Kids

More meaner, more cleaner

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› a&eletters@sfbg.com

"We’re not elitists," asserts Nick Catchdubs, co-founder of Brooklyn dance label Fool’s Gold. In a conference call with business partner A-Trak, he describes Fool’s Gold fans as a sea of hip-hop dudes, skinny-jeans-electro kids, super DJ nerds and Urban Outfitters girls. "The tempos and the beats-per-minute are the only governing factor," adds A-Trak.

You could say that Fool’s Gold is fomenting a cultural moment. After years of dismissing it as cheesy and "gay," rap fans have finally, tentatively, learned to accept dance music. Kanye West landed a number one hit with "Stronger" by remixing Daft Punk’s 2001 "Harder, Better, Faster, Stronger." A-Trak, the other co-founder of Fool’s Gold, is Kanye’s tour DJ. And Washington, DC rapper Wale drove the Internet nuts with his remix of Justice’s "D.A.N.C.E." Catchdubs mixed 100 Miles and Running, the Wale mixtape which featured that viral hit.

Fool’s Gold works with many of the era’s players: Kid Sister, who scored the label’s first successes with clever pop-raps "Damn Girl" and "Pro Nails" (and is A-Trak’s girlfriend); Trackademicks, the Yay Area electro-funk producer-rapper who celebrated the release of the single "Enjoy What You Do" at SF nightspot Vessel last month; and Treasure Fingers, the Atlanta DJ who scored a disco-house smash last year with "Cross The Dancefloor." Its biggest hit to date, though, has been Kid Cudi’s "Day ‘N’ Nite," a lonely-stoner gem that mixes Cudi’s off-key harmonizing against winsome electro melancholy. A-Trak doesn’t have exact figures, but he places digital sales at around 100,000, which he rightly describes as "cool for an indie like us."

Kid Cudi was the first Fool’s Gold artist to win over difficult-to-please hip-hop blogs, which sometimes ridiculed Kid Sister as too fluffy and trendy (perhaps in part because she’s a woman). During Kid Sister’s run of singles in 2007, which eventually landed her a major label deal with Downtown Records, skeptics didn’t know what to make of her or Fool’s Gold — was she some kind of hipster rapper, and was Fool’s Gold just a goofy imprint for fashion-challenged scenesters?

"When we first started the label, we would do all these weird interviews, like, ‘Talk about the hipster rap movement.’ Just bizarre interviews where people would talk about your jeans and sneakers and shit," says A-Trak. "One year later, we hardly ever get those questions. It takes a minute for stuff to assimilate. I think people know that some stuff is trendy and is going to float away like all trends do. But a lot of times it’s just culture at work: ideas coming out and getting assimilated, and then people move on to the next shit."

Fool’s Gold’s greatest ambassador may be A-Trak. A DJ star since the age of 15, when he shocked the then-thriving turntablist world by winning the 1997 DMC World Championships, A-Trak has grown into an influential artist. In the next two months he’ll release DJ mixes for two reputed dance labels, Thrive (Infinity +1, due March 31) and Fabric (Fabriclive.31, set for May 5). His transition from scratch-happy hip-hop head to genre-blurring tastemaker is one that Fool’s Gold might follow.

"The whole aesthetic of Fool’s Gold is based on what Nick and I play in our DJ sets," says A-Trak. "What we put out is really varied, but it all kind of makes sense."

A-TRAK

with Trackademics, Vin Sol

Sat/21, 9pm, $13

Paradise Lounge

1501 Folsom St, SF

www.paradisesf.com

West ghost

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› johnny@sfbg.com

This land isn’t your land, or my land, and it wasn’t made for you and me — such is the insightful and incite-full impression one gets from California Company Town, Lee Anne Schmitt’s beautifully photographed, concisely narrated, and ominously structured look at the Golden State and the state of capitalism. Sneak previewing at Other Cinema for one night before it screens in full 16mm glory at the upcoming San Francisco International Film Festival, Schmitt’s labor of love, shot between 2003 and 2008, is a provocative piece of American history. On a semi-buried level, it’s also an extraordinary act of personal filmmaking that subverts various stereotypes of first-person storytelling by women while simultaneously learning from and breaking away from some esteemed directors of the essay film.

Categorically speaking, Schmitt’s left-leaning survey of the American landscape belongs next to recent cinematic people’s histories such as Travis Wilkerson’s An Injury to One (2002) and John Gianvito’s Profit Motive and the Whispering Wind (2007). Her dedicated photographer’s eye for still-life truths of American sightseeing is influenced by Cal Arts filmmaking elder James Benning, while her carefully selective use of archival audio — in particular, radio — makes California Company Town an understated female answer to the gay reading of homophobia in Ohio within William E. Jones’s too-obscure classic of new queer cinema, Massillon (1991).

One by one, California Company Town investigates this state’s ghost towns — doom-laden boomtowns of the past where today, at best, bedazzled modern day cowboys and cowgirls reside and line dance for tourists. Surveying forgotten landscapes that verge on post-human, Schmitt has an eye for signs of the times, whether they be literal ("USA WILL PREVAIL" on a theater’s marquee in Westwood; "Stay out" spray-painted over a "Prayer Changes Things" billboard in Trona) or figurative: spider webs of broken glass; a tree falling through the roof of a house; punk rock kids skateboarding near factory ruins. She pairs these sights with the sounds of speeches by FDR, Eldridge Cleaver, Cesar Chavez, Ronald Reagan, radio testimonials, and — most contentiously — her deceptively flat voice-over, which renders each titular site as a place that looks like a dead end yet has roiling life beneath its stingy, abandoned surface.

California Company Town is a one-woman road movie. A lonely film, but also an act of strong resolve built to last — and, in its original filmic form, slowly decay. Over and over, from Chester to Scotia through to McCloud and even Richmond, Schmitt traces the varied yet similar ways in which private interests crush community and exploit natural resources. In the process, she reveals the ultimate forfeiting of American pride of ownership. Grim stuff, yet presented in a manner that ultimately flouts the dry speechifying of academia, doctrinaire ideologues, and public television pablum-pushers. Schmitt concludes her film with a mute final gesture designed to start arguments.

CALIFORNIA COMPANY TOWN

Sat/21, 8:30 p.m.; $6

Other Cinema at Artists’ Television Access

992 Valencia, SF

(415) 824-3890

www.othercinema.com

CALIFORNIA COMPANY TOWN is also screening April 30, May 2, and May 4 at various venues as part of the Golden Gate Awards Competition in the 52nd San Francisco International Film Festival. www.sffs.org>.

The rise and fall of a Polk Street hustler

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› news@sfbg.com

Last June, a small group of costumed 20-something activists from Gay Shame — wielding saxophones, loudspeakers booming electronica, and bullhorns — held a "séance" on Polk Street to "summon the ghosts of Polk Street’s past."

They performed in front of the recently constructed First Congregational Church — what they call "ground zero" for Polk Street gentrification — built over the remains of what they characterize as a gay hustler bar pushed out of the area by Lower Polk Neighbors (LPN), an organization not coincidentally holding its monthly meeting just a few feet beyond the window during the ear-splitting performance.

It was one of many ongoing clashes as new condos, upscale businesses, and trendy "metrosexual" bars replace Polk Street’s SRO apartment buildings, shuttered businesses, and hardscrabble hustler bars.

Protesters blamed the transition on LPN, a "pro-gentrification attack squad" working to transform the city’s "last remaining public gathering place for marginalized queers." New business and neighborhood associations counter that they are only working to beautify, make safer, and "revitalize" the area — a benefit to everyone, including the street’s marginal residents.

But what has been lost in the noise of this high profile, ongoing clash are the stories, needs, and wishes of the very people purportedly at the center of this conflict: the "marginal queers" and the homeless.

I conducted interviews with more than 60 people during the past year, including sex workers, merchants, the homeless, and social service providers — thanks to a grant from the California Council for the Humanities and the sponsorship of the GLBT Historical Society. And I learned that changes on Polk Street stem from a collapse of the area’s community-based economic and social safety nets in the 1990s, combined with the absence of a viable alternative from the city, the neighborhood, or an increasingly affluent gay political establishment.

That trend is illustrated by the story of one such "marginal queer," known on the street as "Corey Longseeker." In a changing neighborhood divided by distrust and tension, it seems that even people from opposing viewpoints are united in their familiarity with a story that has become the stuff of legend: the most beautiful, most successful boy on Polk Street who became the saddest, poorest homeless man in the neighborhood.

Now, during a time of recession and drastic budget cuts to mental health, drug abuse, and HIV-related services, Corey’s story traces the neighborhood’s history and its present challenges.

THEN AND NOW


Corey, now 39, is a constant presence in the neighborhood. He’s always alone when I see him, sometimes sitting on the sidewalk, his head of long stringy hair in his lap, rocking back and forth slightly. Or walking up and down the alleyways, sometimes stooping over and making cupping motions with his arms — picking up imaginary children, I’m later told. Or walking slowly, alone, near City Hall, his arms straight by his side, his body hunched.

"I came to San Francisco because I wanted to be an artist," he told me. He speaks slowly, softly, laboring, with long pauses. "When I first got here, there were a lot more people. We used to play guitars and drink beers or smoke a joint and just hang out and stay out of trouble."

He was diagnosed with schizophrenia, compounded by years of methamphetamine use and complications related from AIDS — a triple diagnosis that is unusually common among homeless people on Polk Street. Corey’s flashes of clarity alternate with moments in which memories blend into different times and places, and seemingly into dreams and fantasy: "I’ve been trying to protect my little self and my little brother and I’m about 500 homicides behind and I don’t know how to bump and grind to pick up the little morsels and the pieces of the people I liked and loved the way I used to know how to." He paused. "So I just keep on."

Dan Diez, now the co-chair of LPN, believes that homeless on the street such as Corey are negatively affecting businesses and residents who "should not have to put up with people sleeping in their doorways." He even talks of moving the homeless to facilities on Treasure Island as one solution. "I think it’s one of the reasons why these condos that have gone up have not been filled."

Corey and Diez may seem to have little in common, but they maintained a close relationship with each other for more than a decade, and Diez felt so close to him that he characterized himself as part of Corey’s "surrogate family."

It was 19 years ago that Diez first laid eyes on Corey, then a fresh-faced 19-year-old who had just moved to San Francisco. Diez, then a city government employee living in the East Bay, was sitting in the Q.T. II, Polk Street’s premier hustler bar — on the very plot of land where protesters later clashed with the LPN meeting.

Corey "wasn’t what I expected someone like a hustler to look like," Diez said. "I cannot tell you, this kid had movie star written all over him. He was extremely clean and very attractive and he just looked like somebody who walked out one of these suburban towns."

Dan befriended Corey, taking him to Burger King, listening to rock music in his car while Corey drew and writing poetry. Dan slipped him $20 bills and took him to movies. With time, he also brought him to the spas to clean Corey up, took care of his laundry, and bought him clean underwear and food.

"A lot of the kids on the street were hustling," Diez said, "but I did not pick up at that time. Corey was the only person I was really interested [in] ‘cuz he was something different. He was a person with a creative bent, which I really admired."

Diez says their relationship was not sexual, though he did enjoy being physically close with Corey. "He was someone I liked being around. It was just really a nice relationship."

In a letter Corey wrote in the late 1990s, he calls Dan one of his "sponcers" [sic], along with another man Diez said is a "multi-multimillionaire" and "very well known in San Francisco." This man bought Corey a car and provided him with plenty of cash and drugs as one of his clients. In Corey’s letter, he says the man "made me into a liveing legand [sic] at the age of twenty two years old by letting me have enough money." Corey listed as his "Boss" a bartender at the Q.T., widely known for facilitating hookups between johns and hustlers, and spoken of warmly by many as being a "big mama" to kids on the street.

By this time, many of the buildings that had held thriving businesses in the ’70s and ’80s were shuttered, leaving sex work and drug sales as a few of the street’s dominant economies. People such as Corey, widely considered to be the most beautiful and lucrative sex worker at the time, were Polk Street’s economic engines.

In fact, Q.T. manager Marv Warren was president of the merchant’s association in the 1990s. The sex trade turned profits on the streets and in the bars. "Most of us didn’t like the idea of these kids hanging out because it didn’t look good," Steve Cornell, owner of Brownies Hardware, recalled. "[But] if there are male prostitutes out there and there are businesses that thrive on that, they’re part of the business association too."

THE BOTTOM LINE


The current conflict on Polk Street has been framed as one between profit-hungry business owners and marginalized queers. But on Polk Street, a coveted bloc of city space long zoned as a commercial corridor, the buck has always been the bottom line.

This is not to discount the deeply emotional ties many have to the area, many who reported escaping abusive families and discrimination to find themselves and their first real family in Polk Street. Just the opposite: the history of Polk Street shows that community and commerce were closely linked.

In the early 1960s, gay men bought up failing shops along the street and created posh clothing stores, record shops, and elegant restaurants. Failing bars and taverns cashed in on gay consumer power. The community combined economic and political power to win major gay rights battles.

Most famously, bartenders formed the Tavern Guild in 1962, the nation’s first gay business association, which combined economic self-interest with charitable support for the nascent gay community. According to historian Nan Alamilla Boyd, the Guild "represent[ed] a marketplace activity that, in order to protect itself, evolves into a social movement."

The Imperial Court, part of the Guild’s fundraising arm, elected Empresses who raised funds for people in the community who needed housing, drug treatment, mental health services, or help with their medical bills. In the ’70s and ’80s, the Polk Gulch was a magnet for young people around the country escaping abusive homes and discrimination, and who therefore did not have the educational or employment background to make it on their own in the city.

Anthony Cabello came to Polk Street from a working class family in Fresno as a teenager in the late 1960s, dining as the guest of an older lover at the posh P.S. Lounge. As a student at a nearby college, he formed lifelong relationships with men on the street who took him to fancy hotels, plays, and dinners. "I did not mind the monetary help, but that wasn’t my primary concern," he said. "I was getting exposed to things that normally, I wouldn’t have the ability to do." He toured Europe in a theater troupe, worked a number of jobs on Polk Street, and now manages the neighborhood’s Palo Alto Hotel, which continues to house people living with AIDS and people of meager means.

Coy Ellison found a safe haven in Polk Street as a teenager in 1978. He did under-the-table work at gay businesses through an unofficial job pool at the street’s bars. That allowed him to avoid being caught by the police and sent back to an abusive home. "There were a lot of people doing that at the time," he said. "Let’s say you needed your apartment painted, was there a kid here who knows how to paint and [the bartenders would] send him off." He later climbed the employment ladder through the bars by working as a bouncer, providing support for new young people coming to the area. He now lives a few blocks away with his partner.

Kevin "Kiko" Lobo moved from San Francisco’s Mission District to Polk Gulch in the early 1980s and found work on the street as a sex worker in bars like the Q.T. "Nobody lost because the bar made money, I got a few drinks, and I met clients." He pooled money with his "street family," made up of teenagers escaping abusive homes and discrimination. On the street, "everything was family," Lobo said. "We all looked out for each other. If you didn’t make any money that day it didn’t mean you were going to sleep on the street." Kiko eventually worked his way into the bar business, becoming a bouncer and later a DJ.

COREY’S STORY


Diez learned that Corey grew up in a deeply religious family in a small town in Minnesota. His mother and father worked in factories, and hunted and fished in the countryside. But "something happened in that family," Diez said. "Either he did something really wrong and they could not put up with him, or they did something wrong and he could not put with up with them, or both — I don’t know." Corey never graduated high school, instead leaving Minnesota for San Francisco.

Corey gave Dan clues as to his move in a series of letters he wrote him from jail, where he was sent on a series of drug charges in the late 1990s. He wrote about three "childhood nightmares" that were "true life stories" and "part of my past survived existence."

He wrote of being part of a "bunch of little gay boys" in high school who "were not allowed to live a normal life one on one with their partners, among lost immediate family, and unforgiven [sic], misunderstanding, or nonaccepting [sic] religious traditional old fashioned folks.

"Our very own parents used to laugh and giggle, and be cruel to us. And no matter how gifted each child was, our parents watched us and made harsh comments, and truly not funny jokes, and then forced us by broken pride, trust, and rejection to survive in Satan’s swamp.

"Some parents are not willing to understand the flower children of the nineties," Corey wrote, but now "I am trying to step out of a nightmare and back into a Dream … [to] kickstart the new flower child era" in San Francisco, "like the hippies once did, so will we rise above once again."

A San Francisco State University study published in Pediatrics in January found that LGBT youth who reported higher rates of family rejection were eight times more likely to report having attempted suicide, and more than three times more likely to use illegal drugs and have unprotected sex, compared with their peers who reported lower levels of family rejection.

Those escaping persecution also appear more likely to be runaways or homeless. While approximately 3-10 percent of the U.S. population identifies as lesbian or gay, 30 percent of youth served by San Francisco’s Larkin Street Youth report that they are lesbian, gay, bisexual, transgender, or intersex.

POLK FALLS APART


By the time Corey arrived in 1990, the twin epidemics of AIDS and methamphetamine addiction were wreaking havoc on Polk Street.

Harvard-educated ethnographer Toby Marotta, who worked on several federally funded research projects in the Polk Gulch, said that by the mid-1980s "the whole southern end of Polk Gulch was being transformed because of methamphetamine use."

Speed was the perfect drug for the early days of AIDS, when people were terrified and confused: it produced feelings of euphoria, a sense of invulnerability, focus, and a desire for sex. But while the drug "produced long mind-escapes" for people who used it, Marotta said, it "completely undercut the personal relationships and social obligations essential to functioning community."

Combined with a national recession and a rash of Polk Street business closures, the economic health of the street, and the support systems enabled by it, suffered a tremendous blow. The money, energy, guidance, and options for street youth employment through local bars and businesses were quickly disappearing.

By the late 1970s, the city’s gay political center had moved to the more affluent Castro District. "For those of us that depended on the street to survive, the money was harder and harder and harder to make," Lobo said. "And that’s what [began] the downward spiral. Some very pretty boys have become very ugly people because of the … loss of the great community."

A large homeless shelter moved onto Polk in 1990, along with much of the hardscrabble Tenderloin population. A different kind of john came to the street, and there was less respect for sex workers, leading to more escape through drug use. Ellison left his work at the bars in the 1990s, when the community of bartenders that had kept violent crime in check on the street broke down. Sex workers increasingly started advertising in newspapers, and later on the Internet.

Corey began using the speed that was rampant on the block, quickly becoming addicted. Diez worried that by continuing to give Corey money, which he used for drugs, he was "keeping him where he was at" instead of helping. "I eventually always gave in because I always wanted to see him have something better," Diez said. "I just enjoyed being with him. Even if we weren’t talking and he was just writing, I just liked him being there. He was company."

As Corey began using more speed, his artwork "became wilder and wilder." He started to lose his teeth, and his blonde hair turned brown. "He went down, I would say, fairly fast," Diez recalled. Spas began to refuse to serve him. He would wander into the street to pick up imaginary children, and began to be more difficult to talk with. "He went into a lot of gibberish or psychobabble," Diez recalled. "He started to look almost Charles Manson-like."

James Harris, a Polk Street community member since 1978, met Corey when he came to the city in 1990. Harris left in the mid-’90s, and when he returned in 2001, he barely recognized Corey. "I just could not believe what I was seeing. What was once a strapping, good-looking, young man had been reduced to this homeless, toothless guy. It freaked me out so bad. It took me a little while to get over it."

Harris has no doubt that Corey’s decline was linked to the breakdown of the Polk community. "If Corey came to Polk Street in 1980, he would have a job as bartender maybe, working somewhere, maybe living in the Castro," he said. "No question about it." Many people who now work in Polk Street businesses and social service organizations started as runaways and sex workers on Polk.

"In the ’60s and the ’70s, it was like a big party atmosphere. I, fortunately was taken under several people wings," said Cabello, the Palo Alto Hotel manager. "Now people don’t have the cash flow, ‘cuz economically times have really changed. People who were out partying and being able to take somebody home and help them find a job are basically waiting in line at Social Security and making sure that their housing is together."

INTO THE SYSTEM


Gay bar patronage decreased citywide in the 1980s and 1990s, the result of AIDS-related deaths, a generational shift, and later the rise of the Internet. The Tavern Guild disbanded in 1995, and by the late 1990s, most of the Polk Street bar owners had either died or retired. Most of the remaining gay bars were remade into upscale heterosexual or mixed drinking establishments, serving new residents attracted by low rents during dot.com era.

Lower Polk Neighbors represented this new bloc of business owners. Diez joined LPN in 2001, when he retired and moved to Pacific Heights. They planted trees, cleaned sidewalks, and successfully pressured the city officials to increase the number of police patrols in the area. In one of their most controversial actions, they opposed the relocation of the RendezVous bar, which they blamed for nurturing the street and hustler population.

Corey and people like him, once the street’s economic engine, were now bad for business. After his string of arrests on drug charges in the late 1990s, Corey always came back to Polk Street after being released. In 1997, he was arrested, diagnosed with HIV while in jail, and sent to a psychiatric hospital.

The most recurrent theme in Corey’s letters from this period were finding love and proving to himself that his love was okay. In a poem, he wrote, "God’s gift a soul /it was not shattered, battered, but whole / … My love from within /was not curse … scattered, tattered, or sin/than [sic] I found I did win /see like yang of yin /by forgiving within /my mind and my kin. I’m forgiving their sins."

When the Rev. Megan M. Rohrer, director of the Welcome Ministry, first met him in 2001, Corey was having "loud, yelling conversations" on the sidewalk outside Old First Presbyterian Church, where he often slept at night. "He was having the conversation of the day he came out to her, and his Mom was always trying to tell him why he couldn’t be gay, and why it was a bad thing. He was always trying to have the conversation that that was who he was, and it was how he loved, and he just kept having the conversation over and over and over, trying to have a different result, which never happened."

The organization formed in the late 1990s as a result of complaints about the increasing number of homeless in the area. Rohrer estimates that 98 percent of the homeless who live in the Polk Gulch and come to the Welcome Ministry have been part of the Polk Street sex work industry. Like Corey, they had aged into the general homeless population.

For four years, Rohrer tried unsuccessfully to place Corey in a hospital or get long-term treatment from the city. Ironically, it was the result of increasing neighborhood complaints that he finally found this. "The neighbors were getting really angry and wanted to get rid of the homeless from the area," Rohrer recalls. In 2005, Corey was arrested on drug charges as part of what she characterized as a sting operation.

The breakthrough came when he was arrested and declared mentally unfit to stand trial for the first time since 1997. The court sent him to Napa State Hospital, a secured mental facility where he was required to take medications. "Finally Corey was getting the mental health services he needed," she said.

In the absence of sufficient social services, this has become standard policing practice, according to Al Casciato, who heads San Francisco Police Department’s Northern Station. "We do not have a front end to the criminal justice system in the health arena that allows us to take these people and put them in a secure facility," he told the Guardian.

"What happens is that we wait until they get in trouble in order to put them in jail to get them off the street and then try to get them into services. We should be trying to get them into services first, but we do not have the capacity to accept everybody into services." Even after police convince a person to use services, during the long waits due to the lack of services, sometimes months at a time, "they fall back into their pattern of either drug abuse, or if they have a mental health issue, their depression starts to spin out again."

Corey was at Napa State for nearly a year on medications. "Corey make some really good strides there," Diez said. "He was also at his artistic high points … he built balsawood airplanes that he gave to children." When he was declared competent to stand trial and sent back to San Francisco, "he was like a completely different person," Rohrer recalled. "He was so with it. He was really clear about what he wanted and where he wanted to go."

But Rohrer spent two months navigating the bureaucracy to get Corey the medication he needed, during which he had slid back into schizophrenia and was no longer willing to take his prescriptions. "It was like watching Corey emerge in this beautiful way and then to disappear," Rohrer said. He’s never been back on medication, and his condition has not improved.

Rohrer was able to find him housing in a nearby SRO hotel through the Homeless Outreach Team, instituted in 2004 as part of Care Not Cash — part of a dramatic move indoors for the homeless in the area. It was an improvement from the streets, on which the supportive "street families" had now broken down. But it’s unclear whether Corey is capable of living on his own, or whether the case managers assigned to him are sufficient.

"They weren’t there," Diez says. "Because I was vacuuming his floor, I was cleaning his sink, I was taking his dirty clothes out. As much as I hate to say it, Corey needs to be in a medical facility where he can have some psychiatric help."

When I visited Corey in his apartment a few months ago, cartoons played on the television, the only piece of furniture other than his bed. His walls were bare and the sink fastened to the wall was clogged with brackish water. The carpet was filthy with cigarette butts and a mouse ran over my feet.

BOTTOMING OUT


Now, with major budget cuts across the board, services are being cut at the time when they are most needed. This will have a tremendous negative impact not only on people like Corey, but also on business owners and service providers in the Polk neighborhood.

The Welcome Ministry will lose big grants next year, Rohrer said. Jennifer Friedenbach, director of the Coalition on Homelessness, says that budget cuts in the works will have a "huge and dramatic impact" on people like Corey and will "devastate" mental health treatment services — with as much as a 44 percent reduction in the publicly-funded mental health treatment system and similar reductions for substance abuse treatment.

Ann R.P. Harrison, director of New Leaf, a mental health organization that serves 1,500 LGBT people a year, says they recently reduced staff hours and the amount of services offered, and, like most nonprofits, are looking at up to a 20 percent budget reduction starting July.

Toby Eastman of Larkin Street Youth, which serves youth under 25, says that $100,000 in HIV prevention services cuts from the Department of Public Health mean "significantly reduced the prevention staff." Eastman expects the cuts to increase next year, at a time when she sees other smaller agencies closing their doors.

Diez and Rohrer take away different lessons from their experiences with Corey. Diez says he has "hardened" about homelessness and has stopped talking with Corey. "I was an enabler for him, which I didn’t like doing but I was always hoping that what I was doing was helping him," he said. "But maybe not. Corey made choices, and maybe they weren’t good choices. And you can’t blame that on the city. It’s gotta go both ways." Once the keeper of Corey’s Social Security card, money, and other personal items, he has now handed that responsibility to Rohrer.

Rohrer sees a failure of the social safety net. "There’s a barrier to getting mental health services that seems like it’s set up so that people will fail," she said. "Places that accept MediCal or city patients can take two months before they can get an appointment. The hospital does not even have the capacity to help those police deem a threat to themselves or others."
"There were gay bars here, and there were affluent men, and that’s not here anymore," Diez said. "The bars are gone, those people who went to those bars don’t come anymore, and Corey’s just a remnant. He’s just existing. He’s surviving. He’s just something that’s eventually going to disappear from the scene."
For now, Corey poses both a challenge for the emerging Polk community and an opportunity for a divided neighborhood to find common ground. He still has dreams, Rohrer says, even if they might not be realistic. "We’re not expecting him to be a Wall Street CEO," she said. "But he’s always going to be stuck in the past if he doesn’t achieve some of his future hopes."
Joey Plaster is curator of "Polk Street: Lives in Transition," an exhibit open through May 31 at the GLBT Historical Society. More information at www.glbthistory.org/PolkProject.

Editor’s Notes

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› Tredmond@sfbg.com

My sister did a sociology project in college that involved the culture of laundromats. Nothing revolutionary, and I suspect it’s been done before, but she hung out in coin-ops and watched what happened when somebody ran out of money before the final load. What she discovered (again, nothing that sociologists haven’t written about for years) was that the less money patrons had, the more likely they were to lend it to someone else. You can imagine what the poorer folks told her: "Hey, last week that was me needing a quarter."

I know this is a huge, vast, sweeping generalization, but I’ll cop to it: Poor people are better at building communities than rich people. If you’re someone who is always living on the edge, always one step away from economic disaster, you’re more likely to play a role in a community that helps others in your situation.

So check out our cover story this week, because it gives some perspective on the evils of gentrification.

In the 1980s, lower Polk Street had an active sex-worker community. Hustlers and bartenders and guys looking for hustlers took care of each other. New kids in town, many of them runaways fleeing homophobic and abusive situations, got connections, work (not always sex work), and a chance to build a life. There are quite a few prominent, successful San Franciscans who came out of that world. It wasn’t always pretty, and was often dangerous, but it was a legitimate community.

But as more upscale businesses and residents started to displace the hustler bars and push the kids off the streets, the community fell apart. It didn’t help that the drug of choice was changing from pot to meth, and that AIDS was ravaging queer San Francisco, particularly places like Polk Street, and a lot of the damage would have occurred anyway. Still, the gentrification made it worse.

And as organic, self-sustaining communities made up of people who help each other are riven by economic displacement, the costs are shifted to the public sector. In other words, gentrification is bad for the taxpayers.

I saw this happening way back in the early 1980s, when I was a volunteer with the Haight Ashbury Switchboard. We saved the city millions, mostly by helping people in the neighborhood help each other. My friend Jasin, who was living on SSI, had a flat with some extra space, and we sent homeless crashers to stay with her while they got on their feet. A few of the local communes took in crashers too. We told people how to work the system, how to say out of trouble, how to survive in the big city.

But as rents went up, and people who had plenty of time to volunteer either left town or had to take full-time jobs, and the communes and food conspiracies disappeared, and SSI no longer paid for a five-room flat — as the Haight gentrified — that model fell apart. There are still plenty of community-based services and organizations in the Haight and elsewhere, but it’s harder, much harder. And the sense that we’re all in this together, that we’re all kind of struggling but we’re all going to help each other make it through, is almost gone.

I don’t know. Maybe the depression brings it back. *

“The Caretakers”

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REVIEW As the U.S. continues to blindly race forward, wise eyes look closely at what is left behind. In the case of Bill Mattick’s "The Caretakers," this means uncovering the lives hidden within — and the haunted spirit of — a defunct train station in west Oakland. Surveying the loss that saturates the American West, "The Caretakers" makes a great companion piece to Lee Anne Schmitt’s California Company Town (2008), screening at Artists’ Television Access this week. It also is a kindred spirit to a pair of recent railroad-themed films, Bill Daniel’s Who is Bozo Texino? (2005) and James Benning’s RR (2007). Whether focusing on abandoned landscapes, engaging in cinematic trainspotting, or both, these artists have proven shrewd and prescient (Mattick’s project dates from 2004) about this country’s paths of foolishness. They’ve tapped into the new Depression long before Wall Street would admit it.

Mattick cites the peerless Robert Frank — the subject of a major retrospective coming to SFMOMA this year — as an influence. But while his images bear tonal similarities to Frank’s, people are less likely to occupy his frame of vision. He generates strong atmosphere from mid- and late-afternoon daylight: Stairs on Platform 2004-99 (810) sets aquatic shades of blue and white against the severe shadows of a staircase; the rich green of Distance 2004-186(810) varies from Daniel’s black-and-white treatment of similar subject matter; Paul’s Flowers 2004-108(810) updates Helen Levitt’s fascination with kids’ chalk scrawlings on the streets. Yet a contemporary human story emerged from this largely "empty" setting: that of Willy and Paul, whom Mattick discovered living at the station. They’re an odd couple of sorts: one messy, the other fastidious; one a religious eccentric, the other street-smart and battling addiction. These caretakers exert small acts of control amid society’s debris — things that share their castoff societal status. Mattick’s photography is an act of collaboration with them.

THE CARETAKERS Through April 30. Tues–-Sat., 11 a.m.–5:30 p.m. Corden Potts Gallery at Warnock Fine Arts, 49 Geary, suite 211, SF. (415) 680-5997, www.cordenpottsgallery.com

Super Ego: Relight my fire, Francois K.

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By Marke B.

I just came upon this 2k7 vid of the best-club-ever-after-Paradise-Garage Body and Soul tour in Tokyo. And I don’t know if it’s the beauty of DJ Joe Clausell’s knob-tweaking, the pain of the recent Depression, the gay-soul-gorgeousness of Dan Hartman and Loleatta Holloway’s barnstormer duet, or the sight of hundreds of off-their-nut Japanese boppers singing “Relight My Fire” — but I’m bursting into tears.

Body & Soul Live in Tokyo Open Air 2007

Those kids are so amped up that by the time of the breakdown (“I’m strong enough to walk on through the night”) they can’t shout any louder. Srsly, it’s time for a house comeback. There’s already a couple of underground roving house revivals going down in NYC, and Body & Soul itself will rock Webster Hall there this Sunday. Let’s pick it up SF!

We could do worse that pack Vessel on Thursday night for a very rare appearance by way-more-than-legendary Body & Soulmate Francois K.

Think globally, shop locally

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› culture@sfbg.com

GREEN CITY When we say a product is "eco-friendly," what we really mean is "eco-friendlier," as in "less ecologically damaging to the environment than available alternatives." The manufacturing process always has some negative effect on the environment, and while products may be labeled organic, biodegradable, recycled, acid free, ecospun, fair-trade, unbleached, vegetable-based, cruelty-free, or all-natural — they all require land, unclean energy, and unrenewable resources to produce.

The easiest way to start thinking eco-friendliest is to take into account the enormous amount of energy used in distribution. Sure, it’s unrealistic to expect all of our products to come from California, because certain things, like lifesaving medicine or Belgian ale, don’t have homegrown substitutes. But some items do have nearby equivalents. Here’s a guide to some of our favorite stylish eco-stops for locally manufactured gems.

For eco-friendly home goods, make sure you stop by Russian Hill’s Spring (2162 Polk, SF. 415-673-2065, www.springhome.com), where you can get your Coyuchi organic cotton sheets, Method home care products, Sara Paloma vases, International Orange spa goodies, Erbaviva homeopathic baby products, Naya bath salts, Nectar Essence aromatherapy sprays, and EO bath and body things, all in one trip. Did I mention that all these companies are California-based?

Another favorite on the spendy eco-boutique front is Eco Citizen (1488 Vallejo, SF. 415-614-0100, www.ecocitizenonline.com), which carries sustainable high-end clothing and showcases several talented local designers, including Sara Shepherd, the San Francisco clothier who creates conceptual, modern styles in black and white. While you’re there, be sure to ask about Jules Elin, a designer from Novato who works solely with organic and recycled fabric, and whose feminine, whimsical jackets are perfect for life in a perpetually spring-like city.

If you’re shopping for tomorrow’s green warriors, try Mabuhay‘s (1195 Church, SF. 415-970-0369, www.mabuhaykids.com) eco-friendly children’s clothing, featuring San Franciscan lines like Smallville by Jimin Mannick, who hand-sews lovely little garments for boys and girls. Jasper Hearts Wren play clothes for toddlers are decorated with charming details like rocket ships and birds crafted from felt made entirely from postconsumer recycled plastic bottles, and are made by Oakland’s Heather Jennings and Lisa Schwartz.

And speaking of kids, Ladita‘s (827 Cortland, SF. 415-648-4397, www.shopladita.com) owner, Christine Kay, has been wanting to open a boutique since she was a kid herself. At the sweet little boutique, whose storefront reads "Eco-friendly of course," check out Kim White’s handbags created with vintage fabrics pulled from automobile upholstery, like a clutch made from a 1980s Camaro. Also keep an eye out for regenerated cotton socks by Love & Socks, made here.

Other places to keep on your radar? Eco Boutique (4035 18th St., SF. 415-252-0898, www.shopecoboutique.com) offers glass products by Dharma, a Fort Bragg company — think wonderful little glass straws you can use instead of plastic disposable ones. EcoLogiQue (141 Gough, SF. 415-621-2431, www.ecologiquesf.com) offers 100 percent made-in-California T-shirts by Naked Cotton using organic cotton grown in the San Joaquin Valley. If you want to commission your own messenger bag, contact Rickshaw Bagworks (904 22nd St., SF. 415-904-8368, www.rickshawbags.com) and have a designer make one out of your own material, or choose from the on-hand selection of 100-percent postconsumer waste fabric. Rickshaw Bagworks makes each bag to order, so no unused bags sit around a showroom. Clary Sage Organics (2241 Fillmore, SF. 415-673-7300, www.clarysageorganics.com) offers a staff-designed, locally made line of yoga gear fashioned from ecologically sustainable materials. SF-based online retailer Branch (245 South Van Ness, SF. 415-626-1012, www.branchhome.com) offers plenty of eco-friendly furniture designed and produced in the city, including bamboo lamps by Schmidtt Design, recycled rubber coasters and placemats by JoshJakus, and recycled cork trays by Urbana Designs.

Freeing the press

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Norwin S. Yoffie Career Achievement Award

ROBERT PORTERFIELD


Bob Porterfield is a shit-disturber, an old-fashioned investigative reporter who has no favorites, no sacred cows, and no fear of offending anyone. Since his first story — a profile of a YMCA social program published in Eugene, Ore.’s The Register-Guard in 1959, when he was 15 — Porterfield has had ink in his veins. He’s shared two Pulitzer Prizes (first for an Anchorage Daily News report on the Teamsters Union in 1975 and then for a series on the Massachusetts Bay Transportation Authority for The Boston Globe), won more than two dozen other prizes and worked on a long list of major investigative projects.

He has become something of an expert in computer-assisted reporting and information systems — but is still a down-to-earth guy who never forgot the value of traditional, hands-on digging. Back in 1986, he was on a team at Newsday looking into the federal Synfuels Corp., a scandal-plagued agency that was shut down in the wake of his stories.

"I remember once we were looking for property records on a Synfuels Corp. project linked to [former CIA Director) Bill Casey," he told me. "I wound up going down to Plymouth, N.C., (population 4,000), and I found this musty old office with two older women sitting there, knitting. There was no index book, nothing computerized. But when I explained what I was looking for, one of the women remembered the parcel of land I was talking about and pulled out the exact documents for me."

Porterfield has devoted a tremendous amount of time to teaching and mentoring, showing young reporters how to use public records to find stories. "I’m glad to see [President Obama’s] new directive on openness, but I hope it trickles down to the independent agencies," he said. "Because there’s been way, way too much secrecy." (Tim Redmond)

Beverly Kees Educator Award

ALAN GIBSON


Alan Gibson is reclaiming the Founding Fathers from conservatives with

his recent book Understanding the Founding: The Crucial Questions (University Press of Kansas, 2007). It examines the progressive ideals that guided early American political thought.

"The Founding Fathers are often captured by conservatives," Gibson told the Guardian. "But there is no clear line of legacy. It is much more complex than that. Conservative restoration politics are dangerous and not historically accurate."

As an undergraduate, Gibson cultivated an interest in issues of separation of church and state, which led to doctoral studies on James Madison, the namesake of the Society of Professional Journalists’ annual Freedom of Information awards. "Madison was the most progressive of all [the Founding Fathers] when it comes to freedom of the press," Gibson said. "He helped develop the idea that American government should be responsive to public opinion, and the role of newspapers was to make sure that an authentic public opinion was set forth." Gibson, a political science professor at California State University-Chico, lectures at various colleges across the country. Understanding the Founding will be published in paperback later this year. (Laura Peach)

Professional Journalists

MARJIE LUNDSTROM


Journalists often get alarming tips about practices within Child Protective Services (CPS) agencies, but it has always been a nearly impossible task to overcome privacy protections and get even basic information about how CPS handles reports of child abuse or neglect.

"It’s a difficult agency to write about, for some good reasons," Sacramento Bee reporter Marjie Lundstrom, who set out in 2007 to investigate complaints about Sacramento’s CPS, told the Guardian. "They operate in such a vacuum with very little public scrutiny."

She had started to piece together some information from coroner’s records and other public documents when Senate Bill 39 went into effect in January 2008, "and it was just amazing what it opened up."

The bill reveals CPS files in cases where the child has died, allowing Lundstrom to expose the negligence of CPS workers in responding to abuse reports, even those from doctors. "I do feel like what we were able to show, because of the law, where workers made flagrant mistakes that costs kids their lives," she said.

But many CPS records are still secret. Next, after writing several stories about CPS that sparked a grand jury investigation, Lundstrom intends to expose problems within the internal accountability procedures at CPS. (Steven T. Jones)

HILARY COSTA AND JOHN SIMERMAN


When the news broke last September that 15-year-old Jazzmin Davis had been murdered by her aunt after suffering months of abuse and neglect in her Antioch home, Bay Area News Group reporters Hilary Costa and John Simerman submitted a public records request about the girl’s case history with the San Francisco Human Services Agency.

The city denied the request for nearly two months, using a privacy claim. Undeterred, the journalists took the step of testing out Senate Bill 39, a relatively new piece of legislation that mandates public disclosure of findings and information about children who have died of abuse or neglect. A judge eventually ordered that the records be released.

Although highly redacted, the nearly 700-page paper trail told the girl’s story in the form of hand-written notes, report cards, medical records, caseworker visits, and other detailed documents. The records led to a package of stories that exposed a series of failures and violations of state regulations by an HSA social worker, raising questions about agency practices and spurring a review of hundreds of other foster care cases.

"This story’s been so important to me," Costa told the Guardian. "It felt like somebody owed it to Jazzmin to find out what happened to her." (Rebecca Bowe)

Interactive Media

AUTUMN CRUZ AND MITCHELL BROOKS


Sacramento Bee photographer Autumn Cruz had been covering the trial of three-year-old K.C. Balbuena’s murder for several months when she came up with the concept of creating an interactive online courtroom. With the help of Bee graphic journalist Mitchell Brooks, Cruz made public the essential pieces of evidence and information to those outside the courtroom doors.

Viewers can take a virtual tour of the exhibits and documents, along with video and audio statements and interrogations. "As a journalist, you’re fighting every day for your right to information," Cruz told the Guardian.

Although Balbuena’s mother and roommate were found guilty of the murder in early 2008, Cruz laments her inability to bring back the child she grew to know so intimately only after his life was cut short. "I think my bringing his plight to the public will hopefully prevent similar things from happening to other children." (Joe Sciareillo)

Citizen

BERT ROBINSON


Journalist Bert Robinson is a longtime journalist who now serves as assistant managing editor for the San Jose Mercury News. But he’s being honored for his work as a citizen serving on San Jose’s Sunshine Reform Task Force.

"We set out on our sunshine ordinance adventure a few years ago. We found we were faring worse in court, and we couldn’t afford increased court costs," Robinson, a member of the California First Amendment Coalition, told the Guardian.

The project received political endorsements across the spectrum, but the initiative has had problems with the city council’s Rules Committee, controlled by San Jose Mayor Chuck Reed, who has supported sunshine in the past.

"We achieved progress with public meeting requirements, but when you get into public records, city staff argue that rules are ‘too cumbersome’ … They say all sorts of things might happen if they become public, [which is] entirely hypothetical," Robinson said.

Task Force work that was slated to last six months has now dragged on for two years. "The city process grinds you down," Robinson said. But he says he’s committed to seeing it through. (Ben Terrall)

Legal Counsel

JAMES EWERT


James Ewert, an attorney with the California Newspaper Publishers Association, has long battled what he calls widespread secrecy in government. So in 2004, he played an instrumental role in providing greater public access to government meetings and records, resulting in the passage that November of Proposition 59, the Sunshine Amendment of California’s constitution.

Most recently Ewert helped Sen. Leland Yee (D-San Francisco) with legislation protecting teachers from retribution from administrators when they defend the First Amendment rights of journalism students. Next Ewert hopes to allow greater scrutiny of public/press partnerships and how tax dollars are used in labor negotiations by the public university systems.

Ewert says the public’s right to know is still severely hampered by public safety concerns, including restrictions on journalists’ rights to interview prisoners and obtain information about police officers. But luckily for the public, Ewert is still on the job. (Andrew Shaw)

Student Journalists — High School

REDWOOD BARK


Before April 2008, Drew Ross had never had to defend the existence of the Eureka High School Redwood Bark, where he was the editor. But after arriving on campus one Monday morning to find that former principal Robert Steffen had removed 450 copies of a 20-page color edition of the paper, Ross and his staff fought back.

Steffen claimed that the nude, dream-like drawing by artist Natalie Gonzalez had ushered in a handful of complaints from students and parents. Steffen justified the action by saying he was "stomping out the flames before they became a forest fire."

"We told him we wanted to hold onto the paper but he recycled them," Ross told the Guardian. "We don’t make the paper for it to be thrown away. And we lost a lot of advertising on this."

Ross complained about censorship and got help from the Student Press Law Center and the American Civil Liberties Union. By the next day, the censorship story went front page at newspapers and Internet sites all over the country. Eventually Steffen not only sent out a public apology, he paid for the next 20-page color edition.

"We are now armed with knowledge of our rights," Ross said. "And the community knows the Redwood Bark has rights." (Deia de Brito)

SHASTA HIGH SCHOOL’S THE VOLCANO


Shasta High School student Amanda Cope speaks passionately about freedom of speech after her brush with censorship, telling the Guardian, "We are preserving the validity of the Constitution. Free speech is a protection, a safety, that lets us function normally without fear."

Cope was editor-in-chief of the Shasta High School student paper, The Volcano, when a controversy flared over the paper’s end-of-year issue, which featured a front-page image of a student burning an American flag. Shasta High principal Milan Woollard was already considering shutting down The Volcano when the issue came out and publicly stated: "This cements that decision."

But following a maelstrom of objection from Cope and the rest of The Volcano staff in what looked like a form of censorship in schools, the school district reversed its decision. "I think a lot of students feel they are marginalized in society. They’re teenagers. They don’t have many rights and they feel like they’re squished by adults and people in general," Cope said. "The student paper becomes an outlet for those feelings, and a way for students to explore their world." (Juliette Tang)

THE SCOTS EXPRESS


Last November, the principal of Carlmont High School in Belmont shut down the student paper, The Scots Express. School officials claimed that the paper lacked adequate faculty oversight after it published a satirical article about the writer’s sex appeal.

Editor-in-chief Alex Zhang fought back against what he saw as censorship and rejected school officials’ justifications. "I just wanted my paper back," he told the Guardian.

In response to the uproar over what many saw as a muzzling of the press, the Sequoia Union High School District began training Carlmont staff on First Amendment rights and mandated an overhaul of the school’s freedom of speech policy. The district is planning an expansion of its journalism programs in the school curriculum and a partnership with the San Francisco Peninsula Press Club.

Zhang is working on relaunching the publication in late March under the faculty oversight of English teacher Raphael Kauffmann. "You can’t have a democracy without freedom of information," Zhang said. "And I’m proud to be one of those young journalists who care about the freedom of information." (Joe Sciarrillo)

Advocacy

KATHI AUSTIN


As the Guardian chronicled in a cover story last year ("Hunting the lord of war," June 23, 2008), San Francisco-based human rights investigator Kathi Austin has spent almost two decades tracking down and exposing those who have made a business out of human rights violations.

Most recently, Austin helped bring the notorious Viktor Bout, a Russian entrepreneur accused of illegally trafficking weapons to brutal regimes from Colombia to the Congo.

"A human rights violation is considered a violation that is carried out by a state actor," Austin told the Guardian. "We were trying to change the whole field of human rights to philosophically say we should be going after these private perpetrators as well."

Thanks largely to Austin’s work, Bout was arrested in Thailand in March 2008 and will likely face criminal charges in the United States. Despite working in treacherous places like Angola and Rwanda, doing meticulous and time-consuming research, Austin said her approach is simple: "What’s wrong and who’s doing it?"

Her patience and persistent pursuit of international justice have led Austin to positions at the U.N., the World Bank, the Center for Human Rights, and the Council on Foreign Relations, to name a few. A Paramount picture featuring Angelina Jolie as Austin is reportedly in production — a fittingly karmic return of celebrity for someone who has worked so long under the public radar. (Breena Kerr)

Electronic access

MAPLIGHT.ORG


Once upon a time, before 2005, the only way to connect the dots between the dollars contributed to politicians and the special access and favorable laws they subsequently granted to contributors was to wade through reams of campaign finance filings. While everyone knew that money talked, few knew just how much campaign cash was dictating public policy.

But now, thanks to MAPlight.org, a Berkeley nonprofit that uses sophisticated analytical tools to produce visually pleasing, easy-to-use charts, there is now a fun, simple way to follow the money.

MAPlight began by putting up data connected to the pro-consumer bill informally known as the Car Buyer’s Bill of Rights. "The data showed that car dealers gave twice as much to Sacramento legislators who voted to kill the bill than to those who voted to pass it," executive director David Newman recalled.

Next, MAPlight pioneered the combination of campaign dollars and politicians’ votes when it launched its U.S. Congress site in May 2007. Most recently its research showed that House members who voted for the $700 billion financial bailout bill received 50 percent more money from the financial services industry than those who voted against it.

Newman plans to expand to all 50 states. "Wherever there is journalism to be done, MAPlight can provide support and help promote openness and transparency in government." (Sarah Phelan)


The Northern California Chapter of the Society of Professional Journalists hosts its annual James Madison Awards dinner March 18 in the New Delhi Restaurant, 160 Ellis St., SF. The no-host reception begins at 5:50 p.m. followed by dinner and the awards programs at 6:30 p.m. Tickets are $50 for SPJ members and $70 for non-members. For reservations or information, contact Freedom of Information Committee chair David Greene at (510) 208-7744 or dgreene@thefirstamendment.org or visit www.spjchapters.org/norcal.

News: flash!

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Body art-averse parents are allegedly up in arms over the Totally Stylin’ Tattoo Barbie, who is clearly totally styling with her totally stylin’, tiny butterfly tattoo (my prediction: if they make a Ken version, he’ll have something tribal).

barbie.jpg

Don’t worry, Mom and Dad! Just because kids are begging for tattoos like Barbie doesn’t mean you have to cave! Take ’em to see Britney Spears’ new tour, where this t-shirt will be available. Buy it and pad the laser-removal fund for Brit-Brit’s many tattoos (most souvenirs from her unfortunate downward-spiral period, and many in the realm of Barbie’s pink butterfly). And if your little precious does get some ink work done, don’t fret — as part of her Sephora make-up line, L.A. Ink goddess Kat Von D has introduced — somewhat ironically — tattoo concealer. Billy Bob forever, never!

Grimm tales

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› kimberly@sfbg.com

SONIC REDUCER "My father told me never to play covers. It’s such a hole to fall into. People want to hear stuff they’ve heard a thousand times. Especially white people — they all want to be safe, and covers just make them feel safe."

Larkin Grimm takes the briefest breath, standing beside a frozen creek next to a cowboy trading post in South Dakota’s Badlands. The ice is starting to melt, and the 27-year-old songwriter’s on a roll, talking ’bout her hippie parents — they met here, her father who once lived at the San Francisco Zen Center, and later played southern rock to "toothless hillbilly women" with an Appalachian bar band to support the family ("A huge transition from meditating all day") — as well has her studies at Yale, studies in shamanism, pals Lightning Bolt, and the Providence, R.I., noise scene she emerged from.

"My music doesn’t do that. I’m trying to do a thing where I make people feel safe and at the same time say the most brutal things I can."

She shares the name of the darkest of yarn-spinners, her music rests on a foundation of folk and acoustic instrumentation, and her sensibility — despite her queer punk past — clearly stems from the spiritual quests of her footloose forebears. But Grimm’s one of a kind — even if her soul is old, she’s been here before, and she may be here once again.

Just listen to her new album, Parplar (Young God, 2008). Songs like "Be My Host" may bear the folk-pop fragrance of Joni Mitchell’s early Beat-girl rambles and tunes like "Durge" may ring with the bared-skull minor-key drama of Kurt Cobain writing for a Balkan women’s choir. But listen closely to the lyrics of such songs as "Hope for the Hopeless": "I turned my head against the wicked world you’re in / So there you are I hope you are suffering / I hope you feel the hopelessness and you can’t bear the cost / of being an ungrateful shit," she intones. "… I hope the wind has marked your face and you don’t have a hope / You’re drifting free above the ground / Gently stretching out your rope." Beyond black, yet often alight with an austere beauty. Grimm — a veteran of Dirty Projectors (a band she met at Yale and describes as "what happens when you have an egomaniac trying to control everyone") — knows how to channel the most intense of spirits.

Parplar revolves around female sexuality. "I was going through a period of my life where I was having a gender crisis, and I wasn’t sure if I was a woman or not, but I was starting to get really attracted to men, which was new," she explains. The album was intended to fund her gender reassignment surgery. "I had this plan: get a dick and cut off my breasts."

But then she ended up writing all these tunes about women, including "other women who were having major crises at the time: Britney Spears, Nicole Richie, and Beyonce. All these women are fascinating and intelligent, and they’re in everybody’s mind, and they’re archetypes, and we’ve built them all up so much. They’re sort of like virgins that have been thrown into the volcano. We’ve torn them apart," says Grimm, believing Spears "reached enlightenment for a second. When she shaved her head she was turning her back on materialism. But her publicist and record label wouldn’t allow her to go through the process of rebirth and forced her back into slavery, and it’s tragic, you know. I kind of wrote this record for her, in a way."

Sisterhood — and brotherhood — is powerful: Grimm now hopes to find other kids who lived in the SF-originated Holy Order of MANS commune, which she characterizes as "a co-ed monastic order of energy healers." "We had a very magical childhood, which we lost," she says. After a near-suicide at Yale, she says, "I just live fully all the time. Don’t let anybody tell me what to do. Coincidences and amazing things happen to me all the time." For instance, she recently created an altar with a human skull and twinkling lights in her car. "I felt like it wasn’t magical enough — we need feathers! Five minutes later I see a dead pheasant on the road. Suddenly I realize everything is connected. As soon as you lose your sense of isolation, anything is possible."

LARKIN GRIMM

Fri/6, 8 p.m., $20

Swedish American Hall

2174 Market, SF

www.cafedunord.com

STICKING WITH THE TINDERSTICKS

What is this mysterious thing called a Hungry Saw (Constellation), the title of the Tindersticks’ new album and one of its tracks? "It’s one of quite a few songs on this record that I don’t understand totally and I don’t really want to!" Tindersticks vocalist Stuart A. Staples says almost jubilantly from France, where he now lives. "It’s something that drives me and hurts me at the same time." Staples has been on an intuitive tip of late — especially after the band’s last disc, Waiting for the Moon (Beggars Banquet, 2003), which took a year and a half to make. With the addition of new drummer Thomas Belhom and bassist Dan McKinna, and a directive to record in eight days, the group have come up with a fresh slice of Tindersticks tunefulness — almost breezy ("The Flicker of a Little Girl") and moodily somber ("Mother Dear") in turns. As for that tremulous instrument called Staples’ voice, he believes the best is yet to come: "I think it’s always changing and always growing," he says, citing French vocalist Léo Ferré as a discovery that raised his game. "I think it’s something that really drives me, finding my voice. I don’t think it’s arrived."

Sun/15, 8 p.m., $28. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

IN THE SPIRIT

ESTELLE AND SOLANGE


Kanye West took a Shine to his "American Boy" collaborator, whereas the Knowles scion attempted to break with the pop mold with her second CD. Thurs/5, 8 p.m., $35–$50. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

EFTERKLANG


Choral harmonies and impressionistic orchestrations rise from the Copenhagen, Denmark outfit. Sun/8, 9 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

The Chronicle death watch

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› sarah@sfbg.com

Is San Francisco really the frontrunner in the race to become the first major U.S. city to go without a major daily? Or is it a victim of disaster capitalism, in which powerful corporations exploit economic meltdowns to exact otherwise unacceptable concessions from employees and/or antitrust legislators?

Media critics chewed on those questions last week, following Hearst Corporation’s abrupt Feb. 24 announcement that it is undertaking "critical cost-saving measures including a significant reduction in the number of its unionized and non-unionized employees" at the San Francisco Chronicle, and will close or sell the paper, which has 1,500 employees, 275 in the newsroom, unless these changes occur within weeks.

Noting that the Chronicle lost more than $50 million in 2008 — the worst in a string of nonstop losses the paper has suffered since Hearst bought it in 2000 — Hearst vice chairman and chief executive officer Frank A. Bennack Jr. and Hearst Newspapers president Steven R. Swartz warned that "without the specific changes we are seeking across the entire Chronicle organization, we will have no choice but to quickly seek a buyer for the Chronicle or, should a buyer not be found, to shut the newspaper down."

Two days later, the California Media Workers Guild, which represents workers at the Chronicle, reported that Hearst is seeking "a combination of wide-ranging contractual concessions in addition to layoffs, the exact number of which the company said it did not yet have."

"For Guild-covered positions, the company did say the job cuts would at least number 50," read a Guild statement. "Other proposals include removal of some advertising sales people from Guild coverage and protection, the right to outsource — specifically mentioning ad production — voluntary buyouts, layoffs and wage freezes."

Guild representative Carl Hall said he doesn’t see any reason to think Hearst’s threats are a bluff.

"The Rocky Mountain News just closed in Denver," Hall told the Guardian. "The Seattle Post-Intelligencer, which is also owned by Hearst, is slated to close in March, if a buyer isn’t found. We’ve seen bankruptcies and disaster scenarios all around the country, and the Chronicle has experienced some of the deepest operating losses in the nation."

Reached for comment March 2, Chronicle publisher Frank Vega told the Guardian, "We’re still in the process," while Guild treasurer George Powell said that "proposals have been exchanged and each side is evaluating them."

WHERE’S THE MONEY?


Evaluating Hearst claims is hardly an easy task. A privately held corporation, Hearst doesn’t open its books to the public. But one thing is clear, just from reading postings on the corporation’s Web site: Hearst is midway through a squeeze in which it’s trying to turn a profit on the 15 newspapers it owns throughout the country.

And that means more syndicated stories — and possibly the end of free newspaper Web sites.

As Swartz outlined in a recent press release, all Hearst newspapers will be required to allow for "efficient production or common content sharing," use "outbound telemarketing and self-service ad platforms more effectively," increase their subscription rates, outsource printing, and charge for digital content.

"Exactly how much paid content to hold back from our free sites will be a judgment call made daily by our management," Swartz stated. "Our goal is a business model that seeks, by 2011, to get more than 50 percent of our revenue from circulation revenue and digital advertising sales."

And the same day that Chronicle workers learned that their newspaper might be facing the axe, Hearst cut 75 out of 135 newsroom positions at the San Antonio Express-News in Texas.

As San Antonio Express-News editor Robert Rivard told his staff, "Incremental staff and budget cuts, we are sorry to say, have proven inadequate amid changing social and market forces now compounded by this deepening recession."

"It’s like death in here today," a source, who asked to remain anonymous, said. "Everyone who was laid off is still here, working ’til March 20."

And like the growing pool of newsroom refugees nationwide, the survivors of this San Antonio massacre have since met to brainstorm about other newsgathering business models.

"We all have kids, so we need salaries and insurance," our source confided, "but we’re going to start researching some options, see what’s working and not in other places. The time is ripe."

THE SINGLETON SCENARIO


Meanwhile, sources within the Chronicle — who asked to remain anonymous given the ongoing negotiations — claim that there isn’t much hope that Hearst will come up with innovative solutions, but that there is a chance the paper could be sold to Dean Singleton, the only other major Bay Area newspaper publisher.

Singleton’s MediaNews Group owns the San Jose Mercury News and the Contra Costa Times, and has lost several antitrust cases in recent years. Any deal with the Chronicle would require Department of Justice approval — and would give one owner control of nearly every daily newspaper in the Bay Area.

The media baron refuses to comment on whether he is considering buying the Chronicle.

"We’ll just watch it play out," Singleton told Editor and Publisher’s senior editor, Joe Strupp, last week. "I am not going to speculate on what could happen."

But, as Strupp noted, "MediaNews remains highly leveraged."

Hearst Corporation currently holds a substantial amount of MediaNews debt, owns 31 percent of MediaNews Group newspapers outside of the San Francisco Bay Area, and recently took control of four Connecticut papers that MediaNews was managing for Hearst.

Former Chronicle city editor Alan Mutter believes Singleton could still be in the running.

Observing on his Reflections of a Newsosaur blog that "To wipe out a $50 million loss, let alone make a profit, the [Chronicle] would have to eliminate 47 percent of its entire staff," Mutter later clarified that he believes it’s "extremely unlikely" that the Chronicle will reduce its staff to that extent.

"But, it will try to do some serious cost cutting, and it could be sold, potentially, to MediaNews, because Singleton would not necessarily be expected to put up any money," wrote Mutter, noting that hundreds of people involved in the Chronicle‘s advertising operations could be eliminated if Singleton took over, since ads for MediaNews’ papers are already assembled in India. Another motivation for Hearst to find someone to take over the Chronicle lies in the multimillion dollar printing plant that Hearst just built.

"But no one expects the business to break even now," Mutter said. "If you want to make $20–<\d>$30 million profit over the long term, that’s not a good outcome for a business that has lost $1 billion in recent years."

Michael Stoll, director of the Public Press project, which seeks to launch a nonprofit daily paper, told us he thinks it would be "a real tragedy" if Hearst followed through on any of its Chronicle threats.

"Most San Francisco journalism is generated by reporters at the Chronicle, and its few competitors would be ill-prepared to step in and immediately fill the void," Stoll said.

Concerned that Singleton’s MediaNews could try to make the case that there is a crisis and that the Department of Justice should therefore waive antitrust prohibitions against monopoly ownership, Stoll warned that "the expansion of MediaNews ownership to nearly every other paper in the Bay Area in the last two years has proven to be an unmitigated disaster in terms of a less independent voice from Santa Cruz to Santa Rosa, and from San Mateo to Contra Costa."

The Society of Professional Journalists is calling for a public discussion of Hearst’s threats.

Worried that additional cuts to the Chronicle "will only exacerbate what SPJ perceives as an already growing vacuum of credible reporting and will further limit scrutiny of our public institutions," Northern California SPJ board president Ricardo Sandoval observed that closing the Chronicle "would mean losing the largest source of news for hundreds of thousands of readers in the San Francisco Bay Area."

Asking Hearst to participate in "a high-profile conversation with its community based on the imperative of reinvention," Sandoval said, "We urge journalists, foundations, corporations, the public, and public officials to join us in finding solutions to this increasingly urgent civic challenge."

As University of California at Berkeley journalism professor Bill Drummond warns, "this is not just the decline of the industry. If the mainstream media, which is supposed to be balanced and fair, goes away, if that scrutiny is no longer there, everything will be more partisan and narrower.

"And in this atmosphere where everyone is begging the government to fund their industry, what about the fourth estate?" Drummond said. "Maybe we need the newspaper equivalent of public broadcasting, with pledge drives and bake sales."

Anthony B

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PREVIEW Keith Anthony Blair, also known as the fiery Rasta reggae sing-jay Anthony B, is becoming a multigenerational artist. The 33-year-old began recording in his late teens and over 15 years has helped usher in a cultural revival via a dozen albums, thousands of singles, and relentless touring. Still, he was surprised while on his last trip through Europe when promoters asked him start his shows early to accommodate his many preteen fans. "The shows were full of kids," Blair says, speaking by phone from Jamaica. "We had 10-, 12-, and 14 year-olds come out — that’s a fanbase for the next 10 years." Apparently the youth are drawn by Blair’s lively shows and enthusiastic recordings. "But they’ll go home and ask their parents what my lyrics were talking about. So a conversation can build in the home between the parents and the different generations over music."

Blair arrived on the reggae scene in the early-1990s among a Jamaican cultural contingent that included Luciano, Sizzla, and others. Blair and his camp stood out with their turban-wrapped locks and Bobo Ashanti Rastafarian faith — a sect that imposes restrictions on diet, conduct, and appearance — as well as songs that promoted a positive identity, equal rights, and gave a voice to the poor in Jamaica. After recording for Star Trail, Xterminator, and Fat Eyes, he formed his own Born Fire imprint and issued three self-produced full-lengths, including 2008’s brilliant Life Over Death. His music has always contained conscious content, dating back to 1995’s daring political indictment "Fire Pon Rome," a track recorded at considerable risk. "I’ve had to sidestep police," he explains.

Blair’s latest album, Rise Up (Greensleeves), continues that social justice thread: the title track is an acoustic number that echoes Bob Marley ("emancipate from mental slavery") and urges listeners to be mindful of global issues. With its innovative roots-meets-hip-hop production ("Stop Fight Reggae") and great combination tracks with Chezidek, Lukie D, and Horace Andy, Rise Up is an exemplary recording by a reggae artist that has no problem setting an example. "We have to go out into the world," Blair says, "and come back and show people what can achieved by doing good."

ANTHONY B With Native Elements. Tues/16, 9 p.m., $25. Independent, 628 Divisadero, SF. (415) 771-1422, www.theindependentsf.com

Hail Bale

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Zomg, the new Terminator Salvation trailer is out today. We’ve all listened to star Christian Bale’s awesomely vitriolic rant, and we’ve all seen The Dark Knight (some of us more than once, apparently, since the movie’s box-office haul was somewhere in the bajillions). Hell, if you’re like me, you’re already looking forward to the summertime release of Public Enemies — Michael Mann’s Depression-era gangster drama starring Bale as a G-Man out to nab Johnny Depp’s John Dillinger. No trailer for that flick yet (it’s out July 1), but Bale’s got plenty more, in a diverse career that includes everything from his debut in 1987’s Empire of the Sun to 1998’s Velvet Goldmine; 2000’s American Psycho; 2005’s The New World; and 2007’s Rescue Dawn and I’m Not There.

But there’s a Bale movie that often gets overlooked — and no, I don’t mean 1993’s Swing Kids or even 1992’s Newsies. I’m talking post-apocalyptic despair, shaggy facial hair, fire-dodging reflexes, and the ability to act opposite a ridiculously over-the-top Matthew McConaughey while keeping a straight face. Yep: it’s 2002’s Reign of Fire, y’all.

Margaret Brodkin, former DCYF director, honored as ‘Community Builder’

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Margaret 1.jpg

By Rebecca Bowe

A little more than a month after Mayor Gavin Newsom asked former Department of Children, Youth and their Families director Margaret Brodkin to step down from her post, community support for her work is still very much in place. At an annual fundraising event called Soul of the City, hosted by the San Francisco Organizing Project on Feb. 23, Brodkin was honored with a Community Builder Award.

Brodkin, who is currently serving as director of the New Day for Learning Initiative, a project aimed at galvanizing efforts for a more just and comprehensive educational system in the city, thanked the crowd who had gathered at a Mission District restaurant for the Soul of the City celebration. But she also expressed disappointment about being removed from her position at DCYF, which she was appointed to in 2004. “I lost a job that I was very devoted to and felt I’d lived a lifetime to do,” she said. On the day that she was asked to step down, the mayor’s office issued a press release to put a good face on it, but Coleman Advocates for Children & Youth worried that her dismissal set the stage for a “possible raid, erosion, or elimination of the children’s fund and other critical services for our kids and families.”

Meanwhile, members of SFOP and others working on education issues in the city are gearing up for tough work ahead on pending budget cuts that could affect schools and youth programs. The coalition has had success in the past: Last April, the organizing project spearheaded an effort to protect the jobs of 535 teachers from seven schools in the county whose employment was threatened by state budget cuts. Facing pressure from parents and teachers, city officials agreed to release $20 million from the city’s Rainy Day Reserve to reinstate the teachers’ salaries. But with the dismal financial landscape on the state and local levels, another battle looms ahead. “How can I tell my daughter to do the best she can when the education is not available?” asked Michelle Antone, a SFOP community leader, whose daughter attends school at Sanchez College Preparatory School.

Speed Reading

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THE FACE IN THE LENS: ANONYMOUS PHOTOGRAPHS

By Robert Flynn Johnson

University of California Press

208 pages

$45

A shop in the Tenderloin sells anonymous photos. The pictures are messily packed in boxes and labeled according to whether the subject, sometimes but not always graphic (there are plenty of head shots of failed actors, for example), is heterosexual or homosexual. As digital images fly and float through the Internet, I’ve thought about those boxes of snapshots, their mix of allure, mystery, and depressing banality. With The Face in the Lens: Anonymous Photographs, a sequel to his acclaimed monograph Anonymous (Thames and Hudson, 2005), Robert Flynn Johnson both expands and refines the type of gathering and organization I discovered in that store.

Alexander McCall Smith’s brief intro, which imagines stories around some of the book’s images, isn’t as effective as Johnson’s essay, which connects obvious critical sources such as Susan Sontag with aphorisms on sight and photography from W.H. Auden and Jean Cocteau. Johnson is out to find the many spaces between the sentimentality of humanistic projects such as the 1955 book and exhibition, The Family of Man, and the morbid focus of monographs such as 1973’s Wisconsin Death Trip. He does so with 1880s daguerreotypes and late-1980s color snapshots. We see Robert F. Kennedy on the day of his death, mass hangings in the Soviet Union, flying leaps from flaming buildings, storm troopers in suburban backyards, kids smoking, infants in dresses holding rifles, men in drag or kissing by Christmas trees, and naked women soldering. Few images are obvious or dull. Some are worthy of a Ralph Eugene Meatyard or Weegee. The power of others resides in the relationship between clueless photographer and defiant or sad subject. (Johnny Ray Huston)

BLANK SPOTS ON THE MAP: THE DARK GEOGRAPHY OF THE PENTAGON’S SECRET WORLD

By Trevor Paglen

Dutton

324 pages

$25.95

In 2006’s Torture Taxi: On the Trail of the CIA’s Rendition Flights (Melville House), Trevor Paglen worked with former Guardian writer A.C. Thompson to reveal the subculture of "planespotting" and the realities behind terms such as "rendition" as practiced by clandestine U.S. forces. The book also provided an interesting entryway into, or extension from, Paglen’s work as a visual artist, with Thompson’s journalistic voice seemingly braided in and out of Paglen’s more academic tone.

Blank Spots on the Map is a more mainstream book, as evidenced by its publisher. This aspect has its assets and drawbacks. One asset is that Paglen’s writerly voice has improved greatly, growing more versatile and characterful as it shifts to first-person. A look at the rendition programs of the CIA is just one element of his overall effort here, which involves revealing hidden spots used by the U.S. for covert activities throughout the globe — and in the skies above it. Early on, he cites facts showing that the number of federal government employees working on classified projects far outnumbers those working aboveground. At times, Paglen relates discoveries in a manner that suggests that he alone has made them. But for the most part, Black Spots is a bracing, real-life through-the-looking-glass antidote to Tom Clancy–style escapism. (Huston)

Entropy

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› le.chicken.farmer@gmail.com

CHEAP EATS I’ve been eating a lot of spaghetti and meatballs lately because it’s Boink’s favorite thing to make. Meatballs. Makes sense, right? Making meatballs has everything that kids love: pouring milk somewhere that milk doesn’t belong (on bread), smushing with a fork, cracking eggs, beating, tearing parsley leaves off of stems, sticking your hands into meat and other slimy things, rolling it into balls …

And then the key to cooking with kids, I learned the hard way, is to get the unfinished product, in this case a tray of meatballs, out from under them before they give you a lesson in entropy. To Boink, who is almost four, there is as much fun or more in the act of catastrophic dismantling as there is in the act of ordered creativity. One time a carefully assembled counterful of ravioli turned into a mountain of sludge while I was using the bathroom, for example.

I’m old enough to know about entropy in a firsthand, personal, and bodily way. I don’t need these demonstrations. I mean, conceptually at least, three- and four-year-olds have got nothing on me when it comes to an understanding of thermodynamic principles. I love entropy; it’s just that I prefer ravioli. Especially for dinner.

So I have learned to hover, watch like a hawk, hold my bladder, and time my dive perfectly. From the counter to the stove, virtually no time at all passes — so that from Boink’s point of view, the meatballs were there, then they were gone.

It’s sad in a way to have to scramble such a pure, scientific mind with a sense of magic. But dinner has to happen. It’s in my job description.

Speaking of which, since I’m still trying to review you a restaurant now and again, and since I have a whole new neighborhood of restaurants to explore …

What’s that smell?

Oh yeah, I almost didn’t recognize it, it’s been so long, but here comes a three-part series. What I love about Rockridge is that for all the hoity-toit and hullabaloo, it turns out there are plenty of down-homey, down-to-earth, and downright reasonable restaurants to duck into, if you’re me.

And I don’t mean Pasta Pomodoro or Barney’s, although both those places have their place.

Soi 4, the great date destination, is not that much more expensive than other Thai restaurants, as I recall. And Zachary’s, for all its lines and overknownness, is manageable during off hours, and you can always order half-baked to take home. I’ve been back to the Crepevine a couple times, and still love it.

But what I didn’t know about Rockridge was the Rockridge Café (which rocks), Christopher’s burger joint (which is up there with Barney’s but has a much more jointlike feel), Sabuy Sabuy (cheap cheap Thai food), and a pretty gritty looking burrito place, the name of which escapes me.

I should rein it in before my little three-part series turns into a five-part three-part series. On the other hand, reining it in is not exactly my style.

So, to add a fifth to the mix, I was standing outside of Currylicious with the Maze, debating between going on in or crossing the street for an all-you-can-eat Indian buffet we’d passed on the way.

This rarely happens: the owner of Currylicious walked up from the other direction, handed us take-out menus, discussed the small matters of rice and tea with us, and we were sold. Well, the Maze was sold. I was already planning on Currylicious because my new landlordladypersonpeople had recommended it.

I think it’s the newest place on that part of College Avenue, but what do I know? I’m even newer!

Great food, good free tea, labyrinthine layout…. What a dumb name, though. They sound like they were named by Yahoo, or some dating site, because their first five choices were already taken.

I’m not going to hold it against them. Lamb cholay, which is garbanzo beans and three big lumps of lamb in a nice, spicy curry ($6.99), naan ($1.49), and the Maze got vegetable biriyani ($6.99), and that was good too.

New favorite restaurant! Across the street from my new favorite bar, McNally’s, which has a fireplace and a pool table. Exactly on the way to my new favorite post office … and, by the way, I mean it. I’m not a post office reviewer, but this one looks like it is run by three-year-olds. It’s a mess! I can’t wait to go back.

CURRYLICIOUS

Daily: 11 a.m.–10 p.m.

5299 College, Oakl.

(510) 450-0644

No alcohol

MC/V

Appetite: Steak, pork, Victoria Lamb and an El Carajo cocktail or two

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Welcome to Appetite, a new column on food and drink. A long-time San Francisco resident and writer, Virginia Miller is passionate about this incomparable city, obsessed with finding and exploring its best spots, deals, events and news. She started with her own service and monthly food/drink/travel newsletter, The Perfect Spot , and plans to pass along up-to-the minute news to us. View her last installment here.

New openings

FiDi’s A5 Steak Lounge for the urban-chic carnivore

Frisson was one of the coolest restaurant spaces I’ve seen: a modern-day-chic meets the ’60’s vibe with orange couches, a round room and striking dotted-lighting ceiling. Though closed awhile, the space is now reincarnated. The same round, dome ceiling remains, though this time the room is redone in softer, sleeker hues with faux-alligator chairs and cream-colored booths. Steve Chen and Albert Chen (not related), are the new owners, creating a current-day steakhouse for the urban carnivore, A5 Steak Lounge. A5 refers to the highest grade of Japanese Wagyu beef, which, yes, will be served along with some choice US Prime beef. Chef Marc Vogel helms the menu, which refreshingly offers a range of sizes and prices in steak cuts – even those who just want a taste can order, let’s say a 4 oz. rib-eye (around $12), an 8 oz. slab (low $20’s), on upwards. You can have your steak and eat it (all), too.

A5 is in the middle of a soft opening until the official launch date of March 10. Be the first to try it out (with reduced prices) during the limited, four-nights reservations, with the caveat that you provide feedback as the staff hones the menu and service prior to opening.

244 Jackson Street
415-989-2539
Email for reservations: rsvp@a5steakhouse.com

Tipsy Pig gastrotavern debuts in the Marina on Feb. 24

The Marina restaurant take-over of Nate Valentine, Sam Josi and Stryker Scales (behind Mamacita, Umami and Blue Barn Gourmet) continues with The Tipsy Pig, opening today in the former Bistro Yoffi space. The Tipsy Pig will start out only with dinner, but will eventually serve brunch and lunch as well, and the bar will be open till 2 a.m. I hear it’s a rustic, wood space separated comfortably into a Living Room (with bar, leather booths, wood tables), the Library, and an inviting back patio pleasantly aromatic with citrus trees, seating up to 50 people at communal picnic tables. Produce will, by-and-large, be sourced from Sonoma’s Oak Hill Farm for a locavore nod, while over 50 artisanal beers are available on tap or by the bottle along with — what else? — classic american cocktails. Menu items include a Spinach Salad with kabocha squash, plenty of pig dishes and a Brussel Sprout/Apple Hash. Whether or not we need another gastropub, the Marina doesn’t have one and I think all things combined (patio, beers, yummy-sounding menu, open all day…), it sounds well worth checking out.

2231 Chestnut Street
415-292-2300
www.thetipsypigsf.com

Special events

Tuesday, 2/24: South Fundraiser for Australia’s bushfire victims

Dine for a cause tonight at our local Australian/New Zealand gem, South. Aussie chef Luke Mangan wanted to help his homeland and is doing so with a special, four-course dinner benefiting victims of the Victorian bushfires. For $125, there’s dinner, wine pairings (from South sommelier Gerard O’Bryan) and a live auction with proceeds donated to the Australian Red Cross Bushfire Relief Fund. The menu is listed on the website with Down Under-influenced dishes like Victorian Lamb with rhubarb, nettles and parsley puree, or for dessert, Creme Fraiche Panna Cotta with kumquats and caraway. Seating is limited, so RSVP — and note a credit card is needed to hold your place.

7pm

330 Townsend Street, Suite 101
415-974-5599
RSVP to: info@southfwb.com

Dungeness Crab Week runs through March 1st

So it’s been a lackluster crab season, but what’s there is sweet and succulent as ever… and 44 SF chefs from 54 restaurants (do the math?) are featuring signature crab dishes on their menus this week. Visa is a sponsor, so if you pay with a Visa Signature card, you’ll get a complimentary cookbook featuring a slew of crab recipes from some of the chefs and restaurants involved. Some of my faves are participating (like Incanto, 1300 on Fillmore, Bix, Jardiniere, Pesce, Shanghai 1930, etc… and there’s no meat I’m more crazy about than crab, particularly our West Coast Dungeness.

For added fun, there’s the annual Crab Cracking Contest in Union Square on Saturday, 2/28, from noon-3pm. It’s free, though you’ll need to purchase tickets for food, beer and wine tastings. There’ll be Union Square chefs (like Jen Biesty of Scala’s and Adam Carpenter of Ponzu) and San Francisco 49ers (yeah, you heard right) crackin’ crabs together, with live music from Diego’s Umbrella, who myspace lists as Experimental-Flamenco-Rock, booths for kids, and plenty to drink.

Details and list of participating restaurants here.

Make reservations here.

Bar news

Get sultry with Brazilian Wednesday Nights at Pisco Latin Lounge

In these rainy days, one of the best ways to warm things up is a well-crafted drink and lively music. Pisco Latin Lounge offers you both in weekly Brazilian-themed Wednesdays. I recently enjoyed an ideal end to a long day here, sipping the El Carajo cocktail ($12, made of Veev Acai Liquor, St. Germain and Aji amarillo pepper), while watching spicy Brazilian music videos on the flat screens. DJ Anjo Avesso spins while you sip a specially-priced $7 Caramelized Caiparinha and chow down on Latin small plates. This Wednesday, 2/25, bring your business card or email address to possibly win a magnum (double-sized) bottle of Cachaca. Lindo maravilhoso!

Wednesdays, 7-11:45pm
1817 Market Street
415-874-9551
www.piscosf.com

Deals

Foreign Cinema’s three-course prix-fixe honors 10th anniversary

Foreign Cinema may not be the latest hotspot anymore, but it still packs ’em in with the mystique of being located on a dodgy Mission block, down a candlelit hallway, into an oasis of foreign film, a roaring fireplace and quite tasty food (I’ve long been partial to the pot de cremes for dessert). In honor of the restaurant’s 10th anniversary, a special prix-fixe menu is available every night of 2009 (!) for $36 per person ($55 with wine pairings, including a dessert wine pour), though menu items and wine flights change daily (I hear so far the Pot de Creme has been seen on the prix fixe menu, along with dishes like Fried Oysters with spinach, smoked bacon and preserved lemon).

2534 Mission Street
415-648-7600
www.foreigncinema.com

Mission Beach Cafe ushers in Pot Pie Sundays and Let Them Eat Cake!

One of my favorite cafes for its eclectic decor, friendly service, and, best of all, Blue Bottle coffee and amazing house-made pastries, Mission Beach Cafe further sweetens the ‘hood with two new specials. Pastry chef Alan Carter is already known at MBC for his flakey pot pies – that’s what baking and living in Paris did for him. Lucky us, he’s sharing his pot pie magic skills every Sunday night creating pies filled with rabbit, beef, duck or veggies. Sounds like a perfect winter dinner to me. On Sunday, Tuesday, Wednesday and Thursday nights, you can further rack up the calories (happily so) with a Let Them Eat Cake offer from 5:30–6:30 pm: a free slice of cake with each entrée ordered. Knowing how decadent the pastries and pies are, I’ve no doubt the cakes will give you sweet dreams, too.

198 Guerrero Street
415-861-0198

Editor’s Notes

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› Tredmond@sfbg.com

You’d think Gavin and Jennifer were the king and queen or something, or that the San Francisco Examiner had turned into People magazine, to see all the fuss about the First Baby. Seriously, the Ex devoted a full two-page spread to the kid, who isn’t even past the first trimester. Sample baby names, a composite photo of what His or Her Little Highness might look like, an entire story on the political implications of fatherhood (hint: family photos look great in campaign mailers) … it’s not as if it’s been a slow news week.

Does anybody really care that much if a married couple decides to procreate? Jesus, when Willie Brown was mayor and impregnated his fundraiser, who was about 30 years younger than he was, it was a collective civic "whatever."

The mayor doesn’t typically take my phone calls (imagine that) so I passed along my best wishes through his press secretary, Nathan Ballard, who doesn’t take my phone calls, either, but does occasionally deign to respond to my e-mail. I don’t know if he got that one, since he never wrote back, so perhaps I’ll just say it again, in public:

Congratulations, folks. It’s a wonderful and crazy world out there, being working parents with busy careers and raising a kid. I hope you never need all the family services you’re about to cut.

Cloth diapers are much more ecological, but that absorbent stuff they use to make the disposables is so incredibly cool that you just want to take them apart with a scissors and pour colored water on them just to see how they expand. (Trust me, things like this will become fascinating at 5 a.m. when you’ve been up all night.) A tiny little square of that stuff sucks up about 50 times its weight in liquid. It’s one of the great inventions of the 20th century.

When the kid’s a little older, you can ride the Muni trains. That’s what my son and I used to do every weekend. You come to appreciate Muni as performance art. It doesn’t really matter when the train shows up or how slowly it moves; you aren’t going anywhere anyway. And you’ll meet all kinds of people who will give you all kinds of tips about child-rearing, and maybe a few about how to run San Francisco. And it only cost $1.50; kids still ride free.

Then it’s time to send your kid to public schools.

I get a lot of shit when I talk about this; my blog post complaining about the Obamas choosing a private school got all sorts of comments from all over the country, every single one of them negative. But I soldier on: elected officials should send their kids to public schools. If the San Francisco schools aren’t good enough for the mayor’s kid, then the mayor needs to be working harder to fix them. I know it’s none of my business, and that you have to do what you think is right for your own child and all that, but … if the mayor, or the president, or the school superintendent, or the school board members, or the supervisors choose private schools, then they’re saying that public education is good enough for the poor kids, but not for their own.

Hell of a statement, huh Gavin?

San Francisco has some great public schools, and I suspect you can figure out the admissions process. Or just gimme a call. I’ll pass along some tips.


‘The end of the goddamn family dog’

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› news@sfbg.com

Former Bottom of the Hill and DNA Lounge doorperson Greg Slugocki wakes up every morning at 4 a.m. to feed and care for 75 rescued dogs at Milo Sanctuary, one of the largest dog and cat rescue sanctuaries in the country. It’s one-third the size of Golden Gate Park and tucked in the mountains of Mendocino County, north of Ukiah.

Slugocki has worked like a dog since he was hired last November, part of a crew of two who cover 283 acres of mountainous terrain. But it’s something else that has recently made his head spin.

"The rate of animals we’ve had to take because of foreclosures is astronomical," Slugocki said. "I’ve taken more dogs in the last three months than in the last two years."

Milo Sanctuary holds adoptions in Berkeley, Oakland, and San Rafael, and he communicates daily with Bay Area shelters and rescues, which also have reported unprecedented increases in animals reluctantly turned over by their desperate owners.

Slugocki may be in the backwoods of Mendocino County, but he’s not alone in this dilemma. Shelters all over the country are reporting rising numbers of dogs, cats, horses, and all kinds of family pets made homeless by the home foreclosure crisis.

In January, San Francisco Animal Care and Control — the municipal shelter and adoption department obligated to take all animals — documented, for the first time, an unprecedented increase in owner-surrendered animals. The report found that since August 2008, there’s been steady monthly increase in such animals, amounting to a 13 percent average rise since last year. Last month saw the highest number of owner-surrendered animals, with an increase of 35 percent.

Though there may not be a clear, quantifiable way of determining whether those owner-surrendered animals are in fact casualties of the foreclosure crisis, animal rescue folks say there is overwhelming anecdotal evidence that this is the case. "Our rescue partners are stretched," SFACC director Rebecca Katz told the Guardian. "We’re stretched."

Indeed, almost every kennel contains a dog with a tag reading "owner- surrender." Animal Care and Control runs a "no kill" shelter — which means animals are euthanized only if they are too sick to be treated or too aggressive to qualify for adoption — has had to spill some of its new arrivals over into its adoption kennels rather than give all the new arrivals a chance for the owners to reclaim them.

"I’ve been dealing with this shelter for 15 years," said Paley Boucher, founder of volunteer-run Rocket Dog rescue, which saves almost 200 dogs from lethal injection each year. "It used to stand out when you saw a dog that was owner-surrendered. But now almost all of them are." Linda Pope with Nike Animal Rescue Foundation says dogs adopted and returned due to foreclosures is an entirely new phenomenon to the center.

Cat Brown, deputy director of the San Francisco SPCA, reported a rise in owner-surrendered animals. "We feel it’s directly related to the economy," she added. "It’s about people losing their jobs and thinking about what they can give up."

Gary Tiscornia, executive director of Monterey County’s SPCA, says there have been a high number of foreclosure animals and a lack of communication between the shelters and the banks, real estate agents, property inspectors, and other entities that find abandoned animals in vacated homes.

Tiscornia said that Realtors in California have found animals in all kinds of conditions in vacated homes, including rottweillers abandoned with a few bags of food and a tub of water, and a dog left for dead in an empty house. It hasn’t always been the case that such incidents were reported to animal shelters.

The disconnect between corporate entities and shelters has been exacerbated by California laws requiring that inspected property, including animals, be left untouched. A new law that went into effect last month addresses the problem. Assembly Bill 2949 requires anyone who encounters an abandoned animal in a property that has been vacated through lease termination or foreclosure to immediately contact a local animal control agency.

The American Society for the Prevention of Cruelty to Animals (ASPCA) issued a statement on foreclosure animals Jan. 29, offering the following advice to those facing foreclosure or eviction: Check with friends, family and neighbors to see if someone can provide temporary foster care for your pet until you get back on your feet. Make sure pets are allowed — and get permission in writing — if you are moving into a rental property. Contact your local shelter, humane society, or rescue group in advance of moving, and provide your animal’s records to help it get placed in an appropriate home.

To love and lose a home is a hard thing, but to love and lose a home and a furry family member is worse, especially when people don’t know where their pet will end up. "People don’t know what to do," said Boucher, citing an example of a Bay Area woman who kept her dog in the backyard of her foreclosed home long after she had moved, and another of a family that asked the subsequent owners of their foreclosed home to care for their dog.

"We’re perceived as a no-kill city, but that’s just not true," said Boucher, who rescues pit pulls, the most frequently euthanized of all dogs. Like many rescue agents, Boucher disagrees with the standards set by the temperament tests that determine whether a dog is suitable for adoption, arguing that many perfect dogs would not pass the test.

Slugocki also takes issue with temperament tests. "Let’s say I’m a dog that hasn’t eaten for weeks and I get picked up and taken to a shelter and they put down a bowl of food as part of the temperament test. Take it away and see what I’ll do."

"This is a huge disaster, a quiet emergency," Boucher said. "I hope people can open their minds to fostering an animal."

Despite the spike in economy-related homeless animals, Katz says SFACC is still under control, at least for the time being. "We have not seen an increase in euthanasia and we hope not to." About 84 percent of animals that end up at the SF shelter are saved, compared to the depressing national average of 30 percent.

"We do everything we can to save animals’ lives. We reach out to every rescue we know of," Katz said.

But with shelters, rescues, and sanctuaries swamped with a growing wave of owner-surrendered pets, caring for the displaced animals is bound to get tougher, particularly if foreclosure crisis gets worse, as many economists predict. And with budget cuts in the offing in the city, SFACC staff fear cutbacks could drive up euthanasia rates.

Slugocki says his sanctuary has something other shelters don’t: space. He has 283 redwood-adorned majestic acres of it, and he’s willing to take every dog, no matter how many have failed the temperament tests that would guarantee a swift lethal injection at the pound.

"I can take dogs that don’t stand a chance. I can take them crippled, heart worm positive, deaf, blind, you name it," Slugocki said. Half of the 75 dogs at Milo are unadoptable and will live peacefully among the redwoods for the rest of their days. He says he can take up to 1,000 dogs but he’s missing one thing: sufficient staff to build enough dog pens and feed and care for a small city of dogs every day.

"I desperately need volunteers," Slugocki said. "I know there is a crowd of people, that 30 to 60 tattooed, pierced, old rock ‘n’rollers, new Buddhists, lifelong punks who are older and maybe have kids now." For now he’s taking as many dogs as he has pens for and is working 14-hour days to help save the discarded critters of the economic crisis.

"It’s the end of the goddamn family dog," Slugocki lamented. "Nobody who has a dog and has lost a home will ever think about having a dog again."

To contact Greg Slugocki, call (707) 459-0930 or email milo.sanctuary@yahoo.com.

Letters

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LETTERS

FIELDS OF DREAMS


We wanted to correct some misperceptions about the mission and work of the City Fields Foundation as quoted in your Feb. 18 article "Wrecked Park Department."

San Francisco has long had too few athletic fields for all the kids and adults who want to play. Each weekday afternoon during fall, more than 4,000 kids use Rec-Park athletic fields for school sports, league sports, and recreation center programs. Many of the existing fields are in poor condition due to constant, year-round play, abundant gophers, and scarce resources. To remedy this situation, City Fields and Rec-Park teamed up in 2006 to increase athletic field playtime citywide, largely by renovating a handful of high-use athletic fields with artificial turf and lights. Rec-Park manages and maintains the fields and allocates their use through the department’s permits and reservations office.

The Playfields Initiative partnership has already resulted in more than 62,000 hours of additional playtime for San Francisco’s athletic field system and transformed four worn-down athletic fields into safe, high-quality play spaces. But to fully appreciate what this means to the city’s kids, go after school one day to the new athletic fields at Garfield Square, Silver Terrace, Crocker Amazon, or South Sunset Playground and ask the kids playing how they like their new field. They might even stop playing long enough to tell you.

Susan Hirsch

project director, City Fields Foundation

San Francisco

THE REAL CRIME PROBLEM


The cover art for Sarah Phelan’s "Ship of Fools" story (2/11/09) portrays an SFPD ship adrift at sea, but one-third of the article is focused on political appointees with limited influence on day-to-day crime in the city: Joseph Ruissionello and Kevin Ryan. Ryan is a surrogate for the mayor, but he has no real law enforcement power and those who think otherwise are naive.

The Guardian heightens Russionello’s influence by discussing sanctuary, an issue that receives disproportionate attention when it comes to discussing crime. Sanctuary is a juicy story that involves immigration law, race, and geopolitics. For most people who deal with crime on a daily basis, sanctuary is a back-burner issue at best.

The real tragedy of crime in this city is felt by those who have lost a loved one to needless homicide. There are neighborhoods in this city that smart politicians seem to have forgotten, where drug and gang-related violence are a part of life.

Scott M. Bloom

San Francisco

STOP BURNING FUEL — ANY FUEL


I liked the column (Green City, 2/11/09) showing that San Francisco will be increasingly using biofuels created locally. This is much better environmentally than using fuels that have to be shipped long distances, which causes more oil consumption and creates more pollution, including global climate change. However, I must point out a common misconception that also appeared in your column.

Burning biofuel instead of a petroleum-based fuel does nothing to reduce greenhouse gas emissions. Every fuel that is burned creates carbon dioxide. Global climate change will not be mitigated by using biofuel or by any other technological means. It will only be mitigated — it cannot be averted, it began decades ago and will continue to some extent regardless of what we do — by humans living more simply and burning less fuel of all types.

Jeff Hoffman

San Francisco

The Guardian welcomes letters commenting on our coverage or other topics of local interest. Letters should be brief (we reserve the right to edit them for length) and signed. Please include a daytime telephone number for verification.

Corrections and clarifications: The Guardian tries to report news fairly and accurately. You are invited to complain to us when you think we have fallen short of that objective. Complaints should be directed to Paula Connelly, the assistant to the publisher. We’d prefer them in writing, but Connelly can also be reached by phone at (415) 255-3100. If we have published a misstatement, we will endeavor to correct it quickly and in an appropriate place in the newspaper. If you remain dissatisfied, we invite you to contact the Minnesota News Council, an impartial organization that hears and considers complaints against news media. It can be reached at 12 South Sixth St., Suite 1122, Minneapolis, MN 55402; (612) 341-9357; fax (612) 341-9358.

Appetite: Steak, pork, Victoria Lamb and an El Carajo cocktail or two

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Welcome to Appetite, a new column on food and drink. A long-time San Francisco resident and writer, Virginia Miller is passionate about this incomparable city, obsessed with finding and exploring its best spots, deals, events and news. Miller started with her own service and monthly food/drink/travel newsletter, The Perfect Spot, and will continue to pass along up-to-the minute news to us. View her last installment here.

By Virginia Miller

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Luke Magnan of South is raising money for Down Under

New openings

FiDi’s A5 Steak Lounge for the urban-chic carnivore

Frisson was one of the coolest restaurant spaces I’ve seen: a modern-day-chic meets the ’60’s vibe with orange couches, a round room and striking dotted-lighting ceiling. Though closed awhile, the space is now reincarnated. The same round, dome ceiling remains, though this time the room is redone in softer, sleeker hues with faux-alligator chairs and cream-colored booths. Steve Chen and Albert Chen (not related), are the new owners, creating a current-day steakhouse for the urban carnivore, A5 Steak Lounge. A5 refers to the highest grade of Japanese Wagyu beef, which, yes, will be served along with some choice US Prime beef. Chef Marc Vogel helms the menu, which refreshingly offers a range of sizes and prices in steak cuts – even those who just want a taste can order, let’s say a 4 oz. rib-eye (around $12), an 8 oz. slab (low $20’s), on upwards. You can have your steak and eat it (all), too.
A5 is in the middle of a soft opening until the official launch date of March 10. Be the first to try it out (with reduced prices) during the limited, four-nights reservations, with the caveat that you provide feedback as the staff hones the menu and service prior to opening.

244 Jackson Street
415-989-2539
Email for reservations: rsvp@a5steakhouse.com

Tipsy Pig gastrotavern debuts in the Marina on Feb. 24

The Marina restaurant take-over of Nate Valentine, Sam Josi and Stryker Scales (behind Mamacita, Umami and Blue Barn Gourmet) continues with The Tipsy Pig , opening today in the former Bistro Yoffi space. The Tipsy Pig will start out only with dinner, but will eventually serve brunch and lunch as well, and the bar will be open till 2 a.m. I hear it’s a rustic, wood space separated comfortably into a Living Room (with bar, leather booths, wood tables), the Library, and an inviting back patio pleasantly aromatic with citrus trees, seating up to 50 people at communal picnic tables. Produce will, by-and-large, be sourced from Sonoma’s Oak Hill Farm for a locavore nod, while over 50 artisanal beers are available on tap or by the bottle along with — what else? — classic american cocktails. Menu items include a Spinach Salad with kabocha squash, plenty of pig dishes and a Brussel Sprout/Apple Hash. Whether or not we need another gastropub, the Marina doesn’t have one and I think all things combined (patio, beers, yummy-sounding menu, open all day…), it sounds well worth checking out.

2231 Chestnut Street
415-292-2300
www.thetipsypigsf.com

Special events

Tuesday, 2/24: South Fundraiser for Australia’s bushfire victims

Dine for a cause tonight at our local Australian/New Zealand gem, South. Aussie chef Luke Mangan wanted to help his homeland and is doing so with a special, four-course dinner benefiting victims of the Victorian bushfires. For $125, there’s dinner, wine pairings (from South sommelier Gerard O’Bryan) and a live auction with proceeds donated to the Australian Red Cross Bushfire Relief Fund . The menu is listed on the website with Down Under-influenced dishes like Victorian Lamb with rhubarb, nettles and parsley puree, or for dessert, Creme Fraiche Panna Cotta with kumquats and caraway. Seating is limited, so RSVP — and note a credit card is needed to hold your place.

7pm

330 Townsend Street, Suite 101
415-974-5599
RSVP to: info@southfwb.com

Dungeness Crab Week runs through March 1st
So it’s been a lackluster crab season, but what’s there is sweet and succulent as ever… and 44 SF chefs from 54 restaurants (do the math?) are featuring signature crab dishes on their menus this week. Visa is a sponsor, so if you pay with a Visa Signature card, you’ll get a complimentary cookbook featuring a slew of crab recipes from some of the chefs and restaurants involved. Some of my faves are participating (like Incanto, 1300 on Fillmore, Bix, Jardiniere, Pesce, Shanghai 1930, etc… and there’s no meat I’m more crazy about than crab, particularly our West Coast Dungeness.

For added fun, there’s the annual Crab Cracking Contest in Union Square on Saturday, 2/28, from noon-3pm. It’s free, though you’ll need to purchase tickets for food, beer and wine tastings. There’ll be Union Square chefs (like Jen Biesty of Scala’s and Adam Carpenter of Ponzu) and San Francisco 49ers (yeah, you heard right) crackin’ crabs together, with live music from Diego’s Umbrella, who myspace lists as Experimental-Flamenco-Rock, booths for kids, and plenty to drink.

Details and list of participating restaurants here:

Make reservations here

Bar news

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Cocktails and small plates at Pisco

Get sultry with Brazilian Wednesday Nights at Pisco Latin Lounge

In these rainy days, one of the best ways to warm things up is a well-crafted drink and lively music. Pisco Latin Lounge offers you both in weekly Brazilian-themed Wednesdays. I recently enjoyed an ideal end to a long day here, sipping the El Carajo cocktail ($12, made of Veev Acai Liquor, St. Germain and Aji amarillo pepper), while watching spicy Brazilian music videos on the flat screens. DJ Anjo Avesso spins while you sip a specially-priced $7 Caramelized Caiparinha and chow down on Latin small plates. This Wednesday, 2/25, bring your business card or email address to possibly win a magnum (double-sized) bottle of Cachaca. Lindo maravilhoso!

Wednesdays, 7-11:45pm
1817 Market Street
415-874-9551
www.piscosf.com

Deals

Foreign Cinema’s three-course prix-fixe honors 10th anniversary
Foreign Cinema may not be the latest hotspot anymore, but it still packs ’em in with the mystique of being located on a dodgy Mission block, down a candlelit hallway, into an oasis of foreign film, a roaring fireplace and quite tasty food (I’ve long been partial to the pot de cremes for dessert). In honor of the restaurant’s 10th anniversary, a special prix-fixe menu is available every night of 2009 (!) for $36 per person ($55 with wine pairings, including a dessert wine pour), though menu items and wine flights change daily (I hear so far the Pot de Creme has been seen on the prix fixe menu, along with dishes like Fried Oysters with spinach, smoked bacon and preserved lemon).

2534 Mission Street
415-648-7600
www.foreigncinema.com

Mission Beach Cafe ushers in Pot Pie Sundays and Let Them Eat Cake!

One of my favorite cafes for its eclectic decor, friendly service, and, best of all, Blue Bottle coffee and amazing house-made pastries, Mission Beach Cafe further sweetens the ‘hood with two new specials. Pastry chef Alan Carter is already known at MBC for his flakey pot pies – that’s what baking and living in Paris did for him. Lucky us, he’s sharing his pot pie magic skills every Sunday night creating pies filled with rabbit, beef, duck or veggies. Sounds like a perfect winter dinner to me. On Sunday, Tuesday, Wednesday and Thursday nights, you can further rack up the calories (happily so) with a Let Them Eat Cake offer from 5:30–6:30 pm: a free slice of cake with each entrée ordered. Knowing how decadent the pastries and pies are, I’ve no doubt the cakes will give you sweet dreams, too.

198 Guerrero Street
415-861-0198

Punk pop riddle

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Like many other newb admirers, I never knew about Zero Boys during their brief existence from 1979 to ’83. But then I got a copy of their thrice-reissued debut, Vicious Circle (now Secretly Canadian) in my hot little mitts — love that punk pop primitivism. During its short life the Indianapolis group never played the Bay Area: its 1982 SF storefront show was unceremoniously canceled. The Zero Boys broke up soon afterward, with bassist Tufty joining Toxic Reasons and relocating to the Bay, but the outfit has reunited with each reissue of Circle — a recording that’s found quite a rep for itself as a lesser-known hardcore gem.

Now, with the reemergence of Circle and History Of, a collection of unreleased recordings, a promoter fan is flying them out to play. "There’s been very little effort to revive the band on this end," said vocalist Paul Mahern, 45, from Bloomington, Ind. "It’s all fan-driven." The appeal of this record — which Mahern made at 17? "There’s a snotty kids thing, but there’s also this real musicianship. Also we were among the first wave of American hardcore that was also pop punk," he said. "Scratch the surface below Green Day, and you get the Zero Boys."

Fri/20–Sat/21, 7 p.m., $10. 924 Gilman, Berk. www.924gilman.org

Bullet time

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BULLET TIME

Director Stacy Peralta saw his 2001 doc Dogtown and Z-Boys turned into the 2005 narrative Lords of Dogtown. Will the same fate greet Crips and Bloods: Made in America? This gripping film does much to contextualize the origins of Los Angeles gangs within the city’s African American history, and Peralta makes good use of archival footage and photographs to tell the story.

At times, though, the 105-minute Crips and Bloods seems overwhelmed by the sheer amount of background material, which could fill a Ken Burns-style miniseries. Peralta couldn’t leave out the Watts riots, or the Rodney King riots, or the Black Panthers, or racial profiling, or the origins of south L.A.’s housing projects, or the economic history of black workers, or any number of topics that nudge the conversation toward the city’s gangster groups.

When Crips and Bloods finally gets there, it states the obvious: gangs are destructive. They also agree that for many kids, gangs offer the protection and sense of family their lives are otherwise lacking. Obviously this isn’t the kind of movie that’s gonna glorify gangs, though I wish there’d been more discussion about how pop culture romanticizes gang membership (see: 1991’s Boyz n the Hood, N.W.A., etc.), making it attractive to suburban kids and curious filmmakers alike.

CRIPS AND BLOODS: MADE IN AMERICA opens Fri/20 at the Roxie. See Rep Clock.

Wrecked park department

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› news@sfbg.com

On Feb. 13, in a fourth floor hearing room in City Hall, large crowds of San Francisco Recreation and Park Department workers and supporters showed up on short notice to hear how the department was going to be gutted by deep budget cuts.

Overflow crowds of spilled into adjacent rooms to hear interim department director Jared Blumenfeld announce impending cuts to staff and hours. Although the department’s Web site stresses that "all parks, playgrounds, recreation centers, pools, golf courses, gyms, art centers, senior centers, and clubhouses will remain open," the cuts are so deep that all involved knew that the services and facilities will be shadows of their former selves.

Many people told the Guardian that they are also concerned that the process is intended to facilitate privatization of many Rec and Park functions, giving city jobs to contract workers who will not be able to duplicate the experience or connection to communities of the city workers they replace.

The Rec-Park Commission will have another hearing on the cuts at 2 p.m. Feb 19 in City Hall, Room 416, with more time for public comment. Activists working for more equitable cuts will stage a protest rally beforehand across from City Hall at 1 p.m.

At the meeting, numerous youngsters and their parents spoke of recreation directors mentoring kids who have few other positive influences in their lives. Many of these Rec and Park workers will be on the receiving end of pink slips at the end of the month. Blumenfeld announced that 51 full-time equivalent recreation director positions would be cut (the actual number of layoffs will be even higher given than many of the workers are part time).

Blumenfeld explained that $11.4 million needs to be cut from Rec and Park’s budget of the total budget about $140 million. He described some new ways to raise revenue, including charging entrance fees for the Botanical Garden, increasing pool fees, and charging the SF Public Library rent for the 32,000 square feet where local branches operate on public park land.

But even critics of the department say Blumenfeld is more accessible than his predecessor, Yomi Agunbiade, who was forced out last year after he came under fire for some of his privatization schemes and personnel issues. But raiding library funding, which is protected by voter-approved budget set-asides, is likely to create a backlash from the public.

Blumenfeld said he regretted tapping library funds, but said the move is being forced by budgetary realities. "Ultimately, this is a Lord of the Flies situation," he said.

Leah Grant of the group Friends of Potrero Hill told the Guardian at the hearing that the playground near where she lives was recently chained shut, leaving at-risk kids locked out. In an e-mail after the meeting, she wrote that it is "very, very difficult to accept that the programs for the disabled and at-risk children are going to be thrown under the bus while the privatization continues to the advantage of the wealthy and the taxpayers of San Francisco are literally being robbed of our public parks."

Grant also expressed concern that the City Fields Foundation, backed by Gap, Inc. founder Donald Fisher, a controversial funder of conservative causes in San Francisco, has essentially been taking over parks across the city and would further benefit from this year’s restructuring by filling the void with privatized services.

Blumenfeld insisted that "rumors" of privatization were unfounded, but admitted that Mayor Gavin Newsom’s nonprofit public-private partnership Rec Connect model is a key part of the mix in the new budget arrangements. As the Guardian reported ("Connect the connects," Oct. 17, 2007), the Rec Connect model is "private, funded by undisclosed corporate donations, staffed by volunteers who are often city employees or [Newsom’s] campaign donors, and unaccountable to any internal controls or outside scrutiny."

One department employee, who spoke off the record due to concerns about job security, told the Guardian that "there is not the same level of accountability for those in the Rec Connect program. If they leave the building where they are working, there is not necessarily anyone who is watching them."

Sources within the department say there will be 10 new Rec Connect sites opened to offset the budget cuts, a move that comes at a time when Newsom is trying to raise significant money for his nascent gubernatorial campaign.

"I feel like they’re using the financial crisis to push something they’ve been trying to accomplish for a long time," the source said. "And with this model, there are three to four layers of paid bureaucracy before these monies get to the kids. What they aren’t telling the public is that it is actually cheaper to allow Rec and Park workers to do our job than to pay the nonprofits, even though the workers the nonprofits contract out are making a lower hourly wage."

Lorraine Hanks, a recreation director who has worked with Rec and Park for 16 years, shared similar dissatisfaction with the Rec Connect program. In a phone interview, Hanks told us that "Rec Connect was supposed to come in and create innovative programs. They didn’t do that. They wound up doing the same things we were already doing."

Rec Connect spokesperson Jo Mestelle didn’t return Guardian calls for comment by press time.

Hanks also noted that "under Proposition J, 50 percent of funding was supposed to go to Rec and Park, and 50 percent was supposed to go to DCYF [Department of Children, Youth and their Families]. If we had that original 50 percent, we wouldn’t have to lay anyone off."

On the way out of Friday’s meeting, Betty Traynor of Friends of Boeddeker Park told us that many seniors and youngsters in the Tenderloin will have no park or safe public space to go to if the proposed cuts to hours go through, and that important programs for kids and seniors will be eliminated. Traynor added that the cuts "will also reduce hours for adult users of the park who have no other open green space in the Tenderloin."

Rec and Park employee Brando Rogers said the cuts would hurt youth who have developed relationships with employees and value these after school programs. "These are long-term relationships," she told us. "They can’t be replaced by seasonal contract workers. I’m worried that if these precious mentors have their jobs eliminated, the neighborhoods will just be decimated."