his Criminal Justice conversations podcast project in Berkeley.

Onek’s latest interview is with Michael Romano, co-founder of the Stanford Three Strikes Project, which represents folks serving life sentences under the Three Strikes law for minor, non-violent offenses – such as stealing a pair of socks. “Addressing the flaws in the Three Strikes law will protect Californians while also having a positive impact on our state budget.” Onek observed in a campaign email. “According to the California state auditor, non-violent third strikers will cost our state at least $4.8 billion over the next 25 years – almost $200 million per year.”
 
Onek also noted that the next few months are crucial for his D.A. campaign, “to build strong partnerships between law enforcement and the community.”
And the challenge for anyone who is not part of the Brown- Newsom machine to remain viable in the D.A.’s race were illustrated afresh yesterday when Gascón convened a 30-minute press conference at the Hall of Justice to announce he is reorganizing his staff to focus on cutting the backlog of homicides and other felony cases–and was replacing Henderson with Cristine DeBerry, who was deputy chief of staff under Mayor Gavin Newsom and Mayor Ed Lee.

Gascón said the reshuffle was a product of six weeks talking to prosecutors, court officials, defense lawyers and others in the criminal justice system. And so far it has led to David Pfeiffer being named as heads of special operations, Sharon Woo as head of operations, Eugene Clendinen as chief of administration, Braden Woods as chief of the criminal division, Lenore Anderson as chief of collaborative courts, Maria Bee as chief of victim services, June Cravett as head of the white collar division, Jim Crisolo as chief of investigations and Jerry Coleman as chief of the Brady, appellate and training division.

Gascón said he doesn’t foresee immediate layoffs in the department, which has a $39 million annual budget. But he warned that if he is required to cut his budget by 10 percent, as Mayor Lee has requested of all departments, he’ll have to lay off the equivalent of 18 prosecutors.
“Hopefully, we’ll be spared that,” he said. “As it is, we have so much unattended business.”

Gascón blamed the crushing deficit in the D.A.’s Office on budget constrictions over many years, as he used a Power Point slide show to illustrate how the department had less funding in 2008 than in 1986 (if numbers are adjusted for inflation).
“It’s why we had problems in the past and why we are doing this reorganization,” he said, claiming that a significant lack of training in the department has caused “a poor performance in court,” and that there is only one paralegal for every 9 attorneys, on average.

Gascón said it took 3-4 months to process most felony cases, and up to 3 1/2 years to bring a murder case to trial, under the office’s previous configuration.  “By that time, memories have faded, and people are not showing up,” he said.
(D.A. press spokesperson Seth Steward clarified today that Gascón’s claim that “only one out of every 26 misdemeanor cases” was in fact a misstatement, and that the D.A. is working to provide a more accurate analysis.)

Gascón also announced that he is rolling out a makeshift community court system in the next few months, in which alleged perpetrators, victims and three mediating members of the public would work to find a solution, which could be community service.
‘So you can roll the dice and be prosecuted or go to the community court,” he said. “We believe we can take 20 percent of our work load, which is about 1,000 cases, and run it through this system.”

He also claimed that instead of spending $1,200 to $1,300 in the court system, these cases would only cost $300, and that the Tenderloin Community Justice Center will stay in place, under the reshuffle.
 “My goal as Chief was the make San Francisco the safest and largest city in the United States, and that continues to be the goal,” Gascón concluded.

 

Rediscovery: The hypnotic appeal of Jeff Phelps’ Magnetic Eyes

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“That album is something I’ve known about for a long time,” Dâm Funk says of Magnetic Eyes, which was written, recorded and produced by Jeff Phelps in 1985. Thanks to the German label Tomlab, more people are finding out about Magnetic Eyes today. Along with the Tony Cook compilation produced by Dâm’s cohort Peanut Butter Wolf and released on Stones Throw, Magnetic Eyes is a rediscovered jewel of ’80s funk. But whereas the Cook album has roots in classic soul, Phelps’ album is a cool, synth-powered collection that brings techno figurehead the Electrifying Mojo to mind. It’s also blessed with peerless cover art and — as you’ll find out after the jump — it inspired a fantastic music video.

If the Pointer Sisters danced with neutrons, then Phelps — to paraphrase Magnetic Eyes’  “K-Shell” — danced with electrons, making bedroom recordings with a Tascam Portastudio 244. Sleek and minimalist, his compositions are on point. Electronic elements mingle with delicate jazz touches. The most powerful and pop example is “Hear My Heart,” where a Yusef Lateef-like woodwind briefly duets with a beguiling, raw (no studio enhancement trickery whatsoever) vocal by teenager Antoinette Marie Pugh. Beginning with a basketball game and moving on to closeups of red fingernails and tearful eyes (not to mention scenes of champagne fireside romance), the video for “Hear My Heart” is, like the best Jan Terri videos, a no-budget delight. The song itself is lovely and hit-worthy.

Jeff Phelps, “Hear My Heart,” from Magnetic Eyes:

http://www.youtube.com/watch?v=GUppqNiR_NM

While Phelps lived in Houston, TX at the time, the sound he crafts on Magnetic Eyes’ title instrumental track is a precursor to Detroit techno (the plaintively moving “Don’t Fall Apart On Me” could be an Inner City demo), not to mention the retro-informed future funk that Dâm Funk creates today; Dâm’s collaborator Ramona Gonzalez of Nite Jewel is also a fan of the album. Knowing this, I had to ask Dâm about the Electrifying Mojo, whose late-night radio sets — bringing together Kraftwerk and Parliament — helped forge the Detroit techno sound.

A sample of the Electrifying Mojo on late-night radio:

http://www.youtube.com/watch?v=qXu3Alw0-Hw

“I have some old tapes of his,” Dâm said, “His concepts were great, and he played great music. It’s all about the delivery and the passion. That’s what I try to do with my selector sets [as a DJ]. I want them to be special, more to the left angle and the dark side.”

The dark angle and the left side are both abundantly present in the cover art of Magnetic Eyes, which was created by an artist named Garry Hollie that Phelps knew at the time. While introverted instrumentals frame the album, it has a round-the-way creative and collaborative essence, with one lyric (“On the Corner”) penned by Phelps’ wife, and another (“Wrong Place, Wrong Time”) by one of his co-workers. Phelps still makes music today, and in a recent interview, he says he listens to a lot of Steely Dan (a likely influence on Magnetic Eyes), as well as Gil Scott-Heron, Tupac, and…Nite Jewel.

   

Meet the new boss

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news@sfbg.com

The Guardian hasn’t been invited into City Hall’s Room 200 for a long time. Former Mayor Gavin Newsom, who frequently criticized this newspaper in his public statements, had a tendency to freeze out his critics, adopting a supercilious and vinegary attitude toward any members of the press who questioned his policy decisions. So it was almost surreal when a smiling Mayor Ed Lee cordially welcomed two Guardian reporters into his stately office Feb. 15.

Lee says he plans to open his office to a broader cross-section of the community, a move he described as a way of including those who previously felt left out. Other changes have come, too. He’s replaced Newsom’s press secretary, Tony Winnicker, with Christine Falvey, former communications director at the Department of Public Works (DPW). He’s filled the Mayor’s Office with greenery, including giant tropical plants that exude a calming green aura, in stark contrast to Newsom — whose own Room 200 was sterile and self-aggrandizing, including a portrait of Robert Kennedy, in whose footsteps Newsom repeatedly claimed to walk.

When it comes to policy issues, however, some expect to see little more than business-as-usual in the Mayor’s Office. Democratic Party chair Aaron Peskin, a progressive stalwart, said he sees no substantive changes between the new mayor and his predecessor. “It seems to me that the new administration is carrying forward the policies of the former administration,” Peskin said. “I see no demonstrable change. And that makes sense. Lee was Willie Brown and former Mayor Gavin Newsom’s handpicked successor. So he’s dancing with the guys that brought him in.”

Sup. David Campos, viewed as part of the city’s progressive camp along with Peskin, took a more diplomatic tack. “So far I’ve been very pleased with what I’ve seen,” Campos noted. “I really appreciate that he’s reached out to the community-based organizations and come out to my district and done merchant walks. I think we have to wait to see what he does on specific policy issues.”

But while Lee has already garnered a reputation for being stylistically worlds apart from Newsom, he still hews close to his predecessor’s policies in some key areas. In our interview, Lee expressed an unwillingness to consider tax-revenue measures for now, but said he was willing to take condo conversions into consideration as a way to bring in cash. He was unenthusiastic about community choice aggregation and dismissive of replacing Pacific Gas & Electric Co. with a public-power system. He hasn’t committed to overturning the pending eviction of the Haight Ashbury Neighborhood Council’s recycling center, and he continued to argue for expanding Recology’s monopoly on the city’s $206 million annual trash stream, despite a recent Budget and Legislative Analyst’ report that recommended putting the issue to the voters.

Public Defender Jeff Adachi, who met Lee in 1980 through the Asian Law Caucus, said Lee would be facing steep challenges. “It’s a fascinating political karmic outcome that he is now our appointed mayor. He didn’t seek it out, as he says, but the opportunity he has now is to focus his efforts on fixing some of the problems that have gone unaddressed for decades, pension reform being one of them. I think he realizes he has a limited time to achieve things of value. The question I and others have is, can he do it?”

 

THE RELUCTANT MAYOR

Lee identified as a non-politician, patently rejecting the notion that he would enter the race for mayor. In meetings with members of the Board of Supervisors at the end of 2010, he said he didn’t want the job.

Yet while vacationing in Hong Kong, Lee became the subject of a full-court press. “When the lobbying and phone calls started … clearly they meant a lot to me,” Lee told us, adding that the choice “was very heavy on my mind.” He finally relented, accepting the city’s top post.

Although rumors had been circulating that Lee might seek a full term, he told the Guardian he’s serious about serving as a caretaker mayor. “If I’m going to thrust all my energy into this, I don’t need to have to deal with … a campaign to run for mayor.”

Adachi offered an interesting take on Lee as caretaker: “Somewhere along the way, [Lee] became known as the go-to guy in government who could take care of problems,” Adachi said, “like the Wolf in Pulp Fiction.”

Sounding rather unlike Harvey Keitel’s tough-talking character, Lee noted, “One of my goals is to rebuild the trust between the Mayor’s Office and the Board of Supervisors. I think I can do that by being consistent with the promises I make.”

Lee’s vows to keep his promises, mend rifts with the board, and stay focused on the job could be interpreted as statements intended to set him apart from Newsom, who was frequently criticized for being disengaged during his runs for higher office, provoking skirmishes with the board, and going back on his word.

The new mayor also said he’d be willing to share his working calendar with the public, something Newsom resisted for years. Kimo Crossman, a sunshine advocate who was part of a group that began submitting requests for Newsom’s calendar in 2006, greeted this news with a wait-and-see attitude. “I’ve already put in a request,” Crossman said. “Politicians are always in support of sunshine — until they have to comply with it.”

 

THE ELEPHANT IN THE ROOM

Pointing to the tropical elephant-ear plants adorning his office, Lee noted that elephants are considered lucky in Chinese culture. With the monstrous issues of pension reform and a gaping budget deficit hitting his mayoral term like twin tornadoes, it might not hurt to have some extra luck.

Pension reform is emerging as the issue du jour in City Hall. A round of talks on how to turn the tide on rising pension costs has brought labor representatives, Sup. Sean Elsbernd, billionaire Warren Hellman, City Attorney Dennis Herrera, labor leaders, and others to the table as part of a working group.

Gabriel Haaland, who works for SEIU Local 1021, sounded a positive note on Lee. “He’s an extraordinarily knowledgeable guy about government. He seems to have a very collaborative working style and approach to problem-solving, and he is respectful of differing opinions,” Haaland said. “Where is it going to take us? I don’t know yet.”

Lee emphasized his desire to bring many stakeholders together to facilitate agreement. “We’re talking about everything from limiting pensionable salaries, to fixing loopholes, to dealing with what kinds of plans we can afford in the health care arena,” he noted. Lee said the group had hashed out 15 proposals so far, which will be vetted by the Controller’s Office.

A central focus, Lee said, has been “whether we’ve come to a time to recognize that we have to cap pensions.” That could mean capping a pension itself, he said, or limiting how much of an employee’s salary can be counted toward his or her pension.

Since Lee plans to resume his post as city administrator once his mayoral term has ended, he added a personal note: “I want to go back to my old job, do that for five years, and have a pension that is respectable,” he said. “At the same time, I feel others who’ve worked with me deserve a pension. I don’t want it threatened by the instability we’re headed toward and the insolvency we’re headed toward.”

 

BRACING FOR THE BUDGET

If pension reform is shaping up to be the No. 1 challenge of Lee’s administration, tackling the city budget is a close second. When Newsom left office, he passed Lee a budget memo containing instructions for a 2.5 percent reduction in most city departments, part of an overarching plan to shave 10 percent from all departments plus another 10 percent in contingency cuts, making for a bruising 20 percent.

Lee said his budget strategy is to try to avert what Sup. David Chiu once characterized as “the typical Kabuki-style budget process” that has pitted progressives against the mayor in years past. That means sitting down with stakeholders early.

“I have opened the door of this office to a number of community groups that had expressed a lot of historical frustration in not being able to express to the mayor what they feel the priorities of their communities are,” Lee said. “I’ve done that in conjunction with members of the Board of Supervisors, who also felt that they weren’t involved from the beginning.”

Affordable-housing advocate Calvin Welch said Lee’s style is a dramatic change. “I think he’s probably equaled the total number of people he’s met in six weeks with the number that Newsom met in his seven years as mayor,” Welch said.

Sup. Carmen Chu, recently installed as chair of the Budget & Finance Committee, predicted that the budget will still be hard to balance. “We are still grappling with a $380 million deficit,” Chu told us, noting that there are some positive economic signs ahead, but no reason to expect a dramatic improvement. “We’re been told that there is $14 million in better news. But we still have the state budget to contend with, and who knows what that will look like.”

Sup. John Avalos, the former chair of the Board’s powerful Budget Committee, said he thinks the rubber hasn’t hit the road yet on painful budget decisions that seem inevitable this year — and the outcome, he said, could spell a crashing halt to Ed Lee’s current honeymoon as mayor.

“We are facing incredible challenges,” Avalos said, noting that he heard that labor does not intend to open up its contracts, which were approved in 2010 for a two-year period. And federal stimulus money has run out.

 

DID SOMEONE SAY “CONDO CONVERSIONS”?

Asked whether he supported new revenue measures as a way to fill the budget gap, Lee initially gave an answer that seemed to echo Newsom’s inflexible no-new-taxes stance. “I’m not ready to look at taxes yet,” he said.

He also invoked an idea that Newsom proposed during the last budget cycle, which progressives bitterly opposed. In a conversation with community-based organizations about “unpopular revenue-generating ideas,” Lee cautioned attendees that “within the category of unpopular revenue-generating ideas are also some that would be very unpopular to you as well.”

Asked to explain, Lee answered: “Could be condo conversion. Could be taxes. I’m not isolating any one of them, but they are in the category of very unpopular revenue-generating ideas, and they have to be carefully thought out before we determine that they would be that seriously weighed.”

Ted Gullicksen, who runs the San Francisco Tenants Union, said tenant advocates have scheduled a meeting with Lee to talk about condo conversions. Thanks to Prop. 26’s passage in November 2010, he said, any such proposal would have to be approved by two-thirds of the board or the voters. “It’s pretty clear that any such measure would not move forward without support from all sides,” Gullicksen said. “If anyone opposes it, it’s going to go nowhere.”

Gullicksen said he’d heard that Lee is willing to look at the possibility of significant concessions to renter groups in an effort to broker a condo conversion deal, such as a moratorium on future condo conversions. “If, for example, 1,000 TICs [tenants-in-common] became condos under the proposal, then we’d need a moratorium for five years to minimize and mitigate the damages,” Gullicksen explained.

More important, some structural reform of TIC conversions may be on the table, Gullicksen said. “And that would be more important than keeping existing TICs from becoming condos.”

Gullicksen acknowledged that Lee has the decency to talk to all the stakeholders. “Newsom never attempted to talk to tenants advocates,” he said.

 

GREEN, WITHIN LIMITS

Lee’s two children are in their early 20s, and the mayor said he takes seriously the goal of being proactive on environmental issues in order to leave them with a more sustainable San Francisco. He trumpeted the city’s green achievements, saying, “We’re now on the cutting edge of environmental goals for the city.”

Leading bicycle activist Leah Shahum of the San Francisco Bicycle Coalition had praise for Lee on bike issues. “I’m really encouraged by his very public support of the new green separate bikeways on Market Street and his interest and commitment to creating more,” she said. “I believe Mayor Lee sees the value of connecting the city with cross town bicycle lanes, which serve a wide range of folks, including business people and families.”

Yet some proponents of green causes are feeling uncertain about whether their projects will advance under Lee’s watch.

On the issue of community choice aggregation (CCA), the ambitious green-energy program that would transfer Pacific Gas & Electric Co. customers to a city-run program with a cleaner energy mix, Lee — who helped determine rates as city administrator — seemed lukewarm. “I know Mr. [Ed] Harrington and his staff just want to make sure it’s done right,” he said, referring to the general manager of the city’s Public Utilities Commission, whose tepid attitude toward the program has frequently driven him to lock horns with the city’s chief CCA proponent, Sup. Ross Mirkarimi.

Lee noted that CCA program goals were recently scaled back. He also said pretty directly that he opposes public power: “We’re not in any day getting rid of PG&E at all. I don’t think that is the right approach.”

The controversial issue of the Haight Ashbury Neighborhood Council Recycling Center’s pending eviction from Golden Gate Park still hangs in the balance. The Recreation and Park Commission, at Newsom’s behest, approved the eviction despite overwhelming community opposition.

Lee said he hadn’t looked at the issue closely. “I do know that there’s a lot of strong debate around the viability, what that operation attracts and doesn’t attract,” he said. “I had the owner of HANC here along with a good friend, Calvin Welch, who made a plea that I think about it a bit. I agreed that I would sit down and talk with what I believe to be the two experts involved in that decision: Melanie Nutter at the Department of the Environment and then Phil Ginsburg at the Rec and Park.” Nutter and Ginsburg supported HANC’s eviction.

Welch, who is on the board of HANC, noted that Lee could be swayed by his staff. “The bunch around Newsom had old and bad habits, and old and bad policies. In dealing with mayors over the years, I know how dependent they are on their staff. They’re in a bubble, and the only way out is through a good staff. Otherwise, Lee will come to the same conclusions as Newsom.”

HANC’s Jim Rhoads told the Guardian he isn’t feeling reassured. “He said he would keep asking people about it. Unfortunately, if he asked his own staff, it would be a problem because they’re leftovers from Newsom.”

Speaking of leftovers, Lee also weighed in on the debate about the city’s waste-management contract — and threw his support behind the existing private garbage monopoly. Campos is challenging a perpetual waste-hauling contract that Recology has had with the city since 1932, calling instead for a competitive-bidding process. When the Department of the Environment recommended awarding the city’s landfill disposal contract to Recology last year, it effectively endorsed a monopoly for the company over managing the city’s entire waste stream, at an estimated value of $206 million per year.

The final decision to award the contract was delayed for two months at a February Budget & Finance Committee hearing. Campos is contemplating putting the issue to the voters this fall, provided he can find six votes on the Board.

“I know that Sup. Campos had given his policy argument for why he wants that revisited,” Lee said. “I have let him know that the Recology company in its various forms has been our very dependable garbage-hauling company for many, many decades. … I feel that the company has justified its privilege to be the permit holder in San Francisco because of the things that it has been willing to do with us. Whether or not we want to use our time today to revisit the 1932 ordinance, for me that wouldn’t be a high priority.”

 

UNFINISHED BUSINESS

In the last week of 2010, Avalos pushed through groundbreaking local-hire legislation, without the support of then Mayor Gavin Newsom or his chief of staff, Steve Kawa, who wanted Avalos to back off and let Newsom takeover the task.

With Lee now in Room 200, things appear to be moving forward on local hire, in face of misleading attacks from Assemblymember Jerry Hill (D-San Mateo), who wants to make sure no state money is used on local-hire projects, presumably because the building trades are upset by it. And Kawa, whom Lee has retained as chief of staff, doesn’t really support the legislation. Indeed, Kawa’s presence in the Mayor’s Office has his detractors believing that the new boss in Room 200 is really the same as the old boss.

“I feel like things are moving forward in the right direction around local hire, though a little more quietly than I’d like,” Avalos told the Guardian. Avalos noted that he is going to hold a hearing in March on implementing the legislation that should kick in March 25.

Welch said he believes that if Lee starts replacing staff wholesale, it could indicate two things: he’s a savvy guy who understands the difficulties of relying on Newsom’s chief of staff Steve Kawa for a budget, and he’s not ruling out a run for mayor.

“If I was in his position, the first thing out of my mouth would be, ‘I’m not running.’ I think he’s very focused in the budget. And it’s going to make or break him. But if he starts overriding Kawa and picks staff who represent him … well, then I’d revisit the question of whether he’s contemplating a run for mayor, say, around June.”

Noise Pop Film Festival: the new new age?

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The Family Jams, a documentary by Kevin Barker (the man behind Currituck Co. and and on-again-off-again accompanist of Vetiver), captures the careers of the genre-fucks Devandra Banhart, Joanna Newsom, and Vetiver in their infancy on a 2004 summer tour. (The doc screens Thurs/24 as part of the Noise Pop Film Festival; check out a trailer here.)

Near the film’s beginning, Barker, in a voiceover, shares a memory of seeing large flying cockroaches that lived in his grandmother’s kitchen drawers in Hawaii. In the next scene — whodathunk? — a large cockroach appears during a show in Houston, Texas when his musical family (Banhart, Newsom, and Andy Cabic of Vetiver, among others) plays together at the show’s end. Could this link ‘twixt families be made any more obvious?

The documentary also attempts to challenge the so-called limitations of the family’s categorization as folk, but fails. During a radio interview, Banhart asks Cabic, “How do you deal with being considered “folk? Do you accept the humiliation of their inaccuracy and narrow-mindedness?” And in his next breath, a (possibly intoxicated) Banhart says, “Mine is new age. You’ve got to understand, new age — it’s got a bad taste in everyone’s mouth.”

He goes on: “I’m trying to make it groovy again. I’m really trying to give it some credibility. New age — that’s appropriate because it’s a combination of different things.” So, the genre-defying Banhart gives himself a label.  Huh.

While The Family Jams has its humorous moments, like when a shirtless Banhart enters a door that clearly says “Shoes and Shirt Required Beyond This Point,” the doc’s high points come courtesy of concert footage. Jammin’ is what this family does best on camera. Otherwise, Barker’s film is largely a slow-moving study of community, and little else.

The Family Jams

Q&A with director Kevin Barker and members of Vetiver after the screening

Thurs/24, 9 p.m., $10

Viz Cinema

New People

1746 Post, SF

http://2011.noisepop.com/film/

Green Bay Packers’ Desmond Bishop drops in on Lee

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So, there I was sitting in the Mayor’s Office with fellow Guardian reporter Rebecca Bowe waiting to see Mayor Ed Lee when in walks Green Bay Packers linebacker and D10 native Desmond Lamont Bishop, who helped win the Super Bowl XLV, this month.

Turns out Bishop was there to see Lee, shortly before D10 Sup. Malia Cohen honored Bishop during the Board’s Black History month commendations’ ceremony.

We didn’t get a chance to interview Bishop (he was whisked into Lee’s office super quick), but Bowe and I surfed the web while waiting for our appointment with Lee and soon learned that Bishop was born in San Francisco on July 24, 1984, is 6 feet 2 inches tall, weighs 238 pounds, and was at Cal in 2005/06, before being drafted by the Packers in 2007, where he wears jersey number 55.
 
Cohen later confirmed that Bishop was born in Hunters Point and went to Visitacion Valley Junior High, before going to high school in Fairfield, and then returned to San Francisco to attend City College before heading to the University of California.

“Desmond is also deeply involved in his community,” Cohen said in a press release, which notes that Bishop started the Desmond Bishop Football Camp and participates in programs to help kids to be healthy and learn to read, including the Boys and Girls Club.“The Bishop family moved to San Francisco over 50 years ago, and Desmond’s grandfather still lives in Bayview Hunters Point.”

Too bad we didn’t have a chance to get Bishop’s autograph, but hopefully next time…

Mayor Ed Lee willing to disclose work calendar

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Among the many issues that rankled progressives under Mayor Gavin Newsom’s administration was Newsom’s unwillingness to turn over his work calendar to members of the public who formally requested it. Beginning in 2006, a group of sunshine activists routinely submitted public-information requests for the mayor’s daily schedule in hopes of finding out who Newsom was meeting with, what events he attended, and just how he spent his time on the job as mayor of San Francisco. After years of battle, Newsom finally agreed to release a watered-down calendar containing very little information.

On this matter, it does not seem as if Interim Mayor Ed Lee will follow in the footsteps of his predecessor.

In an interview with Guardian reporters today, Mayor Lee indicated that he would be willing to make his calendar available to the public. “Sure,” he said when we asked him about it. “I have no problem with that.”

Lee noted that he has complied with similar requests in the past. “I’ve had those already reviewed as the City Administrator, so I’m used to it,” Lee said.

He added that while he was willing to share his work-related calendar, “I may not want to share where I privately go every night.”

That’s OK. Thanks to former Mayor Willie Brown, we already know Lee went out to dinner in North Beach the other night with Brown, Rose Pak, and several others.

Hellman and Obama feel your pain

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The Bay Citizen has a detailed report on the backroom discussions taking place around pension reform, and there aren’t any real surprises. The cops and firefighters seem to be leading the talks from the public-employee union perspective, although the other unions are there, and Mayor Lee has taken over the gavel from financier Warren Hellman. Sean Elsbernd is involved, but they’ve kept Jeff Adachi out. (And what the hell is Nathan Ballard doing in this mix?)


But what got me when I read the story this weekend was the quote from Hellman:


In an interview Thursday afternoon, Hellman said the group must come up with annual savings of $300 million to $400 million. (Proposition B was to have saved the city $120 million.)


“I hate that it comes out of the hide” of city workers, particularly those making modest salaries, Hellman said. “It is going to be really painful.”


It reminds me of Obama’s comments on his budget cuts: They’ll be painful and he hates to do it, but these tough decisions have to be made for the good of all of us.


My question: Why doesn’t anything ever come out of the hides of the billionaires?


From the start of this recession, working-class people, public employees and the poor have taken huge hits. Nothing — nothing — has happened to the top echelon of society. If anything, they’ve only gotten richer. The bankers who destoryed the economy with financial instruments even they didn’t understand? They’re not in the poor house. They haven’t had their homes foreclosed. They’re all doing just fine.


In fact, the United States government just kindly allowed them to keep their tax cuts for another two years.


Obama isn’t going to miss any meals. His kids will still have their fancy private school. He won’t have to worry about his pension vanishing or eating cat food in his old age. Same goes for Hellman; there’s nothing in the world that he could possibly want to buy that he can’t have.


So it makes me really mad to hear them talk about feeling bad about budget cuts and reducing pensions. If they feel bad, then why not do something about it?


Hellman’s not a bad guy. I’ve met him, he’s pleasant and polite and sincere about wanting to help the city. I couldn’t reach him on the phone today, but I’ll keep trying, because I have a question:


Over the past five years, city employees have given back hundreds of millions of dollars in wage and benefit concessions. Social programs have been cut by hundreds of millions more. And the rich in this town have given back nothing. Mr. Hellman: Is that fair?


I’ve got a suggestion for the pension reform negotiators. Why not talk a little about parity.


Yes, pensions have to be fixed; let’s start at the top. Maybe nobody should have a pension of more than $100,000 a year; certainly, a former police chief shouldn’t get $250,000 a year for life. Maybe the highest-paid city employees should have to pay more into the pension system to protect the pensions of the people who make less. I could easily support progressive pension reform that would save the city money.


I just think tax reform should also be part of the equation.


Hellman wants $300 million in pension savings? Good — how about pairing it with $300 million in new taxes on the wealthy? How about big business and rich people give up something this time around, instead of all of the cuts falling on public employees and poor San Franciscans?


I’m good with pension reform, really I am. And I’m not involved in the negotiations. But I’m a San Francisco progressive who will have to vote on the ultimate outcome. Give me something to work with here, guys.


 


 

SFBG Radio: Howie Klein, part II

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In today’s installment, Johnny continues his interview with Howie Klein, founder of 415 records, contemporary of Harvey milk and Bill Graham. Listen after the jump.

Howie2 by endorsements2010

SFBG Radio: Talking to Howie Klein

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Today we continue Johnny’s interview with local music legends — he talks to Howie Klein, the co-founder of 415 Records, about his start in the music industry, Harvey Milk, Bill Graham, and more. We’re keeping these things short, so this is part one; we’ll post part two to the interview Feb. 14. Listen after the jump.

Howie1 by endorsements2010

“He will probably drown in his beer hat”: the post-punk vegan hits SF

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Isa Chandra Moskowitz is a believer in the power of baketivism. Emerging from the wilds of Food Not Bombs mass meals and the New York City punk scene, Moskowitz started a community access TV show, The Post Punk Kitchen in 2003. Since then she’s gotten five animal product-free cookbooks published, starting with the seminal Vegan Cupcakes Take Over the World (Da Capo, 168 pages, $15.95) and progressing to her latest, Appetite for Reduction (Da Capo, 336 pages, $19.95) — a collection of low-fat recipes (a couple of which we featured over the holidays), the result of Moskowitz’s doctor’s suggestion she cut back on fat after being diagnosed with a hormone imbalance.

 She’s vegging out in SF this weekend — you can catch her doing a cooking demonstration and book signing at the Ferry Plaza Farmer’s Market on Sat/12 — and hell, read that bio again, awesome. So we interviewed her and now we know where to get vegan cheese that actually tastes good, among other highly salient points.

 

San Francisco Bay Guardian: When and why did you become a vegan?

Isa Chandra Moskowitz: My vegan journey began over 20 years ago, when I was 16. Yes, it’s a journey, just like on the “Bachelorette.” It was pretty simple for me, I just couldn’t see any reason to eat animals. I’ve always been an animal lover and the thought of any animal suffering or being killed just drives me nuts. I didn’t want any part of it. 

 

SFBG: Have you seen a change in the animal product substitutes offered in stores since your early vegan days?

ISM: Yes, and what’s even more drastic is how widely available vegan meat substitues are. I’ll be honest, I don’t really care for many of the products — I prefer to cook whole foods. But I appreciate that the subs exist and there are some yummy ones out there, like the Field Roast sausages [editor’s note: soy-free, yay!] and Tofurkey slices, which make great sandwiches in a pinch. In terms of pastries and sweets it’s like we’re living in a completely different world. Sweet & Sarah Marshmallows are to die for, and there are so many awesome cookie companies that they’re too numerous to count. And ice cream is much better, especially the coconut milk varieties. 

 

SFBG: Do you think the US qualifies as a vegan-friendly country now? Where, in your eyes, are the best places for vegan dining?

ISM: Yeah, for sure. I mean, it’s such a big country. Of course there are more vegan-friendly places than others. The best places are probably pretty similar to the best places for food in general – NYC, Portland, and here in San Francisco. Those are also the places where I most often find myself, so go figure!

 

SFBG: What (if any) has been the most compelling argument you’ve heard NOT to be a vegan?

ISM: I honestly haven’t heard anything that sounded like a good argument. The only thing that makes sense to me is when people are like ‘well, I don’t really care.’ I mean, at least it’s honest! 

 

SFBG: When I became a vegan, I had to deal with a lot of flack from family and friends, even those that were totally cool with my ten years of vegetarianism. Did you run into that when you decided to go animal product-free? Why do you think people get so crazy about the dietary choices of others?

ISM: I hear this type of thing a lot and I have to say I did not experience it at all. I mean, there’s always that annoying guy who’s like ‘PETA means People Eating Tasty Animals!!! Guffaw! Snort!’ but he’s not my friend and he will probably drown in his beer hat so I’m not too worried about it. But in terms of friends and family, people either didn’t think anything of it or didn’t get into it with me. 

 

SFBG: What’s the best vegan cheese you’ve run into out there? I’m having issues with that one.

ISM: I am not crazy about any of the US cheeses on the market at the moment, but I had the most amazing vegan cheese from Switzerland called Vegusto. It’s not available here, unfortunately, but if anyone is listening and wants to make a million dollars, strike some sort of deal with that company and bring it to the US. It will change your life. In any case it’s good to know that a delicious creamy vegan cheese is possible, hopefully it will exist here someday. 

 

SFBG: It seems like a lot of vegan cooking revolves around processed animal product substitutes. How do you feel about that?

ISM: Ha, this whole interview was about products and processed food and yeah, in all my books I pretty much make it clear that I’m not into that. I cook with whole foods. 

 

SFBG: Finally, where/what are you planning on eating in SF?

ISM: I’m definitely going to eat a couple million burrito spots, but also Millenium, Cha-Ya, Gracias Madre and hopefully a kind soul will bring me something from Cinnaholic because I don’t think I’m going to make it over to the East Bay. I already went to Papalote tonight and then had the tiramisu at Cafe Gratitude so I’m happy.

 

Isa Chandra Moskowitz

Sat/12 11:45-12:30 p.m., free

Ferry Plaza Farmer’s Market

One Ferry Building, SF

(415) 391-3276

www.cuesa.org

 

To the bone

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DANCE/MUSIC There are a lot of interesting things in Brontez Purnell’s room. Giant self-made posters of Josephine Baker (“The most famous black party kid ever,” he says), Arthur Evans’ Witchcraft and the Gay Counterculture, and the legendary Harlem Renaissance publication Fire!!. An arrangement of Polaroid Instamatic nude shots of old flames and interview subjects from his zine, Fag School. A few more Instamatic shots – of him and his mom and grandmother. A framed letter from Kathleen Hanna. An autographed copy of the Go-Go’s’ Talk Show. A typewriter. Effects pedals. On a window ledge, a CD by his uncle, the late blues guitarist J.J. Malone. On his bed, a well-worn paperback of Lady Sings the Blues, next to a Teenage Mutant Ninja Turtles pillow. But the most interesting presence in the room is Brontez himself.

“I grew up with a strong Southern Baptist influence,” Brontez says, when I ask about the role of ritual in his dance projects. “These days I’m not as likely to disregard what that did to me and how it set my way of thinking about the world into motion. I talk to my mom, who is a devout Christian and also totally wild-ass, every day. But for the first 15 years of my life, I was at a place where, every Sunday, the most conservative people could scream their heads off. It wasn’t pretentious, it was to the bone. It’s part of the reason I’ve never had trouble dancing at [rock] shows or getting into the energy of the moment.”

Long before Brontez burned up the stage as a key member of Gravy Train!!!!, he was the talk of the Bay Area rock scene because of his uninhibited energy. “Sometimes, in Gravy Train!!!!, or especially when I was younger, people would sexualize me in this way that was weird to me,” he recalls. “I just felt like I was being more punk than sexy. Sometimes I’d jump in the crowd and people would finger me, or rip off my underwear, and I was put off or taken aback. I felt like I was this baby with whiplash.”

No longer a baby with whiplash, the Brontez of today is still punk rock, but also well-read – and a dancer. This Friday, he’s debuting a trio of live dance pieces, and a trio of dance films (The Beats are Falling Down, Itxel, and Free Jazz) made with Gary Gregerson, as part of a Berkeley Art Museum program curated by Betty Nguyen. Shot in black-and-white and kindred in spirit with works by Yvonne Rainer (“Her ideas about task-oriented choreography, and choreography that deals with the everyday, are so fact-based,” he says), the movies are a natural extension from the dynamic dance video that Irwin Swirnoff made for “Sha-Boo Lee,” by Brontez’s band, Younger Lovers. They’ve got an electric charge — they’re inspiring.

“What I like about Gary [Gregerson] and Irwin [Swirnoff] is that there is always a sense of naturalness with them,” says Brontez. “In the Bay Area, there can be this cult of clutter – everyone has their Cockette thing going, and everything has to be splattered with glitter and fuzzy purple rhinestones. With the art I make, there isn’t a lot of high concept and high camp going on. I’m literally trying to tell a story that I want to let breathe. Both Gary and Irwin are respectful of that.”

This directness is present in Rock Flawless (Bachelor), the latest Younger Lovers album, which features contributions from Bare Wires’ Matthew Melton and drummer Taaji Malik (who is also present in Gregerson’s films), as well as bandmate Mateo Corona. Recorded next door to Aunt Charlie’s Lounge at a studio on the corner of Turk and Taylor in SF, Rock Flawless trades the vagaries of romance for the truth. “When I wrote about a boy on [2008’s] Newest Romantic, it was ‘la la la’ and flowery, but on Rock Flawless I’ll write about a specific boy, in a specific neighborhood – like the Lower Haight – that fucked me over.”

Brontez also throws in a killer cover, of “Heartbroken,” by T2 featuring Jodie Aysha. He’s typically candid about its inspiration. “I first heard [the song] during this Adam4Adam trick,” he says. “I went to this guy’s house and he was a total freak. He had this way-too-close relationship with his dog. I hugged him and the dog ran off the bed and he said, ‘She hates when you take my energy away like that.’ We were fucking and he had on his Pandora and that song came on, and I was like, ‘What is this? This is what’s up!’”

What’s up for Brontez today? For starters, his neighborhood in West Oakland, where warehouse spaces like Sugar Mountain, Ghost Town, and Copland are putting on shows. “On the weekend, you see so many white kids it’s like Woodstock,” he laughs. “What’s happening here isn’t going on in San Francisco. But during the weekdays, you see the nice cars that drive by to get heroin and crack, and the regular neighborhood people.”  

What’s also going on is a strong dedication to making things happen, and making dance. “My biological clock is ticking, ticking, going ‘What have you done, girl?’,” Brontez jokes. “It’s nice to sit around waiting on boys to love you, but in the meantime…” In the meantime, he’s reading up on Rainer, Katherine Dunham, and Martha Graham. He’s watching AXIS Dance Company rehearsals. He’s drawing on his studies with choreographers Eric Kupers and Nina Haft. He’s getting set to act with Jesse Hewit and others in a film by Travis Mathews. He’s leading dance workshops. And he’s giving any “fucking squares” in dance a loving “a kick in the ass,” flyering shows punk rock-style, and choreographing pieces involving witch dancers and preachers, with titles like Whenever I Hit the Floor, I’m Like a Fucking Hurricane.

“Thank god I also read a lot of rock ‘n’ roll autobiographies,” Brontez says. “Because all of my favorite artists say the same thing: ‘They did not love me enough.’ This year, I’m going to find out who my brothers and sisters are, so we can start doing shows together.”

L@TE FRIDAY NIGHTS AT BAM/PFA: BRONTEZ WITH BRILLIANT COLORS
7:30 p.m. (DJ Myles Cooper at 6:30 p.m.), $7
Berkeley Art Museum, Gallery B
2626 Bancroft, Berk.
(510) 642-0808

bampfa.berkeley.edu