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Dick Meister: The pioneering black porters

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By Dick Meister

Bay Guardian columnist Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

It’s Black History Month, a good time to honor the Brotherhood of Sleeping Car Porters, one of the most important yet too often overlooked leaders in the long struggle for racial equality and union rights.

The union, the first to be founded by African Americans, was involved deeply in political as well as economic activity, joining with the NAACP to serve as the major political vehicle of African Americans from the late 1930s through the 1950s.

Together, the two organizations led the drives in those years against racial discrimination in employment, housing, education and other areas that laid the groundwork for the civil rights movement of the1960s.

The need for a porters’ union was painfully obvious. Porters commonly worked 12 or more hours a day on the Pullman Company’s sleeping car coaches for less than $100 a month. And out of that, they had to pay for their meals, uniforms, even the polish they used to shine passengers’ shoes. And they got no fringe benefits.

In order to meet their basic living expenses, most porters had to draw on the equally meager earnings of their wives, who were almost invariably employed as domestics.

It was a marginal and humiliating experience for porters. They were rightly proud of their work, a pride that showed in their smiling, dignified bearing. But porters knew that no matter how well they performed, they would never be promoted to higher-paying conductors’ jobs. Those jobs were reserved for white men.

Porters knew most of all that their white passengers and white employers controlled everything. It was they alone who decided what the porters must do and what they’d get for doing it.

When a passenger pulled the bell cord, porters were to answer swiftly and cheerfully. Just do what the passengers asked – or demanded.  Shine their shoes, fetch them drinks, make their beds, empty their cuspidors, and more. No questions, no complaints, no protests. No rights. Nothing better epitomized the vast distance between black and white in American society.

Hundreds of porters who challenged the status quo by daring to engage in union activity or other concerted action were fired. But finally, the administration of President Franklin D. Roosevelt granted workers, black and white, the legal right to unionize. And finally, in 1937 the Brotherhood of Sleeping Car Porters won a union contract from Pullman.

The contract was signed exactly 12 years after union president and founder A. Philip Randolph had called the union’s first organizing meeting in New York City. It was a long arduous struggle, but it brought the porters out of poverty. It won them pay at least equal to that of unionized workers in many other fields, a standard workweek, a full range of employer financed benefits.  Most important, porters won the right to continue to bargain collectively with Pullman on those and other vital matters.

Union President Randolph and Vice President C.L. Dellums, who succeeded Randolph in 1968, led the drive that pressured President Roosevelt into several key actions against discrimination. That included creation of a Fair Employment practices Commission in housing as well as employment.

FDR agreed to set up the commission – a model for several state commissions – and take other anti-discrimination steps only after Randolph and Dellums threatened to lead a march on Washington by more than 100,000 black workers and others who were demanding federal action against racial discrimination.

Randolph and Dellums struggled as hard against discrimination inside the labor movement . . . particularly against the practice of unions setting up segregated locals, one for white members, one for black members.

Randolph, elected in 1957 as the AFL-CIO’s first African–American vice president, long was known as the civil rights conscience of the labor movement, often prodding federation President George Meany  and other conservative AFL-CIO leaders to take firm stands against racial discrimination.

The sleeping car coaches that once were the height of travel luxury have long since disappeared. And there are very few sleeping car porters in this era of less-than-luxurious train travel. The Brotherhood of Sleeping Car Porters is gone, too. But before the union disappeared, it had reached goals as important as any ever sought by an American union or any other organization.

Bay Guardian columnist Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

City College forum questions new reforms as deadline looms

Sasha Cuttler
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More than 300 of City College of San Francisco’s students and faculty piled into a meeting hall at the school’s Mission campus last night, Feb.7, all waiting to hear the answer to one question: What can we do to save City College?

CCSF failed to meet a list of six requirements to improve the school that the Accrediting Commission of Community and Junior Colleges gave it to complete in 2006, notably in measuring student learning outcomes and in managing its finances. Failing to meet those deadlines, the ACCJC told City College last June that it had until March 15, 2013 to fix their school, or it would face losing its accreditation — which means the college would lose state funding, and the degrees it offered from that point on would be almost worthless.

Concerned for the future of their college, a coalition of students, faculty and community members started “Save CCSF,” the group that organized the teach-in at Mission campus.

Students occupied every chair, standing shoulder-to-shoulder in the back of the hall. The meeting was about education, the first speaker announced, meant to inform students about the crisis. How did CCSF come under threat of closure? Who is the accreditation body that posed the threat? The answers were complicated, and filled with accusations against the ACCJC, and the school’s own Board of Trustees.

“We do accept there are deficiencies at City College,” student Inder Grewal, 20, said to the crowd. “But the administration is making change at a pace that is hurting faculty and students at our school.”

Notable speakers came out to show their support for the diverse students at City College. Wisconsin State Senator Spencer Coggs, one of the “Wisconsin 14” who fled the state to deny Governor Scott Walker quorum in the senate over his union-busting legislation, spoke in his support of City College’s labor force.

“We believe in justice for workers rights, correct?” he said to the crowd, to cheers. “You in California supported us in Wisconsin, we in Wisconsin support you in California.”

State Assemblyman Tom Ammiano, who represents San Francisco, sent a representative to show his support for the Save CCSF coalition. “We have been working on this issue,” Kimberly Alvarenga, Ammiano’s district director, said to the coalition supporters. “Last week we had a meeting with Assemblymember Ting, labor, and a rep from the [California Community College] state chancellor’s office to get a conversation started. We’re in solidarity with you.”

Just today, Ting held a press conference to support City College. Notably, CCSF faculty union leader Alisa Messer, staff union head Athena Steff, and SF Labor Council head Tim Paulson spoke as well, perhaps signaling Ting’s support of labor at the college.

At the press conference, college spokesperson Larry Kamer acknowledged the disagreements within the college, and offered to find middle ground.

“There’s a lot we don’t agree on,” he said. “But one thing we do agree on is we want City College to remain accredited, we want people to recognize the work that’s been done, we want them to appreciate what we still have to do. But the headline today is we want people to enroll.”

Above, video of the press conference courtesy of The Guardsman, the newspaper of City College of San Francisco

The makeup of the crowd of currently enrolled students at the coalition meeting last night was a good indicator of exactly who stands to lose in City College’s shakeup. Easily half the room was filled with Latino students of every age and stripe, and many of them answered that they were English as Second Language students worried about their future.

“I was a dishwasher, a janitor, everything,” said a man who wanted to be identified only as Jose because he is an undocumented student. Jose emigrated from El Salvador 10 years ago, and decided to take ESL classes at City College so he could get a new lease on life. He hasn’t decided on his major yet, maybe natural sciences, creative writing, or social science. The world is open to him, he said, because of his ESL classes.

“If I hadn’t taken classes at City College, I couldn’t be talking to you now.”

He and other students were there for answers, and the answers they got were alarming.

Changes for the worse

The Save CCSF coalition urged the hundreds of students and faculty in attendance to bring anyone they could to rally at City Hall on March 14 — the day before City College is set to deliver its “show cause report” to the ACCJC. The report is a detailed report of the progress the college has made to address the ACCJC’s requirements for change. You can read the draft here.

In order to meet the ACCJC’s requirements, the board of trustees and administration have been making stark changes to the college, ones that the people in the meeting that night said were harming students.

“Who’s been to the Bayview district?” Shanell Williams, associated students president, asked the crowd. Easily 30 hands went up. “There was a van students were using to get to their campus without getting shot, that the college cut out of the budget. It’s about access.”

The college is cutting funds wherever it can, and the private bus that shuttled students across gang lines in the Bayview was only the first of many changes. The Save CCSF coalition also told the crowd that they were fighting to restore the jobs of the over 30 classified staff and 50 faculty that weren’t rehired for this school year — essentially let go.

“Use the Proposition A funds as promised,” Tarik Farrar, chair of African American studies said. He was referring to the language in Prop. A that went before San Francisco voters last November saying the $14 million parcel tax would be used to stop faculty layoffs at City College. “It’s explicit, not vague. The interim chancellor and special trustee does not have the right to use the money as they choose.”

Protecting labor isn’t strictly about protecting teachers because ultimately, the loss of faculty shrinks class offerings and class sizes.

Farrar was especially concerned that the belt tightening at the school would shrink the population it sets out to serve, something the college has already put into writing, by rewriting its mission statement.

“If you turn CCSF into a school of 20,000 students it will not be accessible,” he said. “The students that will be hurt disproportionately by this school will be the students I teach, people who look like this room, mostly.”

It is important to note that City College is still open, and is still accredited. The school is currently under-enrolled to the tune of about 3,000 students. The loss of that many students could possibly result in the state withdrawing funds for the school to the tune of at least $5 million, according to school officials in public meetings.

For further reading on the City College crisis from the students themselves, check out the following:

Can City College students transfer to SF State if the college closes?

25 percent of community colleges in California are under sanction

Out of place

Andrew Lam
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news@sfbg.com 

In his State of the City address last week, Mayor Ed Lee cheerfully characterized San Francisco as “the new gravitational center of Silicon Valley.” He touted tech-sector job creation. “We have truly become the innovation capital of the world,” Lee said, “home to 1,800 tech companies with more than 42,000 employees — and growing every day.”

From a purely economic standpoint, San Francisco is on a steady climb. But not all residents share the mayor’s rosy outlook. Shortly after Lee’s speech, renowned local author Rebecca Solnit published her own view of San Francisco’s condition in the London Review of Books. Zeroing in on the Google Bus as a symbol of the city’s housing affordability crisis, she linked the influx of high-salaried tech workers to soaring housing costs. With rents trending skyward, she pointed out, the dearth of affordable housing is escalating a shift in the city’s cultural fabric.

“All this is changing the character of what was once a great city of refuge for dissidents, queers, pacifists and experimentalists,” Solnit wrote. “It has become increasingly unaffordable over the past quarter-century, but still has a host of writers, artists, activists, environmentalists, eccentrics and others who don’t work sixty-hour weeks for corporations — though we may be a relic population.”

LIMITED OPTIONS

The issue of housing in San Francisco is highly emotional, and there is perhaps no greater flashpoint in the charged debate than Ellis Act evictions.

When the housing market bounces upward, Ellis Act evictions tend to hit long-term tenants whose monthly payments, protected by rent control, are a comparative bargain. Even if they’ve submitted every payment on time and upheld every lease obligation for 20 years, these renters can find themselves in the bind of being forced out.

And they don’t just lose their homes; often they lose their community. San Francisco has become so expensive that many Ellis Act victims are tossed out of this city for good.

Enacted in 1986, the state law allows a landlord to stop renting units, evict all tenants, and sell the building for another purpose. Originally construed as a way for landlords to “go out of business” and move into their properties, the Ellis Act instead gained notoriety as a driving force behind a wave of evictions that slammed San Francisco during the tech boom of the late 90s. Between 1986 and 1995, just 29 Ellis evictions were filed with the San Francisco Rent Board; in the 1999-2000 fiscal year alone, that number ballooned to a staggering 440.

Under the current tech heyday, there are indications that Ellis Act evictions are gaining fresh momentum. The San Francisco Rent Board recorded 81 this past fiscal year, more than double that of the previous year, and there appears to be an upward trend.

TIC CONTROVERSY

Buildings cleared via the Ellis Act are typically repackaged as tenancies-in-common (TIC), where several buyers jointly purchase a multi-unit residence and each occupy one unit. Realtors often market TICs as a path to homeownership for moderate-income individuals, creating an incentive for buyers to enter into risky, high-interest shared mortgages in hopes of later converting to condos with more attractive financing.

The divide between TIC owners and renters came into sharp focus at a contentious Jan. 28 hearing, when a Board of Supervisors committee met to consider legislation that would allow some 2,000 TIC units to immediately convert to condos without having to wait their turn in a requisite lottery system.

One TIC owner said he was financially burdened, but had only entered into the arrangement because “I wanted to stay here and raise my family, but we couldn’t afford a single family home.” Yet tenants brought their own set of concerns to the table, saying the temptation to create TICs was putting a major dent in the city’s finite stock of rent-controlled units — the single greatest source of affordable housing in San Francisco.

“My feeling is, let’s stop doing TICs,” Tommi Avicolli Mecca, a tenants right activist with the Housing Rights Committee, told the Guardian following the hearing. “The city has to just start making sure that the condos that are built are the kind of thing [TIC buyers] can afford. Instead, we cannibalize our rental stock? That’s a reasonable way? You evict one group of people to house another: How does that make sense?”

The grueling five-hour hearing illustrated the sad fact that San Franciscans in a slightly better economic position were being pitted against economically disadvantaged renters. The two groups were bitterly divided, and all seemed weary, furious, and frustrated by their housing situations.

The condo-conversion legislation, co-sponsored by Sups. Scott Wiener and Mark Farrell, did not move forward that day. Instead, Board President David Chiu made a motion to table the discussion until Feb. 25, to provide time for “an intensive negotiation process.” Chiu, who rents his home, added: “While I myself would like to become a homeowner someday … I do not support the legislation in its current form.”

Sup. Jane Kim sought to appeal to the tenants as well as the TIC owners. “It’s very tragic that we have set up a situation where [TICs and renters] are pitted against one another,” she said. She hinted at what a possible alternative to might look like. “We should be looking at a ban of scale,” she said. “If we allow 1,800 potential units to go thru this year, are we willing to do a freeze for the next 8 to 10 years?”

It’s unclear what will happen in the next few weeks, but if this legislation makes it back to the full board in some form, the swing votes are expected to be Sups. London Breed, Malia Cohen and Norman Yee.

CASH OR EVICTION?

New protections were enacted following the late-90s frenzy to discourage real-estate speculators from using the Ellis Act to turn a profit on the backs of vulnerable seniors or disabled tenants. Yet a new wave of investors has discovered they can persuade tenants to leave voluntarily, simply by offering buyouts while simultaneously wielding the threat of an Ellis Act eviction. “The process got more sophisticated,” explains San Francisco Rent Board Deputy Director Robert Collins.

Once a tenant has accepted a check in lieu of eviction, rent-controlled units can be converted to market rate, or refurbished and sold as pricey condos, without the legal hindrances of an eviction blemish. Buyouts aren’t recorded with the Rent Board, and the agency has no real guidance for residents faced with this particular dilemma. “We don’t have the true number on buyouts,” says Mecca. “We don’t know how many people have left due to intimidation.”

Identity-wise, renters impacted by the Ellis Act defy categorization. A contingent of monolingual Chinese residents rallied outside City Hall recently to oppose legislation they believed would give rise to evictions; in the Mission, many targeted tenants are Latinos who primarily speak Spanish. From working immigrants, to aging queer activists, to disabled seniors, to idealists banding together in collective houses, the affected tenants do have one thing in common. When landlords or real-estate speculators perceive that their homes are more valuable unoccupied, their lives are susceptible to being upended by forces beyond their control.

The upshot of San Francisco’s affordability crisis is a cultural blow for a city traditionally regarded as tolerant, forward thinking, and progressive. In the words of Rose Eger, a musician who faces an Ellis Act eviction from her apartment of 19 years, “it changes the face of who San Francisco is.

Out of the Castro

By Tim Redmond

You can’t get much more Castro than Jeremy Mykaels. The 62-year old moved to the neighborhood in the early 1970s, fleeing raids at gay bars in Denver. He played in a rock band, worked at the old Jaguar Books, watched the rise of Harvey Milk, saw the neighborhood transform and made it his home.

He’s lived in a modest apartment on Noe Street for 17 years, and for the past 11 has been living with AIDS. Rent control has made it possible for Mykaels, who survives on disability payments, to remain in this city, in his community, close to the doctors at Davis Hospital who, he believes, have saved his life.

And now he’s going to have to leave.

In the spring of 2011, his longtime landlords sold the building to a real-estate investment group based in Union City — and the new owners immediately sought to get rid of all the tenants. Two renters fled, knowing what was coming; Mykaels stuck around. In September of 2012, he was served with an eviction notice, filed under the state’s Ellis Act.

He’s a senior, he’s disabled, his friends are mostly dead and his life is in his community — but none of that matters. The Ellis Act has no exceptions.

Mykaels spent a fair amount of his life savings fixing up his place. The walls are beige, decorated with nice art. Dickens the cat, who is chocolate brown but looks black, wanders in and out of the small bedroom. Mykaels has been happy there and never wanted to leave; “this,” he told me, “is where I thought I would live the rest of my life.”

There’s no place in the Castro, or even the rest of the city, where he can afford to move. Small studios start at $2,500 a month, which would eat up all of his income. There is, quite literally, nowhere left for him to go.

“A lot of my friends have died, or moved to Palm Springs,” he said. “But this is where my doctors are and where I’m comfortable. I’m not going to find a support system like this anywhere else in the world.”

Mykaels is the face of San Francisco, 2013, a resident who is not part of the mayor’s grand vision for bringing development and high-paying jobs into the city. As far as City Hall is concerned, he’s collateral damage, someone whose life will have to be upended in the name of progress.

But Mykaels isn’t going easily. The former web designer has created a site — ellishurtsseniors.org — that lists not only his address (460 Noe) and the names of the new owners (Cuong Mai, William H. Young and John H. Du) but the addresses of dozens of other properties that are facing Ellis Act evictions. His message to potential buyers: Boycott.

“Do not buy properties where seniors or the disabled have been evicted for profit by real estate speculators using the Ellis Act,” the website states.

Mykaels is a demon researcher — his site is a guide to 31 properties with 94 units where seniors or disabled people are being evicted under the Ellis Act. In some cases, individuals or couples are filing the eviction papers, but at least 14 properties are owned by corporations or trusts.

Mai told me that he knew a disabled senior was living in the building when he and his two partners bought it, but he said his plan all along was to evict all the tenants and turn the three-unit place into a single-family house. He said he hasn’t decided yet whether to sell building; “I might decide to live there myself.” (Of course, if he wanted to live there himself, he wouldn’t need the Ellis Act.)

Mai said he “felt bad about the whole situation,” and he had offered to buy Mykaels out. The offer, however, wouldn’t have covered more than a few months of market rent anyplace else in the Castro.

By law, Mykaels can stay in his apartment until September. If he can’t stave off the eviction by then, San Francisco will lose another longtime member of the city community.

 

Dark days in the Inner Sunset

By Rebecca Bowe

The living room in Rose and Willie Eger’s Inner Sunset apartment is where Rose composes her songs and Willie unwinds after playing baseball in Golden Gate Park. Faded Beatles memorabilia and 45 records adorn the walls, and a prominently displayed poster of Jimi Hendrix looms above a row of guitar cases and an expansive record collection.

It’s a little worn and drafty, but the couple has called this 10th Ave. apartment home for 19 years. Now their lives are about to change. On Jan. 5, all the tenants in their eight-unit building received notice that an Ellis Act eviction proceeding had been filed against them.

“The music that I do is about social and political things,” explains Rose, dressed from head-to-toe in hot pink with a gray braid swinging down her back. Determined to derive inspiration from this whole eviction nightmare, she’s composing a song that plays with the phrase “tenants-in-common.”

Cindy Huff, the Egers’ upstairs neighbor, says she began worrying about the prospect of eviction when the property changed hands last summer. Realtor Elba Borgen, described as a “serial evictor” in online news stories because she’s used the Ellis Act to clear several other properties, purchased the apartment building last August, through a limited liability corporation. The notice of eviction landed in the mailbox less than six months later. (Borgen did not return Guardian calls seeking comment.)

“With the [average] rent being three times what most of us pay, there’s no way we can stay in the city,” Huff says. “The only option we would have is to move out of San Francisco.” She retired last year following a 33-year stint with UCSF’s human resources department. Now, facing the prospect of moving when she and her partner are on fixed incomes, she’s scouring job listings for part-time work.

The initial notice stated that every tenant had to vacate within 120 days, but several residents are working with advocates from the Housing Rights Committee in hopes of qualifying for extensions. Huff and the Egers are all in their fifties, but some tenants are seniors—including a 90-year-old Cuban woman who lives with her daughter, and has Alzheimer’s disease.

Willie works two days a week, and Rose is doing her best to get by with earnings from musical gigs. Both originally from New York City, they’ve lived in the city 35 years. When they first moved to the Sunset, it resembled something more like a working-class neighborhood, where families could raise kids. The recent tech boom has ushered in a transformation, one that Rose believes “changes the face of who San Francisco is.” Willie doesn’t mince words about the mess this eviction has landed them in. “I call it ‘Scam-Francisco,'” he says.

The trio recently joined tenant advocates in visiting Sup. Norman Yee, their district supervisor, to tell their stories. Yee, who is expected to be one of the swing votes on an upcoming debate about condo-conversion legislation vehemently opposed by tenant activists, reportedly listened politely but didn’t say much.

As for what the next few months have in store for the Egers? “I can’t really visualize the outcome,” Rose says. “I can only visualize the day-to-day fight. And that’s scary.”

 

Fighting for a home in the Mission

By Tim Redmond

Eleven years ago, Olga Pizarro fell in love with Ocean Beach. A native of Peru who was living in Canada, she visited the Bay Area, saw the water and decided she would never leave.

Fast forward to today and she’s built a home in the Mission, renting a small room in a basement flat on Folsom Street. The 55-year-old has lived in the building for eight years; polio has left her wearing a leg brace and she can’t climb stairs very well, but she still rides her bike to work at the Golden Gate Regional Center. She’s a sociologist by training; the walls in her room are lined with bookshelves, with hundreds of books in Spanish and English.

The place isn’t fancy, and it needs work, but it’s hard to find a ground-floor apartment in the Mission that’s affordable on a nonprofit worker’s salary. Since 2011, when she moved in, she and her three housemates have been protected by rent control. And Pizarro’s been happy; “I love the neighborhood,” she told me.

The letter warning of a pending eviction arrived Jan. 16. A new owner of the building wants to turn the place into tenancies in common and is prepared to throw everyone out under the Ellis Act. There’s no place else in town for Pizarro to go.

“I’ve looked and looked,” she said. “The cheapest places are $2,500 a month or more. Maybe I’ll have to move out of the city.”

Pizarro’s building is owned by Wai Ahead, LLC, a San Francisco partnership registered to Carol Wai and Sean Lundy. I couldn’t reach Wai or Lundy, but their attorney, Robert Sheppard, had plenty to say. “San Francisco is going the way of New York,” he told me. “Manhattan is full of co-ops that used to be rentals, and lower-income people are moving to Brooklyn and Queens. That’s happening here with Oakland and further out.” He argued that TICs, like co-ops, provide home-ownership opportunities for former renters.

Sheppard, who for years represented tenants in eviction cases, said the Ellis Act is law, and America is a capitalist country, and “as long as there is a private housing market, there will be shifts of people as the housing market shifts.” He agreed that it’s not good for lower-income people to lose their homes, but “the poor will always be hurt by a changing economy. It’s called evolution.”

Pizarro told me she’s shocked at how expensive housing has become in the Mission. “It’s gotten so gentrified,” she said. “People show up in their BMWs. It’s starting to feel very isolated.”

She’s fighting the eviction. “I didn’t intend it to be this way,” she explained. “I just want to live here.” Lacking any family in the area, the Mission has become her community — “and I’m frustrated by the violence of how expensive it is.”

 

Affordability goes out of style

By Rebecca Bowe

Hester Michael is a fashion designer, and her home doubles as a project space for creating patterns, sewing custom clothing, weaving cloth, and painting. She’s lived in her Outer Sunset two-bedroom unit for almost two decades, but now she faces an Ellis Act eviction. Michael says she initially received notice last June. The timing was awful -– that same month, her husband passed away after a long battle with terminal illness.

“I’ve been here 25 years. My friends are here, and my business. I don’t know where else to go, or what else to do,” she says. “I just couldn’t picture myself anywhere else.”

Michael rents the upstairs unit of a split single-family home, a kind of residence that normally isn’t protected by rent control. Yet she leased the property in 1994, getting in under the wire before that exemption took effect. Since she pays below-market-rate rent in a home that could be sold vacant for top dollar, a target was essentially inscribed on her back when the property changed hands in 2004. That’s about when her long battle with the landlords began, she says.

From the get-go, her landlords indicated that she should look for a new place, Michael says, yet she chose to remain. The years that followed brought things falling into disrepair, she says, and a string of events that caused her feel intimidated and to fear eviction. Finally, she consulted with tenant advocates and hired an attorney. A complaint filed in superior court alleges that the property owners “harassed and retaliated [Michael] when she complained about the defective and dangerous conditions …telling [her] to move out of the property if she did not like the dangerous conditions thereat … repeatedly making improper entries into [the] property, and wrongfully accusing [her] of causing problems.”

Records show that Angela Ng serves as attorney in fact for the property owner, Ringo Chung Wai Lee. Steven Adair MacDonald, an attorney who represents both landlords and tenants in San Francisco housing disputes, represents the owners. “An owner of a single family home where the rent is controlled and a fraction of market has virtually no other choice but to terminate the tenancy,” MacDonald said when the Guardian reached him by phone. “They’ve got to empty it, and the only way to empty it is the Ellis Act.”

While Michael received an extension that allows her to remain until June 5, she fears her custom sewing business, Hester’s Designs, will suffer if she has to move. There’s the issue of space. “I have so much stuff in this house,” she says. And most of her clients are currently located close by, so she doesn’t know where her business would come from if she had to relocate. “A lot of my clients don’t have cars,” she says, “so if I live in some suburb in the East Bay, forget it. I’ll lose my business.”

The prospect of eviction has created a major dilemma for Michael, who first moved to San Francisco in 1987. While moving to the East Bay seems untenable, she says renting in San Francisco feels out of reach. “People are renting out small, tiny bedrooms for the same price as I pay here,” she says. With a wry laugh, she adds: “I don’t think there’s any vacant apartments in San Francisco -– unless you’re a tech dude and make seven grand a month.”

Ed Lee’s State of the City: What evictions? What displacement?

Zelda Bronstein
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Ed Lee’s State of the City: What evictions? What displacement?

Mayor Ed Lee punctuated his State of the City speech with a nice little quip: “Every San Franciscan deserves a clean, safe place to call home.” I agree.

So why, in a speech lasting more than an hour, did the mayor not once mention that thousands of San Franciscans are facing the loss of their homes — and will be forced out of the city — because of the same policies that he’s proudly promoting?

These things are always self-congratualtory and full of the requisite bullshit. But Lee’s description of the State of the City was nothing more than a fantasy to the two-thirds of San Franciscans who live in rental housing, many of whom are living with an unacceptable level of insecurity. Much of the city’s rental stock — and the effectiveness of rent control — is at risk at speculators are buying up properties, tossing the tenants out with the Ellis Act, and converting them to tenancies in common. This is a massive civic crisis, brought on in part by the boom in tech jobs and the consequent boom in high-paid young people who want to live in a city that has virtually no vacant housing.

We saw this before, under Mayor Willie Brown; we called it the Economic Cleansing of San Francisco. It was awful, and it’s happening again.

But you wouldn’t know that to hear the mayor completely ignore the issue.

Oh, Lee gave it a toss-off line; gee, the rent is too high, but we can’t ignore the laws of supply and demand. Gee, we’re going to build 45,000 new housing units, and that will fix everything.

But Lee, of all people, ought to know that housing in San Francisco has never followed the laws of supply and demand. This is a highly irregular market, because demand is essentially unlimited. Housing fills us as fast as you build it. And none of the new housing that’s currently under construction or in the pipeline will be affordable to current SF residents who live in rent-controlled units and are at risk for eviction.

When you’re evicted under the Ellis Act in San Francisco today, to make room for someone with more money, you wind up having to leave the city. That’s the bottom line. And everywhere you turn, tenants are facing that ugly prospect.

The mayor spent much of his time talking about jobs. That’s fine; he’s proud that the unemployment rate in the city has fallen to 6.5 percent, but he insists he won’t rest until everyone has a job. Actually, most economists would say that’s impossible; capitalism, by its nature, exists with a structural unemployment rate that rarely falls below 4 percent. In fact, 4 percent is generally considered “full employment.”

More important, the overall rate is 6.5 percent, but it’s way higher for people without college degrees, for youth, and for African Americans. (It’s above 50 percent for transgender people.) The tech boom isn’t providing jobs for all of the unemployed current San Francisco residents; a lot of the jobs are going to people who don’t live here and are moving here for employment. They are putting pressure on the existing housing stock. That always leads to displacement.

None of this is to say that tech jobs are bad or that we shouldn’t have companies that pay high wages locate in San Francisco. What it means is that the city first has to protect its existing vulnerable populations — and that’s not happening.

I would encourage Mayor Lee to talk to the Housing Rights Committee, or the Tenderloin Housing Clinic, or any of the other tenant lawyers who are fighting desperately every day to state off evictions. He’d get a very different picture of the state of the city.

Proposal to raze I-280 linked to train and real estate deals

Sasha Cuttler
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It’s a bold idea, discussed for years behind closed doors and recently announced in a strangely understated and pro-growth way: Tear down the last mile of Interstate 280 and replace it with an wide boulevard – reminiscent of the removal of the Central and Embarcadero freeways – in order to facilitate the extension of electrified Caltrain and high-speed rail tracks into the Transbay Terminal.

For almost three years, city planners have been discussing the idea and drawing up closely guarded plans to tear down the freeway, discussions sparked by the state’s Environmental Impact Reports on electrifying the Caltrain tracks and bringing high-speed trains into town. With an increasing number of trains traveling those tracks, access to the rapidly growing Mission Bay area from the west on 16th Street would turn into a traffic nightmare, either with long waits for an at-grade train crossing or the creation of ugly and uninviting underpasses for cars and bikes.

Mayor Ed Lee and other top politicians have long sought to bring those trains downtown in Transbay Terminal through a still-unfunded tunnel, rather than having them stop at the existing Caltrain station at 4th and King streets. But the existence of the I-280 pilings made it structurally impossible to send the train underground before it got to 16th street.

So the idea was raised to raze the elevated 280 freeway and better integrate Mission Bay and the Potrero Hill/Showplace Square area, where Kaiser plans to build a huge new medical facility, creating a bike- and pedestrian-friendly corridor without the shadow of an antiquated freeway overhead.

“If you get the freeway out of the way, it’s a ton of space,” said Greg Riessen, the city planner who developed and studied the idea. “The whole corridor of the freeway is blocking the ability to do anything else.”

But it wasn’t until the political class and their capitalist partners also realized the enormous development potential of the idea – raising money that could be used to fund the train tunnel – that it was finally floated as a public trial balloon for the first time this week. The Chron’s Matier & Ross led their Sunday column with a short item on the idea, apparently tipped off to its quiet debut a couple weeks earlier.

The city’s Transportation Policy Director Gillian Gillett unveiled the idea in a Jan. 7 letter to the Municipal Transportation Commission, repeating it Jan. 10 at a forum on high-speed rail held at the San Francisco Planning and Urban Research Association. The letter was a response to the MTC’s request for information on “San Francisco’s policy goals and objectives regarding the much-needed electrification of Caltrain.”

Yet rather than deal directly with that issue, the letter said the answer “must be broadened to address the need for growth in the downtown and South of Market areas,” which it said requires funding to bring the trains into Transbay Terminal and to then let developers have at the 21 acres of land surrounding the existing Caltrain station, where transportation officials planned to store the trains.

“We need to create a faster and cheaper DTX [Downtown Extension project] alignment, realize the full value of the 4th & King Streets Railyard site, and eliminate the intrusiveness of I-280 in Mission Bay by terminating it at 16th Street and replacing it with a boulevard, based on the lessons learned from the removal of the Embarcadero Freeway to create a new Rincon Hill neighborhood, and the Central Freeway to create the new Market-Octavia neighborhood. Reenvisioning Caltrain electrification and the DTX could increase ridership, reduce costs considerably and create additional real estate value that would, in turn, provide for both more jobs to create revenue for both Caltrain and DTX and attract investment,” Gillett wrote.

She calls current plans to electrify Caltrain “shortsighted because it reduces the City’s ability to meet its regional job growth allocations, because more than 20 acres are covered with trains, and it eliminates an important opportunity to create real estate value which can be used to fund transit and Caltrain investments,” she wrote.

The letter doesn’t address where the increasing number of trains coming into San Francisco would be stored if the railyard is turned into luxury condos and commercial spaces, which has long been a goal of SPUR and other pro-development cheerleaders. High-speed rail officials have suggested Brisbane, but sources say city officials there have balked at the idea. Although Gillett hasn’t returned our calls with follow-up questions, the Mayor’s Office seems to see such logistical questions as secondary to this cash-cow idea.

So a staff-level proposal to solve a transportation challenge with an elegant multi-modal solution that follows in the city’s tradition of tearing down freeways has morphed into a real estate deal. Quentin Kopp, the father of high-speed rail in California, has already derided the Transbay Terminal project (which is funded by the sale of state land surrounding the site to office tower developers) as little more than a real estate deal, and now the city is apparently seeking to extend that deal further into Mission Bay.

Former Mayor Art Agnos, who worked on both the Embarcadero and Central freeway tear-downs, told us, “In general, I really support the concept of demolishing freeways that bisect the city.”

Yet he said there are many key details and questions that need to be addressed, particularly given the Mayor’s Office support for the new Warriors arena on the Central Waterfront, a project whose unaddressed traffic impacts would be exacerbated by an intensification of development at the Caltrain station, into Mission Bay, and further south.

“It could drown the city, this tsunami of cars, particularly with all the development planned all the way down to Hunters Point,” Agnos said. “I like the idea, but we need a serious discussion of the details, particularly with all these development proposals.”

 

Mestranda Cigarra kicks ass

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Mestranda Cigarra kicks ass

caitlin@sfbg.com

HEALTH AND WELLNESS It is impossible to climb the stairs to the San Francisco chapter of Abadá Capoeira and not know that you are in the Mestranda’s house.

Márcia Treidler founded the Mission District capoeira school, and she is there in the first photograph you see when you come in off the street. In it, she strikes her customary pose, an improbable one-handed flip (kick?) Her washboard abs challenge visitors to trade sedentary habits for the rich traditions and fat-carving core moves of the Brazilian martial arts form, the love of which made Treidler beg her mom for classes as a teenager, brought her from Brazil to the Bay Area, and led her to start a chapter of her teacher’s school right here in San Francisco.

In person, seated at a table next to Abadá’s statue of Iemanjá, orisha goddess of the Southern seas and patron deity of Rio de Janeiro, Treidler is hardly as intimidating. Mestranda Cigarra (her capoeira-given name) is in fact incredibly patient while explaining Brazilian history and basic tenets of the martial arts form to a stranger. She does do it for a living, after all.

Sharing information is a guiding principle of capoeira, which began as a covert form of fighting practiced by African slaves in Brazil who certainly couldn’t rely on written record to educate new generations in the martial art. After escaping servitude, some used their martial skills against the law enforcement sent after them. Capoeira helped fend off colonial attacks on their newly formed quilombos, the settlements ex-slaves built in remote locales.

Even after abolishing slavery in 1888, the Brazilian government considered capoeira subversive. It was officially banned in 1890, a tool used by authorities to put black men in jail. When waves of immigration brought new labor forces to the country and left many Africans jobless, public perception often equated capoeira with criminal activity.

The sport’s rise to acceptance and spread to other countries is a relatively recent occurrence. Treidler, who is now one of two of the highest ranking females in her school Abadá’s 41,000-member international organization, started practicing 31 years ago in Rio de Janeiro. She lived in Botafogo, a middle class beachfront neighborhood. At the time, capoeira still wasn’t considered respectable — and certainly not an obvious choice for an ambitious young woman. After becoming entranced by the sport at a school performance, the current Mestranda had to work on her mother for a year before she would agree to finance her classes.

“Women in capoeira was not popular at all,” Treidler says. “[My mother] was like ‘are you crazy? What are you thinking?'” Treidler had been active in sports — swimming and gymnastics — since she was six, but her mother insisted on observing capoeira classes before she’d agree to let her high school age daughter enroll.

“The [sport’s] reputation was really bad at the time,” Treidler remembers. “But when I first started, I never stopped.” Prepped by her athletic background, she took easily to capoeira’s acrobatics. She graduated through levels quickly, and struck a deal with her instructor to pay when she could after her mother withdrew financial support. Treidler credits the sport with teaching her patience, and became close with Mestre Camisa, the founder of Abadá.

The importance of their relationship today means Abadá students benefit from the vision of the founder, who still lives in Brazil. “She follows his vision 100 percent,” Treidler’s student and fellow Abadá instructor Antonio Contreras says. Camisa and Treidler are in constant contact, and he was present at the school’s January batizado graduation ceremony at Dance Mission Theater.

Eighty-plus students take classes at Abadá San Francisco chapter. They perform at places like the Academy of Sciences and in the Ethnic Dance Festival. The studio also offers Portuguese classes. Although there are only three adult Brazilians who currently take classes, the studio is somewhat of a center for Brazilian culture here in the city. Displays that tell of the legacy of capoeira line the walls in the main room, interspersed with statues of figures in traditional poses. Brazil’s world-famous street art duo Os Gemeos have whimsically rendered Abadá practitioners in large paintings that hang in the studio’s front stairwell, alongside the Mestranda’s portrait.

It is perhaps indicative of Treidler’s own start in the sport that her students are nothing if not diverse. At the recent batizado, the spotlight lingered on tiny children, middle-aged practitioners, developmentally-disabled capoeiristas sparring, flipping, playing musical instruments, and smiling tremendously in an immense roda, the circle of practitioners that encloses a capoeira presentation.

Treidler is the only instructor that Contreras, her only other full-time teacher at Abadá SF has ever had. An ex-personal shopper, he has called the studio home since 2000, when the sounds of single-stringed berimbaus and tambourine-like pandeiros pulled him into the studio after dinner at a Mission Street restaurant. He was amazed by the maculelê, the traditional dance that accompanies capoeira, and impressed by Treidler’s presence.

“I was like, ‘whoa, who’s that’ — this larger than life person,” he remembers. He was back that Tuesday for his first class. A cardio-weights gym rat who still employs a personal trainer, Contreras says that first day was the best workout of his life. He started noticing the changes in his body “immediately.”

“To me, it was very natural to learn from Márcia,” Contreras says, sitting next to a jar full of juice one afternoon at the studio. “The advantage is that she had it tough. She identifies with the difficulties you face because she has had her own.” He himself felt unflexible and uncoordinated when he first started his practice. He’s convinced that many instructors would have given up on him long ago.

But Treidler’s teaching eventually brought Contreras to a level of mastery that compelled him to quit his day job, to stop having to rush to the school from the stores every day at 5:45pm. Contreras says that the decision to commit to teaching is a natural part of capoeira.

Unlike other martial arts forms, in which the progressively more masterful levels of belt reward physical mastery of the form and discipline, capoeira reserves the next stage of training — and corresponding 10 colors of cords worn around your hips — for those who have displayed their ability to role model for others.

Treidler originally made ends meet here in San Francisco by working construction jobs, starting to teach capoeira a few times a week at SoMa’s Rhythm and Motion dance studio. She was deemed eligible for an “alien of extraordinary ability” visa by the US government and opened her first studio on Mission in between 19th and 20th Streets, moving to the current space 11 years ago.

Capoeira’s divergent skill sets — singing, playing musical instruments, sparring, and dancing — do seem to be a sport that can reward many kinds of students. Treidler resists generalizing when it comes to her students, but will say that the “women are very rational. Men identify with the power. I think that’s why it’s unique. We help each other in class.”

Capoeira is a good opportunity to let go of the “I’m sorry” hair trigger that plagues some females. “Women are too careful with each other,” the Mestranda says. “It’s like, I’m sorry? There’s no sorry! You get out of the way. That’s the challenge, for women not to think about it so much.” It’s difficult to picture Treidler hesitating — but then, she has been in rodas since she was 17 years old.

At the batizado in December, the Mestranda’s values of inclusion are as visible among her white-uniformed students as the high fives they can’t stop giving each other in the roda. After each class of graduates’ names are called, honorees “play games” — capoeira terminology for the minute-long sparring sessions that show off the flowing acrobatics and feigned violence of the sport. These run the gamut from the younger kids’ hyper, sky-high flips — done alongside each other as much as at each other — to the more focused bouts between older students. The latter range in tone from comical to rapid-fire serious. Everyone looks really good — er, healthy.

After a 2012 packed with performances, Treidler’s ready to expand her flock, make it possible for her part-time instructors to follow her path and leave their construction or restaurant job to focus on their passion for the sport. “What’s next you know?” she asks, somewhat rhetorically. “How can we use capoeira to make the world a better place?”

Abadá Capoeira 3221 22nd St., SF. (415) 206-0650, www.abada.org

 

The inauguration and the economic divide

Zelda Bronstein
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112
The inauguration and the economic divide

Second inaugration speeches are hard; you have to be political without sounding partisan, inspiring without being divisive — and promise change and progress even if you haven’t accomplished what you wanted in the first term. The Obama address surprised me: He went left, making clear that he wants economic and social equality to be his final legacy. It’s getting rave reviews in the lib-blogosphere, where it’s been described as the speech liberals have been begging him to give for years. You can’t argue with the content — he mentions gay rights, global climate change, equal pay, protecting social security, economic inequality, the need for collective effort … he even talks about reforming the tax code.

So now comes the hard part: The struggle for economic justice has to go beyond a compromise plan that limits higher tax rates to people earning more than $400,000 a year.

In fact, the best thing I read this weekend was a NY Times piece by Nobel-Prize-winning economist Joseph Stiglitz, who argues forcefully that continued economic inequality is prolonging the recession. It’s also destroying the nation’s future:

Our skyrocketing inequality — so contrary to our meritocratic ideal of America as a place where anyone with hard work and talent can “make it” — means that those who are born to parents of limited means are likely never to live up to their potential. Children in other rich countries like Canada, France, Germany and Sweden have a better chance of doing better than their parents did than American kids have. More than a fifth of our children live in poverty — the second worst of all the advanced economies, putting us behind countries like Bulgaria, Latvia and Greece. Our society is squandering its most valuable resource: our young.

Stiglitz says what few in Washington want to admit: We can’t get the economy going again without rebuilding the middle class, and we can’t do that without higher taxes on the rich and a lot more public investment in education. Oh, and all this talk of how it’s out of our control is bullshit:

There are all kinds of excuses for inequality. Some say it’s beyond our control, pointing to market forces like globalization, trade liberalization, the technological revolution, the “rise of the rest.” Others assert that doing anything about it would make us all worse off, by stifling our already sputtering economic engine. These are self-serving, ignorant falsehoods. Market forces don’t exist in a vacuum — we shape them. Other countries, like fast-growing Brazil, have shaped them in ways that have lowered inequality while creating more opportunity and higher growth. Countries far poorer than ours have decided that all young people should have access to food, education and health care so they can fulfill their aspirations.

Makes me think about some of what I hear out of San Francisco City Hall. Oh, we can’t do anything about economic inequality; that’s a national issue. Or maybe it’s a state issue. I bet there’s not an elected official in town today who woudn’t proclaim complete agreement with everything Obama just said — and there are very few of them who are trying to bring that message back home.

In San Francisco, we give tax breaks for businesses that create high-end jobs that drive poor people out of town. We happily seek development without considering the impact it will have on existing vulnerable populations. We even struggle over free Muni for low-income youth. We do nothing — nothing — to reclaim wealth from the 1 percent and put it into local housing, public education, and job-training that could make a dent in our local economic inequality.

Mr. Mayor: Are you even paying attention?

 

 

 

 

 

 

King: I have a dream. Obama: I have a drone

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A simple twist of fate has set President Obama’s second Inaugural Address for January 21, the same day as the Martin Luther King Jr. national holiday.

Obama made no mention of King during the Inauguration four years ago — but since then, in word and deed, the president has done much to distinguish himself from the man who said “I have a dream.”

After his speech at the March on Washington for Jobs and Freedom in August 1963, King went on to take great risks as a passionate advocate for peace.

After his Inaugural speech in January 2009, Obama has pursued policies that epitomize King’s grim warning in 1967: “When scientific power outruns moral power, we end up with guided missiles and misguided men.”

But Obama has not ignored King’s anti-war legacy. On the contrary, the president has gone out of his way to distort and belittle it.

In his eleventh month as president — while escalating the U.S. war effort in Afghanistan, a process that tripled the American troop levels there — Obama traveled to Oslo to accept the Nobel Peace Prize. In his speech, he cast aspersions on the peace advocacy of another Nobel Peace laureate: Martin Luther King Jr.

The president struck a respectful tone as he whetted the rhetorical knife before twisting. “I know there’s nothing weak — nothing passive — nothing naive — in the creed and lives of Gandhi and King,” he said, just before swiftly implying that those two advocates of nonviolent direct action were, in fact, passive and naive. “I face the world as it is, and cannot stand idle in the face of threats to the American people,” Obama added.

Moments later, he was straining to justify American warfare: past, present, future. “To say that force may sometimes be necessary is not a call to cynicism — it is a recognition of history; the imperfections of man and the limits of reason,” Obama said. “I raise this point, I begin with this point because in many countries there is a deep ambivalence about military action today, no matter what the cause. And at times, this is joined by a reflexive suspicion of America, the world’s sole military superpower.”

Then came the jingo pitch: “Whatever mistakes we have made, the plain fact is this: The United States of America has helped underwrite global security for more than six decades with the blood of our citizens and the strength of our arms.”

Crowing about the moral virtues of making war while accepting a peace prize might seem a bit odd, but Obama’s rhetoric was in sync with a key dictum from Orwell: “Who controls the past controls the future; who controls the present controls the past.”

Laboring to denigrate King’s anti-war past while boasting about Uncle Sam’s past (albeit acknowledging “mistakes,” a classic retrospective euphemism for carnage from the vantage point of perpetrators), Obama marshaled his oratory to foreshadow and justify the killing yet to come under his authority.

Two weeks before the start of Obama’s second term, the British daily The Guardian noted that “U.S. use of drones has soared during Obama’s time in office, with the White House authorizing attacks in at least four countries: Afghanistan, Pakistan, Yemen and Somalia. It is estimated that the CIA and the U.S. military have undertaken more than 300 drone strikes and killed about 2,500 people.”

The newspaper reported that a former member of Obama’s “counter-terrorism group” during the 2008 campaign, Michael Boyle, says the White House is now understating the number of civilian deaths due to the drone strikes, with loosened standards for when and where to attack: “The consequences can be seen in the targeting of mosques or funeral processions that kill non-combatants and tear at the social fabric of the regions where they occur. No one really knows the number of deaths caused by drones in these distant, sometimes ungoverned, lands.”

Although Obama criticized the Bush-era “war on terror” several years ago, Boyle points out, President Obama “has been just as ruthless and indifferent to the rule of law as his predecessor.”

Boyle’s assessment — consistent with the conclusions of many other policy analysts — found the Obama administration’s use of drones is “encouraging a new arms race that will empower current and future rivals and lay the foundations for an international system that is increasingly violent.”

In recent weeks, more than 50,000 Americans have signed a petition to Ban Weaponized Drones from the World. The petition says that “weaponized drones are no more acceptable than land mines, cluster bombs or chemical weapons.” It calls for President Obama “to abandon the use of weaponized drones, and to abandon his ‘kill list’ program regardless of the technology employed.”

Count on lofty rhetoric from the Inaugural podium. The spirit of Dr. King will be elsewhere.

Norman Solomon writes a weekly column based on his experiences as a journalist, author, and political activist since the late 1960s. He’s the founding director of the Institute for Public Accuracy, co-founder of RootsAction.org and a longtime media critic. After running for Congress in the new district that stretches from the Golden Gate Bridge to to the Oregon border, he finished 174 votes short of getting through the June 2012 primary. 

Texas and tax cuts suck; CA leads job growth

Zelda Bronstein
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41
Texas and tax cuts suck; CA leads job growth

How many times have we heard that jobs are leaving California for Texas? How many times have big-business groups and the polticians who play to their needs said that lower taxes and corporate welfare make states more “competitive” and are good for the economy?

So look, for a moment, at California and Texas. Who has the lower taxes and the governor who will do whatever employers want? And who has the more robust job growth?

Just goes to show: Tax breaks do not a health economy make. What companies look for when the make location decisions is much more complicated. An educated labor force (which, by the way, means spending tax money on schools and colleges), access to transportation (again, a public-sector concern) and yes, a decent place where the executives want to live are bigger factors than things like the payroll tax.

That’s what studies have shown repeatedly over the years — and it’s playing out now in CA.

On the Cheap Listings

Andrew Lam
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On the Cheap listings by Caitlin Donohue. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 16

Lyrics and Dirges reading series Pegasus Books, 2349 Shattuck, Berk. www.pegasusbookstore.com. 7:30pm, free. A monthly reading series that mixes the talents of established and emerging writers, this edition of Lyrics and Dirges features Gulf War vet Sean McIain Brown, Stanford Ph.D. candidate Cam Awkward-Rich, creator of Sit Next to a Black Person Month Kwan Booth, and more.

THURSDAY 17

“Putting the Science of Emotion Into Ocean Conservation” Bay Model Visitor Center, 2100 Bridgeway, Sausalito. 7pm, $5 suggested donation. Wallace J. Nichols is of the mind that preserving our oceans is all in our heads. Really – his theory is that cognitive science (the human brain’s neurological response to the sea) could be the ticket to saving our waterscapes. Today, he’ll explain in this lecture.

Tilt: The Battle to Save Pinball lecture and movie Pacific Pinball Museum, 1510 Webster, Alameda. www.pacificpinball.org. Also Sun/20. 6pm, free. For pinball play, $15/adults, $7.50/kids. No one is in favor of less pinball machines, surely. But what is the reason for their gradual disappearance? Find out with filmmaker Jeff M. Giordano’s movie on the subject. After the showing, Giordano will lead a group discussion on the matter.

Mission Community Market returns Bartlett between 21st and 22nd Sts., SF. www.missioncommunitymarket.org. 4-8pm, free. “Small but mighty” is how the MCM planners characterize the newly-returned winter version of this Mission farmers market. Yummy treats from Blue House Farm produce to Coastside Farms smoked fish will be for sale, and Uni and her Ukelele will pluck from 6-8pm.

Third and 22nd Streets Microhood Event Third and 22nd Sts and surrounding neighborhood, SF. www.bolditalic.com. 6-8pm, free. The Bold Italic continues in its grand tradition of highlighting tiny slices of San Francisco where commercial activity is growing. Today, head to the Dogpatch for chocolate samples from Alter Eco, a photobooth at Orange Photography, wholesale prices on framed works at Oberon Design, wine tasting at Spicy Vine Wine, and new-to-the-area La Fromagerie’s cheese tasting.

 

SATURDAY 19

Thien Pham talks Sumo Cartoon Art Museum, 655 Mission, SF. www.cartoonart.org. 1-3pm, free. Bay Area comic book artist Thien Pham pens compulsively-readable odes to the Asian American experience. His newest release Sumo tells the story of a depressed football player cum sumo wrestling trainee – hear the inspiration behind the tale at this signing-discussion.

“Small Gems” print show Crown Point Press, 20 Hawthorne, SF. www.crownpoint.com. Small-scale prints by a host of artists including Dorothy Napangardi, Sol LeWitt, and William Bailey.

“Living the Dream: Status, Luxury, and America” Studio 17 Gallery, 3265 17th St., SF. www.studio17sf.com. 6-9pm, free. Artist Angie Crabtree and her 13-year-old daughter Jessie Rai join forces for this visual exhibit of their version of the American dream. Jessie sketched luxury foods, Angie finished portraits of USA icons like President Obama and Steve Jobs, in moss, sugar, and wood veneer.

“Periodic Calendar” Electric Works, 1360 Mission, SF. www.sfelectricworks.com. 2-3pm, free. Joey Sellers and art collective Ape Con Myth open up this exhibit featuring their take on the periodic table. Dates and time, remixed, are promised.

Fine Print Fair Fort Mason Conference Center, SF. www.ifpda.org. 10am-6pm, free. Also Sun/20 11am-5pm, free. 15 art dealers have brought prints ready to be collected, images created by artists near and far, beginning and long dead – one of the fair’s major draws is work by 16th to 19th century European masters.

SUNDAY 20

“Coffee and Sustainability” Port Authority Building, Ferry Building, 1 Sausalito, SF. www.bookpassage.com. 6pm, $5. Is our cumulative caffeine addiction getting in the way of our planet’s health? It doesn’t have to! Jitter over to the Ferry Building for this panel discussion, which features the founder of Blue Bottle, an environmental professor who specializes in coffee agricultural systems, and the author of Left Coast Roast, a West Coast guide to roasters and brewers.

MONDAY 21

Yerba Buena Gardens Martin Luther King Jr. Day celebration and parade March starts at CalTrain station at 11am, ends at Yerba Buena Gardens, Third St. and Mission, SF. www.norcalmlkfoundation.org. Health festival starts at 10:30am, music festival at 1:15pm. Every year, Yerba Buena Gardens is filled with the spirit of Dr. King. Freedom trains from all over the Bay Area will bring attendees to CalTrain for the start of a triumphant parade to the Yerba Buena Gardens, where the Richard Howell Quintet and the Latin Jazz Youth Ensemble will play, and health information and testing will be available all day. Area museums are free today, so there’s plenty of learning to be done and good times to be had in honor of the great man.

MLK Jr. Day Oakland celebration McClymonds High School, 2607 Myrtle, Oakl. (510) 652-5530, www.ahc-oakland.org. 10am-noon, donations welcome. Community violence prevention group Attitudinal Healing Connection is putting on this MLK Day program, which celebrates people who’ve made a difference in their neighborhoods. San Francisco State University Africana studies professor Wade Nobles provides the keynote address, and local choral and dance groups will perform.

No Oscar for the guv’s budget

Andrew Lam
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OPINION Given that Gov. Jerry Brown put out his proposed budget the same day that Oscar nominations came out, it’s tempting to make some comparisons.

Brown’s budget, like the nominated musical “Les Misérables,” has plenty of numbers, and will make some people cry.

But I take the new budget seriously, the same as every budget I’ve seen since I got to Sacramento. Unlike most of the recent budgets, this one doesn’t feature a big deficit. Give the Governor some credit for that, but let’s look at how he’s done it. Not all of it is pretty.

To start with, education gets a boost. That’s clearly what California’s voters wanted when they passed Proposition 30 in November. The budget will give more generous increases to the school districts that have more education challenges, and it boosts funding for higher education. We can cheer that.

It also funds the next steps for implementing federal health care reform. That bodes well for efforts to make sure all Americans and all Californians are insured. Under ideal circumstances, of course, we’d be talking about single payer.

There are other, less cheerful things in our future.

There’s an across-the board 20 percent cut to In-home Health Supportive Services beginning in November. This comes from an odd “optimistic” assumption from the governor that the courts that kept him from making those cuts earlier will let him do it now.

Child care funding is flat, which would be tolerable if it weren’t for past cuts. It’s hard to find a better investment in our state than child care. Kids in good child-care programs do better when they get to school. Child care allows more people to work and attend job training. Restoring child-care funding is critical for the state.

Keeping CalWORKS benefits at half of what they used to be is similarly shortsighted, as are cuts to the AIDS Drug Assistance Program, reductions in Medi-Cal provider rates and funding changes for students in higher education.

While preaching austerity, Brown keeps pouring money into a prison system that needs more reform. Sentencing and release programs could be altered to reduce the need for overstuffing prisons without risk to Californians. Overcrowding continues, with one women’s prison in the Central Valley at 180 percent of capacity. This is not stewardship that inspires confidence.

Prison programs to help people beat drug addictions and find jobs when they come out are gone. We are missing a chance for long-term reductions based on rehabilitation. Instead we continue to shuffle bodies around.

Spending choices are not the only problem. The governor skipped some ways of boosting revenue. What about the rules surrounding Proposition 13? Local jurisdictions would benefit from closing loopholes that allow corporations to avoid reassessment when property changes ownership.

I also want discussion of an oil severance tax. Here in the Bay Area — in Richmond and San Bruno — we’ve seen and lived with major downsides of the energy industry. I think it’s time that the oil producers who continue to make big profits pay a tax for the oil that’s taken out of California.

You can see that the Governor’s “director’s cut” budget doesn’t deserve a little gold statue — even if it is the best picture (fiscally) we’ve seen in a few years. We’ll look for silver linings when the Legislature starts working on our playbook.

Assemblymember Tom Ammiano represents the 13th District.

The Chamber of Commerce becomes even more irrelevant

Zelda Bronstein
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The Chamber of Commerce becomes even more irrelevant

It’s been years since anyone really took the San Francisco Chamber of Commerce seriously as a political force. The verdict from the techies came in long ago; they do their own thing with their own money. Small business never got much out of the Chamber, and most of those folks have their own organizations. Even the big-business agenda was taken over for a while by the Commitee on JOBS. Then there’s SFSOS, Plan C and a bunch of other pro-business and anti-regulation groups. Rose Pak and her allies have their own Chamber of Commerce. You rarely hear anyone at City Hall worried about what the Old Chamber says or is doing.

Steve Falk, the current director, has softened the Chamber’s image a bit and tried to be somewhat diplomatic. But now this organization is about to go backwards.

If what Matier and Ross report is accurate, a former City Hall aide, former failed candidate for supervisor, and current director of the Golden Gate Restaurant Association may be the new chamber director. Rob Black seems to have a line at the top job after Wade Rose, an executive with Catholic Healthcare West, dropped out of the running:

We’re told some of the chamber’s big dogs – like the brokerage house Charles Schwab and Pacific Gas and Electric Co. – weren’t all that enamored of the soft-glove approach that Rose was promising to bring to his dealings with the San Francisco Board of Supervisors.

That jobes with what I’ve been hearing from local politicos, who’ve been saying that there were two candidates for the job — one very good and one very bad. Looks like the very good candidate (good by Chamber standards, anyway) is gone.

I don’t know Rose, but I do know that even this more moderate board of supes isn’t likely to take direction from what many see as an antidiluvean organization, a moribund old white men’s club with a ridiculous out-of-date agenda. Putting a person in charge who actually sought to build bridges (and who, by the way, might not have gone all-out for the new CPMC hospital) might have edged the Chamber back toward some sort of relevance.

But no: If Black gets the job, prepare for the Chamber to stick to its old ways, whine about everything the board does that’s even remotely progressive, issue report cards that nobody cares about — and waste its members dues. Great move.

 

 

 

 

 

 

Discord at City College as accreditation cliff nears

Sasha Cuttler
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More than 300 City College of San Francisco (CCSF) faculty and supporters protested their chancellor’s “state of the school” address at CCSF’s Diego Rivera Theater on Friday (Jan.11) morning as the clock continues to tick down to March 15 — when the community college accrediting commission will decide the future of City College.

Teachers and administrators are now battling over the right way to meet the challenge of staying accredited. The administrators are trying desperately to “cut the fat,” and the teachers contend the baby is being thrown out with the bathwater.

As we’ve reported previously, CCSF’s new divide is over the use of the $14 million a year generated by the parcel tax voters created through Proposition A in November. The school’s administration still wants faculty to take an 8.8 percent pay cut, and already has over 70 faculty and staff “not being rehired” next semester. The school plans to use the money to shore up their fiscal reserves, one of the many sticking points the accrediting commission wanted them to adhere to in order to stay accredited and open.

The teachers see it differently. They volunteered and worked long hours, rallying and passing out flyers about Prop. A for months leading up to the election, with little to no financial support from administrators and the college’s Board of Trustees. They contend that Prop A’s language, which you can read online, specifically outlines that the money should be used to prevent layoffs — which the school has decided to do anyway.

The teachers, understandably, are upset.

“A lot of our teachers work really hard, and this is a slap in the face, frankly,” Greg Keech, the English as Second Language Department chair, said to faculty the day of the rally, outside the college’s Diego Rivera Theater.

The theater houses a giant, elaborate fresco, Diego Rivera’s World War II era mural “Pan-American Unity,” which depicts the 1940s working class laboring toward a common goal, a stark contrast to the college’s divisions. As the cries of the marchers echoed from just outside the door, CCSF’s chancellor Thelma Scott-Skillman stood at the theater’s main stage defending City College’s faculty pay cuts and recent layoffs.

“Over the years, CCSF has managed to serve far more students than they had resources available, a very laudable goal,” Scott-Skillman said to her audience of mostly faculty and staff. “However, harsher austerity measures unfortunately are being implemented to address this imbalance.”

The San Francisco Chronicle seems to think Scott-Skillman has a point, writing an editorial siding with the administration. If the Chronicle and the college’s leadership had their way, the teachers would just shut-up and take their medicine.

“I think the protest today was an unproductive response to a house that’s burning down,” Steve Ngo, the newly re-elected college trustee, told us. “We’re trying to put out the fire, and [faculty] are arguing about the drapes.”

But teachers have good reason to be worried. When a commission with the power to close your school holds a gun to your head and essentially says, “You have one year to implement drastic reforms at your college that will last years, or we’ll close you down,” yeah, of course teachers are going to be worried about the lasting affects on their careers and their students.

Some of those changes are happening already, teachers told us.

“People without academic expertise, who don’t know the field, will lead the departments,” said Kristina Whalen, the director of the speech department at CCSF. “Academic reorganization will have automotive and child development under the same dean — those fields aren’t related.”

The previous model had teachers elected from within their own departments who represented those departments, leading to at least 60 department chairs at CCSF. The college has since consolidated those positions, and is moving to hire a smaller number of deans to handle the same jobs. Faculty who have worked under deans at other colleges didn’t have many kind things to say about the experience.

“I’ve worked at other schools where you reported to a dean,” art teacher Andrew Leone told us as rally-goers marched and yelled behind around him. He’s worked at San Francisco State University, and USF, among other schools, he said.  “The dean has so many responsibilities, there’s no way they can deal with them all.”

The chairpersons at City College were more efficient at taking care of teachers’ needs, he said. Now, “they’re giving us a top down corporate model. They’re turning us into Wal-mart.”

Meanwhile, the tally of concessions made to keep the college open keeps piling up. More than 160 teachers have left the school due to retirement and attrition without being replaced, and more than 50 faculty members and 30 staff have been reported as being let go so far, according to data from the teacher’s union, AFT 2121. The union won’t know the full number of faculty not rehired until early March, and the total amount of “not rehired teachers,” can be hard to track. Additionally, three school sites, Castro, Presidio and Fort Mason, will close soon.

Despite the drastic measures being taken, Interim-Chancellor Scott-Skillman made the case that arguing about them is a moot point.

“This college represents a promise to the surrounding communities that this is a place of quality and opportunity to acquire higher education, “Scott-Skillman said. “Reality check:  unfortunately, we can no longer keep that promise for everyone.”

Trustee Ngo took it a step further, saying that the protest could hurt the school’s chances at keeping its accreditation, especially in light of CCSF asking the state for an extension to the March 15 deadline for accreditation.

“These protests are hurting our chance for an extension,” Ngo said. “If [the accrediting commission] sees protests of our interim chancellor, they’ll think that, chances are, these people aren’t ready for change.”

Ngo could be right. Notably, the accreditation commission’s evaluation report of the college, which is the guiding document of what the college has to fix, called out the school’s divisions: “Despite the unified commitment to the college mission, there exists a veil of distrust among the governance groups that manifests itself as an indirect resistance to board and administrative decision-making authority.”

Beyond just the teachers, at least one person was happy to see the protest. CCSF student Kitty Lui , 26, is a a few units shy of transferring to San Francisco State, and sees the cuts at City College as a threat to her education, she said.

“We need good jobs, especially here in SF, so we’re not living paycheck to paycheck,” Lui said. “It’s inspiring to see so many teachers here — it gives me hope.”

The Performant: Music men

Andrew Lam
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Mark Growden’s solo show and variations on a theme with Hand to Mouth 

There’s something so charmingly unassuming about the Red Poppy Art House — a by-now venerable institution on the Mission District’s quirk-centric music scene — it makes you want to invite it home for a Hangtown Fry and mimosas. From the mismatched chairs to the frayed curtains, the whitewashed walls to the cramped toilet, the Red Poppy’s overall ambiance is that of a sort of ramshackle country parlor, right down to the upright piano.

Though you’d never mistake him for a church lady, Bay Area bard Mark Growden does exude a touch of the rustic — a down-home demeanor rooted in his rural Northern California upbringing. From the moment he opened his set on Friday night at the Red Poppy with a haunting, desert lament played ingeniously on his signature set of bicycle handlebars, it was as if he were unfolding a map of the hidden pockets of America and inviting us on an introspective journey through them.

Assisted ably by trumpeter Chris Grady, who employed a number of mutes throughout the show, probably to keep him from blowing the heads off the front row seated literally at his feet, Growden worked his way through a repertoire of old songs and new which hearkened to the barroom backrooms of the South, the windswept plains of the American West, and the lonesome riverbanks of the Truckee, and the Mississippi.

Though much of Growden’s music is tinged with a fragile darkness, the mood of the evening was light, jovial, the banter flying thick and fast between stage and oddience, and slyly humorous counterpoint provided by Grady. By the time it came around to the group sing-a-long, we were all good friends, a chummy crew, no doubt assisted in part by the closeness of our quarters, the conviviality of claustrophilia.

Music was also the theme at monthly comedy event Hand to Mouth at the Dark Room Theatre. Since 2011, Hand to Mouth has been hosting eclectic lineups of funny-persons who are encouraged to perform sets that relate to a pre-announced topic, and much of the fun comes from discovering how each comic will interpret the theme.

Sure, there were a few comics who merely riffed on the topic by dissing bands they didn’t like or making fun of raves, easy targets all, but co-host James Fluty broke the trend by coming out onstage with a guitar and playing a lewd ballad about Mormons (take that Trey Parker and Matt Stone) and Jesse Elias shattered what was left of it by giving a totally hilarious power-point presentation he called “A Lecture of Music History.” Ostensibly a comparison of the evolution of classical to contemporary music, Elias spent time comparing music from “Der Gloeckner von Notre Dame” and “Wicked,” introducing us to the “orchestra hit” sample, and comparing the “two distinct sounds referred to as ‘electric piano’” which involved a straight-faced comparison of various video games soundtracks versus Disney credits music.

Keeping it weird, DJ Real (a.k.a. Nick Stargu) contributed a retiree version of a NIN tune (“I Want to Play Some Canasta”), the Unwatchables sold their souls to the devil in order to be able to play the blues for Bruce Willis, and Drennon Davis ended the show on a literal high note by turning himself into a radio with the help of a loop station and station-appropriate DJ patter that ranged from the growling bro-down of hard rock station “Radio K-O-C-K” to the passive-aggressive mellow of “Free Jazz Radio” (“just want to clarify something about our name, we are not ‘free’. We are listener-supported.”)

It would appear allowing comedians to stretch their creativity to encompass yet redefine a specific theme is as good for them as it was for us—and makes it easy to look forward to their February installment at Lost Weekend Video, when the theme will be “Jobs”. Hell, I’ve got a few jokes about that myself….

Do we need more luxury condos?

Andrew Lam
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There’s no shortage of high-end housing in San Francisco. If you can afford to pay $6,000 a month for your rent or mortgage, you’re going to find a nice place to live. And there’s no study anywhere in any corner of the City Planning Department suggesting that current San Francisco residents really want new luxury condos downtown.

In fact, all evidence suggests the contrary — the market for high-end downtown housing is new residents, people who are moving here to take tech jobs, empty nesters moving from the suburbs, or world travelers looking for a pied-a-terre in one of the greatest cities on Earth.

But when the City Planning Department analyzes a project like 75 Howard, that’s not part of the discussion.

The Dec. 12 preliminary environmental study on the “market-rate” (read: $1 million and up for waterfront views) project never addresses the question of what value this type of housing would bring to the city. Instead, it talks about projections from the Association of Bay Area Governments, which says that San Francisco will grow by 52,000 households by 2030.

So a project that’s creating fewer than 200 housing units, and creating a net of 77 jobs, isn’t big enough to be a factor in the future of either jobs or housing.

But in the process, the study makes a remarkable statement, one that underlines everything wrong with city planning policy. Buried on page 48 of a 151-page preliminary study is the following: “In addition, the demand for housing by the net increase in number of employees would be more than offset by the dwelling units that would be constructed on site under the proposed project or its variants.”

That sounds like bureaucratise, and it is, so allow me to translate: The project will create 186 housing units and 77 jobs. More housing than jobs; what’s there to worry about?

Well: The 77 employees at 75 Howard will work in the restaurants and stores, or in the garage under the building, or in maintenance. Not one of them will make even remotely enough money to afford to buy one of the condo units in the building.

So the project — like so much of the development that happens in San Francisco — will create jobs for people who can’t afford to live here, and housing for people who don’t currently work here. That imbalance is utterly unsustainable, spells disaster for the future of the city — and is pretty much hard-wired into current planning and housing policy.

Behind today’s unanimous vote for Chiu

Sasha Cuttler
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Behind today’s unanimous vote for Chiu

For all the high-minded talk about diversity and working together on behalf of the public – and the relentless praising of their political colleagues and supporters – today’s unanimous re-election of David Chiu as president of the Board of Supervisors once again demonstrated that much of the people’s business is done behind closed doors.

As most of the supervisors acknowledged publicly or in comments to the Guardian, in recent days there was a flurry of meetings about the president vote among the supervisors, despite the prohibition in the state’s Brown Act against “seriatim meetings,” in which elected officials have serial meetings with each other until an quorum of supervisors has illegally discussed some topic.

How else could Malia Cohen, Jane Kim, and Scott Wiener – all hopefuls for the president’s seat who withdrew themselves from consideration before a vote was cast – have all known that Chiu had the votes he needed to win an unprecedented third consecutive term? But they did know, as they all told the Guardian.

“The reality was the support wasn’t there,” Cohen told reporters after the vote when asked why she withdrew her nomination just before the supervisors were about to vote, just after Kim had done the same thing, leaving Chiu as the sole nominee.

I asked whether she was promised anything in return for withdrawing from consideration, and Cohen said, “There’s always negotiations involved in everything, from committee assignments to appointment to regional bodies…The full story will come out later.”

Cohen even obliquely suggested that Chiu – who is known to have his sights set on Tom Ammiano’s Assembly seat, which comes open in two years – may not serve his full two years as president and that was part of the backroom discussions. In the more immediate future, Cohen said she wants to serve on the Land Use Committee, so don’t be surprised if Chiu appoints her as chair of that powerful body.

“It may seem like a small setback today, but it sets the stage for greater conversations going forward,” Cohen said of her decision to voluntarily step down.

Kim also told reporters that she knew Chiu had the votes – saying “we know there was broad support for David for another term” – and that the decision that she and Cohen made to nominate one another was mostly symbolic, intended to make a point about the need for women of color to be in leadership positions: “I thought it was important that we put the dialogue out there.”

Kim said she really appreciated the opportunity to speak with more fellow supervisors privately in the last few days than she had before. “All of this was last minute. There were really only discussions in the last three days,” Kim told me. “I got a good sense of people’s policies and priorities.” As for Kim’s priorities, she said she wants to serve on the Budget Committee, so don’t be surprised when Chiu names her as chair.

Wiener also told me that he realized a couple days ago that he didn’t have the votes but that Chiu did. “It would have been an honor to serve as board president, but it wasn’t in the cards,” Wiener said.

Some of what the cards showed was made clear as the nominations for president opened today and new Dist. 7 Sup. Norman Yee spoke first and nominated Chiu, thus making it clear that Kim probably didn’t have the six votes she needed. As former Sup. Chris Daly, a veteran vote counter, told me, “Norman Yee and Eric Mar could have made Jane Kim board president. They were the deciding bloc, but it would taken both of them.”

Yet Mar told us that he was caught off guard by how the voting unfolded today. “I was surprised that people dropped out before the vote,” he told me.

Yet he acknowledged that it was perhaps a smart move by the progressive supervisors, who voted against Chiu two years ago and were punished with bad committee assignments, to instead get behind Chiu now and hand him a unanimous victory.

“I think that was the hope when people dropped out. It would have been hard if they didn’t, but these negotiations [with Chiu over committee assignments] will go on over the next few days,” Mar said, noting that he will push for strong representation by supporters of labor and other progressive constituencies on key committees.

Asked about his negotiations with fellow supervisors, Chiu would only say, “My conversation with everyone was very consistent.” As for his pending decision on committee assignments, he told me, “We have a board that is very diverse and we’ll have committees that reflect that.”

During his speech in Board Chambers, Chiu talked about running the board in a way that would let each supervisor have her/his moments in the spotlight to provide leadership on issues they care about, comparing it to the San Francisco Giants and the contributions that so many players made to their World Series sweep.

“They took turns making the big plays,” Chiu said, going on to tick off the list of how he’ll help his colleagues shine. “Whether it’s Sup. Mar advocating for a healthy environment, Sup. Farrell addressing out looming health care costs, whether it’s Sup. Chu disciplining our budget, Sup. Breed getting the jobs that young people need, Sup. Kim making sure that all our kids graduate, Sup. Yee making sure that small businesses succeed, Sup. Wiener fighting for better transportation options, Sup. Campos fighting against wage theft, or Sup. Cohen curbing gun violence, and Sup. Avalos delivering on local hire, by the end of our season, if we’re going to help each other succeed in getting these things done, we are all going to win.”

Will narrow business interests continue to dominate SF’s political agenda?

Sasha Cuttler
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44
Will narrow business interests continue to dominate SF’s political agenda?

Will the narrow, deceptive, and disempowering “jobs” rhetoric of the last two years continue to dominate San Francisco politics in 2013? Or can San Franciscans find the will and organizing ability to create a broader political agenda that includes livability, sustainability, and affordability?

If it’s up to the San Francisco Chamber of Commerce – whose perspective has been aired in both the Examiner and Chronicle over the last two days – private sector profits will continue to be our only metric of civic success.

Just take a look at the “Pinkslips and Paychecks Scorecard” that the Chamber released yesterday, rating members of the Board of Supervisors based on a series of 16 votes for tax cuts and public subsidies for businesses, approvals of projects serving the rich, rollbacks of government regulations, business surcharges on consumers, maintaining PG&E’s dirty energy monopoly, and blocking an expansion of developer fees to improve Muni.

That aggressive neoliberal agenda, which is shared by Mayor Ed Lee and his big corporate backers, was reinforced by Chamber VP Jim Lazarus in an op-ed in today’s Examiner. Ignoring the rising housing and other living costs that plague the average San Francisco, Lazarus uses hopeful language about how we’re all “poised for success in 2013,” burying the Chamber’s aggressive and exclusive agenda in the subtext.

At the top of his agenda are: “Approval of the California Pacific Medical Center rebuild, reforming San Francisco’s California Environmental Quality Act appeals process, and rule-making for the upcoming gross-receipts tax.” In other words, let CPMC have what it wants, make it more difficult to challenge developers on environmental grounds, and ensure business taxes remain as low as possible.

And to ensure supervisors get the message, he closes by noting that business leaders are “energized and ready” to push their agenda with tools such as the Alliance for Jobs and Sustainable Growth, which waged some of the nastiest and most deceptive political attack ads on progressive candidates in the last election cycle.

The progressive movement of San Francisco has its problems and issues, including a recently widening schism between environmental and transportation activists on one side and the nonprofit housing and social justice faction on the other. And in the current economic and political climate, both sides too often find themselves partnering with corporate and neoliberal interests to get things done.

But now, more than ever, San Francisco needs to broaden into political dialogue, and that means a reconstitution and expansion of its progressive movement. That’s something that the Guardian has long focused on facilitating and publicizing – something that will be my personal focus as well – and we have some idea percolating that we’ll discuss in the coming weeks and months.

Then maybe all San Franciscans can be poised for success in 2013 and beyond.

Dick Meister: Good news for our neediest workers

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By Dick Meister

Bay Guardian columnist Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

Here’s some good news for the new year: Ten states are set to raise their minimum wage rates on January first.

The National Employment Law Project (NELP) calculates that the increased rates will boost the pay of more than 850,000  low-income  workers in Arizona, Colorado, Florida, Missouri, Montana, Ohio, Oregon, Rhode Island, Vermont and Washington.

The rates, raised in accord with state laws requiring automatic adjustments to keep pace with the rising cost of living, will go up by 10 to 35 cents an hour depending on the state. NELP figures that will mean $190 to $510 more a year for the four million workers who are paid at the minimum in those states.

That may not seem like much in today’s economy, but most of the workers are living at or near the poverty level, and it will mean a lot to them and their families. Another 140,000 needy low-paid workers will get indirect raises as pay rates are adjusted upward to reflect the new minimum wage in their states.

Nineteen states, including California, plus the District of Columbia will now have rates higher than the federal minimum. But though the increases in state minimum wages are vital, what’s needed now is also to raise the federal minimum so that all minimum wage workers are paid at a higher and uniform rate.  The federal rate has remained at $7.25 an hour  – about $15,000 a year for the average minimum wage worker – since it was set in 2007, although inflation has continued to erode its purchasing power

A bill now pending in Congress would raise the federal rate to $9.80 an hour by 2014, set the rate for tipped workers at 70 percent of that, and provide for the rates to rise to match future increases in the cost of living.

Federal action is badly needed, notes NELP’s executive director, Christine Owens, to “make sure workers earn wages that will at the very least support their basic needs. But earning an income that meets basic needs shouldn’t depend on the state where a working family lives.”

OK, but won’t increasing the pay of minimum wage workers discourage employers from hiring more workers and thus weaken the economy and hurt jobless workers? That’s often claimed by fiscal conservatives, but it’s simply not so.

NELP cites a large body of research clearly showing that “raising the minimum wage is an effective way to boost the incomes of low-paid workers without reducing employment.” NELP notes in particular research showing that “even during times of high unemployment, minimum wage increases did not lead to job loss.”

On the contrary. NELP estimates that increased spending by workers paid at the new state minimums will pump an estimated $183 million into the economy, creating the equivalent of more than 100,000 full-time jobs. Other estimates indicate that every dollar increase in wages for workers at the minimum rate would trigger more than $3000 in new spending.

But can employers afford to pay a higher minimum? Wouldn’t it be a burden on small businesses, as those opposing a raise often claim? No. NELP found that more than two-thirds of minimum wage workers are employed by large companies, and that many of the companies could easily afford a raise, especially since they “have fully recovered from the recession and are enjoying strong profits.”

There’s no excuse for inaction.  Ten states have done the right thing for their neediest working citizens. It’s time for Congress and President Obama to do their part.

Bay Guardian columnist Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

City College’s new divide

Sasha Cuttler
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City College’s new divide

Despite recent voter approval of Proposition A, the parcel tax expected to bring $14 million annually to City College of San Francisco, faculty there are enduring pay cuts and layoffs, a reality that has rankled union leaders and others who have rallied to save the school. 

In the face of the school’s accreditation crisis, which if not addressed by March could lead to its closure, the college was a united front to keep the school open and pass Prop. A, which was approved by over 70 percent of San Francisco voters on the same night as President Obama’s reelection.

But a combination of timing (the money won’t roll in until later in 2013), the depth of the district’s fiscal hole, and declining student enrollment have left CCSF with essentially status quo funding. District officials appear to be leaning toward using most of the surplus it does get to beef up its scant reserve funds, which was one of the things that triggered the accreditation crisis.  

After the good news of Prop. A’s passage, CCSF discovered it wasn’t on track to meet its required enrollment numbers — and the number of students enrolled dictates state funding.

“[The administration] was focused on these accreditation reports. It’s a big job. It was very disruptive to change chancellors kind of midstream,” said John Rizzo, the college’s board president. “We had to switch administrations, and that’s been very difficult.”

City College has been through three different chancellors in the past year: longtime Chancellor Don Q. Griffin left in April due to illness, Pamila Fisher was interim chancellor until October, and now Thelma Scott-Skillman is the current chancellor.

Whatever the reason, City College has 3,000 fewer students enrolled than it expected to have for the Spring, potentially putting it $6.5 million in the hole this coming year. It has until the end of summer to boost those numbers. Now, despite all the cards coming up aces for them in the polls, the college still needs to save millions of dollars somewhere else in the budget.

It has started by slashing faculty and administration wages 8.8 percent, and not renewing contracts for more than 30 part time teachers, 18 part time counselors, and 30 clerical staff. Notably, Scott-Skillman — whose office negotiated the plan, which the board discussed on Dec. 13 — will also take a paycut.

Alisa Messer, president of the faculty union at City College, thinks cutting teachers, and therefore classes, flies in the face of what the voters bargained for with Prop. A. “There’s no discussion here about accountability to San Francisco voters,” Messer told us. And with the loss of competitive wages, the faculty has already started to come apart at the seams.

“We have unfortunately heard from quite a few faculty that they will be looking for jobs out of state,” Messer said. “Many said they’ll have to change their living situation or move out of San Francisco.”

She said that would hurt CCSF: “These things have to do with the long term viability of the college.”

Steve Ngo, a trustee on the college’s board, thinks that the Prop. A money should be used to shore up the school’s reserve fund, as dictated by the accreditation team that threatens the school with closure. Unfortunately, this means losing teachers now rather than later.

“If you want to frame it in terms of labor, there’s nothing worse to do than spending money now [to retain teachers] and laying off teachers in the future,” Ngo said. “Those are younger teachers. The people there now will be retired.”

Due to increased focus on diversity in hiring, CCSF’s more diverse and younger teachers tend to be the newer ones, and part time faculty, Ngo said. Those are the teachers most at risk — and the ones that students will end up losing.

Amidst the arguments about proper use of funding, teachers at the school are seeing their wages cut. Some, like Danny Halford, are losing their jobs.

Halford taught English as a Second Language at City College for seven years. A friendly and outgoing middle-aged guy, Halford is a veritable man about town, and can be seen at City College fundraisers, and was among the college’s most ardent Prop. A supporters, waving picket signs and attending rallies.

He was also one of the part time faculty members to lose his job in the Spring.

“Greg Keech, our super-wonderful ESL Dept. chair, wrote me a very nice letter to inform me that due to budget cuts there will be no job for me next semester,” Halford said. He had also recently lost his job as an organist at the College Avenue Presbyterian Church, which he’d had for 10 years, when a new pastor had “a new music concept that I don’t fit,” he said.

One of his favorite memories from City College was of a student named Elmer, from Guatemala. “He came into my Literacy class in May 2006, near the end of my first semester, with almost no English.  He made progress quickly.”

“When he got his G.E.D. diploma, I was so proud of him, I could have bust,” Halford said. “I’ve watched him grow, off and on, for six years now. He has no family here, and I think of him as my nephew.”

He may even be re-hired next fall, but until then he waits in limbo. He’ll try to substitute teach at the college for now, he said, but ruled out looking at other schools for work. As he said, “There are no jobs at other colleges because all colleges are in the same boat.”

Ngo said that the choice is basically between drastic change, or the closure of the school.

“It’s mathematically impossible to keep that payrate now,” Ngo said. “My hope is to provide the best wages and benefits in the long run, but we can’t offer it if it’s a facade. We can’t maintain payrates as they are now because we have too many faculty…There’s no agreement if there’s no college.”

City College’s faculty’s union, American Federation of Teachers 2121, filed an unfair labor practice charge Dec. 21 with the Public Employee Relations Board, a state entity that has the power to enforce labor law in California. The charge alleges that the college’s paycuts are unlawful.

A recent email to their union members outlines the AFT 2121’s grievances with the college: “At Monday’s bargaining session, the District finally outlined its claim that it will cut wages to recover last year’s ongoing state cuts of $13 million—even though the parties bargained in good faith, reaching agreement on June 20, 2012 to address these losses, including the 2.85% wage reduction this year and millions of dollars in savings through attrition and program cuts. The District is essentially overriding the previous agreement by now moving to cut wages to recover $13 million on top of the already agreed to concessions.”

College spokesperson Larry Kamer said he hadn’t seen the charges yet, as the college is on vacation, but that “we respectfully disagree with AFT 2121’s characterization of the situation.”

“City College is facing an immediate budget shortfall due to a second straight year of missed enrollment targets,” he said. “In the past, City College might have papered over such a budget gap with money it didn’t have, but those days are over. The college remains in a perilous situation with regard to accreditation and has no choice but to respond to the crisis with swift action and a request for shared sacrifice.”

And there’s the rub. In the midst of reforming the school to meet the requirements of the accreditation team by March or face closure, the college failed to keep its eye on their enrollment.

“The unions were trying to help, calling prospective students and trying a pitch,” Rizzo said. “‘Hey enroll!’ That kind of thing. They’re helping. A lot of people are trying to chip in to help this.”

“Ultimately it’s the people in the administration who are responsible for the enrollment,” he said.

With City College’s newest Chancellor Scott-Skillman on track to stay for at least a year, some stability may return to college’s administration. But City College’s dilemma, to potentially strain its budget to the breaking point or to lose valued and experienced teachers, has no easy answers  — and either way the losers may end up being the students.

To register for classes at City College, visit ccsf.edu. Enrollment for Spring is open.

 

CCSF by the numbers:

Prop A - $14 million a year for 8 years starting in 2013
 
3,000 - the number of students city college needs to enroll in order to meet its budget expectations, or lose money
 
$6.5 million - the amount CCSF loses if it doesn't enroll 3,000 students
 
8.8 percent, the amount faculty wages are being cut
 
160 - faculty lost in the past year due to attrition - retirement, quitting
 
30 - part time faculty not rehired next semester, including ESL teacher Danny Halford
 
30 - clerical staff not rehired for next semester
 
18 - part time counselors not rehired next semester
 
3 - number of chancellors running City College over the past year

 

 

Gentle mosh

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Gentle mosh

TOFU AND WHISKEY Vetiver and Howlin Rain have both been haunting around the Bay for the better part of a decade. Sonically split, playing tender Americana folk and 1970s-tinged psychedelic rock, respectively, the bands share a common thread of superior musicanship and drive — each releasing a landmark album in the past year or so (Howlin Rain’s The Russian Wilds and Vetiver’s The Errant Charm). The other link? Mutual admiration.

The two bands will play a series of three concerts together this weekend (Fri/28, Sat/ 29, Mon/31, 9pm, $20–$35, Cafe Du Nord, 2170 Market, SF. www.cafedunord.com). In anticipation of those, we did a sort of round-robin of interviews. I asked the musicians — Vetiver band leader and chief songwriter Andy Cabic and Howlin Rain’s Ethan Miller — a few general questions, then they took their conversation adrift, discussing literary influences, favorite Bay Area bands, and “the softest mosh pit in history.” Here are some hearty pieces of the conversation. There’ll be more up on SFBG.com/Noise.

SFBG What compelled you to create music in San Francisco, initially? What keeps you here?

AC I was playing music before I moved here and just gradually found folks to play with here in SF. Bands like Thinking Fellers Union and Caroliner were an initial inspiration. I’ve been here a while and have an apartment with reasonable rent, so that along with the weather, food, community and landscape of the city keeps me here.

EM Initially I moved up from that haunted little paradise that is Santa Cruz to be with my band at the time, Comets On Fire. The rest of the guys had all started migrating to the city and I was finishing up school there, I knew I needed to be with the band and San Francisco had a real buzz of excitement and electricity in the air for us at that time, we were moving toward a dark magic both in the atmosphere of San Francisco and the creative work that was ahead of us.

I actually live in Oakland. I love it here. I stay for my bands, the culture, access to the art museums, the food, the music, the airports, the architecture, the weather, the outlying and incorporated nature, the people, my friends, the work opportunities — I could go on and on, I really don’t have any incentive to leave. After 10 years of living in the metropolitan Bay Area I think my romance with these cities and all they have to offer is stronger than ever and my engagement with their mythologies is increasing daily.

AC [Ethan,]I know you are a voracious reader, and someone who is a fan of epic and oftentimes challenging works of fiction, like Valis, Gravity’s Rainbow, and War and Peace. What is the attraction to committing to a lengthy or monumental work, and how does this impact your songwriting?

EM I started to get into some pretty dark head places when we were making the last record The Russian Wilds. As it dragged into year three, I realized I really needed some highly focused activities outside of music in my life to dismantle stress/anger/exasperation/despair etc. I began jogging religiously to beat these emotions out of my body on the pavement and I took on some heavy books to beat them out of my mind. Moby Dick and War and Peace were the two big ones that began to clear the mental air for me.

Even though we’d finished the album and life moved on to a different kind of pace and substance, I loved the challenge and grandiosity of those works and continued on with the epics. I read Gravity’s Rainbow this year while on the road near the end of our tour cycle and loved it. It is a work that has taunted, haunted, and eluded me for years and now I can say it’s one of my all time favorites; it just took some relatively hard work and time to begin to engage properly with it. It is a true and singular masterpiece but it plays by a different set of rules than most of us are used to dealing with in literature.

AC Can you talk a little bit about your relationship with Tim Green and his role in the recording process of ‘The Russian Wilds’?

EM Tim worked for months and months, perhaps dedicated half his year to The Russian Wilds. I can’t say enough about his focus and enthusiasm for the making of that album. Tim and I have been working together on records for 13 years now and we have a pretty telepathic level of communication at this point. I always learn from him, a true professional and an incredible mix of artist and scientist and a great friend. The songs that you hear on that album were chosen and shaped by Rick in their basic forms but the sounds and the “album” that you hear is Tim Green. That’s his blood, sweat, and tears along with ours.

EM Stylistically, perhaps the thing Vetiver is most famous for is your “hushed”/”understated” delivery. Your singing, phrasing, and various levels of serene projection really are the mechanism that delivers Vetiver’s artistic manifesto. When you first began to sing, was what we now know as your style already there by intention or default? Was there a conscious decision to build that style?

AC I think I’ve always sung in a soft way. I had a band in college where I tried yelling and shouting and in that context it worked alright, but never quite clicked for me. I was usually hoarse by the end of those songs. I have a predilection for jangly, poppy sounds and melodic singing, and having never been trained or really taught how to sing correctly, I don’t sing with a very strong voice.

Getting an acoustic guitar and learning to fingerpick allowed me to bring the volume of the performance in line with my voice, and helped me develop a songwriting style that felt easier and more natural.

EM I’m keen to know what kind of literary influences move your musical mind…favorite books or authors that you go back to for musical inspiration year after year? Do you often cross-pollinate influences for songwriting inspiration? Cinema, poetry, visual art?

AC I worked for some years as a buyer for a used bookstore (Aardvark Books on Church at Market…the best!), and though it was one of my favorite jobs, it kind of ruined my ability to stick to one book at a time, hence my reading taste is a bit divided. I read a lot of non-fiction, history, and biographies.

As far as fiction goes, I’m a fan of authors who imbue their writing with their own personal voice. Charles Portis, Robert Walser, Eric Ambler, Paul (and Jane) Bowles, Donald Barthelme and Gertrude Stein are a few of my favorite authors. I’m inspired by economy of language and simplicity, when a lot is communicated with just a few well-chosen words. Conviction of conception is important to me. Bold ideas executed with modesty. The artwork and lived life of Wallace Berman and Marcel Duchamp is a big inspiration for me as well.

EM When we were backstage at a show a while back you told me about a mosh pit that broke out at a Vetiver gig last year. You or someone in the conversation described it as one of the softest mosh pits in history…

AC This was earlier this year, at Pitzer College, during their Kohoutek Festival. It was a blow-out for the students at the end of their term, and we were asked to play last, which is unusual as Vetiver’s sound isn’t exactly of a climactic nature, let’s say. Kids were definitely tripping balls and the prior electronic pop acts had raised the bar to where everyone was ready to go.

A significant portion of the people up front were mesmerized by the dancer twirling her LED hula hoop. That kind of thing. And basically when we began, some folks started pushing around and trying to make it more than it probably was. Some loose student with large pupils got on stage and strained inanities into the microphone between songs, and we were told after a few tunes that the police had arrived and asked to turn ourselves down. We’re probably the only band that has no problem turning down.

EM There are great rolling layers of ambience beneath the more attention grabbing pop and rock elements of ‘The Errant Charm.’ It’s almost as if another dimension has slipped into the world we know and casts a dream state on the listener. A subtle overthrow of pop consciousness. What is that ambient world? Is it of a Machiavellian nature? And why or how is it there flowing effortlessly and breeze-like in and out of a more familiar pop world?

AC This ambient world is a reflective space for me. The Errant Charm may have more of this as the album began with myself and Thom Monahan building layers of keyboards and effects as a substrate for the tunes. I love catchy melodies as well as slow moving ambiences and tried to create opportunities for both to coexist.

AC What’s your favorite underrated Bay Area band of all time and why?

EM Man, this is a tough one between Icky Boyfriends and Monoshock. Probably Icky Boyfriends. Their reunion gig at the Hemlock this year was really something else. I’ve been super into the Public Nuisance record that just got reissued, but they are a lost group from Sacramento and that may be a little too far out from the Bay. Still worth checking out!

 

The screams of dead children — everywhere

Zelda Bronstein
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The screams of dead children — everywhere

The screams of a thousand dead children wail through my mind. Children in Afghanistan, Iraq, Palestine and Libya killed by empires’ drones; thousands of young men of color America killed by white supremacist occupying armies called police, security guards and neighborhood watch agents; teenage workers from Bangladesh and China killed by corporations for profits; countless babies and young people killed by drive-by shootings and gun violence in communities of color intentionally ghettoized, destroyed and preyed upon by devil-opers, bank gangsters, gentriFUKators; and hundreds of white, middle-class children, youth, and adults killed by more gun violence perpetration, mental illness and the mental vacancy of wite culture.

Thousands of children die for corporate profits, war profits, and prison industrial profits every year in this country. Dead because gun violence is glorified and the sale of guns make some people rich, because parents are tired and don’t have the energy to fight with their kids to turn off the video games, because video games, un-conscious rap, Hollywood movies and corporate news with people killing each other make death look like entertainment — and with each sale make more profits for tech corporations in Silicon Valley run by the new technological colonizers. Because guns are exciting, especially when you have little else to be excited about.

So shouldn’t the grief for all of our children be the same? Shouldn’t our actions to stop the rise in death by gun violence everywhere be equally urgent and comprehensive?

The president shed tears in a prime-time speech for the 20 white middle-class children from Connecticut. But what about crying for babies killed by drive-by shooters, youth killed by police, and hundreds of teenage workers from China who react to mercury poison and throw themselves out the window while US tech companies make billions in profit? Why aren’t thousands of people shedding tears and sorrow and sympathy for the children in Gaza who die everyday?

In the bizarre naming of poverty positions there is a terrifying concept called the deserving vs undeserving poor rooted in the US crums (welfare) policies that were originally set up for white widows of World War II veterans in the 1930s and 1940s. Due to overt and systemic white supremacist institutional values that undergird everything in the US from its stolen beginnings to now, these white, hetero-normative women were viewed as the deserving poor, or “legitimate” poor people, who had come upon bad times from no “fault” of their own and therefore were deserving of our aid and our sympathy. In contrast, indigenous sisters, sisters of color in diaspora, or divorced, poor or unmarried women were viewed as aberrant, pathological or “lazy,” who had inherently done something to “deserve” their poverty and therefore deserved none of the US crums, only criminalization, incarceration or disgust.

I think we have come to a time, with the meteoric rise in death by gun violence of so many of us of all ages, colors, cultures and regions of the country, where we now have the deserving vs undeserving dead. How about little baby Hiram, 1 year old, who died because he happened to be in the line of fire from a passing car in Oakland? Or Ayana Jones, a 7-year-young innocent baby shot when Detroit police stormed their home with assault rifles to “find a suspect.” Or Derrik Gaines, a young disabled man who was killed by Daly City police? Or the countless children killed in Afghanistan, Palestine, Iraq or Libya by colonizing empire armies attempting to steal more indigenous resources for the ever-hungry jaws of capitalism? Did they deserve to die because someone calls their innocent bodies “collateral damage?”

What about all of our poor children of color — sorted, separated, tested, and arrested out of schools — who roam the streets with no jobs, no hope and endless violent images pumped into their heads from corporate media lies and mythologies in the holding tanks called our ghettoized neighborhoods, pick up guns and shoot each other for something to do until the police arrive to place them into the plantation prisons that await their profitable arrival? Do they deserve to die?

There are many reasons why children and adults are killing each other. My Black Indian Mama Dee used to say, white supremacy and capitalism isn’t good for any human, even white people. People have talked about the proliferation and glorification of guns to all young people through mass media, as well as the deep wounds of the cult of independence on a human’s psyche, not to mention the gutting by Republicrats of the mental health system. But one of the deepest ones that I see is the factory schools themselves, the separation of youth from elders’ wisdom and the ways that our children no longer even vaguely understand the respecting, honoring, and neccessary reverance of their elders.

Om this society, we are taught how to ghetto-ize and separate our elders from our children in as many ways as possible. This separation and lack of reverence is valued in capitalism as it sets up more products and capital to trade on. I pray and send love and strength to these families and little ancestors to help their still living families decolonize from this myth of separation and capital-inspired death so their may be healing for them.

From this moment and so many more like it, I am drawn to believe that when people like me and my mixed race family in poverty die, we deserve to. My hope and vision is that with this moment of so much sorrow for the families in Connecticut, perhaps the oddly democratizing impact of death will free us all from the unspoken but clearly existent concept that some of us deserve to die and awaken us all to the real-ness that none of us do.

Film Listings

Andrew Lam
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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

Cirque du Soleil: Worlds Away The fanciful, high-flying circus troupe hits the big screen in 3D. (1:31)

Citadel See “Holiday Movie Massacre.” (1:24) Roxie.

Deadfall See “Holiday Movie Massacre.” (1:35) Opera Plaza.

Django Unchained See “Holiday Movie Massacre.” (2:45) Four Star, Presidio.

Five and Six Hundred and Sixty-Six The Vortex’s apocalyptic December continues with two offbeat end-of-the-world dramas, one obscure and the other really, really, really obscure. Five (1951) was one of the few features written and directed by Arch Oboler, whose next (1952’s Bwana Devil) would have the (sole) distinction of kicking off that decade’s short-lived 3D craze. This black and white tale is less historically important but a lot more interesting thematically and otherwise. The title refers to the number of survivors whose paths cross after nuclear war presumably wipes out the rest of humanity (they’d each happened to be in lead encased surroundings when it the bomb hit). Beardo Michael (William Phipps) says good riddance: “I’m glad it’s dead, cheap honkytonk of a world.” However, his attitude turns around once pregnant Rosanne (Susan Douglas Rubes) shows up, then others. Unfortunately, their modest attempts to restart civilization are threatened by the fact that arrival number five (James Anderson) has a German accent and a Nazi attitude to go with it. Sans FX, this psychodrama uses sci-fi to ask some basic questions about existence and humanity; it may not be wildly sophisticated, but it’s surprisingly void of cliché and progressive in ideas (notably racial ones, as the villain’s most loathsome quality is his attitude toward Charles Lampkin’s genial African American ex-soldier). Five is one of the first and also best of its era’s many films about man’s potential self-destruction. Co-feature Six Hundred and Sixty-Six, by contrast, is pretty torturous — an endless talkfest among male staffers (and one female-voiced master computer) in a government installation deep underground that they can’t leave when total war extinguishes all life on the surface above. As they slowly suffocate to death, there is much debate about Biblical prophecies and Satan (who regrettably does not put in an appearance). While the combination of sci-fi suspense and religious proselytizing might sound irresistible, this extremely rare production from the “Evangelical Christian Research Foundation” is perhaps the dullest of all early ’70s dystopian indies. Vortex Room. (Harvey)

The Guilt Trip Seth Rogen and Barbra Streisand play a mother and son driving across the country. (1:35) Marina, Presidio.

The Impossible See “Holiday Movie Massacre.” (1:54)

Jack Reacher Tom Cruise: kickin’ ass, taking names, doing Tom Cruise things. (2:10)

Les Misérables See “Holiday Movie Massacre.” (2:37) Balboa, Marina.

Monsters, Inc. 3D Pixar’s 2001 hit about good-natured monsters returns in 3D form. (1:35)

The New Jerusalem Will Oldham stars as an Evangelical Christian in Rick Alverson’s drama. (1:34) Roxie.

Parental Guidance Billy Crystal and Bette Midler star as babysitting grandparents in this family comedy. (1:36)

Rust and Bone See “Holiday Movie Massacre.” (2:00) Embarcadero.

This is 40 See “Holiday Movie Massacre.” (2:14) Four Star, Marina.

ONGOING

Anna Karenina Joe Wright broke out of British TV with the 9,000th filmed Pride and Prejudice (2005), unnecessary but quite good. Too bad it immediately went to his head. His increasing showiness as director enlivened the silly teenage-superspy avenger fantasy Hanna (2011), but it started to get in the way of Atonement (2007), a fine book didn’t need camera gymnastics to make a great movie. Now it’s completely sunk a certified literary masterpiece still waiting for a worthy film adaptation. Keira Knightley plays the titular 19th century St. Petersburg aristocrat whose staid, happy-enough existence as a doting mother and dutiful wife (to deglammed Jude Law’s honorable but neglectful Karenin) is upended when she enters a mutually passionate affair with dashing military officer Count Vronsky (Aaron Taylor-Johnson, miscast). Scandal and tragedy ensue. There’s nothing wrong with the screenplay, by Tom Stoppard no less. What’s wrong is Wright’s bright idea of staging the whole shebang as if it were indeed staged — a theatrical production in which nearly everything (even a crucial horse race) takes place on a proscenium stage, in the auditorium, or “backstage” among riggings. Whenever we move into a “real” location, the director makes sure that transition draws attention to its own cleverness as possible. What, you might ask, is the point? That the public social mores and society Anna lives in are a sort of “acting”? Like wow. Add to that another brittle, mannered performance by Wright’s muse Knightley, and there’s no hope of involvement here, let alone empathy — in love with its empty (but very prettily designed) layers of artifice, this movie ends up suffocating all emotion in gilded horseshit. The reversed-fortune romance between Levin (Domhall Gleeson) and Kitty (Alicia Vikander) does work quite well — though since Tolstoy called his novel Anna Karenina, it’s a pretty bad sign when the subsidiary storyline ends up vastly more engaging than hers. (2:10) Albany, Metreon, Piedmont, Sundance Kabuki. (Harvey)

Any Day Now In 1970s West Hollywood, flamboyant drag queen Rudy (Alan Cumming) and closeted, newly divorced lawyer Paul (Garret Dillahunt) meet and become an unlikely but loving couple. Their opposites-attract bond strengthens when they become de facto parents to Marco (Isaac Leyva), a teen with Down syndrome left adrift when his party-girl mother (Jamie Anne Allman) is arrested. Domestic bliss — school for Marco with a caring special-education teacher (Kelli Williams); a fledgling singing career for Rudy (so: lots of crooning, for Cumming superfans) — is threatened by rampant homophobia, so Rudy and Paul must conceal their true relationship from Paul’s overbearing boss and the other parents at Marco’s school. When the secret gets out, the fact that Marco is being well cared-for matters not to the law; he’s immediately shunted into a foster home while Paul and Rudy battle the court for custody. Actor-turned-director and co-writer Travis Fine (2010’s The Space Between) guides a veteran cast through this based-on-true-events tale, with sensitive performances and realistic characterizations balancing out the story’s broader strokes. (1:43) Embarcadero, Shattuck, Smith Rafael. (Eddy)

Argo If you didn’t know the particulars of the 1979 Iranian Revolution, you won’t be an expert after Argo, but the film does a good job of capturing America’s fearful reaction to the events that followed it — particularly the hostage crisis at the US embassy in Tehran. Argo zeroes in on the fate of six embassy staffers who managed to escape the building and flee to the home of the sympathetic Canadian ambassador (Victor Garber). Back in Washington, short-tempered CIA agents (including a top-notch Bryan Cranston) cast about for ways to rescue them. Enter Tony Mendez (Ben Affleck, who also directs), exfil specialist and father to a youngster wrapped up in the era’s sci-fi craze. While watching 1973’s Battle for the Planet of the Apes, Tony comes up with what Cranston’s character calls “the best bad idea we have:” the CIA will fund a phony Canadian movie production (corny, intergalactic, and titled Argo) and pretend the six are part of the crew, visiting Iran for a few days on a location shoot. Tony will sneak in, deliver the necessary fake-ID documents, and escort them out. Neither his superiors, nor the six in hiding, have much faith in the idea. (“Is this the part where we say, ‘It’s so crazy it just might work?'” someone asks, beating the cliché to the punch.) Argo never lets you forget that lives are at stake; every painstakingly forged form, every bluff past a checkpoint official increases the anxiety (to the point of being laid on a bit thick by the end). But though Affleck builds the needed suspense with gusto, Argo comes alive in its Hollywood scenes. As the show-biz veterans who mull over Tony’s plan with a mix of Tinseltown cynicism and patiotic duty, John Goodman and Alan Arkin practically burst with in-joke brio. I could have watched an entire movie just about those two. (2:00) Embarcadero, Four Star, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Eddy)

The Central Park Five Acclaimed documentarian Ken Burns takes on the 1989 rape case that shocked and divided a New York City already overwhelmed by racially-charged violence. The initial crime was horrible enough — a female jogger was brutally assaulted in Central Park — but what happened after was also awful: cops and prosecutors, none of whom agreed to appear in the film, swooped in on a group of African American and Latino teenagers who had been making mischief in the vicinity (NYC’s hysterical media dubbed the acts “wilding,” a term that became forever associated with the event). Just 14 to 16 years old, the boys were questioned for hours and intimidated into giving false, damning confessions. Already guilty in the court of public opinion, the accused were convicted in trials — only to see their convictions vacated years after they’d served their time, when the real assailant was finally identified. Using archival news footage (in one clip, Gov. Mario Cuomo calls the crime “the ultimate shriek of alarm that says none of us are safe”) and contemporary, emotional interviews with the Five, Burns crafts a fascinating study of a crime that ran away with itself, in an environment that encouraged it, leaving lives beyond just the jogger’s devastated in the process. (1:59) Shattuck. (Eddy)

Chasing Ice Even wild-eyed neocons might reconsider their declarations that global warming is a hoax after seeing the work of photographer James Balog, whose images of shrinking glaciers offer startling proof that our planet is indeed being ravaged by climate change (and it’s getting exponentially worse). Jeff Orlowski’s doc follows Balog and his Extreme Ice Survey team as they brave cruel elements in Iceland, Greenland, and Alaska, using time-lapse cameras to record glacier activity, some of it quite dramatic, over months and years. Balog is an affable subject, doggedly pursuing his work even after multiple knee surgeries make him a less-than-agile hiker, but it’s the photographs — as hauntingly beautiful as they are alarming — that make Chasing Ice so powerful. Could’ve done without Scarlett Johansson crooning over the end credits, though. (1:15) Embarcadero, Shattuck. (Eddy)

Cloud Atlas Cramming the six busy storylines of David Mitchell’s wildly ambitious novel into just three hours — the average reader might have thought at least 12 would be required — this impressive adaptation directed (in separate parts) by Tom Twyker (1998’s Run Lola Run) and Matrix siblings Lana and Andy Wachowski has a whole lot of narrative to get through, stretching around the globe and over centuries. In the mid 19th century, Jim Sturgess’ sickly American notory endures a long sea voyage as reluctant protector of a runaway-slave stowaway from the Chatham Islands (David Gyasi). In 1931 Belgium, a talented but criminally minded British musician (Ben Whishaw) wheedles his way into the household of a famous but long-inactive composer (Jim Broadbent). A chance encounter sets 1970s San Francisco journalist Luisa (Halle Berry) on the path of a massive cover-up conspiracy, swiftly putting her life in danger. Circa now, a reprobate London publisher’s (Broadbent) huge windfall turns into bad luck that gets even worse when he seeks help from his brother (Hugh Grant). In the not-so-distant future, a disposable “fabricant” server to the “consumer” classes (Doona Bae) finds herself plucked from her cog-like life for a rebellious higher purpose. Finally, in an indeterminately distant future after “the Fall,” an island tribesman (Tom Hanks) forms a highly ambivalent relationship toward a visitor (Berry) from a more advanced but dying civilization. Mitchell’s book was divided into huge novella-sized blocks, with each thread split in two; the film wastes very little time establishing its individual stories before beginning to rapidly intercut between them. That may result in a sense of information (and eventually action) overload, particularly for non-readers, even as it clarifies the connective tissues running throughout. Compression robs some episodes of the cumulative impact they had on the page; the starry multicasting (which in addition to the above mentioned finds many uses for Hugo Weaving, Keith David, James D’Arcy, and Susan Sarandon) can be a distraction; and there’s too much uplift forced on the six tales’ summation. Simply put, not everything here works; like the very different Watchmen, this is a rather brilliant “impossible adaptation” screenplay (by the directors) than nonetheless can’t help but be a bit too much. But so much does work — in alternating currents of satire, melodrama, pulp thriller, dystopian sci-fi, adventure, and so on — that Cloud Atlas must be forgiven for being imperfect. If it were perfect, it couldn’t possibly sprawl as imaginatively and challengingly as it does, and as mainstream movies very seldom do. (2:52) Elmwood, SF Center. (Harvey)

The Collection As soon as you behold the neon sign “Hotel Argento” shining over the grim warehouse-cum-evil dead trap, you know exactly what you’re in for — a wink, and even a little bit of a horror superfan’s giggle. In other words, to tweak that killer Roach Motel tagline: kids check in, but they don’t check out. No need to see 2009’s The Collector — the previous movie by director-cowriter Marcus Dunstan and writer Patrick Melton (winners of the third season of Project Greenlight, now with the screenplays for multiple Saw films beneath their collective belt) — the giallo fanboy and gorehound hallmarks are there for all to enjoy: tarantulas (straight from 1981’s The Beyond), a factory kitted out as an elaborate murder machine, and end credits that capture characters’ last moments. Plus, plenty of fast-paced shocks and seemingly endless splatter, with a heavy sprinkle of wince-inducing compound fractures. The Collection ups the first film’s ante, as gamine Elena (Emma Fitzpatrick) is lured to go dancing with her pals. Their underground party turns out to be way beyond the fringe, as the killer mows down the dance floor, literally, and gives the phrase “teen crush” a bloody new spin. Stumbling on The Collector‘s antihero thief Arkin (Josh Stewart) locked in a box, Elena releases him but can’t prevent her own capture, so killer-bodyguard Lucello (Oz‘s Lee Tergesen) snatches Arkin from the hospital and forces him to lead his team of toughs through a not-so-funhouse teeming with booby traps as well as victims-turned-insidious-weapons. All of which almost convinces you of nutty-nutball genius of the masked, dilated-pupiled Collector (here stuntman Randall Archer), who takes trendy taxidermy to icky extremes — even when his mechanism is threatened by a way smart last girl and a lock picker who’s adept at cracking building codes. Despite Dunstan’s obvious devotion to horror-movie landmarks, The Collection doesn’t turn out to be particularly original: rather, it attempts to stand on the shoulders — and arms and dismembered body parts — of others, in hopes of finding its place on a nonexistent drive-in bill. (1:23) Metreon. (Chun)

Flight To twist the words of one troubled balladeer, he believes he can fly, he believes he can touch the sky. Unfortunately for Denzel Washington’s Whip Whitaker, another less savory connotation applies: his semi-sketchy airline captain is sailing on the overconfidence that comes with billowing clouds of blow. Beware the quickie TV spot — and Washington’s heroic stance in the poster — that plays this as a quasi-action flick: Flight is really about a man’s efforts to escape responsibility and his flight from facing his own addiction. It also sees Washington once again doing what he does so well: wrestling with the demons of a charismatic yet deeply flawed protagonist. We come upon Whip as he’s rousing himself from yet another bender, balancing himself out with a couple lines with a gorgeous, enabling flight attendant by his side. It’s a checks-and-balances routine we’re led to believe is business as usual, as he slides confidently into the cockpit, gives the passengers a good scare by charging through turbulence, and proceeds to doze off. The plane, however, goes into fail mode and forces the pilot to improvise brilliantly and kick into hero mode, though he can’t fly from his cover, which is slowly blown despite the ministrations of kindred addict Nicole (Kelly Reilly) and dealer Harling (John Goodman at his most ebullient) and the defensive moves of his pilots union cohort (Bruce Greenwood) and the airline’s lawyer (Don Cheadle). How can Whip fly out of the particular jam called his life? Working with what he’s given, Washington summons reserves of humanity, though he’s ultimately failed by John Gatins’ sanctimonious, recovery-by-the-numbers script and the tendency of seasoned director Robert Zemeckis to blithely skip over the personal history and background details that would have more completely filled out our picture of Whip. We’re left grasping for the highs, waiting for the instances that Harling sails into view and Whip tumbles off the wagon. (2:18) 1000 Van Ness, SF Center. (Chun)

Hitchcock On the heels of last year’s My Week With Marilyn comes another biopic about an instantly recognizable celebrity viewed through the lens of a specific film shoot. Here, we have Anthony Hopkins (padded and prosthetic’d) playing the Master of Suspense, mulling over which project to pursue after the success of 1959’s North by Northwest. Even if you’re not a Hitch buff, it’s clear from the first scene that Psycho, based on Robert Bloch’s true crime-inspired pulpy thriller, is looming. We open on “Ed Gein’s Farmhouse, 1944;” Gein (Michael Wincott) is seen in his yard, his various heinous crimes — murder, grave-robbing, body-part hoarding, human-skin-mask crafting, etc. — as yet undiscovered. Hitchcock, portrayed by the guy who also played the Gein-inspired Hannibal Lecter, steps into the frame with that familiar droll greeting: “Guhhd eevvveeeening.” And we’re off, following the veteran director as he muses “What if somebody really good made a horror picture?” Though his wife and collaborator, Alma (Helen Mirren), cautions him against doing something simply because everyone tells him not to, he plows ahead; the filmmaking scenes are peppered with behind-the-scenes moments detailed in Stephen Rebello’s Alfred Hitchcock and the Making of Psycho, the source material for John J. McLaughlin’s script. But as the film’s tagline — “Behind every Psycho is a great woman” — suggests, the relationship between Alma and Hitch is, stubbornly, Hitchcock‘s main focus. While Mirren is effective (and I’m all for seeing a lady who works hard behind the scenes get recognition), the Hitch-at-home subplot exists only to shoehorn more conflict into a tale that’s got plenty already. Elsewhere, however, Hitchcock director Sacha Gervasi — making his narrative debut after hit 2008 doc Anvil: The Story of Anvil — shows stylistic flair, working Hitchcock references into the mise-en-scène. (1:32) California, Embarcadero, Metreon, Piedmont, Sundance Kabuki. (Eddy)

The Hobbit: An Unexpected Journey Make no mistake: the Lord of the Rings trilogy represented an incredible filmmaking achievement, with well-deserved Oscars handed down after the third installment in 2003. If director Peter Jackson wanted to go one more round with J.R.R. Tolkien’s beloved characters for a Hobbit movie, who was gonna stop him? Not so fast. This return to Middle-earth (in 3D this time) represents not one but three films — which would be self-indulgent enough even if part one didn’t unspool at just under three hours, and even if Jackson hadn’t decided to shoot at 48 frames per second. (I can’t even begin to explain what that means from a technical standpoint, but suffice to say there’s a certain amount of cinematic lushness lost when everything is rendered in insanely crystal-clear hi-def.) Journey begins as Bilbo Baggins (a game, funny Martin Freeman) reluctantly joins Gandalf (a weary-seeming Ian McKellan) and a gang of dwarves on their quest to reclaim their stolen homeland and treasure, batting Orcs, goblins, Gollum (Andy Serkis), and other beasties along the way. Fan-pandering happens (with characters like Cate Blanchett’s icy Galadriel popping in to remind you how much you loved LOTR), and the story moves at a brisk enough pace, but Journey never transcends what came before — or in the chronology of the story, what comes after. I’m not quite ready to declare this Jackson’s Phantom Menace (1999), but it’s not an unfair comparison to make, either. (2:50) Balboa, California, Cerrito, Marina, Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy)

Hyde Park on Hudson Weeks after the release of Lincoln, Hyde Park on Hudson arrives with a lighthearted (-ish) take on Franklin D. Roosevelt’s 1939 meeting with King George VI (of stuttering fame) and Queen Elizabeth at FDR’s rural New York estate. Casting Bill Murray as FDR is Hyde Park‘s main attraction, though Olivia Williams makes for a surprisingly effective Eleanor. But the thrust of the film concerns FDR’s relationship with his cousin, Daisy — played by Laura Linney, who’s relegated to a series of dowdy outfits, pouting reaction shots, and far too many voice-overs. The affair has zero heat, and the film is disappointingly shallow — how many times can one be urged to giggle at someone saying “Hot dogs!” in an English accent? — not to mention a waste of a perfectly fine Bill Murray performance. As that sideburned Democrat bellows in Lincoln, “Howwww dare you!” (1:35) Clay, Embarcadero. (Eddy)

Killing Them Softly Lowest-level criminal fuckwits Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are hired to rob a mob gambling den, a task which miraculously they fail to blow. Nevertheless, the repercussions are swift and harsh, as a middleman suit (Richard Jenkins) to the unseen bosses brings in one hitman (Brad Pitt), who brings in another (James Gandolfini) to figure out who the thieves are and administer extreme justice. Based on a 1970s novel by George V. Higgins, this latest collaboration by Pitt and director-scenarist Andrew Dominik would appear superficially to be a surer commercial bet after the box-office failure of their last, 2007’s The Assassination of Jesse James By the Coward Robert Ford — one of the great films of the last decade. But if you’re looking for action thrills or even Guy Ritchie-style swaggering mantalk (though there is some of that), you’ll be disappointed to find Killing more in the abstracted crime drama arena of Drive (2011) or The American (2010), landing somewhere between the riveting former and the arid latter. This meticulously crafted tale is never less than compelling in imaginative direction and expert performance, but it still carries a certain unshakable air of so-what. Some may be turned off by just how vividly unpleasant Mendelsohn’s junkie and Gandolfini’s alchie are. Others will shrug at the wisdom of re-setting this story in the fall of 2008, with financial-infrastructure collapse and the hollow promise of President-elect Obama’s “Change” providing ironical background noise. It’s all a little too little, too soon. (1:37) Elmwood, Metreon, 1000 Van Ness. (Harvey)

A Late Quartet Philip Seymour Hoffman is fed up playing second fiddle — literally. He stars in this grown-up soap opera about the internal dramas of a world-class string quartet. While the group is preparing for its 25th season, the eldest member (Christopher Walken) is diagnosed with early stage Parkinson’s. As he’s the base note in the quartet, his retirement challenges the group’s future, not just his own. Hoffman’s second violinist sees the transition as an opportunity to challenge the first violin (Mark Ivanir) for an occasional Alpha role. When his wife, the quartet’s viola player (Catherine Keener), disagrees, it’s a slight (“You think I’m not good enough?”) and a betrayal because prior to their marriage, viola and first violin would “duet” if you get my meaning. This becomes a grody aside when Hoffman and Keener’s violin prodigy daughter (Imogen Poots) falls for her mother’s old beau and Hoffman challenges their marriage with a flamenco dancer. These quiet people finds ways to use some loud instruments (a flamenco dancer, really?) and the music as well as the views of Manhattan create a deeply settled feeling of comfort in the cold —insulation can be a dangerous thing. When we see (real world) cellist Nina Lee play, and her full body interacts with a drama as big as vaudeville, we see what tension was left out of the playing and forced into the incestuous “family” conflicts. In A Late Quartet, pleasures are great and atmosphere, heavy. You couldn’t find a better advertisement for this symphonic season; I wanted to buy tickets immediately. And also vowed to stay away from musicians. (1:45) Albany, Smith Rafael. (Vizcarrondo)

Life of Pi Several filmmakers including Alfonso Cuarón, Jean-Pierre Jeunet, and M. Night Shyamalan had a crack at Yann Martel’s “unfilmable” novel over the last decade, without success. That turns out to have been a very good thing, since Ang Lee and scenarist David Magee have made probably the best movie possible from the material — arguably even an improvement on it. Framed as the adult protagonist’s (Irrfan Khan) lengthy reminiscence to an interested writer (Rafe Spall) it chronicles his youthful experience accompanying his family and animals from their just shuttered zoo on a cargo ship voyage from India to Canada. But a storm capsizes the vessel, stranding teenaged Pi (Suraj Sharma) on a lifeboat with a mini menagerie — albeit one swiftly reduced by the food chain in action to one Richard Parker, a whimsically named Bengal tiger. This uneasy forced cohabitation between Hindu vegetarian and instinctual carnivore is an object lesson in survival as well as a fable about the existence of God, among other things. Shot in 3D, the movie has plenty of enchanted, original imagery, though its outstanding technical accomplishment may lie more in the application of CGI (rather than stereoscopic photography) to something reasonably intelligent for a change. First-time actor Sharma is a natural, while his costar gives the most remarkable performance by a wild animal this side of Joaquin Phoenix in The Master. It’s not a perfect film, but it’s a charmed, lovely experience. (2:00) Balboa, 1000 Van Ness, SF Center, Sundance Kabuki. (Harvey)

Lincoln Distinguished subject matter and an A+ production team (Steven Spielberg directing, Daniel Day-Lewis starring, Tony Kushner adapting Doris Kearns Goodwin, John Williams scoring every emotion juuust so) mean Lincoln delivers about what you’d expect: a compelling (if verbose), emotionally resonant (and somehow suspenseful) dramatization of President Lincoln’s push to get the 13th amendment passed before the start of his second term. America’s neck-deep in the Civil War, and Congress, though now without Southern representation, is profoundly divided on the issue of abolition. Spielberg recreates 1865 Washington as a vibrant, exciting place, albeit one filled with so many recognizable stars it’s almost distracting wondering who’ll pop up in the next scene: Jared Harris as Ulysses S. Grant! Joseph Gordon-Levitt as Robert Lincoln! Lena Dunham’s shirtless boyfriend on Girls (Adam Driver) as a soldier! Most notable among the huge cast are John Hawkes, Tim Blake Nelson, and a daffy James Spader as a trio of lobbyists; Sally Field as the troubled First Lady; and likely Oscar contenders Tommy Lee Jones (as winningly cranky Rep. Thaddeus Stevens) and Day-Lewis, who does a reliably great job of disappearing into his iconic role. (2:30) Cerrito, 1000 Van Ness, Presidio, SF Center, Shattuck, Sundance Kabuki. (Eddy)

The Master Paul Thomas Anderson’s much-hyped likely Best Picture contender lives up: it’s easily the best film of 2012 so far. Philip Seymour Hoffman stars as Lancaster Dodd, the L. Ron Hubbard-ish head of a Scientology-esque movement. “The Cause” attracts Freddie Quell (Joaquin Phoenix, in a welcome return from the faux-deep end), less for its pseudo-religious psychobabble and bizarre personal-growth exercises, and more because it supplies the aimless, alcoholic veteran — a drifter in every sense of the word — with a sense of community he yearns for, yet resists submitting to. As with There Will Be Blood (2007), Anderson focuses on the tension between the two main characters: an older, established figure and his upstart challenger. But there’s less cut-and-dried antagonism here; while their relationship is complex, and it does lead to dark, troubled places, there are also moments of levity and weird hilarity — which might have something to do with Freddie’s paint-thinner moonshine. (2:17) Elmwood. (Eddy)

The Matchmaker In 2006, amid ongoing conflict with Lebanon, an Israeli novelist learns he’s received an unexpected inheritance from a man he knew in 1968, the summer before he turned 16. Most of Avi Nesher’s The Matchmaker takes place during those golden months in Haifa, when young Arik (Tuval Shafir) — lover of Dashiell Hammett, son of Holocaust survivors — takes a job working for a charismatic but vaguely shady matchmaker (comedian Adir Miller, who won the Israeli equivalent of a Best Actor Oscar), following potential clients to assure their quest for love is on the level. His exciting new gig whisks the budding writer out of middle-class monotony and introduces him to a wealth of colorful “Low Rent district” types; he also nurses a raging crush on his best friend’s free-spirited American cousin. Mostly a gently nostalgic tale, The Matchmaker also offers an unusual take on the Holocaust, viewing it from two decades later and using its looming memory to shape the characters who experienced it firsthand — as well as members of the younger generation, like Arik, who pages through The House of Dolls to learn more, even as he refers to the concentration camp where his father was held as simply “there.” (1:52) Opera Plaza, Shattuck. (Eddy)

The Perks of Being a Wallflower Move over, Diary of a Wimpy Kid series — there’s a new shrinking-violet social outcast in town. These days, life might not suck quite so hard for 90-pound weaklings in every age category, what with so many films and TV shows exposing, and sometimes even celebrating, the many miseries of childhood and adolescence for all to see. In this case, Perks author Stephen Chbosky takes on the directorial duties — both a good and bad thing, much like the teen years. Smart, shy Charlie is starting high school with a host of issues: he’s painfully awkward and very alone in the brutal throng, his only friend just committed suicide, and his only simpatico family member was killed in a car accident. Charlie’s English teacher Mr. Andersen (Paul Rudd) appears to be his only connection, until the freshman strikes up a conversation with feline, charismatic, shop-class jester Patrick (Ezra Miller) and his magnetic, music- and fun-loving stepsister Sam (Emma Watson). Who needs the popular kids? The witty duo head up their gang of coolly uncool outcasts their own, the Wallflowers (not to be confused with the deeply uncool Jakob Dylan combo), and with them, Charlie appears to have found his tribe. Only a few small secrets put a damper on matters: Patrick happens to be gay and involved with football player Brad (Johnny Simmons), who’s saddled with a violently conservative father, and Charlie is in love with the already-hooked-up Sam and is frightened that his fragile equilibrium will be destroyed when his new besties graduate and slip out of his life. Displaying empathy and a devotion to emotional truth, Chbosky takes good care of his characters, preserving the complexity and ungainly quirks of their not-so-cartoonish suburbia, though his limitations as a director come to the fore in the murkiness and choppily handled climax that reveals how damaged Charlie truly is. (1:43) Bridge, Shattuck. (Chun)

Playing For Keeps Not a keeper: the marketing imagery that makes Gerard Butler look like an insufferable creep with bad hair. Dennis Quaid, seen in a small pic toward the base of the Playing For Keeps poster, gets that thankless role instead in this family-oriented rom-com, which is better than some while still being capable of eliciting very audible yawns from an audience supposedly primed for cutesy hijinks. Butler is George Dryer, a onetime pro soccer star now on the decline yet desperately seeking his next opening — a career as a sportscaster. To get there he has to run a networking gauntlet called coaching children’s soccer, which he gets roped into by ex Stacie (Jessica Biel) and spawn Lewis (Noah Lomax). The ankle biters are the least of his problems: more challenging are hot ‘n’ horny soccer moms like TV sports vet Denise (Catherine Zeta-Jones), cry-face Barn (Judy Greer), and desperate trophy housewife Patti (Uma Thurman), who’s saddled with all-American a-hole Carl (Dennis Quaid). The charisma-oozing George has to practically fight them off, while somehow shooting for that family-first goal. With its sex farce tendencies, rom-com DNA, and vaguely sour attitude toward hard-up moms, hot or not, I’m not sure who Playing For Keeps is really making a play for — perhaps married ladies looking for date-night possibilities and some shirtless Butler action? Projecting believability even under the most plausibility-taxing circumstances, Butler manages, as always, to be the best thing in the movie, though it seems like less of an achievement when his projects tend toward mediocrity. (1:46) Metreon, 1000 Van Ness, Shattuck. (Chun)

Red Dawn A remake of a 1984 movie that seemed a pretty nutty ideological throwback even during the Reagan Era’s revived Cold War air conditioning, Red Dawn should have come out a couple years ago, having been shot late 2009. But in the meantime MGM was undergoing yet another seismic financial rupture, and as the film sat around for lack of the means needed for distribution and marketing, it occurred that perhaps it already had a fatal, internal flaw. You see, this update re-cast our invaders from Russkies to People’s Republicans, tapping into the modern fear of China as debtor and international bully. But: China is also a huge fledgling market for Hollywood product. So a tortured makeover of the remake ensued; scenes were added, re-shot, and digitally altered to impose a drastic narrative change. The new villain is absurd it gets acknowledged as such by dialogue: “North Korea? It doesn’t make any sense!” Yup, in the new Red Dawn a coastal Washington state burg is the first attack point in a wholesale invasion of the U.S. (pop. 315 million) by the Democratic People’s Republic (pop. 25 million). It’s football season, so a Spokane suburb’s team — Wolverines!! — lends its name as battle cry and its revved up healthy young flesh as guerilla martyrs to the fight for, ohm yeah, freedom. Do they drink beer? Do they rescue cheerleader girlfriends from concentration camps? Do they kick North Korean ass? Do you really need to ask? (1:34) Metreon. (Harvey)

Rise of the Guardians There’s nothing so camp as “Heat Miser” from The Year Without a Santa Claus (1974) in Rise of the Guardians,, but there’s plenty here to charm all ages. The mystery at its center: we open on Jack Frost (voiced by Chris Pine) being born, pulled from the depths of a frozen pond by the Man on the Moon and destined to spread ice and cold everywhere he goes, invisible to all living creatures. It’s an individualistic yet lonely lot for Jack, who’s styled as an impish snowboarder in a hoodie and armed with an icy scepter, until the Guardians — spirits like North/Santa Claus (Alec Baldwin), the Tooth Fairy (Isla Fisher), and the Easter Bunny (Hugh Jackman) — call on him to join them. Pitch the Boogeyman (Jude Law) is threatening to snuff out all children’s hopes and dreams with fears and nightmares, and it’s up to the Guardians must keep belief in magic alive. But what’s in it for Jack, except the most important thing: namely who is he and what is his origin story? Director Peter Ramsey keeps those fragile dreams aloft with scenes awash with motion and animation that evokes the chubby figures and cozy warm tones of ’70s European storybooks. And though Pine verges on blandness with his vocal performance, Baldwin, Jackman, and Fisher winningly deliver the jokes. (1:38) Metreon, 1000 Van Ness. (Chun)

A Royal Affair At age 15 in 1766, British princess Caroline (Alicia Vikander) travels abroad to a new life — as queen to the new ruler of Denmark, her cousin. Attractive and accomplished, she is judged a great success by everyone but her husband. King Christian (Mikkel Boe Følsgaard) is just a teenager himself, albeit one whose mental illness makes him behave alternately like a debauched libertine, a rude two year-old, a sulky-rebellious adolescent, and a plain old abusive spouse. Once her principal official duty is fulfilled — bearing a male heir — the two do their best to avoid each other. But on a tour of Europe Christian meets German doctor Johann Friedrich Struenesse (Mads Mikkelsen), a true man of the Enlightenment who not only has advanced notions about calming the monarch’s “eccentricities,” but proves a tolerant and agreeable royal companion. Lured back to Denmark as the King’s personal physician, he soon infects the cultured Queen with the fervor of his progressive ideas, while the two find themselves mutually attracted on less intellectual levels as well. When they start manipulating their unstable but malleable ruler to push much-needed public reforms through in the still basically feudal nation, they begin acquiring powerful enemies. This very handsome-looking history lesson highlights a chapter relatively little-known here, and finds in it an interesting juncture in the eternal battle between masters and servants, the piously self-interested and the secular humanists. At the same time, Nikolaj Arcel’s impressively mounted and acted film is also somewhat pedestrian and overlong. It’s a quality costume drama, but not a great one. (2:17) Opera Plaza, Smith Rafael. (Harvey)

Searching for Sugar Man The tale of the lost, and increasingly found, artist known as Rodriguez seems to have it all: the mystery and drama of myth, beginning with the singer-songwriter’s stunning 1970 debut, Cold Fact, a neglected folk rock-psychedelic masterwork. (The record never sold in the states, but somehow became a beloved, canonical LP in South Africa.) The story goes on to parse the cold, hard facts of vanished hopes and unpaid royalties, all too familiar in pop tragedies. In Searching for Sugar Man, Swedish documentarian Malik Bendjelloul lays out the ballad of Rodriguez as a rock’n’roll detective story, with two South African music lovers in hot pursuit of the elusive musician — long-rumored to have died onstage by either self-immolation or gunshot, and whose music spoke to a generation of white activists struggling to overturn apartheid. By the time Rodriguez himself enters the narrative, the film has taken on a fairy-tale trajectory; the end result speaks volumes about the power and longevity of great songwriting. (1:25) Elmwood. (Chun)

The Sessions Polio has long since paralyzed the body of Berkeley poet Mark O’Brien (John Hawkes) from the neck down. Of course his mind is free to roam — but it often roams south of the personal equator, where he hasn’t had the same opportunities as able-bodied people. Thus he enlists the services of Cheryl (Helen Hunt), a professional sex surrogate, to lose his virginity at last. Based on the real-life figures’ experiences, this drama by Australian polio survivor Ben Lewin was a big hit at Sundance this year (then titled The Surrogate), and it’s not hard to see why: this is one of those rare inspirational feel-good stories that doesn’t pander and earns its tears with honest emotional toil. Hawkes is always arresting, but Hunt hasn’t been this good in a long time, and William H. Macy is pure pleasure as a sympathetic priest put in numerous awkward positions with the Lord by Mark’s very down-to-earth questions and confessions. (1:35) Elmwood, Four Star, Opera Plaza. (Harvey)

Silver Linings Playbook After guiding two actors to Best Supporting Oscars in 2010’s The Fighter, director David O. Russell returns (adapting his script from Matthew Quick’s novel) with another darkly comedic film about a complicated family that will probably earn some gold of its own. Though he’s obviously not ready to face the outside world, Pat (Bradley Cooper) checks out of the state institution he’s been court-ordered to spend eight months in after displaying some serious anger-management issues. He moves home with his football-obsessed father (Robert De Niro) and worrywart mother (Jacki Weaver of 2010’s Animal Kingdom), where he plunges into a plan to win back his estranged wife. Cooper plays Pat as a man vibrating with troubled energy — always in danger of flying into a rage, even as he pursues his forced-upbeat “silver linings” philosophy. But the movie belongs to Jennifer Lawrence, who proves the chops she showcased (pre-Hunger Games megafame) in 2010’s Winter’s Bone were no fluke. As the damaged-but-determined Tiffany, she’s the left-field element that jolts Pat out of his crazytown funk; she’s also the only reason Playbook‘s dance-competition subplot doesn’t feel eye-rollingly clichéd. The film’s not perfect, but Lawrence’s layered performance — emotional, demanding, bitchy, tough-yet-secretly-tender — damn near is. (2:01) Piedmont, Presidio, SF Center, Shattuck. (Eddy)

Sister Twelve-year-old Simon (Kacey Mottet Klein) looks like any other kid vacationing with a family on the slopes of a Swiss ski resort. That’s a big plus, because he’s not one of them — he’s a local living “downhill” in an anonymous high-rise apartment block, sustaining himself and his pretty but irresponsible older sister Louise (Léa Seydoux) by stealing expensive sports equipment and clothes from the oblivious guests. He has no guilt about what he does, but then why should he? Those people are rich, he’s not, and sis’ short attention span toward jobs and boyfriends isn’t going to pay the rent. Ursula Meier’s French-language second feature isn’t heavily plot-driven, though it doesn’t feel like a second is wasted. The casual, somewhat furtive relationships that develop between Simon and stray adults who glean enough to worry about him — a seasonal restaurant worker (Martin Compston), a maternal resort guest (Gillian Anderson), Louise’s better-than-usual new beau (Yann Tregouet) — come and go but are toeholds on stability for him. It’s the contrast between Simon’s aggressively take-charge premature adulthood and his unaddressed needs as a child that ultimately make Sister rather devastating. It’s been aptly compared to the Dardenne Brothers’ similar dramas, but Meier lets her film’s heart beat a little more in open empathy with its protagonist while aping those Belgians’ brisk surface objectivity. (1:37) Elmwood. (Harvey)

Skyfall Top marks to Adele, who delivers a magnificent title song to cap off Skyfall‘s thrilling pre-credits chase scene. Unfortunate, then, that the film that follows squanders its initial promise. After a bomb attack on MI6, the clock is running out for Bond (Daniel Craig) and M (Judi Dench), accused of Cold War irrelevancy in a 21st century full of malevolent, stateless computer hackers. The audience, too, will yearn for a return to simpler times; dialogue about “firewalls” and “obfuscated code” never fails to sound faintly ridiculous, despite the efforts Ben Whishaw as the youthful new head of Q branch. Javier Bardem is creative and creepy as keyboard-tapping villain Raoul Silva, but would have done better with a megalomaniac scheme to take over the world. Instead, a small-potatoes revenge plot limps to a dull conclusion in the middle of nowhere. Skyfall never decides whether it prefers action, bons mots, and in-jokes to ponderous mythologizing and ripped-from-the-headlines speechifying — the result is a unsatisfying, uneven mixture. (2:23) Metreon, 1000 Van Ness, Shattuck, Sundance Kabuki. (Ben Richardson)

The Twilight Saga: Breaking Dawn – Part 2 The final installment of the Twilight franchise picks up shortly after the medical-emergency vampirization of last year’s Breaking Dawn – Part 1, giving newly undead Bella Swan (Kristen Stewart) just enough time to freshen up after nearly being torn asunder during labor by her hybrid spawn, Renesmee. In a just world, Bella and soul mate Edward Cullen (Robert Pattinson) would get more of a honeymoon period, given how badly Part 1‘s actual honeymoon turned out. Alas, there’s just enough time for some soft-focus vampire-on-vampire action (a letdown after all the talk of rowdy undead sex), some catamount hunting, some werewolf posturing, a reunion with Jacob (Taylor Lautner), and a few seconds of Cullen family bonding, and then those creepy Volturi are back, convinced that the Cullens have committed a vampire capital crime and ready to exact penance. Director Bill Condon (1998’s Gods and Monsters, 2004’s Kinsey) knows what the Twi-hards want and methodically doles it out, but the overall effect is less sweeping action and shivery romance and more “I have bugs crawling on me — and yet I’m bored.” Some of that isn’t his fault — he bears no responsibility for naming Renesmee, for instance, to say nothing of a January-May subplot that we’re asked to wrap our brains around. But the film maintains such a loose emotional grip, shifting clumsily and robotically from comic interludes to unintentionally comic interludes to soaring-music love scenes to attempted pathos to a snowy battlefield where the only moment of any dramatic value occurs. Weighed down by the responsibility of bringing The Twilight Saga to a close, it limps weakly to its anticlimax, leaving one almost — but not quite — wishing for one more installment, a chance for a more stirring farewell. (1:55) Metreon, 1000 Van Ness. (Rapoport)

Wreck-It Ralph Wreck-It Ralph cribs directly from the Toy Story series: when the lights go off in the arcade, video game characters gather to eat, drink, and endure existential crises. John C. Reilly is likable and idiosyncratic as Ralph, the hulking, ham-fisted villain of a game called Fix-It-Felix. Fed up with being the bad guy, Ralph sneaks into gritty combat sim Hero’s Duty under the nose of Sergeant Calhoun (Jane Lynch), a blond space marine who mixes Mass Effect‘s Commander Shepard with a PG-rated R. Lee Ermey. Things go quickly awry, and soon Ralph is marooned in cart-racing candyland Sugar Rush, helping Vanellope Von Schweetz (a manic Sarah Silverman), with Calhoun and opposite number Felix (Jack McBrayer) hot on his heels. Though often aggressively childish, the humor will amuse kids, parents, and occasionally gamers, and the Disney-approved message about acceptance is moving without being maudlin. The animation, limber enough to portray 30 years of changing video game graphics, deserves special praise. (1:34) Metreon, 1000 Van Ness, Shattuck. (Ben Richardson)

 

Dick Meister: Home care workers need presidential help

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By Dick Meister

Bay Guardian columnist Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

The country’s 2½ million home care workers have been waiting a whole year now for President Obama to make good on his promise to grant them the federal minimum wage and overtime pay protections they so badly need.

The need for immediate presidential action was made abundantly clear in a letter to the White House on Dec. 13 that was released by the National Employment Law Project – NELP, as it’s called. The signers include people who are receiving home care, those who employ them and those who provide the care.

NELP’s figures show that the average national wage of home care workers, including those working at for-profit home care agencies, is $9.40 an hour. Which means that one in five caregivers live at or below the poverty level, even in the 21 states with minimum wage and overtime laws that cover them.

In almost three-dozen states, the average pay is so low the workers qualify for public assistance. And that, of course, seriously harms the workers and adds to the serious financial burdens of the states that provide the assistance.

Unless the president acts, the situation is only going to get worse, with home care jobs expected to increase by well over a million by the year 2020 as the country’s population ages. As NELP says, the home care industry is already one of the fastest growing industries in the country.

Over the next two decades, the population of Americans over 65 will increase to more than 70 million. And the Department of Health and Human Services estimates that by 2050, there will be 27 million Americans needing direct home care.

NELP’s director, Christine Owens, notes that “many families rely on home care workers to get our grandparents out of bed in the morning and insure that our neighbors with disabilities live as independently as possible.”

As Owens says, extending the federal minimum wage and overtime protections to the workers would be a first important step to improving quality within the home care industry. She notes that the reforms “will be perfectly manageable for the industry and will be good for both consumers and workers.”

And, Owens adds, “It’s the right thing to do.”

Bay Guardian columnist Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

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