Lit

Sealed with a fest

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› kimberly@sfbg.com

SONIC REDUCER "Obviously I wanted to be part of this wealthy cause … whoops, I mean, worthy cause — a Freudian slip!" blurted Seal to amassed gowns and tuxes at a packed Davies Symphony Hall May 31. Well, it was pretty B&W at this, the Black and White Ball 2008. He went on to explain that he was more than glad to play the benefit bash for the San Francisco Symphony’s Adventures in Music education program, until he realized that night’s event was just a day before wife Heidi "And sometimes you’re out … in the doghouse" Klum’s birthday. "Even though it was written almost 20 years ago, I never knew what this song was about till four or five years ago," he drawled graciously, before easing into a swooningly romantic "Kiss from a Rose." The coiffed and painted debs swayed in the seats behind the stage like tropical palms, the gray-tressed oldsters in tuxes yawned as if their jaws would dislocate, and all the right — and leftie — blondes flitted to the front as if drawn to a gyrating, white-scarfed flame. The irony that Seal was putting in a high-energy set and working in an establishment-jabbing anthem titled "System" — "but you won’t get to hear it here because record companies aren’t what they used to be, but this isn’t that kind of show," according to the UK crooner — was not altogether lost on the assembled partygoers at this very establishment affair.

Still, the Grey Goose quaffing, shrimp chomping, and dance-it-up musical offerings lining the closed-off swath of Van Ness added up to a surprisingly solid good time — not to mention further confirmation of the latest urban SF curiosity: packs of underdressed, strapless-clad or micro-miniskirted, microclimate-besieged fashion victims who insist on braving hypothermia sans outerwear. Is it really that toasty over the bridge and through the tunnel?

Nonetheless I got a kick out of Extra Action Marching Band, its flag girls drooling faux-blood while chilling, kicking it iceberg-style beneath the polka-dot-lit, fireworks-bedecked City Hall. Pete Escovedo still had what it took to pull me to the dance floor and get the salsa out. Hot on the heels of Harriet Tubman (Noir), Marcus Shelby riled up Strictly Ballroom wannabes in the bowels of the War Memorial Opera House, and upstairs DJ Afrika Bambaataa turned in an unforgettable old-school hip-hop and rock-pop set, sweetly warbling, "I just want your extra time … " to Prince’s "Kiss," as a mob of gorgeous freaks mobbed the stage. Be it ever so old-fashioned and ever so obligatorily glammy, the B&WB was such a ball that I was inspired to use it as the barometer of sorts for a few other music-fest contenders.

B&W BALL BY THE NUMBERS Kilts: two. Turbans: three. Closeted waltz-heads eager to make the Metronome Ballroom lessons pay off: more than a dozen. Misguided ladies who looked like they tried to repurpose their wedding gowns as white formalwear: two. Gavin Newsom look-alikes: a toothy handful. Jennifer Siebel look-alikes: hundreds. Former hippies in formalwear: six. Men in all-white who looked like they stepped out of an alternate "Rapture" video: two. Burning Man references as City Hall was bookended by pillars of fire at midnight: two. Screeching highlights-victims upon seeing their girlfriends: more than two ears can handle. Sneaky types who looked like they’ve probably worn the same thing to B&WB every year since 1983: more than designers and luxury goods manufacturers would care to know.

HARMONY FESTIVAL (June 6–8, Santa Rosa, harmonyfestival.com, including Damian "Jr. Gong" Marley, George Clinton and Parliament Funkadelic, Arrested Development, and Mickey Hart Band) Expected Gavin look-alikes: zip unless you count the Cali boys who look early Gavin — with dreadlocks. Rich hippies with perfect hair and lavishly embroidered coats: three.

BERKELEY WORLD MUSIC FESTIVAL (June 7, Berkeley, www.berkeleyworldmusic.org, with Dengue Fever, and Sila and the AfroFunk Experience) Expected turbans: the Sufi trance music guarantees at least a couple. Kilts: zero. Swirlie dancers: a dozen-plus.

OUTSIDE LANDS (Aug. 22–24, SF, www.sfoutsidelands.com, including Radiohead, Tom Petty and the Heartbreakers, Jack Johnson, Wilco, Beck, and the Black Keys) Expected bikes piled in the racks: a thou. Concert-goers overcome by heat: C’mon, this is San Francisco.

TREASURE ISLAND MUSIC FESTIVAL (Sept. 20–21, Treasure Island, treasureislandfestival.com, with Justice, the Raconteurs, TV on the Radio, and Tegan and Sara) Projected number of great views of SF: innumerable. Gold-trimmed "ironic" sunglasses: a gazillion. Concertgoers who discover far too late that shorts are only ideal for an hour a day: 135.

LOVEFEST (Oct. 4, SF, www2.sflovefest.org) Ever-recyclable ’70s-style bells: a couple-dozen. Fabulous-faux hairpieces: Wigstock is forever. Swirlie dancers: you got ’em.

YOU BREAK IT — YOU BOUGHT IT

FROG EYES, LITTLE TEETH, AND CHET


Eke out a few tears of valedictorianism: it’s an Absolutely Kosher explosion of untrammeled, happily eccentric talent. Fri/6, 9:30 p.m., $10–<\d>$12 Café Du Nord, 2170 Market, SF. www.cafedunord.com

FOOT FOOT AND FOX PAUSE


Lo-fi dust-ups coupled with folkie meanders are a–Foot Foot, flanked by the solo musings of ex-Guardian-ite Sarah Han. With Casiotone for the Painfully Alone. Sat/7, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

RADIO SLAVE


Taking a break from the sweltering, disco-imbued exotica of Quiet Village and its Silent Movie (K7), producer Matt Edwards dons his dark techno persona, Radio Slave. Sat/7, call for time and price. Endup, 401 Sixth St., SF. (415) 646-0999, www.theendup.com *

No exit

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› a&eletters@sfbg.com

LIT An interviewee in Grant Gee’s excellent 2007 documentary Joy Division posits that the gloomy Manchester band inverted punk’s initial "Fuck you!" to convey a more atmospheric and ultimately unsettling sentiment of "I’m fucked." If so, the contemporaneous No Wave bands from New York City melted down those two approaches to one primal howl. Spiritually indebted to punk but suspicious of the first wave’s rockist stance, the No Wavers pursued aggressive detachment and tongue-in-cheek dissonance with the all-in brio of performance artists.

With its loose aesthetic boundaries, abbreviated timeline, and incestuous collaborations, the No Wave years are ripe for the kind of anthropological studies offered by two recent illustrated histories, Marc Masters’ No Wave (Black Dog, 205 pages, $29.95) and Thurston Moore and Byron Coley’s No Wave: Post-Punk. Underground. New York 1976-1980 (Abrams Image).

No Wave’s bylines make for an unwieldy taxonomy: Rhys Chatam studied with LaMonte Young and Tony Conrad; Lydia Lunch was a teenage runaway; Arto Lindsey of DNA and Mark Cunningham and China Burg of Mars all met at Eckard College in St. Petersburg, Fla. Moore and Coley have the most fun with the movement’s eclecticism. A No Wave coffee-table book may be a paradox, but they cram a fantastic level of detail into a handsome spread. If you want to learn that the artist Jeff Wall suggested the name of Glenn Branca’s group Theoretical Girls, theirs is the tome for you. But Masters gets several broader trends right, like when he makes the crucial point that No Wave filmmakers like Beth and Scott B. were upsetting an established avant-garde just as much as No Wave’s musicians were troubling their punk godparents.

Both No Wave overviews go to pains to limit their sphere of focus, though one does wish to read a little more about the movement’s literary influences (William Burroughs, J.G. Ballard, William Gibson) and outliers (Lizzy Mercier Descloux, please). Likewise, it would help to learn how the same set of city blocks produced Lydia Lunch and Madonna, and what exactly Jean-Michel Basquiat was doing all those nights at the Mudd Club.

But what these books skimp on context, they make up for in their rich detailing of No Wave’s internal split between Lower East Side habitués and SoHo aesthetes. There’s no question that Glenn Branca has influenced as many Mogwais as James Chance has Liars, but at the time of the movement’s heyday, downtown NYC was contested terrain. Brian Eno’s 1978 folklorist survey No New York (Phantom) conspicuously ignored the more outwardly intellectual SoHo contingent, and one still senses the bruised egos in Branca’s stinging account: "We were doing music that was too similar to what [Eno] was thinking about," the composer explains, elsewhere fuming, "If those East Village bastards had ever come down to Barnabus [a Tribeca bar], they would have found … as much sex, drugs, and rock ‘n’ roll going on in our scene as theirs."

Never mind the bollocks, there’s one clear constant refrain in all the No Wave testimonies: gimme cheap rent. Robert Christgau is right when he muses that No Wave’s bundling of nihilism and self-righteousness was "symptomatic of formal exhaustion"; but beneath, one finds an obvious irony. Where the movement’s progenitors were reacting to a perceived state of endless urban decay, their actions have, in retrospective, taken shape as an essential pre-gentrification story. As with Weimar Germany, No Wave is compelling for what was — and for what followed.

Lit: The illustrated Magazinester

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This past week, Magazinester pledged its love for Edie Fake and Matt Furie, and threw a tomato at overpriced rags featuring the thin talents of Terence Koh. Somehow, it forgot to conclude with the message that Tila Tequila is on the cover of Blender — are ya interested?

The beauty of Fake’s and Furie’s recent zines means it’s time to expand Magazinester. It’s time for annotated examples of imagery!

Let’s start off with Furie’s boy’s club. Whenever I cross paths with a Bay Area-n stranger who has copious frazzled head and face hair — you know, like every time I step outside — I think of Furie’s drawings and paintings. I especially like the ones where someone removes his or her sunglasses to reveal no eyes beneath. Furie’s “Nature Freak” show at Jack Fischer Gallery this winter was like a fun version of The Ruins. More recently, he brought “Heads” to Adobe Books Backroom Gallery. Heads. Now there’s a good-ass topic or theme for an art show!

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Some pages from boy’s club

Though they’re love at first sight as a viewing experience, I don’t immediately understand Edie Fake’s Rico McTaco and Gaylord Phoenix zines — in other words, I’m looking forward to re-reading and re-re-reading them. They don’t have many words, but they do have many worlds.

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A page from Edie Fake’s Gaylord Phoenix

Edie Fake makes me happier than almost any SF artist right now. I’d long ago given up hope there’d be a gay feminist artist as talented as Edie Fake, and yet Edie Fake is here.

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Another page from Gaylord Phoenix, by Edie Fake

Some zine makers just find the right topic and the hard work is already done. So it is for the people who bring you the stories, drawings, photos and lists in Dead Pets Zine.

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Cover of Dead Pets Zine

What would a list of dead animal movies be without Gates of Heaven (back when Erroll Morris wasn’t a pompous windbag) and Pet Sematary (back when Mary Harron was making videos for Madonna)? Fish float up to the surface on many pages, but pet rodents fare especially poorly in Dead Pets No. 1. Try out deadpetstories@gmail.com.

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A page from Dead Pets Zine

And yeah, Freddie Mercury deserves an illustrated book that celebrates almost every facet of his life. Until someone makes a Freddie Mercury book for 5-to-8-year-olds, Killer Queen: The Freddie Mercury Story will have to do. In fact, it’ll do fine for people those ages and people ten times older.

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A page from Killer Queen

Lit: Erick Lyle on rehab for Newsom and SF, the awful flair of Willie Brown, book box mansions and life in the City

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This week’s Lit features a review of Erick Lyle’s new book On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95). Liam O’Donoghue recently talked with Lyle, who will be appearing at Get Lost Travel Books on June 4th and AK Press Warehouse in Oakland on June 5th:

By Liam O’Donoghue

SFBG: The phase “secret history” is in the subtitle of your book and the term “urban archeology” is used to describe it. Did it feel like an archaeological project — like you were digging up this buried history of the city — when you were compiling the book?
Erick Lyle: When I moved to San Francisco I was lucky enough to be around a lot of older folks who told me their stories about the city and I fell in love with this place instantly. I feel like I’ve got all those stories filed away in my mind, so that when I’m out, riding my bike around the city, if I’m at a certain intersection, for example, I’ll think, “Oh, this is where that punk club was in 1988, but it’s also where so-and-so broke up with her boyfriend in 1995 and there was that one time when a guy tried to hit me with a 2×4.” But I can see all these layers simultaneously in my mind, and for me, part of the enjoyment of living here for awhile is seeing how these layers fit together over time. It gives an added dimension to, for example, a protest event you might be doing, to understand how that event fits into the longer history of the area.

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Erick Lyle, in his secret mansion enjoying the high life

As far as thinking about it as archeology at the time, I wouldn’t say that we were so self-conscious that we would do generator shows in the street so we could say, “This is history.” But if we don’t write this shit down, no one is, it’s not making it in the Chronicle or anywhere else. The things that happen in the doorsteps of the Mission or on the dance floor at the punk club or are spray-painted on the walls: these are the things that make up our lives. That’s the fabric of life in the city.

Hellarity burns

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› news@sfbg.com

"The angels in the summertime are ashes in the fall. As Eden fell so heaven shall. I will burn them all."

The sign, written in gothic letters on weatherworn plywood with faded red flames, is nailed to the side gate of a two-story duplex off Martin Luther King Jr. Way in north Oakland. Today, the old sign’s words carry a chilling new meaning, greeting visitors to a house whose insides were scorched by an unidentified arsonist.

The charred house has been a cauldron of contention for more than 10 years. It has been the product of two anticapitalist housing experiments, one started by an environmentalist landlord who sought to create an ecotopia, and the other by a group of anarchists who intended to make it their home. In the process, it became a hub for traveling activists and aspiring hobos, and a headquarters for antiestablishment endeavors such as Berkeley Liberation Radio.

"People would hear about it through the grapevine, hop off a freight train, and show up on our doorstep with a backpack, a banjo, and a Woody Guthrie song," says Steve DiCaprio, a tenant who moved into the house in 2001 with his wife after living in a van out front. "We had an open-door policy. Anyone could come in, no questions asked. They just had to abide by certain rules: no hard drugs, no racism, no homophobia, and no violence. We wanted to emphasize equality — it was a reaction to the closed, materialistic, competitive, dog-eat-dog society we live in."

The house originally was part of the green property owner’s attempt to create a network of sustainable, affordable housing. When his project floundered, the residence was slowly taken over by his tenants, a group of people who one-upped his radicalism. Both sides claimed to be avowed anticapitalists, but their strategies were at odds; his was to produce an alternative to the local housing market by creating a nonprofit that would help tenants own their homes as a collective. Theirs was to make space for themselves in a rent-based housing market by seizing property from investors and absentee landlords.

The owner eventually went bankrupt — drowned in the early stages of the current defutf8g housing market — and the property fell into the hands of a small-time real estate investor, despite the tenants’ attempts to buy it themselves. The tenants refused to leave, transforming themselves into squatters, and fought it out with the buyer in court for three years. As the court case bogged down, housing values plummeted, making the landlord’s investment lose value by the day.

On Feb. 28, when one of many hearings was set to take place, the squatters showed up in court but the landlord hadn’t filed the paperwork needed to move the conflict closer to a resolution. The following night, in the early hours of March 1, someone lit three fires in the empty upper apartment, setting the house ablaze as people slept inside.

WELCOME TO HELLARITY


For years the house has been known as "Hellarity," although its original owner never called it that. In fact, he refuses to. To recognize that name would be to legitimize the people who adorned it with the title — a group he sees as thieves, squatters who disrupted a legitimate project he thought would have a small but tangible impact on a profit-driven housing market.

Born on the Sunrise Free School in northeastern Washington State, Sennet Williams — known by most as "Sand" — spent his early years bouncing between Spokane and "environmental and pacifist intentional communities" in the area. A year after moving to Berkeley in 1990, he graduated from UC Berkeley’s Hass School of Business. With a degree in urban land economics, he wanted to do his part to turn the tide of environmental degradation by developing "nonprofit car-free housing" in Berkeley.

Williams didn’t see attending business school or investing in property as contradictions of his ideals. For Williams, they were strategic moves. He thought that anticapitalist projects lacked an important element — money — and wanted to be a benefactor for alternative forms of housing.

One week after graduating, his dreamy aspirations came to a crashing halt when an SUV plowed into his compact car while he was on a ski trip at Lake Tahoe, badly injuring him and causing brain damage. His goals would have been quickly destroyed, but Williams sued the driver and convinced the court that the accident interfered with his budding career, winning a settlement in 1993 that he says was "almost a million dollars."

While his money was tucked away in mutual funds and he was living briefly at a student co-op in Ann Arbor, Mich., in 1994, Williams solidified his ideas into an ambitious project called the "Green Plan" with some of his housemates. The plan was an elaborate scheme to "end homelessness" by creating "an urban nonprofit dedicated to self-governing and radical environmentalism" that would fund "rural sustainable ecovillages in Hawaii and elsewhere."

That summer, Williams bought five houses on credit in what he calls Berkeley’s "’80s drug-war zones" and brought his Ann Arbor friends to California to turn his rundown properties into co-op material. Over the summer, the Green Plan became an official organization and Williams let its members live in his houses without paying rent. Instead, they were expected to pay monthly dues to their organization — roughly the equivalent of fair market rent — to put toward buying rural land or repurchasing the houses from Williams at cost. Those who couldn’t afford to contribute were allowed to stay free in exchange for working on the houses, doing extra work for the Green Plan, or volunteering in its Little Planet café.

"Sennet (Williams) tried to be clear that he wasn’t a landlord," says former Green Plan member Dianna Tibbs, but relations between Williams and the members quickly disintegrated. Three years after its formation, the Green Plan remained unincorporated as a nonprofit. A former member also said it was still too centered on Williams’ ideas. Williams’ relationship with the tenants soured. "Ultimately there was a rebellion among the people against Sennet," Tibbs says. In 1997 the project disbanded, transferring all of the money they had raised — about $50,000 — to the Little Planet café.

The Green Plan fell apart, but Williams was caught up in the fervor of the mid-90s real estate market. In 1997, he bought the house that would later be named Hellarity for $114,000, with the goal of "making it into a demonstration of an eco-house that would be an educational resource for the city." He says he chose that property in part so it "could be a tribute to the Black Panthers’ goals of providing food in the inner-city," as it was on the same block as the home of Black Panthers founder Bobby Seale.

But shortly after Williams bought Hellarity, he says he became "overextended in real estate." By the time he made his first mortgage payments, he says there were "over 60 people" living in his houses. He owned eight in Berkeley, two in Oakland, and was planning to buy farmland in Hawaii. With Williams tied up in too many projects to fix up Hellarity, he moved in some people to "house sit" in exchange for free rent.

Shortly after people moved in, Williams stopped coming around the house. The housesitters gradually brought in their friends, the walls were slowly painted to suit the eccentric tastes of the occupants, and more people started calling the house theirs. Williams said he didn’t invite them, but admits that he never asked them to leave. He had little contact with the occupants as years passed. "He was just a theoretical person that owned the house," DiCaprio says.

Hellarity took on a distinctly anarchist flavor in Williams’ absence. "People with alternative lifestyles and alternative family arrangements could live without having to dedicate their lives to making money, giving them more time to invest in their homes and their communities," says long-term resident Robert "Eggplant" Burnett, Bay Area punk rock legend, publisher of the zine Absolutely Zippo, and editor of Slingshot newspaper. Hellarity hosted the pirate radio station Berkeley Liberation Radio, a do-it-yourself bike shop, and cooked meals for Food Not Bombs.

It seemed like an anarchist paradise, but it wouldn’t last.

FOR SALE


By 2004, mortgage payments were driving Williams deep into debt, and Hellarity became a burden. The house was being pulled away from him from two sides: by anarchists who increasingly challenged the legitimacy of his ownership, and by creditors who placed liens against his properties.

When Hellarity was eventually sold by the court in a bankruptcy sale, the tenants say the man who would buy the house, Pradeep Pal, had never set foot in it. Pal, who refused to be interviewed for this article, lived in an upper-middle class neighborhood in Hercules and owned two businesses, Charlie’s Garage in Berkeley and European Motor Works in Albany. He wasn’t exactly a freewheeling real estate flipper — he was a South Asian immigrant who, according to Guardian research of property records, never owned real estate in the area other than his own home.

But to the tenants, Pal was a capitalist trying to buy them out of their home. In a recorded meeting with tenants, Pal admitted he hadn’t been inside the house before he bought it, and Williams tells us the real estate agent who arranged the sale also never toured the house before Pal bought it. "He obviously had no interest in moving into the place or contributing to the community if he didn’t even look at it," future occupant Jake Sternberg says. "This was someone who just wanted to make a profit."

The tenants made it clear to Pal that they didn’t want him to buy the house and would make life difficult for him. As soon as it became apparent that Williams would lose the house, Crystal Haviland and a few other occupants started searching for someone to help them buy the house. In the summer of 2004, the house was slated to go up on foreclosure auction, but the tenants hadn’t found a sympathetic donor.

The auction was set to occur on the steps of the René C. Davidson Alameda County Courthouse, and the occupants showed up banging drums and bellowing chants to warn off prospective buyers. "We wanted anyone interested in buying the house to know that the people who had been living at the house for 10 years wanted to buy it," says Haviland, who is now raising a child, studying psychology at San Francisco State University, and volunteering as a peer counselor at the Berkeley Free Clinic. "We didn’t want people to buy it and turn it into an expensive gentrified thing." While people gathered, Williams showed up and announced bankruptcy, a legal move that cancelled the auction.

With more time to search for financial support, Haviland started talking with Cooperative Roots, an organization that bought a couple of Williams’ other houses — now known as "Fort Awesome" and "Fort Radical" — in foreclosure auctions. Cooperative Roots is a Berkeley-based nonprofit organized in 2003 by members of the University Students Cooperative Association. They received money from progressive donors — mainly the Parker Street Foundation — to buy houses that they turned into "cooperative, affordable housing," says Cooperative Roots member Zach Norwood. Anyone who lives in their houses is an automatic member of the cooperative and makes monthly mortgage payments to the foundation.

For Hellarity, Cooperative Roots was a godsend. "Other people would walk into that house and say, "This place is disgusting," DiCaprio says. "But they said, ‘Wow, this is a work of art.’<0x2009>" The Parker Street Foundation was willing to put down whatever was needed to buy the house, Norwood says, but the occupants were limited by the monthly payments they could afford. On Nov. 4, 2004, the house went up for bankruptcy sale, and Cooperative Roots was prepared to bid up to $420,000. "It was exciting to be there with a bunch of crazy Hellarity people, putting out bids for hundreds of thousands of dollars," Haviland says.

No one expected them to show up at the sale. Williams says they had previously offered to buy the house from him but he "didn’t think they were serious." By the time they had the money, Williams no longer had control of the sale. At the courthouse, the anarchists were playing by the rules, bidding with money up front. The only other party interested in the house was Pal and his brother-in-law Charanjit Rihal, who were placing bids against the occupants. The two sides bid against each other, driving up the price until the occupants reached their limit. Pal and Rihal took the property for $432,000.

OWNERSHIP VS. CONTROL


"This sale was symptomatic of a housing market gone haywire," says DiCaprio. "People like Pal and Rihal thought they could just throw a bunch of money into real estate and it would always be a good investment. I’m glad the market finally crashed, because that kind of behavior hurts a lot of people. It ended up driving the price of housing to the point that normal people can’t buy anymore — and that’s absurd."

Pal soon discovered he owned the property on paper only. The occupants didn’t recognize the sale or his authority to tell them to leave. Three months after the sale, the occupants were still there, refusing to go. Pal took the case to court in an "action to quiet title," demanding that they be ejected from the property and that the title be freed from any future claims against it. He claimed the people in the house were squatters, living on his property without permission. But before the police could drag out the occupants, they countersued, holding themselves up in court without a lawyer for three years and living in the house the whole time.

One of the first cross-complaints came from Robert Burnett who — with his contempt for the computerized, cell phone-saturated consumer culture — wrote his cross-complaint on the back of a flyer on an ancient typewriter. When the document appeared in court, one side advertised a benefit for a pirate radio station at the anarchist info shop at the Long Haul with an image of tiny people being thrown out of an upside-down Statue of Liberty. On the other side, Burnett claims that he is a co-owner of the house, which he acquired through "adverse possession." Two other defendants made the same claim.

"Adverse possession transfers the ownership of a piece of real estate to people occupying the house without payment," says Oakland attorney Ellis Brown, an expert in property law. "In the state of California, you have to be openly living in a place for five years without the titleholder trying to make you leave to win an adverse possession case."

"Adverse possession originated to prevent Native Americans from taking back land from homesteaders, but squatters turned it around, using it to protect people who take possession of unused property," says Iain Boal, a historian of the commons who teaches in the community studies department at the University of California, Santa Cruz and the author of the forthcoming book, The Long Theft: Episodes in the History of Enclosure. Boal emphasizes the large numbers of squatters in the world, a figure Robert Neuwirth, author of Shadow Cities: A Billion Squatters, a New Urban World (Routledge, 2004), pegs at 1 billion. "It is only here that squatters are seen as bizarre leftovers from the ’60s," Boal says. "We are in a crisis of shelter, and people need to fill their housing needs."

DiCaprio concurs. Along with Burnett, DiCaprio was the main backer of the occupants’ legal case. As we talk in a dark, live-in warehouse, he sips coffee out of a Mason jar and looks over the court case on his laptop. He says he wants to be a lawyer, but he has never been interested in making lots of money — he says he wants to "fight for housing rights." DiCaprio learned squatter law while cycling through family law court, criminal court, and federal court over a Berkeley house he was squatting and trying to win through adverse possession. The city threw him in jail, and he was released just after Pal sued the occupants of Hellarity.

He says Hellarity was different from other situations he’s dealt with as a squatter. "We never thought of ourselves as squatters [at Hellarity] per se until Pal sued us and start using that language in court," he says. "Before he bought the house, no one was challenging our presence on the property. Sennet [Williams] was either actively or passively letting us stay there. By filing a claim to quiet title, Pal made it apparent the title was in question. By calling us squatters instead of tenants, they lost some claim to the property. So we took the ball and ran with it."

Their use of adverse possession was strategic, DiCaprio says, but they didn’t intend to win the house that way. "We were never under any illusion that we would win ownership of the house in court," he says. "We wanted to use the court as a forum to enable us to buy the house. We were just treading water until Pal got tired and agreed to sell." The occupants say they offered him $360,000 for the house, the price it was originally listed for, but he refused to take a loss on his investment.

DiCaprio says the courts generally aren’t sympathetic to squatters’ cases. "Pro pers tend to be poor, so there is a class bias against them," he says, referring to people who represent themselves without a lawyer. DiCaprio says judges have rejected documents for having dirt on them and refused to give fee waivers to people with no income. "The courts do not like squatters. If you mix pro per and adverse possession, you could not have a more hostile environment against us."

For more than two years, Pal and the occupants played a cat-and-mouse game, dragging out the case and trying to complicate it in hopes the other side would just give up. Pal’s lawyer, Richard Harms (who did not return Guardian calls seeking comment), objected to the terms "documents," "property," and "identify" when asked to produce evidence related to his claim. "Instead of trying to prove their case, they were just waiting for us to trip up and not file something before a deadline," says DiCaprio.

The occupants didn’t slip, but as the case wore on, he and Burnett grew tired of upholding their side in court. By fall 2007, the two cut side deals with Pal. Burnett settled for $2,000 and DiCaprio for an undisclosed amount. "I realized I couldn’t save it alone," DiCaprio says. "I told them to sink or swim."

ENDGAME


When Burnett and DiCaprio settled with Pal, the subprime housing crisis was splashing the headlines. Pal’s investment was starting to seem more like a loss, but for the first time since he bought the property, it looked like it would finally be his. By November 2007, the remaining squatters dropped the battle for ownership and began bargaining with him for concessions.

By mid-February, Pal was ready to start renovations, and all but two of the squatters had moved out. They made their final plea and Pal gave his last compromise: two more weeks, then they had to go. "He was sure he was going to get the house, so he agreed to let us stay," says a squatter called Frank, who asked not to be named because of his immigration status.

What Pal may not have understood was that he was not the only party still interested in the house. The house was becoming a point of contention among the larger community of squatters and anarchists in the East Bay. Fissures broke around a central question: was it up to those living there to decide the fate of the notorious squat, or did the larger community of radical activists have a say in the property?

As Pal was getting rid of the last people occupying the house, the squatters’ conflict came to Hellarity’s doorstep. A new group of people came to the North Oakland house, among them a few who had previously stayed at Hellarity, ready to renew the struggle against Pal. Frank, who had been living in the house for seven months, was unhappy about the new arrivals.

"I told them that this kind of action would make problems for me," he says. "I already made an agreement with this guy [Pal] to leave by the end of the month." The new group saw things differently. "We own this place," says Jake Sternberg, the new de facto caretaker of Hellarity, who has since been pushing for the squatters to renew their court case. The discord between the squatters split up the duplex: the two old squatters stayed upstairs while the recent arrivals occupied the lower half.

Two weeks after the new crew moved in, a fire was lit in the upper apartment that burned through the ceiling and the floor. But who did it? Was it a disgruntled squatter who would rather destroy the house than hand it back to Pal? Or was Pal connected to the arson, losing his nerve as a newly energized group of squatters took over and the value of his investment crashed?

If not for the squatters, Pal might have been less affected by the subprime crisis than most property owners. He had no mortgage on the house — he bought it outright — so he wasn’t under threat of foreclosure, unlike tens of thousands of other California homeowners. But Pal faced a different threat. It seems likely he bought the house as an investment, and as the market crashed, he was stuck with a house he could neither renovate nor sell, and was left to watch its value tank as he slogged through court proceedings.

For an investor like Pal, the numbers weren’t looking good. In March, median housing prices had fallen 16.1 percent compared with those of March 2007, according to DataQuick Information Systems, and home sales declined 36.7 percent from the previous year. In April — for the seventh consecutive month — Bay Area home sales were at their lowest level in two decades, DataQuick reported. And according to Business Week, national home prices will plummet an additional 25 percent over the next two to three years.

On Feb. 17, the day after the new group of squatters moved in, Pal made an appearance at the house. In early March, Sternberg showed me a video he recorded during Pal’s visit. On the screen, Pal is sitting on a couch in the downstairs living room of Hellarity. At the door, a well-built man who looks to be in his 30s and calls himself Tony leans against the wall with two younger men who call themselves Salvador and Ryan. Sternberg tells me that Pal came to the house demanding they leave his property. Sternberg called the police, accusing Pal of trespassing. As they waited for the OPD to arrive, which took more than 25 minutes, they discuss their conflict over the house.

At the beginning of the video, Sternberg tells Pal why he and his friends refuse to give up the property: "People came over here from Europe and they said, ‘Hey, we’re going to take this place.’ Now they sell land to each other. And how did they get it? They took it…. And just because somebody pays for something doesn’t mean that they get it. And just because somebody sells something doesn’t mean they have a right to sell that."

A few minutes into Sternberg’s video, Pal told the squatters he was ready to take matters into his own hands. "You just have to deal with me now because what I’m saying is, it’s person to person…. And you know what? If it’s gonna get dirty, it’s gonna get dirty. I don’t care. Because you know what? That’s the way it’s gonna be, because this is what I need. I need to have it. I don’t have any lawyer. I can’t afford a damn lawyer. So it’s gonna be me and you. One to one. Man to man."

Pal eventually left the property after the police arrived, but the two younger men, Salvador and Ryan, spent the night upstairs. "[Pal] had them stay there because they thought the people downstairs would squat the upstairs," Frank says. "He wanted to protect the house." Frank, who says he was concerned that Pal would try to evict him with everyone else, initially didn’t protest the presence of the two young men.

The next day, at Frank’s request, Pal told Salvador and Ryan to leave, and for the two weeks that followed, Pal didn’t return to the house. The new group of squatters expected to see him Feb. 28, the date set for a case hearing called by Pal’s lawyer prior to the re-occupation of the house. If the defendants didn’t show up, a default judgment could have been entered, granting Pal his request to have the squatters removed and ordered to pay $2,000 per month in back rent. The squatters showed up for court, but Pal’s side hadn’t filed the necessary paperwork to hold the hearing.

Once again the house hung in legal limbo and the day after the hearing, the remaining people upstairs moved out as agreed. Frank says Pal called him while he was at work that afternoon to make sure they were gone. For the first time in 11 years, the upper apartment was empty, waiting for either Pal or the other squatters to seize it.

But someone was committed to preventing that from happening. The night after the people upstairs moved out, at around 3:15 a.m., the squatters downstairs awoke to fire creeping through the floorboards above them.

"Both of the doors upstairs were locked," Sternberg says. "We broke through one of the doors and threw buckets of water on the flames."

After the fire department extinguished the blaze, the squatters called the police to have an investigator search the scene. "It appears that unknown suspects entered the house through unknown means, and then set three fires in an attempt to burn the house," the police report states. According to the report, all three fires were set in the upstairs apartment; two burned out before the fire department arrived. Officer Vincent Chen found two used matches in the bathroom, where the wood around the sink had been burned, and a gas can hidden in the bushes on the east side of the house.

When I first met Sternberg, he told me the Oakland Police Department’s arson investigator, Barry Donelan, was helpful. Two and a half months after the fire, however, Sternberg says: "I regret having talked to the police."

Initially, Donelan didn’t know they were squatters — Sternberg had told him they owned the house. "Once he found flyers for a fundraiser to defend the squat, he became angry," says Sternberg. "He said he submitted the case to the district attorney, and didn’t expect anyone would be arrested."

Sternberg says Donelan also threatened to have him arrested for a traffic-related warrant and that he would turn Sternberg’s name over to the Federal Communications Commission, which had an open investigation on the house for hosting Berkeley Liberation Radio. In March, Donelan told us he wouldn’t comment on the case and at press time, he hadn’t return Guardian calls about the status of the investigation.

EPILOGUE


Although the arson may never be solved, the squatters have strong suspicions about who was behind the fire. But they have a hard time deciding who, ultimately, is most culpable for the blaze. "No one involved in Hellarity is innocent, and no one is completely guilty," says DiCaprio. The one point of view everyone seems to share is that Hellarity has long been a tinderbox of contention, in which property owners struggling in a beleaguered housing market faced off against a group of people who reject the market outright for its inaccessibility to low-income people. Eventually, it all literally — burst into flames.

When I visit after the fire, people are sitting outside playing guitar, smoking rolled cigarettes, and singing the timeless hobo ballad, "Big Rock Candy Mountain." The sounds drift over the budding vegetable gardens and into the downstairs living room, where a message written on a big green chalkboard suggests that if the fire was intended to drive people out, it was unsuccessful: "WELCOME BACK TO HELL(ARITY). Because bosses, landlords, and capitalists suck, the house has lots of repairs that need to be done before it becomes fully livable."

Upstairs, Sternberg looks up at a charred, gaping hole in the ceiling. "We have to make lemonade out of lemons," he tells me, explaining that they just got a skylight to fill the cavity. "We’re going to continue fighting just like we’ve been fighting. This guy [Pal] has been in court with us for three years. He’s got no case." *

Lit: Rediscovering Philip Lamantia

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An upcoming article will feature Tau by Philip Lamantia and Journey to the End by John Hoffman (City Lights, 138 pages, $12.95), the latest — and 59th — volume in City Lights’ Pocket Poets Series, edited by poet, hip-hop devotee and Guardian contributor Garrett Caples. For now, I’d like to get the word out, if it ain’t too late, about a reading and book party this Sunday. Caples hosts the event, which justifiably celebrates the publication of the lost second book by the influential surrealist Lamantia, who in turn was devoted to the writing of the comparatively obscure Hoffman, who died at the age of 25. Here’s the info, and after the jump, a choice Hoffman poem from the book.

Sun./25, 5 p.m., free
City Lights Books
261 Columbus, SF
(415) 362-8193

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She sang, he filmed

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Perhaps you’d like a dark date with Mary Wollstonecraft and Percy Bysshe Shelley. If not, you can always opt for a purple romp with Rimbaud and Verlaine, or Gertrude and Alice, or Paul and Jane Bowles. Maybe you have an ear for rock, in which case you can hit the bed or hit a vein with John and Yoko, or Sid and Nancy, or Kurt and Courtney. Really, what doesn’t fascinate us about legendary bohemian couples of various eras? They’re like Brangelina, but with a more thesis-friendly shelf life for anyone aspiring to a liberal arts degree.

We fetishize intersections between artists in any influential boho scene, from the Symbolists and the Dadaists to the Beats. Whether those bohos are hippies or punks, their brief encounters heighten each other’s retrospective glamour. Andy Warhol might be the all-time champ at making every minor contributor into a cult figure. One woman provided a bridge between the Warhol Factory and the fertile Euro boho scenes of the 1960s and ’70s. That woman was Nico (birth name: Christa Päffgen), the ethereally gorgeous model-actor turned avant-chanteuse who could transform anything — a sweet Jackson Browne ballad or one of her own inimitable compositions — into a postapocalyptic dirge.

The camera may have loved Nico, but that sentiment went unrequited. After she appeared in a few films, including 1966’s Chelsea Girls, and onstage as part of the Exploding Plastic Inevitable tour, Lou Reed dumped her, the Velvet Underground didn’t want her, and MGM Records realized the record-buying public enjoyed listening to this bleating beauty even less than they did the variably twee, glum, cacophonous, and not yet desert island–ready V.U.

Thus, this Germanic grievous angel slunk back to the continent from whence she came, leaving behind a list of ex-lovers that purportedly included Jim Morrison, John Cale, Brian Jones, Tim Buckley, and Iggy Pop. Once there, she fell in with a heady Parisian counterculture — in particular, with the filmmaker Philippe Garrel.

The film series "I’ll Be Your Mirror: Rare Films by Philippe Garrel" cuts a swath through Nico’s and Garrel’s enduring dual magnetism, a connection that endured long after her 1988 death from a cerebral hemorrhage. Ten years her junior, Garrel was barely out of his teens when he met Nico, yet he was already finishing his fourth feature, La Lit de la Vierge. She contributed the song "The Falconer" to that film’s ripe slice of 1969 Maintenant Génération angst, which was heavily dosed on post–May 1968 disillusionment and LSD.

A look at Morocco through a black-and-white CinemaScope viewfinder, La Lit de la Vierge is characteristic of Garrel’s hard-to-find (and hard to watch, some might say) early films. It’s visually striking, madly pretentious, and a perfect time capsule of a particular cultural moment’s entwined adventure and humorlessness. Scrawny and sporting a Prince Valiant ‘do, Pierre Clémenti is the film’s hippie Jesus, who rides into town on a burro only to be knocked off his humble ride by bullies. This Jesus has some real Oedipal issues, and no wonder — the actress Zouzou (Danièle Ciarlet) plays both Mary and Mary Magdalene. In case you can’t tell by now, there won’t be a Second Coming: when Christ makes an exit, it’s to get the hell away from people.

Nico appeared in virtually all of Garrel’s subsequent movies up until their decisive 1980 split. The fallout from their less-than-healthy relationship resonates through his more conventional later efforts, perhaps most blatantly within 1991’s I Don’t Hear the Guitar Anymore. In that film, Marianne (Johanna ter Steege; cute, but lacking Nico’s goddess quality) is a maddening object of desire who abandons lovers after dragging them into her heroin-addicted spiral. "I love you like a madman," declares Garrel’s stand-in Gerard (Benoît Régent). "That means the day you cease to be crazy, you won’t love me anymore," she snaps. Later, when talking to Gerard’s stable new squeeze, Marianna seems to speak for the director and his late muse when she ponders, "Maybe I didn’t make him happy, but it was a different era. Maybe we didn’t need to be happy. We were seeking something else."

Guitar‘s posthumous portrait is more repellent than alluring. But to help the unconverted fathom Nico’s peak mystique, Yerba Buena Center for the Arts film curator Joel Shepard has also programmed The Velvet Underground and Nico, an hour-long 1966 performance directed by Warhol. Static and chaotic, it features Nico on tambourine, with little Ari (her son by Alain Delon), a noise-jamming V.U., Mary Woronov and Gerard Malanga a-go-go, and a bout of performance interruptus courtesy of the NYPD. At the box office, up until 2005’s Regular Lovers, Philippe Garrel couldn’t get arrested. But outside of it, the types he hung with always could.

I’LL BE YOUR MIRROR: RARE FILMS BY PHILIPPE GARREL

Thurs/15–Sun/18, $6–$8

Yerba Buena Center for the Arts Screening Room

701 Mission, SF

(415) 978-2787

www.ybca.org

Lit and Film: Mostly True and Who is Bozo Texino?

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“I hear you callin’, baby, but you ain’t gettin’ me. Not today, anyhow.”

This week’s Guardian features a trio of railroad-related stories. On the Lower Frequencies author Erick Lyle writes about the train-hopping photos of the Polaroid Kidd and the words and images of William T. Vollmann. Cinema Scope chief and film programmer Mark Peranson talks with James Benning about his new movie RR. And Bill Daniel talks about the passions and motivations behind his new book Mostly True, which mixes a wealth of new and vintage print material with excerpts of his beautiful train-tagging movie Who is Bozo Texino?.


The epic account of the improbable discovery of the world’s greatest boxcar artist.

“Broken Promised Land”

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REVIEW "Broken Promised Land" is a distracting title for Israeli photographer Shai Kremer’s exhibit at the Robert Koch Gallery. Though broken dreams and bombed-out promises are certainly present in the 11 color photographs on display from Kremer’s seven-year project shooting Israel’s militarily disfigured landscapes, it’s ultimately the subtlety of his work that defines its wide-ranging resonance.

Kremer also has shown works from this series at New York City’s Julie Saul Gallery. They grabbed the title "Infected Landscape," part of the name of Kremer’s forthcoming monograph from Dewi Lewis Publishing, advance copies of which are available for perusing at Robert Koch. That name is fine but "Broken Promised Land" might have been more potently called "Earth" — or in Hebrew, "Eretz." Kremer’s exquisitely lit land of riddled targets, separation walls, and military training centers with their sad, flimsy, make-believe villages appears simultaneously abandoned by humanity and swarming with energy, spiritless and ghostly. The edges of the landscapes feel as if they’re about to swallow up entire scenes and spit them out, dispensing with the human elements. Burned Olive Trees and Katyusha Crater, Lebanon War (2006) combines the beauty and timelessness of a Mediterranean hillside village with a scar in the landscape so severe that every glance reveals something different in the foreground: a controlled burn; a clean photograph of an olive grove, mounted on a dirty one; or the destruction wrought by a rocket. Shooting Defense Wall, Gilo Neighborhood, Jerusalem, Israel (2004) displays a wall strangely painted to blend in with the street and landscape.

Kremer, born in 1974, shares a broad affinity with younger Middle Eastern artists such as Oraib Toukan, whose interest in cultural memory is returning significant results. "My goal is to reveal how every piece of land has become infected with loaded sediments of the ongoing conflict," Kremer has stated about the series. Unfortunately, he’s immensely successful.

BROKEN PROMISED LAND Through May 31. Tues.–Sat., 10:30 a.m.–5:30 p.m. Robert Koch Gallery, 49 Geary, fifth floor, SF. (415) 421-0122, www.kochgallery.com

SPORTS: The F-in’ ballgame

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By A.J. Hayes

Carbon dioxide, deforestation, and nitrous oxide all shoulder their share of the blame for Global Warming. But what about Lee Elia?

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Now, you won’t find Elia’s name mentioned in any Al Gore lecture. He’s not a greedy corporate bigwig, an eco terrorist, or a clueless oil tanker captain – just a curmudgeonly baseball lifer.

But 25 years ago this week, during a highly unsuccessful two-season stint managing the Chicago Cubs, Elia emitted the most extreme, paint-peeling meltdowns in the history of sports.

When he was done blasting away at Cubs fans with an obscenity-laced rant that included a jaw-dropping 36 F-bombs over the first three minutes, Elia surely had released enough green house gasses to liquidate massive mountain glaciers and multiply the thermal expansion of upper ocean layers from Pacifica to Antarctica. .

A quarter century later, Elia’s diatribe still ranks as the No. 1 outburst in the history of sports – eclipsing Oklahoma State football coach Mike Gundy (I’m a man! I’m 40!”); Indianapolis Colts coach Jim Mora (Playoffs?! Are you kidding?! Playoffs?!) and any number of profanity laced diatribes by former Dodgers skipper Tommy Lasorda.

The Legend of Elia rant has grown so much over the years, that every April 29, sports radio broadcasters from coast- to- coast gather for a moment to celebrate “Lee Elia Day” – popping multi-generational copies of the tirade into their Monrantz tape decks and laughing hysterically.

After dealing with mounds of monotone sports clichés on a daily basis, Elia’s rant allows beleaguered sound bite gathers a moment to smile. Obviously, because of Elia’s unrestrained profanity, only carefully edited versions of Elia’s adult content diatribe have ever made it to the public airwaves.

Now, thanks to the internet of course, Elia’s diatribe can be heard in all its profane glory.

The hapless Cubs were off to a typical dreary start to their ’83, settling into last place in the National League East place after a 4-3 loss to the Dodgers at Wrigley Field that afternoon.

As the Cubs exited the field and the 9,391 fans in attendance filed out of the grand stand, a couple of jerks pelted Chicago’s Keith Moreland and Larry Bowa with stadium trash.

“About 85 percent of the (f-ing) world is working,” Elia growled into the microphone of Chicago radio man Les Grobstein, one of a half dozen reporters to witness the rant first hand. “The other 15 come out here.”

He was far from finished.
Moments later, Elia’s season-long slow burn escalated into an inferno. He lit not only into the debris flinging morons, but each and every Cubs fan that had ever skipped school or work to take in a mid-week day game at the “Friendly Confines.”

Lit: Still Broke Ass after all these years

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By Justin Juul

Broke Ass Stuart is a travel writer, an SF cult hero, and one of the luckiest sunzabitches you will ever meet. Not only does he get paid to travel the world and write, but he also gets to do it as himself. Most travel writers have to water their stories down for those crappy airplane magazines or they just write thousands of fact-of-the-matter-reviews designed for hurried tourists. But not Stuart. He doesn’t have to do any of that shit.

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His first book, Broke Ass Stuart’s Guide to Living Cheaply in San Francisco, which he originally published himself as a zine, helped him carve a niche as a new voice in an industry overpopulated by impersonal clones. Since releasing his first book, Stuart has gone on to write a second SF edition and he recently spent ten months in New York doing research for his newest book, Broke Ass Stuart’s Guide to Living Cheaply in New York City. Sounds like a dream come true doesn’t it? Well, apparently travel writing isn’t all it’s cracked up to be. After four years of writing Broke Ass Stuart books and doing odd jobs for Lonely Planet, Stuart’s life is in shambles. He’s homeless, disoriented, and still broke-as-fuck.

The Guardian caught up with Stuart recently to remind him that his job is awesome and that other financially challenged writers (ahem) would kill to be in his position.

SFBG: So what’s up with your New York book? Did you make tons of money off it?
Stuart: No dude. Let me tell you, writing books is not the way to wealth and fame. I blew through my New York advance pretty quick and wound up waiting tables the whole time I was there. The book’s not coming out till November so I won’t be getting any royalties for a long time. I can’t even think about that money, really. I mean, I’ve been waiting tables for nine years.

SFBG: Shit. Yeah. So have I actually.
Stuart: It’s like a fuckin’ bad habit. It’s such a weird subculture, you know? Like people in the restaurant fucking each other, tons of drugs. And then you get out at night and you’re all revved up from dealing with assholes all night…

SFBG: So you take all your tips and go blow it another bar.
Stuart: Exactly. It’s definitely, uh, special.

CC Riders

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LIT When filmmaker Bruce Baillie founded Canyon Cinema in the early 1960s, it was a backyard bohemia to show artisanal films and drink wine with neighbors. But it quickly took root as a cooperative serving the needs of a movement of underground filmmakers. In scholar Scott MacDonald’s lovingly detailed history, Canyon Cinema: The Life and Times of an Independent Film Distributor (University of California Press, 480 pages, $29.95), Baillie’s early shambling is halcyon past, a sweet moment of spontaneous invention that then, rather surprisingly, begot a sustainable model for communal eclecticism.

Canyon wasn’t the only game in town — indeed, MacDonald describes the New York Film-Makers’ Cooperative, which preceded Canyon, as "a single instance of an idea whose time had come." But the organization’s underlying West Coast flavor, open channels of communication, and relatively clean distribution record put it at the center of an unwieldy film culture.

Drawing from a wealth of primary materials, MacDonald has woven a compelling narrative of American avant-garde cinema. One hardly needs to be aware of obscure corners of the underground to appreciate the book’s lively mix of voices. MacDonald doles out generous segments of Cinemanews, Canyon’s in-house clearinghouse for letters, critiques, advice, poems, recipes, and — in later years — extended interviews with the anointed giants of the avant-garde.

Among Canyon Cinema‘s five historical "portfolios," we get a full panorama of Canyon’s burning personalities: Baillie’s Zen road correspondences (describing pies that contain grapes and flowers); John Lennon’s zonked fan letter to Bruce Conner; Conner’s fierce riposte to Jonas Mekas’ NY Cinematheque; Saul Landau’s exposé of police pressure on a local Jean Genet screening; a photograph of the board of directors forming a naked pyramid; Stan Brakhage holding forth on etymologies; Robert Pike’s thoughtful report on how programming avant-garde cinema in peep houses could be a profitable venture; a tender letter from Will Hindle worrying over teaching filmmaking in art institutes; George Kuchar comics; and last, a precious line from Commodore Sloat: "Maybe more bits of film history next letter: Hollis Frampton and my junior high astronomy book (which he won’t admit he has and has refused to return)."

Canyon Cinema is wonderful in its particulars. It’s a pleasure to explore the depths of an organization that was emblematic of the counterculture without being beholden to it. Of course, being located in San Francisco and Sausalito, it had a pretty good view. Canyon keeper and former Pacific Film Archive programmer Edith Kramer recalls of the 1967-69 heyday that "The East Coast people were coming out; everybody wanted to come out — for the right reasons and the wrong reasons." Already in 1968, Robert Nelson writes of "the ever-growing dirge of psychedelica that in three years has gone from far-out to ad nauseam." Things dry up a bit with the intellectualization of the ’70s, though there are passionate, nothing-for-granted debates over the currents of the co-op’s milieu.

One suspects this overarching prudence is because, as filmmakers and co-op members, these people were intimately familiar with the economics of personal expression. Canyon is a romantic, idealistic group, but also a utilitarian one. Despite frequent brushes with insolvency, the amazing fact remains: "During the past 40 years, Canyon has evolved into the most dependable distributor of alternative cinema in the United States, and it has done so without betraying the fundamental principles on which it was founded."

Shorts

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SPEED READING

AMERICAN PHOTO BOOTH

By Näkki Goranin

W.W. Norton

224 pages

$29.95

A character on the Bush-era TV show The Hills once suggested churches’ confessionals be turned into photo booths. That idea sums up today’s brand of American narcissism, if you’re feeling pessimistic. On the other hand, Näkki Goranin’s nostalgia-drenched collection of photo booth images — and her light US history of the machine — cures such cynicism. Goranin traces the lives of photo booth inventors and pioneers (none as famous as the Lumiere brothers or Thomas Edison), then shares hundreds of anonymous images. One looks like a real-life version of 1973’s Paper Moon. A few use the booth’s privacy for same-sex affection. Couples pull faces, narcissists pose, and one or two looks could illustrate loneliness. Everyone aims to create keepsakes, a tradition that persists in the digital age. I carry a photo booth image of the guy I love in my wallet. (Johnny Ray Huston)

TEMPEST TALES

By Walter Mosley

Black Classic Press

190 pages

$19.95

Tempest Landry is a slightly modernized, more complex, and smarter version of Langston Hughes’s ne’er-do-well sidewalk lothario Jesse B. Semple. A rogue and hustler, Tempest is also the first soul who refuses to repent at the Pearly Gates. Thus he’s sent back to Earth, along with a celestial foil, to prove his case. But if his assertion that he was predestined to have a raw deal in life proves true — if he shows that being born black in racist America forces one to place values ahead of morals — it could threaten to undo all existence. Ending eternity or going to hell for eternity — which would you choose? Tempest Tales weighs this question with an impeccable sense of pace. In dimly lit areas of modern-day Harlem, Mosley mixes a love story, an analogy for individuation, and a supernatural game of cat and mouse, throwing in a white devil for emphasis. It makes for a fun, funny, and poignant experience. (D. Scot Miller)

After the ruins

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ESSAY In a journal entry dated Dec. 27, 1835, from his 1840 book Two Years before the Mast, student-turned-seafarer Richard Henry Dana recorded his first impressions of the area we know as the City, while his ship, The Alert, traveled through the Golden Gate:

We passed directly under the high cliff on which the presidio is built … from whence we could see large and beautifully wooded islands and the mouths of several small rivers … hundreds of red deer, and [a] stag, with his high branching antlers, were bounding about, looking at us for a moment and then starting off …

Dana arrived in the Bay Area after one era had ended and before another began. Until the coming of the Spaniards a generation earlier, some 10,000 people, members of around 40 separate tribes, lived between Big Sur and San Francisco, in the densest Native American population north of Mexico. Despite the existence among them of as many as 12 different languages, the people collectively referred to now as the Ohlone lived in relative peace for some 4,500 years.

On his first visit, Dana predicted that the Bay Area would be at the center of California’s prosperity. When he returned more than 30 years later in 1868, he discovered that his hotel was built on landfill that had been dumped where The Alert first landed.

Then in middle age, Dana wrote, "The past was real. The present all about me was unreal." Making his way through the crowded streets where the new city he’d predicted was being built, he remarked, "[I] seemed to myself like one who moved in ‘worlds not realized.’" Thus Dana became one of the first to articulate the peculiar San Franciscan combination of nostalgia for a lost past and despair over an unrealized future.

The past and future are always alive here. On his first visit, Dana wrote in his notebook about the great city to come. But like many residents of SF today, he slept on the cold, hard ground.

In George Stewart’s 1949 science fiction classic Earth Abides, a mysterious disease has killed 99 percent of the Earth’s population; the main character, Ish, roams the City and East Bay until he finds a wife. Stewart’s book ends in a Twilight Zone scenario, as an old, feeble Ish — now the last living pre-plague American — watches in dismay while his illiterate offspring hunt and frolic like the Ohlone, wearing animal skins and fashioning arrowheads from bottle caps.

After a wildfire, Ish notices that a library has been spared. All the information is still in there, he thinks. "But available to whom?"

Perhaps the knowledge Ish once begged his children to learn can be found in 1970’s The Last Whole Earth Catalog. Its 450-plus yellowing Road Atlas–size pages contain terse recommendations of publications about plant identification, organic gardens, windmills, vegetable dyes, edible mushrooms, goat husbandry, and childbirth, while also sharing the fundamentals of yoga, rock climbing, making music with computers, space colonization, and — of course! — the teachings of Buckminster Fuller.

The initial Whole Earth Catalog sought to reconcile Americans’ love of nature and technology. In Counterculture Green: The Whole Earth Catalog and American Environmentalism (University Press of Kansas, 303 pages, $34.95), author Andrew Kirk credits its creator, Stewart Brand, with bringing a sense of optimism to environmentalism. A character in Tom Wolfe’s 1968 Electric Kool-Aid Acid Test, Brand embodied the cultural intersection of acid and Apple at mid-1960s Stanford University. Kirk examines Brand’s 1965 "America Needs Indians" festival, his three-day Trips Festival in 1966, and his time riding the bus as one of Ken Kesey’s Merry Pranksters.

Counterculture Green correctly suggests that Brand’s utopian lifestyle has a hold on our imagination. But Brand was a leader of the counterculture, not a revolutionary. He believed that the market economy, not political change, would usher in a better world. While today’s market — at the behest of individuals — has started to demand renewable energy or sustainable growth, it also has brought us the SUV, suburban sprawl, and the highest fuel prices in history. Apple may empower the individual — or want consumers to believe it does — but at 29, Silicon Valley has the highest concentration of Superfund sites in the country.

Brand deserves credit for intuiting the peculiar "machine in the garden" Bay Area we live in today, a place perhaps more "California Über Alles" than utopian. It’s far from the postmarket SF envisioned in Ernest Callenbach’s 1975 novel Ecotopia, which is set in 1999, nearly 20 years after Northern California, Oregon, and Washington have seceded from the United States to form the titular nation. A colleague of Brand’s, Callenbach bases his society on ideas from the Whole Earth Catalog, but for one major difference — Ecotopia comes into being not through the free market but through an environmental revolution. (I won’t spoil it, but here’s a hint: it starts in Bolinas!)

While Callenbach’s future sometimes resembles a mixture of the Haight Street Fair and Critical Mass, there are twists. Ancient creeks have been unearthed, and on Market Street there is a "charming series of little falls, with water gurgling and splashing, and channels lined with rocks, trees, bamboos and ferns." Ecotopians have instituted a 20-hour work week that involves dismantling dystopian relics such as gas stations. There is a surplus of food produced close to home. Materials that do not decompose are no longer used. This new world is no wilderness — it reconciles civilization and nature. Yet perhaps its most radical idea is that humans can create a utopia without help from a plague, apocalyptic war, or earthquake.

The 1906 San Francisco earthquake leveled 4.7 square miles — or 508 city blocks. It destroyed 28,188 structures, including City Hall, the Hall of Justice, the Hall of Records, the County Jail, the Main Library, five police stations, and more than 40 schools. Yet strangely, many apocalyptic tomes — including recent ones such as the speculative nonfiction best-seller The World Without Us and the born-again Christian Left Behind series — are reluctant to imagine a totally destroyed San Francisco.

In contrast, Chris Carlsson’s 2004 utopian novel, After the Deluge (Full Enjoyment Books, 288 page, $13.95), suggests the City is at its most charming when at least partially in ruins, like the old cities of Europe. In Carlsson’s post-economic SF of 2157, rising sea levels from global warming submerge much of the Financial District, yet the City adapts by serving old skyscrapers — now converted into housing — with a network of canals.

After the Deluge‘s vision of reduced work, free bikes, and creeks unearthed from beneath streets borrows from Callenbach’s Ecotopia. Yet Carlsson seems to have his most fun imagining a city transformed by ruins: take a subtle comment on the Federal Building at Seventh and Market streets. In Carlsson’s map of SF circa 2157, the monstrosity that some call the Death Star is simply labeled "The Ruins."

Similarly, the photographs in After the Ruins 1906 and 2006: Rephotographing the San Francisco Earthquake and Fire (University of California Press, 134 pages, $24.95) appear to delight in the City’s impermanence. Mark Klett presents famous images of the smoldering city in 1906 alongside carefully shot contemporary photographs from the same vantage points. Cleverly, these images are arranged in a manner that suggests the ruins aren’t just the past but also an inevitable future.

The aftermaths of SF’s earthquakes are often described in utopian terms, as if cracks in the landscape revealed the possibility of a better world. In After the Ruins, a 1906 quake survivor remembers cooperation not seen since the days of the Ohlone:

A spirit of good nature and helpfulness prevailed and cheerfulness was common. The old and feeble were tenderly aided. Food was voluntarily divided. No one richer, none poorer than his fellow man.

In an essay accompanying After the Ruins, Rebecca Solnit recollects the 1989 earthquake similarly:

The night of the quake, the liquor store across the street held a small barbecue … I talked to the neighbors. I walked around and visited people. That night the powerless city lay for the first time in many years under a sky whose stars weren’t drowned out by electric lights.

Greta Snider’s classic early ’90s punk and bike zine Mudflap tells of a utopia for bicyclists created by the 1989 Loma Prieta quake. Until torn down, a closed-off section of damaged Interstate 280 became a bike superhighway where one could ride above the City without fear of cars. Earthquakes are seen to have utopian potential in SF, because, like protests or Critical Mass, they stop traffic. In 1991, Gulf War protestors stormed the Bay Bridge, shutting down traffic on the span for the first time since the 1989 quake. Perhaps in tribute to the utopian possibilities of both events, William Gibson’s 1993 book Virtual Light imagines a postquake-damaged Bay Bridge as a home for squatter shanties and black market stalls.

Carlsson’s new nonfiction book, Nowtopia (AK Press, 288 pages, $18.95), explores new communities springing up in the margins of capitalist society. Subtitled How Pirate Programmers, Outlaw Bicyclists, and Vacant-Lot Gardeners Are Inventing the Future Today, it looks for seeds of post-economic utopia in places such as the SF Bike Kitchen and the Open Source software movement. According to Carlsson, these communities "manifest the efforts of humans to transcend their lives as wage-slaves. They embrace a culture that rejects the market, money, and business. Engaging in technology in creative and experimental ways, the Nowtopians are involved in a guerilla war over the direction of society."

A founder of Critical Mass, Carlsson praises the biofuels movement and bicycle culture for promoting self-sufficiency through tools. With its optimism and endorsement of technology, Nowtopia occasionally evokes the Whole Earth Catalog. Yet unlike Brand’s tome, it focuses on class and how people perform work in today’s society. Carlsson finds that in their yearning for community, people will gladly perform hours of unpaid labor on behalf of something they love that they believe betters the world.

Within today’s SF, Carlsson cites Alemany Farm as an example of nowtopia. Volunteers took over an abandoned SF League of Urban Gardeners (SLUG) farm next to the Alemany Projects, farming it for several years before the City gave them official permission. "Instead of traditional political forms like unions or parties, people are coming together in practical projects," Carlsson writes. "They aren’t waiting for an institutional change from on-high, but are getting on with building the new world in the shell of the old."

Ironically, the only literature that truly envisions the complete destruction of large areas of the City are the postwar plans of the San Francisco Redevelopment Agency. In 1956, it began the first of two projects in the Fillmore, slashing the neighborhood in two with a widened Geary Boulevard and demolishing over 60 square blocks of housing. Some 17,500 African American and Japanese American people saw their homes bulldozed.

With their dreams of "urban renewal," the heads of SF-based corporate giants such as Standard Oil, Bechtel, Del Monte, Southern Pacific, Wells Fargo, and Bank of America reimagined the City as a utopia for big business. The language of a Wells Fargo report from the ’60s evokes the notebooks of Dana: "Geographically, San Francisco is a natural gateway for this country’s ocean-going and airborne commerce with the Pacific area nations." Likewise, Prologue for Action, a 1966 report from the San Francisco Planning and Urban Renewal Association, might have been written by dystopian visionary Philip K. Dick:

If SF decides to compete effectively with other cities for new "clean" industries and new corporate power, its population will move closer to "standard White Anglo-Saxon Protestant" characteristics. As automation increases the need for unskilled labor will decrease…. The population will tend to range from lower middle-class through upper-class…. Selection of a population’s composition might be undemocratic. Influence on it, however, is legal and desirable.

This dream of turning San Francisco into a perfect world for business required that much of the existing city be destroyed. First, the colorful Produce District along the waterfront was removed in 1959, its warmth and human buzz replaced by the four identical modern hulks of the Embarcadero Center. Beginning in 1966, some 87 acres of land south of Market — including 4,000 housing units — were bulldozed to make way for office blocks, luxury hotels, and the Moscone Center.

The dark logic of the Redevelopment Agency’s plans are projected into the future in the profoundly bleak science fiction of Richard Paul Russo’s Carlucci series from the ’90s. Russo’s books are set in a 21st-century SF entirely segregated by class and health. The Tenderloin is walled off into an area where drug-addicted and diseased residents kill each other or await death from AIDS or worse. Access to all neighborhoods is restricted and even the series’ hero, stereotypical good cop Frank Carlucci, submits to a full body search in order to enter the Financial District because he lacks the necessary chip implant to be waved through checkpoints.

Russo’s nightmares have their real side today, and many dreams found in Ecotopia and the Whole Earth Catalog — composting, recycling, widespread bicycling, urban gardening, free access to information via the Internet, Green building design — have also come to pass. (There is even a growing movement to unearth creeks like the Hayes River, which runs under City Hall.) Pat Murphy’s 1989 novel, The City Not Long After, imagines these opposing visions of the city will continue even after a plague wipes out all but one-thousandth of SF’s population. In Murphy’s book, those still alive turn the City into a backdrop for elaborate art projects, weaving ribbon and lace from Macy’s across downtown streets and painting the Golden Gate Bridge blue. This artists’ utopia is threatened when an army of survivors from Sacramento marches into SF. But the last forces of America, unlike the dot-com invaders of the ’90s, prove no match for the artists, who use direct action tactics and magic to rout Sacramento in an epic showdown at Civic Center Plaza.

In Carlsson’s After the Deluge, several people enter a bar called New Spec’s on Fulton Street. The walls are covered with old SF ephemera. One character explains to Eric, a newcomer, "Its all about nostalgia, a false nostalgia." Was the City a better place before the war, before the earthquakes, or before it was even the City? So many utopian visions of the future evoke a simpler past that one wonders if believing in one is the same as longing for the other. It’s a question that would make sense, once again, to Philip K. Dick.

Perhaps no fiction about a future SF captures utopian yearning as well as Dick’s decidedly dystopian works, because his stories, though full of futuristic gadgets, are really about the ways human characters relate to them. Do Androids Dream of Electric Sheep? (1968) is set in a radically depopulated postwar SF of 2021. The air is filled with radioactive dust and the streets are hauntingly empty as humans race to colonize Mars. Main character Rick Deckard is a bounty hunter assigned to "retire" humanlike androids, yet he’s mostly concerned about his electric sheep. Because there are almost no animals left on Earth, owning a fake one helps a striver like Deckard keep up appearances.

In 1962’s The Man in the High Castle, Dick imagines life in SF after the Nazis and Japanese have won World War II. Nostalgia haunts this story, too. Protagonist R. Childan makes his living selling rare prewar Americana to rich Japanese collectors. Not much has changed in this alternate SF, though. Market Street is still a place of "shooting galleries [and] cheap nightclubs with photos of middle-aged blondes holding their nipples between their wrinkled fingers and leering." While most utopian futures look to the past, Dick’s dystopian futures are all eerily about the present.

So how does Mr. Childan deal with the pain of living in a world where Nazis have won the war? How else? "To inspire himself, he lit up a marijuana cigarette," Dick writes, "excellent Land-O-Smiles brand."

Erick Lyle is the editor of Scam magazine. His book, On the Lower Frequencies: A Secret History of the City, is out now on Soft Skull Press.

NOWTOPIA BOOK RELEASE PARTY

Wed/9, 7:30 p.m.; $20 suggested donation (includes book, reading/discussion, and contribution to site)

CounterPULSE

1310 Mission, SF

(415) 626-2060

Lit: A Nowtopian Q&A with Chris Carlsson

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By Erick Lyle

Chris Carlsson, one of the founders of Critical Mass, has long been one of San Francisco’s most notable utopian tinkerers. Through projects like his magazine Processed World and his radical archive Shaping San Francisco, he has devoted much unpaid labor to investigating lost people’s history and to imagine possibilities for a better world. In 2004, he turned his attention to the future with After the Deluge, a speculative fiction novel about a post-economic San Francisco of 2157 where compulsory work has nearly been abolished and the Financial District has been submerged in rising floodwaters caused by global warming.

Carlsson’s brand-new book, Nowtopia (AK Press, 288 pages, $18.95), looks, instead, for seeds of that money-free utopia in the present, with chapters focusing on subjects as diverse as vacant-lot gardeners, the growing bio-fuels movement, the rise of Bike Kitchens across the nation, and Burning Man. Carlsson shows that as our economy, civic institutions, and faith in the system continue to break down, there are people all over the world organizing autonomously to “build the new world in the shell of the old.”

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SFBG: In Nowtopia, you highlight groups of people who are doing very diverse things. How do you perceive that, say, the open source software movement, the San Francisco Bike Kitchen, and people who farm empty lots in West Oakland are related?
CHRIS CARLSSON: I tried to reduce those things to the common thread that they are all forms of self-expressive behavior that people are doing outside of work and outside of what they consider to be political. People are coming together to try to add to their depth of experience, or to make their lives worth living. All of the activities in the book also represent people who have a creative engagement with technology.

Outlaw representation

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> a&eletters@sfbg.com

I love Dick and I cannot lie. I am of course referring to my Chocolate City homeboy Richard Bruce Nugent — who was never called "Dick," but was outfitted with "Paul Arbian" and other choice names by his friend, rival, and fellow Harlem/Negro Renaissance leader Wallace Thurman. Nugent, who died impoverished but grand in 1987, has been one of my abiding heroes since childhood. But with the rediscovery and publication of Gentleman Jigger (Da Capo Press, 332 pages, $18), in which Nugent names and reclaims his uptown good and hard times from speakeasies to sidewalks, the youngest Harlem Renaissance genius truly ceases to be a cipher.

I first read about Nugent at age 10, in David Levering Lewis’s epic study When Harlem Was in Vogue (Penguin, 1989). A provocative iconoclast and bon vivant, Nugent — who’d had the nerve to live past 27 and even be a vital raconteur during his sunset-and-threadbare years — enjoyed a meteoric ascent into the flux of my prepubescent consciousness. My Nuge was clearly brilliant, and a proto–rock star due to the mere rumor of his gay lit landmark from 1926, the short story "Smoke, Lilies and Jade." Though raised sheltered in Washington, DC’s Adams-Morgan black bohemia of the 1980s, I inchoately got that the Harlem Renaissance was the official coming out of black queer radical subculture — a coming out linked to Nugent’s historic meet-cute with Langston Hughes at one of DC salon hostess Georgia Douglas Johnson’s "Saturday nighters."

Having followed a trajectory similar to Nugent’s leap from DC to NYC, I still find him inspiring. His Gentleman Jigger reads eerily, stunningly, as if it were written about a black blogospheric bohemia that continues to wrestle with the ish Hughes laid out in his famed 1926 essay "The Negro Artist and the Racial Mountain." Although Nugent appears to have been scooped (possibly ripped off) in defining le tout fashionable Harlem by his prematurely dead and duskier podnuh Thurman, he almost lived to witness the emergence of such latter-day inheritors of his vision as poet Essex Hemphill and cultural critic Ernest Hardy.

Editor Thomas Wirth, who maintains a Nugent Web site and worked on Duke University Press’s 2002 Nugent collection Gay Rebel of the Harlem Renaissance, has done us all a great service by unearthing and recolutf8g Nugent’s masterful roman á clef. It’s an intriguing, nudge-winky funhouse that holds a mirror to the New Negritude milieu circa 1927 while presenting a flipside to the Niggerati Manor events captured in Thurman’s 1932 Infants of the Spring (Northeastern). With its wit, passion, racial skullduggery, fearless self-analysis, and an arch framing of uptown/downtown creative types fit to rival Ann Douglass’s nonfiction ’20s Manhattan history Terrible Honesty (Farrar, Straus and Giroux), Gentleman Jigger pulls off the shroud of dilettante-ism that obscured Nugent for decades. Twentieth-century sexual revolt was not always about a Revue Négre pickaninny and her bananas — or a notorious Englishman’s liver lips. It was also the province of dangerous minds with a will to political or social activism.

In Gentleman Jigger, at a soiree held by Serge Von Vertner, Nugent’s alter-ego Stuart Brennen holds forth: "Oh, I always sprawl," he declaims. "Sprawling is a Negro art. Else you might never know I was one. Appearances are so deceitful, and that would never do. So I merely flaunt a trademark."

If that ain’t a postmortem fit for the post-Basquiat, post-Gnarls, Black Renaissance 3.0 era, then I don’t know what is.

Superlist: Dives with karaoke

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› superlists@sfbg.com

Here’s why dive bar karaoke is better than what you’ll find at the established venues: (1) you’re less likely to get shamed by karaoke "professionals" who hog the mic and collude with the KJ to play nothing but show tunes and ballads; (2) wait times tend to be shorter, giving you more chances to shine; and (3) the song repertoire tends to be a bit wackier, which — if you’re lucky — means finding such rare gems as Danzig’s "Mother" or your favorite Paula Abdul B-side. Now go forth and rock that mic.

With its lush red velvet glow and fine wine and Belgian beer selection, Amnesia (853 Valencia, SF; 415-970-0012) hardly feels like a dive bar, which is what makes its free Tuesday night karaoke so special. Plus, the fact that it’s hosted by Glenny Kravitz, one of the most prolific KJs in the dive bar circuit, means there will be a huge selection of music and props — à la cowbell and toy sax.

If you want a dimly lit, dive-classy karaoke spot with a great beer selection and a hipster crowd that will actually hit the dance floor while you croon Usher, then come to the Attic (3336 24th St., SF) for its once-a-month karaoke night on second Mondays.

Not only does Annie’s Social Club (917 Folsom, SF; 415-974-1585, www.anniessocialclub.com) offer the rare opportunity to sing Iron Maiden and Judas Priest at its "punk and schlock" karaoke nights, but its also pours drinks stiff enough to make you think you can actually pull off a high-pitched heavy-metal wail. Monday nights are free with karaoke on the main stage; Fridays and Saturdays you’ll pay cover for the band but can slip into the tucked-away karaoke room that holds a mercifully small crowd. Come prepared by previewing their song list online.

There’s no better way to take a Friday after-work happy hour (6–9:30 p.m.) with your coworkers to a whole new level of embarrassment than with karaoke at the Beale Street Bar & Grill (133 Beale, SF; 415-543-1961). Running 22 years strong, this Financial District spot draws a hugely mixed crowd, ranging from suits to bike messengers and construction workers.

It’s hard to name the best thing about Bow Bow Cocktail Lounge (1155 Grant, SF; 415-421-6730) — whether it’s the bartender known for getting wasted, throwing firecrackers, and forgetting to charge you for drinks; the opportunity to sing your karaoke selection in either English or one of several East Asian languages; or some of the strangest background graphics you’ve ever seen. But once you’ve been, there’ll be no mystery why it’s heralded as one of the best karaoke spots in the city. Sing until closing on Friday and Saturday nights.

Neighborhood folks and young Mission transplant types rub elbows at Thursday-night karaoke at Jack’s Club (2545 24th St., SF; 415-641-5371). Jack’s keeps it real with cheap beer, an energetic crowd, and classic karaoke tunes including hip-hop and old-school jams.

There is no better way to mourn the beginning of another workweek than to make like an Outer Mission hipster and head to the Knockout (3223 Mission, SF; 415-550-6994) for its Monday night "Krazy for Karaoke Happy Hour" (6–9 p.m.). After a shot of karaoke-induced adrenaline and a few drinks from its quirky menu — which includes hot toddies, spiked root beers, and electric limeade — you’ll start to feel like Friday’s not looking quite so far away after all.

Lingba Restaurant & Lounge (1469 18th St., SF; 415-355-0001), a swanky Southeast Asian restaurant in Potrero Hill with an adjoining bar, hosts karaoke on Sunday nights with none other than the Karaoke Shark himself, Glenny Kravitz.

Who says the Mission is hopelessly overrun by hipsters and bridge-and-tunnelers on the weekends? The Napper Tandy (3200 24th, SF; 415-550-7510) has a warm, neighborhood-sports-bar kind of feel — the kind of place where you go to catch the game, shoot pool, eat fish and chips, and sing your favorite hits on a Saturday night.

On Friday and Saturday nights, Rick’s Restaurant and Bar (1940 Taraval, SF; 415-731-8900) draws an older crowd of Sunset regulars and neighborhood folk — and occasional San Francisco State University students — for crooners, classics, and pop.

Starting at 6 p.m. on Monday nights, El Rincon (2700 16th St., SF; 415-437-9240) serves up Cuban food and karaoke, featuring music ranging from Latin and reggae to ’80s punk, pop, and goth.

Lit: Is Cox a dick?

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By Jason Shamai

In conjunction with my review of his new graphic novel and Repo Man sequel Waldo’s Hawaiian Holiday (Gestalt Publishing, 164 pages, $19.95) in this week’s Guardian, I set down a few questions for writer/director Alex Cox to answer via email.

Clearly he doesn’t find me as clever, or as informed, as I do.

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Alex Cox, not looking surly. Photo by Sam Jones, from www.alexcox.com .

SFBG: What was your initial reaction to Chris Bones’s proposal to turn the screenplay into a graphic novel?
ALEX COX: I thought it was a great idea.

Editor’s Notes

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"At 11 a.m., Thursday, March 20, I found myself at the corner of Market and Beale streets, looking at the startling emptiness of the Financial District." (See "The days SF stood still," [03/26/03]).

That’s where I was five years ago. You remember where you were, too: it was one of those moments in time that nobody forgets. Shock and Awe lit up the sky over Iraq, President George W. Bush announced the glorious military victory that was on the way, and the politicians — even the Democrats — were so busy praising the troops in the field that nobody stopped to ask how this was all going to end.

As we report this week, the major newspapers didn’t, either. In fact, in a survey by Editor and Publisher magazine, more than 75 percent of the papers supported Bush’s arguments for war. The airwaves were filled with generals and admirals talking up the invasion; the antiwar movement was marginalized.

And while the mainstream media were waving flags and cheering, the alternative press was presenting the other side of the issue. "Bush’s war represents a dangerous turning point for the United States," we wrote on March 26, 2003.

I sent out an e-mail to my colleagues in the Association of Alternative Newsweeklies this week asking how many of the weeklies were strongly against the war, and the answers started pouring in immediately. Tucson Weekly. San Diego City Beat. Boulder Weekly. Monterey Coast Weekly. Boston’s The Phoenix. The North Coast Journal. Random Lengths. The Memphis Flyer. Rochester City Newspaper. Creative Loafing. And that’s just a few of the names on the list.

Overall, the independent and alternative media were in the vanguard, providing the information that the big outfits wouldn’t.

SFIAAFF: Are you lonesome tonight?

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› kimberly@sfbg.com

Brad Renfro wasn’t the only cinematic figure neglected in the recent Academy Awards’ "In Memoriam" montage: the academy fumbled even harder in its omission of Taiwanese filmmaker Edward Yang, who died last June of colon cancer in Los Angeles at 59. The self-taught father of Taiwan’s cinematic new wave and a runaway Seattle software engineer who abandoned the tech field that made his classmates wealthy for his true love of filmmaking, Yang only created only eight films during his short, multi-career life, but during that brief span the Shanghai-born, Taipei-raised auteur managed to lend an influential, helping hand in the difficult birth of serious Taiwanese movie making.

Yang’s so-called old drinking buddies, screenwriter Wu Nien-chen and fellow director Hou Hsiao-hsien, were more than just sodden shoulders to cry on; they grappled with manifold frustrations of working independently in the Taiwanese film industry (described by Yang as "fragmented and run-down," with only a limited pool of experienced actors). This gang of three supported each other financially and artistically: according to Jeff Yang’s account in Once upon a Time in China (Atria, 2003), Wu spearheaded the anthology In Our Time (1982), which showcased Yang’s first theatrical film, and Hou mortgaged his house to underwrite Yang’s second feature, Taipei Story (1985), which Hou also starred in — and ended up losing his shirt for after it lasted all of four days in theaters.

Twin brothers by different mothers and both born in 1947, Hou and Yang created their breakthrough films in 1986: the former’s Dust in the Wind was also — surprise! — written by Wu, while the latter’s The Terrorizers is a handsome, cerebral urban psychological drama that flaunts new wave roots like a glittering pop offspring of Jean-Luc Godard. Inspiring critic Fredric Jameson to praise its "archaically modern" textures, The Terrorizers broke down, as writer David Leiwei Li writes in Chinese Films in Focus (BFI, 2003), the hidebound binaries of East and West as "tradition versus modernity, enabling readings that recognize both the border-transcending flow of global commerce and the reflexive capacity of residual local cultures."

It’s easy to read Hou’s and Yang’s early works as responses to one another, a relic of their barroom-pal give-and-take back in the day, and some might view Yang’s masterpiece, A Brighter Summer Day (1991), as simply a rejoinder to Hou’s critically acclaimed, box office record-breaker City of Sadness (1989), though it was made amid far more hazardous conditions — 1989 was the year the bottom fell out of the Taiwanese market for locally produced films, and audiences turned to Hong Kong–made entertainments. A few critics might even tag Yi Yi: A One and a Two as Yang’s greatest feature — for its warm, humanist blend of The Terrorizer‘s postmodern urban landscape, Yang’s evocative roundelay of reflective surfaces, and the gentle gaze he levels on its quietly deteriorating family, headed by a software company manager pater familias, played by Yang’s old friend Wu, and a mother in the throes of spiritual crisis (Day‘s Elaine Jin).

For its unseen but subtly telegraphed depths, referential richness, and the sheer breadth and long-shot scope of its four-hour running time, Day nonetheless deserves the praise lavished on it. Much like City, writes Emilie Yueh-Yu Yeh and Darrell William Davis in Taiwanese Film Directors: A Treasure Island (Columbia University Press, 2005), Day‘s "local history turns the lock on long-suppressed ideas," convincingly plunging the personal into an epic sphere. Rarely screened and unavailable on DVD (much like The Terrorizer), Day has been described as a Taiwanese Rebel Without a Cause (1955) — a true descriptor if one discounts the very specific mise-en-scène of early ’60s Taipei and the film’s dense connective web of cultural, political, and familial allusions, obligations, and affiliations, one that’s as many-tendrilled and enmeshing as that of your average multigenerational Chinese family.

Ensnared by filial duty as well as street gang politics and placed in the sweepingly de-centered core of Day is its proto–James Dean, Xiao Si’r, portrayed by the baby-faced Chang Chen (the nomadic hottie in Yang’s Taiwanese cohort Ang Lee’s Crouching Tiger, Hidden Dragon [2000]). The director opens Day with Si’r’s Shanghainese intellectual father arguing with teachers about his son’s grades, and then widens his aperture imperceptibly, ingeniously onto the arboreal byways, flat-lit classrooms, vertigo-inducing corridors, and shadowy hideouts of Si’r’s world. It’s a realm in which the children of the Kuomintang live an uneasy existence much like their elders: residing in Japanese houses less than 20 years after their parents fought the Imperial army on the mainland, these Taiwanese teens listen to American doo-wop and early rock and form street gangs that parallel the battling political factions of the People’s Republic. Tanks rumble by as brownouts underline the sense of rupture.

Resembling in its panorama and chapterlike parts such historical epics as Bernardo Bertolucci’s 1900 (1976), Day unfurls like a scroll, peppered by the shouts and orders of parents, peddlers, and teachers, and peopled with pungent characters like the Tolstoy-reading, romantically heroic hood Honey and his guilelessly calcuutf8g survivor of a sweetheart Ming — as well as Si’r’s bookish father, who’s torn from his self-absorption when taken into custody by the secret police. All bear the marks of severance from one’s past, papers, homeland, and other familiar signposts of identity. The quiet, troubled, and piercing irony that Yang applies to the scene of Si’r’s father’s arrest, one in which his children repeatedly play Presley’s "Are You Lonesome Tonight" in order to translate the lyric "Does your memory stray to a brighter summer day" to sing at some future sock hop haunted by the specter of Honey’s death — shades of the Jesus and Mary Chain — makes this teeming opus worth turning over again and again in your own memory. It’s like a battle hymn to a faltering family, or a love song to the death of innocence.

TRIBUTE TO EDWARD YANG

The Terrorizer

March 14, 9 p.m.

Yi Yi: A One and a Two

March 20, 7 p.m.

Pacific Film Archive

A Brighter Summer Day

March 19, 7 p.m.

Clay Theater

>> Complete Asian American Film Fest coverage

Klubz: Lights Down Low – turn it up!

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Lingering in the ‘Loin. Photo by Joshua Rotter.

By Joshua Rotter

When the lights are turned low and the music is turned up, it’s time to get down at Lights Down Low. This biweekly party in the heart of the Tenderloin’s seediest section at Hyde and Turk brings much-needed festivity to an otherwise bedraggled block.

The stylish crowd encompasses the latest local hipperatti, all the kids you see leaving Academy of Art College and entering gainful employment at Flax or one of the many retail clothing stores around the city. And you don’t even have to enter the club, hosted by DJ’s Sleazemore and Rchrd Oh?! and highlighting a revolving group of guest DJs, to see these seen-and-be-scenesters: many line the sidewalk out front, drinking from paper bags while debating whether Bob Dylan or Neil Young is the greatest singer-songwriter of all time. All that was missing from this style council’s spectacle were the passing tour buses of yesteryear from which tourists once gawked at the city’s wildlife.

Once inside, if you are fortunate enough to navigate past the narrow bar packed with peeps, make your way down to the crowded basement dance floor where the hi-octane electro, disco, and hip-hop jams will have you bumping. If you do down a few brews, be prepared to hold it, because those lines inside means the queues outside loos are as difficult to penetrate as the most exclusive VIP rooms. When bathroom breakers return to the dimly lit dance floor, their olfactory senses may be dulled, but they’re ready to dance and make romance, ’cause when the lights go down, the DJs give them something they can feel.

Lights Down Low
Second and fourth Fridays of the month, 10 p.m.-3 a.m., $10
222 Club
222 Hyde St, SF
(415) 440-0222

The Bush we love: Kate Bush’s ‘The Kick Inside’ turns 30

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By Todd Lavoie

Can you believe it? Kate Bush‘s ain’t-nothin-else-like-it debut, The Kick Inside (EMI), turns the big three-oh this month! Yep, that’s 30 gilded candles sitting atop the unapologetically romantic gem’s scrumptiously rococo birthday cake.

Back in February 1978, the inimitable Bush burst into worldwide consciousness in a flurry of French horns, wind chimes, and pirouettes. Sounding like little which came before it and bearing few similarities to its contemporaries, it remains a bit of a shock that the album hit the big time like it did. No complaints: the huge success of The Kick Inside enabled her to continue following her muse with little regard for musical trends or record company expectations. Quite the enviable position to be in – maintaining such success over the years while still indulging an ever-roaming artistic spirit.

Bush was a mere 19 when The Kick Inside emerged, but she already sounded surer of herself than many of us. While I tend to shudder and shrug whenever I think back to my teens, before hitting 20, she’d already assembled a baker’s dozen of impressively mature confessionals and lit-minded reveries, two of which (“The Man with the Child in His Eyes,” “Wuthering Heights”) remain undisputed classics from the era. Did I mention that she wrote some of these songs at the age of 15?!

Talking points

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› a&eletters@sfbg.com

The two women invited to a mysterious dinner party in the American Conservatory Theater–commissioned Brainpeople have no idea why they’re there. For some time we’re not sure why we are either. After detouring into the uncharacteristically straightforward screenplays of The Motorcycle Diaries and Trade, playwright José Rivera is back in quirky magic-realist overdrive. Too much of this 80-minute one-act feels propelled by a willful eccentricity less delightful than pointless. There is a point, though — and it’s worth the wait.

Dressed-to-kill beauty Mayannah (Lucia Brawley) has summoned two houseguests to her Los Angeles manse, which is heavily fortified against the violent police state outside. Both are promised substantial monetary reward for their attendance, though it seems all they’ve got to do is arrive (via armored limo) and enjoy "the meal of your lives."

This must be too good to be true. Garrulous wallflower Ani (Sona Tatoyan) voices our suspicions by nervously inquiring if the huge platter o’ mystery meat is, er, people. (It ain’t, but it is something equally seldom masticated.) Fellow guest Rosemary (Rene Augesen) doesn’t care what it is — she is hungry. She also displays odd shifts in mood and accent, soon exposed as a whole cacophonous chorus of schizoid "brainpeople" taking turns à la Sybil with her body and behavior.

In Daniel Ostling’s creepy-elegant dining room set, beautifully lit by Paul Whitaker, all three women reveal their demons via flamboyant yet unfelt monologues. Augesen in particular contorts through multivoice fireworks more actor punitive than audience rewarding. But Rivera and director Chay Yew’s premiere production are heading somewhere. When the "miracle" Mayannah hoped would occur this evening does, performers and play transcend all prior filigreed excess. Brainpeople ends on a sustained grace note that’s unsettling, poignant, and haunting.

CURVY, BALLSY?


There’s just one woman’s voice revealing all in Curvy Widow, the Cybill Shepherd showcase that’s opened here after a reportedly very rough Atlanta tryout and considerable retooling. But it’s the kind that can suck air out of a room all by itself.

A first playwriting effort by Bobby Goldman, widow of stage and screen writer James Goldman (The Lion in Winter), this plotless autobiographical monologue is the precise equivalent of an experience everybody suffers sometime: you’re stuck with that worst-case-scenario stranger who views every social contact as a passive admirer to regale with dazzling banter about their adventures, knowledge, professional stature, and general fabulousness. Yet all you’re hearing is the deafening roar of hot air. Under such circumstances even an elevator ride can seem interminable. Curvy Widow is 90 minutes long.

Shepherd’s "character" (the program leaves no doubt that Goldman "IS The Curvy Widow") is a 57-year-old professional fixer who does everything from choose furniture to chase squirrels out of the house, enabling other rich folk to do zilch for themselves. Her meant-to-be-hilarious dating travails include many descriptions of men who are rude, unattractive, "dumb as posts," or otherwise less than worthy of her. But just what does the widow deserve? Not jury duty, vaginal dryness, or various other complaints that amazingly made it into this revised script. It’s true men get away easier with being pushy and abrasive — they’re "ballsy," not "bitchy." But when women like Goldman and (in interviews) Shepherd celebrate having those qualities as empowerment, are they inverting a stereotype or just making excuses for being spoiled jerks?

There are a handful of funny lines, plus others Shepherd sells as funny. One can’t really blame her mostly awkward performance, Scott Schwartz’s direction, or the ugly physical production for everything else. You want to tell the Curvy Widow, "Shaddap and get a vibrator." But she already has an autopleaser. This play is the ultimate act of self-love.

BRAINPEOPLE

Thurs/14–Sat/16, 8 p.m. (also Sat/16, 2 p.m.), $12.50–$20.50

Zeum

221 Fourth St., SF

(415) 749-2228

www.act-sf.org

CURVY WIDOW

Through March 9

Wed.–Sat., 8 p.m. (also Sat., 3 p.m.); Sun., 3 and 7 p.m.; $50–$75

Post Street Theatre

450 Post, second floor, SF

(415) 771-6900

Shelter shuffle

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EDITOR’S NOTE Guardian reporter Amanda Witherell and intern Bryan Cohen spent almost a week staying in various San Francisco homeless shelters. To get an unfiltered look at the conditions, they didn’t identify themselves as journalists, so some names in this story have been changed to protect people’s privacy. Their undercover reporting was supplemented with extensive research and on-the-record interviews with key officials, providers, and recipients of homeless services.

>>Read Amanda Witherell’s nightly shelter journals, with photos

>>Read Bryan Cohen’s nightly shelter journals, with photos

>>Homeless people share their stories

>>The mayor’s Feb. 14 press conference about homeless shelters

It’s about quarter past seven on a Thursday night, and I’m late for curfew. Not even during my wildest high school days did I have to be home by a certain time, but tonight, 29 years old and sleeping in a homeless shelter, I’m supposed to be in by 6:30 p.m.

Heading down Fifth Street toward the shelter, I wonder what I’ll do if I lose my bed for being late. Can they set me up at a different shelter? Will I have to head back to a resource center in the Tenderloin or the Mission District to wait in line for a reservation somewhere else? Either way, I could be walking the streets for the next few hours, so I adjust my heavy backpack for the journey. Waiting to cross Bryant Street, I stare up at the large, hulking building with its utilitarian name, Multi-Service Center South, and notice there are no shades on the windows in the men’s dorm. Since it’s lit from within, I can clearly see someone standing beside his cot, clad in nothing but blue plaid boxers, obviously unaware that he’s so exposed. I wonder if the windows would be shaded if it were the women’s room. Maybe that’s why we sleep in the basement.

Inside the door I shed my pack and step through the metal detector. The security guard dutifully pats it down and pushes it back into my arms. At the desk I give the last four digits of my Social Security number and am checked in. No questions about being tardy. I’m in.

I’m also late for dinner. A staffer hands me two unwrapped sandwiches from a reused bread bag under the counter. Ham, mustard, and American cheese between two pieces of cheap, sliced bread. After two days in the shelter I still haven’t seen a piece of fruit or a vegetable. I wrap the sandwiches in the newspaper under my arm and head down to my bunk. On the stairs I pass a guy and nod hello. He nods back, then calls out, "Hey, can I ask you something?"

I turn. "Sure."

"What’s a nice girl like you doing in here?"

I shrug and step back, unsure of what to say.

"I’m not trying to mess with you," he says. "I’m not fucking with you. I don’t do drugs. I’m straight. I don’t mess with anything," he goes on, trying to reassure me.

I believe him and dish it back. "Then what’s a nice guy like you doing in here?"

He laughs and shrugs. He tells me he doesn’t really stay here. It’s just for a couple of days. He lives in a $200 per week hotel in Oakland, but if he stays there more than 28 consecutive days, it becomes residential and the rates go up, so he clears out for a few days every month and comes here. The hotel’s nicer than this, he claims. It’s clean and safe, and he has his own space. "I can walk around in my underwear," he says.

We sit on the stairs, talking about how you lose all your privacy when you stay in a shelter, how the regimentation is reminiscent of prison. There are no places to go and be on your own, rest, and be quiet. Once you’re in for the night, you can’t leave except to step out for a smoke.

I ask if he has a job. He tells me he’s a chef for Google. I raise an eyebrow, recalling that the company’s stock is hovering somewhere between $600 and $700 per share right now. The pay isn’t the problem — he gets $16 an hour, but he’s been out of town for a while, caring for a sick family member, and has just returned. He got his job back, but only part-time, and he lost his home.

He’s wary of being on welfare — that’s not the way his mother raised him — but he’s in the County Adult Assistance Program, which gets him $29 every two weeks, a guaranteed bed at the shelter, and a spot on a waiting list for a single-room-occupancy hotel room, the bottom rung on the permanent-housing ladder.

What he really wants is a studio, but his searches haven’t turned up anything affordable. He needs a little boost of cash for a security deposit on an apartment, but when he asked the General Assistance Office if it could help him out with that, the answer was no.

His brow furrows with concern, and then the conversation turns to me. "You got a job?" he asks.

What can I say? I’m a reporter for a local newspaper. I’ve heard that some of the city’s homeless shelters are lacking basic standards, accessing a bed can be complicated, and services are scattered. I thought I’d come find out for myself.

Here’s what I learned: San Francisco has a cumbersome crazy quilt of programs, stitched together with waiting lists and lines. Policies that are written on paper and espoused in City Hall are often missing in shelters. Some rules don’t seem to exist until they’ve been broken. Others apply to some people, but not all. Getting a bed is a major hurdle, and I say that as a stable, able, mentally competent, sober adult.

And once you’re in, it’s sort of like sitting in a McDonald’s for too long. Years ago a friend told me the interiors of fast food restaurants are deliberately designed to make you feel a little uncomfortable. They don’t want you to get too cozy; they want you to eat and leave, making way for the next hungry mouth they can feed.

In other words, shelters are designed to make people not want to use them.

The only information I took with me was a one-page handout I got from a San Francisco Police Department Operation Outreach officer. He said it’s what cops and outreach workers give to people they come across who are sleeping on the streets. I figure if it’s good enough for them, it’s all I need to navigate the system.

The map, as it were, is a cramped, double-sided list of places to get free meals, take showers, store your stuff, sober up, and, of course, get a bed.

For the bed, it instructs, you have to go to a resource center and make a reservation. Some of the resource centers are also shelters. Some aren’t. Some are just reservation stations. They all have different operating hours and are located all over the city, but mostly in the Tenderloin and South of Market.

It takes me a while to puzzle out which ones are open, where exactly they are, then which is closest to me. Phone numbers are also listed, so I assume it’s like making a hotel reservation and dial one up on my cell phone.

The first number doesn’t work. There’s a digit missing. Dialing methodically down the list, I discover that none of the numbers connect me to a person. This is obviously not the way to go.

The way I ultimately get into a shelter is not the way you’re supposed to. In San Francisco’s system, you’re not supposed to just walk up to a homeless shelter and get a bed, but that’s what I do.

At first the woman behind the counter at MSC South tells me the only open beds are across town, at Ella Hill Hutch in the Western Addition. Then another staffer looks at the clock and says he’s not sending me out there. He’ll "drop" beds instead.

The city’s 1,182 beds for single adults are managed through an electronic database called CHANGES. It’s a modern-day improvement on people roaming from shelter to shelter everyday, putting their names on lists for possible beds. Launched in 2004, CHANGES now does that electronically and maintains profiles of people who use the system. If you’ve been kicked out of a shelter, missed your tuberculosis test, or not shown up for curfew, CHANGES knows and tells on you.

Every day around 8 p.m. shelter staff trawl through the reservations and drop the no-shows, cancellations, and reservations that have expired or whose makers have moved on to hospitals, rehab, the morgue, or — less frequently — housing.

MSC is allowed to make reservations for any shelter except itself — that’s against policy. I learn this the next morning, and I’m told it’s because there’s too much corruption and favoritism. MSC is apparently one of the better shelters, so to keep clients from cutting deals with staff, the policy doesn’t allow clients to reserve a bed there.

But after half an hour the staffer hooks me up for a two-night stay, bending the rules to do so. While I’m waiting, he turns away a client who had a seven-day bed but didn’t show up the previous night. The guard confiscates his fifth of vodka, and he gets an earful about drinking.

When the city’s shelter system was born in 1982, it was first come, first serve at the doors of churches and community centers. President Ronald Reagan’s cuts to federal domestic spending landed hard on low-income people, so then-mayor Dianne Feinstein called on local organizations to temporarily house and feed the growing number of street sleepers.

Throughout the ’80s wages stagnated while the cost of living soared: between 1978 and 1988 the average rent for a studio apartment in San Francisco jumped 183 percent — from $159 a month to $450. Twenty years later it’s $1,114. In 1978 the Housing and Urban Development budget was $83 billion. Today it’s $35.2 billion, almost nothing by federal budgetary standards, and almost no new public housing units have been built since 1996, while 100,000 have been lost.

Every year the federal government spends almost twice as much on a single attack submarine as the Department of Housing and Urban Development spends on homeless assistance. State and local governments have been left to pick up the hefty price tag.

San Francisco spends more than $200 million on homelessness, through services, financial aid, supportive housing, emergency care, and shelter beds. There are 13 city-funded shelters, four resource centers, and three reservation stations in San Francisco. The Human Services Agency spends $12.5 million per year on shelters through contracts with nonprofit managers. The Department of Public Health also manages two contracts, for a battered women’s shelter and a 24-hour drop-in center.

But it’s not enough: the nonprofits supplement operating expenses with grants and private donations and recently relied on a special allocation of $300,000 to purchase basic supplies like soap, towels, hand sanitizer, sheets, pillows, and blankets.

James Woods, a spry 51-year-old wearing a red Gap parka barely zipped over his thin, scarred chest, rattles off the places he’s lived: Detroit, Atlanta, Seattle, San Francisco, Louisville, Ky., and his hometown, Nashville, Tenn. "Out of all the cities I’ve been in, this is the only city where you have to go and make a reservation for a bed at the rescue mission all the way across the city in order to come back to the place you started," he says, jabbing the floor of MSC with his cane. "I can’t even make a reservation here for a bed here. They’ll send me across the city to another place to do that."

Woods has been pounding the pavement between MSC and the Tenderloin AIDS Resource Center for eight months. Every day around 3:30 p.m. he heads to the Tenderloin, where he gets in line for a bed. Woods has a fractured hip and arthritis, pins in his knees and feet, and hepatitis C. He’s been HIV-positive since 2002. He walks with a limp that can transform into a springy, stiff-legged canter when he chases the 27 bus down Fifth Street.

Rather than tote all of his possessions with him, he hides them in the drawer of an emergency bed at MSC, so it’s imperative that he get back there every night. Sometimes he waits hours for an MSC bed to open up.

Though Woods speaks highly of some city services, swooning a little when he mentions his doctor at the Tom Waddell Health Center, the daily bed hunt has left him exhausted and disgusted with the city. "They’ve got the program designed to run the homeless off," he says. "They have it as hard and difficult as possible for you to take a breath, take a rest, get a routine."

While a person can reserve a bed for one to seven nights and, if on General Assistance, make arrangements through a caseworker for 30- to 90-day stays, Woods has rarely been able to procure a bed for longer than one night. "Maybe twice I’ve gotten a seven-day bed," he says.

The inability to connect people with beds is not lost on city officials. Mayor Gavin Newsom’s recently hired homeless policy director, Dariush Kayhan, told me, "I really want to solve the issue of the juxtaposition of vacant beds and homeless people on the streets. That to me is untenable."

However, he only discussed the issue in terms of people who’ve chosen not to use the shelters and are sleeping in the street. To him, empty beds signify that there’s more than enough shelter for people. "At this time there’s no plan to expand any shelter beds, and I think homeless people, in many ways, many of them vote with their feet and have decided that shelter’s not for them," he said.

But the Guardian found that even if you are willing and waiting for a bed in a place where someone can presumably connect you with one, it often doesn’t happen.

According to the 2007 Homeless Count, there are 6,377 homeless people in San Francisco. The nine year-round single-adult shelters have enough beds to accommodate one-third of that population. Other emergency facilities shelter some of the overflow on a seasonal basis. The remaining homeless sleep in jails and hospitals, respite and sobering centers, parks and sidewalks.

People also pile up at Buster’s Place, the only 24-hour drop-in resource center in the city, where they slump all night in chairs, forbidden by staff to sleep on the floor.

It took Guardian writer Bryan Cohen five nights to find a spot at a shelter. He spent Jan. 20 and 21 at Buster’s waiting to see if a bed would open up. None did. According to the shelter vacancy report for those two nights, there were 108 and 164 beds set aside for men that went unfilled. On an average night this January, a month marked by cold weather and flooding rain, 196 beds were empty.

Buster’s does not have access to CHANGES but can apparently call shelters and ask about empty beds. I was at the Providence Foundation shelter one night and overheard a call come through and shelter staff tell whoever rang that no, they couldn’t bring more people here. There were four empty mats beside me.

Laura Guzman, director of the Mission Neighborhood Resource Center, said CHANGES was a breakthrough in getting people into beds, but when it was first launched in 2004, things were different. "You had a choice. Shelter of choice was much easier to achieve. Then Care Not Cash happened," she said.

Most of the city’s beds are assigned to beneficiaries of certain programs, like Swords to Ploughshares and Newsom’s signature plan Care Not Cash, or to people with mental health or substance abuse issues who have case managers.

Though beds can be turned over to the general public when they are dropped after curfew, one wonders how effectively that happens.

The challenges are worst for Latinos, refugees, and immigrants, who face language barriers and the potential hurdle of illegality.

As a result, they flood one of the few places they can get in. Dolores Street Community Services reported the second-lowest vacancy rate in January, just 5 percent. The 82-bed program hosts a waiting list and is one of the more flexible in the city — deliberately so, as many of its Latino participants have jobs or work as day laborers. Marlon Mendieta, the executive program director, says, "They have a plan and just need to save up some money to move into a place."

However, rising rents have made moving on difficult. "We have people who are basically just cycling from one shelter to another," Mendieta said. "We see some who exit our shelter, find housing, but might end up back at the shelter if rent goes up or they lose work."

Providence is one of the sparest of homeless facilities and is located in a Bayview church. Unlike at other shelters, there’s no hanging out here. When the doors open at 9:30 p.m. about 90 people with reservations are already lined up in the rain on its dark side street.

We receive one blanket apiece, and the men shuffle into the gym while I follow the other females into a smaller side room, where 12 mats are laid out on two ratty tarps. Several women immediately lie down, speechless.

The cook gives a quick blessing when plates of food arrive on two sheet pans: spaghetti, heavily dressed salad, limp green beans mixed with cooked iceberg lettuce, and a very buttery roll. It’s all heavy and slightly greasy, but also warm and a closer approximation of a square meal than any of those offered by the other shelters I’ve stayed in so far.

Moments after I finish eating the lights are turned off, even though a couple of women are still working on their meals. A shelter monitor comes through and confiscates our cups of water, saying she just refinished the floors in here and doesn’t want any spills. I notice that unlike at other shelters where I’ve stayed, none of the women here have bothered to change into pajamas. Some haven’t even removed their shoes. I follow suit, tucking my jacket under my head for a pillow and pulling the blanket around me.

When the lights come back on at 5:45 a.m., I understand why no one changed: there’s no time to get dressed. Shelter monitors enter the room, rousting sleepers with catcalls to get up and get moving. One turns on a radio, loud. They’re brisk and no-nonsense, grabbing blankets and shoving them into garbage bags, pulling mats into a stack at the edge of the room.

A woman becomes perturbed by being hustled and talks back to the shelter monitor. A verbal battle ensues, with the client picking up her mat and throwing it across the room, scattering her possessions. "What a woman, what a woman," the shelter monitor yells. "We’ll see if you get a bed here tonight."

Another staffer comes through with a toxic-smelling aerosol, which she sprays around us as we get ready to leave. The bathroom, the cleanest I’ve come across in the city’s shelter system, is still a clusterfuck as a dozen women wait to use the three toilets and two sinks. One stall has a broken door, and the only morning conversation is apologies to the occupant.

Even though the contract between Providence and the HSA says the former will provide shelter until 7 a.m., it’s a little after 6 a.m. and all 90 of us are back out on the street, rubbing sleep from our eyes, shivering in the dark dawn, and waiting for the Third Street T line. When the train comes, most of us board without paying and ride back toward the city center to get busy finding some breakfast and making preparations for where to stay tonight. I have four hours before I have to be at work.

Shucrita Jones, director of Providence, later tells me the shelter’s materials have to be cleaned up by 7 a.m. because the church is booked for other activities. "We turn the lights on at 6. The clients have at least until 6:10 to get up. We encourage everyone to be out of there by 6:15 so we can be clear of the building by 6:30," she says. To her defense, she adds that the shelter monitors often let people in earlier than the contracted time of 10 p.m. and that when the weather is particularly nasty she’ll open the doors as early as 8:30 p.m. to let people in out of the cold.

As for the discrepancy between empty mats in the shelters and people going without beds, she blames the reservation system. "CHANGES has a lot of glitches," she says. "It’s got a lot of errors the city and county [are] trying to fix."

What I witness isn’t as bad as what I hear. In the shelters everyone has a horror story — some are about how they got there, others about what’s happened to them since they arrived. Nearly all include a questionable experience with staff — from witnessing bribes for special treatment to being threatened with denial of service for complaining. Their observations echo mine: the administration and certain high-level staffers exhibit genuine concern and an ability to help when you ask, but lower-tier workers aren’t as invested in providing good service.

Tracy tells me she sent her daughter to private school and considers herself a victim of the dot-bomb era and an illegal eviction that landed them at the Hamilton Family Center. "We were given one blanket. It was filthy. It had poo on it, and, I’m not kidding, there were even pubic hairs," she says.

She describes the shelter’s intake process as similar to that of jail bookings she’s seen on television. Six days later she and her child were thrown out. No reason was given, though she’s convinced it’s because a staff member overheard her complaining about a recent incident involving another client sneaking in a gun. When she was told to leave immediately, she wasn’t informed that she had the right to appeal. So she and her daughter hastily gathered their things and hit the dark Tenderloin streets.

A grievance system exists for people who’ve been hit with denial of service, or DOS’d, the colloquial term for kicked out. But the process can take months. Shelter managers I spoke with don’t deny that stealing is rampant, favoritism exists, and complaints occur — the greatest number about staff and food.

General complaints are supposed to be handled within the shelter, though they may be copied to the city’s Shelter Monitoring Committee. The SMC submits quarterly reports to the Board of Supervisors, Mayor Newsom, and the public, which show regular instances of inconsistent and unsafe conditions, abusive treatment, and a lack of basic amenities like toilet paper, soap, and hot water.

Those reports prompted Sup. Tom Ammiano to sponsor legislation mandating standards of care for all city-funded shelters (see "Setting Standards," 1/30/08). The new law would create baseline standards and streamline a complaint and enforcement process.

According to the HSA, many of these standards are already policies included in the contracts with the nonprofits that run the shelters, requirements such as "provide access to electricity for charging cell phones."

During my stay at the Episcopal Sanctuary, I asked the shelter monitor on duty where I could plug in my cell phone and was told I couldn’t. When I asked why not, the only reply was that it’s against shelter policy. At Ella Hill Hutch Community Center, Cohen was told he could plug in but at his own risk — his unattended phone would probably be stolen.

I reviewed all of the contracts between the city and the nonprofit shelter providers, as well as the shelter training manual that’s given to staff. I was unable to find the same list of policies the HSA gave to the budget analyst. I asked HSA executive director Trent Rhorer how these policies have been communicated to the shelter staff, but he did not respond by press time.

While the ability to charge a cell phone seems relatively minor, its ramifications can be huge. The first time James Leonard met with his case manager at Next Door shelter, he knew exactly what he needed to get back on his feet: bus fare to get to and from three job interviews he’d already scheduled, a clothing voucher so he’d have something nice to wear when he got there, and a couple of dollars for the laundry facilities at the shelter. He also needed to charge his cell phone to confirm the interviews. He said he was denied all four things.

The standards of care, if passed, could improve access to those basic provisions, but some in the Mayor’s Office have balked at the estimated $1 million to $2 million price tag. The budget analyst’s final report is scheduled for release Feb. 14, in time for a Feb. 20 hearing at the Budget and Finance Committee.

Deborah Borne, medical director of the DPH’s Tom Waddell clinic, is a proponent of the standards from a public health perspective. "For me, I’m looking at decreased funding and how can I best affect the most population with what remains," she said.

Dirty shelters can help spread disease outside their four walls, as clients leave every day to use municipal services like buses, libraries, trains, and restaurants, which we all enjoy. Borne says this is something that’s been tackled by other facilities that house large numbers of people and is long overdue in the shelters.

"You can argue about whether we should or shouldn’t have shelters, but there are no city, state, or federal regulations for them. There are tons of regulations for the army, for public schools and colleges, but we put people in shelters and there’s none," she said. To her, San Francisco is on the cutting edge of care with this legislation. "I can’t wait until we do this on a state level," she said.

Kayhan said he and the mayor support the spirit of the legislation and have no problems with most of the no-cost items, but the price tag for staffing, training, and enforcement is a concern. "I think when you’re looking at how much money you’re going to spend on homelessness overall," he told us, "I would rather allocate additional resources to create another unit of housing for someone as opposed to enhancing the service model of the shelters."

Every day he’s on duty in the Tenderloin, police captain Gary Jimenez comes across homeless people — or people who seem homeless but aren’t.

"One day on Turk Street, I came by a long line of people drinking. I was walking with a Homeless Outreach Team officer, and he said he knew them all. Only about 20 percent of them were actually homeless. They don’t want to sit in their rooms drinking. We give people housing but we don’t acclimatize them, get them used to being inside. They want to do what they’ve been doing, and they go out on the streets to do it. It’s social," he said.

Larry Haynes agrees. "It’s lonely and depressing in your room," he says. He lost his Beulah Street apartment through an Ellis Act eviction and has been living in the Vincent Hotel for three years, after a nine-month stint in the shelter system. He’s a tenant representative now, advocating for improved conditions in the SROs, which still beat the shelters.

"The criticism I hear from people on the streets is that there are some good shelters but you can’t get in them," Jimenez said. "Then there are shelters that are open that you can go to, but you wouldn’t want to because they’re really bad."

He tells me he’s visited shelters but finds it difficult to get a feel for how valid the complaints are. "I can’t tell without waking up there or knowing what it’s like to be thrown out on the street at 6 a.m. in the cold when there’s nothing open," he said.

The Shelter Monitoring Committee has requested that HSA staff stay in shelters at least once to get firsthand experience, but it’s yet to receive confirmation that this has occurred. When we asked Rhorer about the policy, he said, "There are 1,800 employees who work for HSA, so there is no way of knowing if any of them have been homeless and used the shelter system."

In our first conversation, Kayhan told me he had never stayed in a shelter. In a later interview, when I asked what he thought about the public perception of the shelters, he said, "I’m just not sure that the criticism that I hear around the shelters as being dangerous hellholes — or whatever has been said — matches what I see in the shelters or what I read with respect to incident reports or what I hear at the Shelter Monitoring Committee or at the shelter directors’ meetings. So perception is reality."

"Housing first" has been Mayor Newsom’s modus operandi for handling homelessness, and it’s a good one — the idea being to stabilize people, whatever condition they’re in: drunk or sober, clean or using, ill or able, young or old, alone or with family.

The city’s 10-Year Plan to End Chronic Homelessness, released in 2004, recommended 3,000 units of supportive housing to get the chronically homeless off the streets. Kayhan confirms the Mayor’s Office of Housing is on track to meet that goal through master-leasing SROs and building or renovating new affordable units, where occupants will get supportive services.

The chronically homeless, a catchall term for folks who stick to the streets and don’t or aren’t able to use the system, have been the mayor’s target and Kayhan’s priority. This makes sense because they’re the most visible face of homelessness.

Last year’s city budget allowed a tripling of staff for the Homeless Outreach Team, which works diligently to move the most entrenched homeless off SoMa side streets and out of encampments in Golden Gate Park. A special allocation of shelter beds was set aside for them, and those who refused shelter were put directly into stabilization units in SROs, bypassing the shelter system entirely.

For some, this has been great. It’s how Leonard finally started to make some progress. He bailed on the shelters after having his possessions thrown out three times by staff and hit the streets, where HOT found him, deemed him "shelter challenged," and moved him into a stabilization unit.

"I feel almost as good today as the day before I became homeless," he tells me one afternoon in January. The Bay Area native is hoping to transition into a subsidized rental soon.

Twenty-five percent of shelter staff are required to be homeless or formerly homeless. Some shelters hire up to 80 percent. Tyler is one of them — he lives at MSC South but works for Episcopal Community Services, which runs Sanctuary, Next Door, and the Interfaith Emergency Winter Shelter Program. He shows me his pay stub to prove it, and I note that every two weeks he takes home more than I do. "Yeah, I make good money," he agrees.

He’s been looking for an apartment, but rents are high and he hasn’t found anything good. A plan to move in with a family member fell through, so he’s just hanging out on the housing wait list. "What I really want to do is see what they’re going to do for me. I’ve been on [Personal Assistance Employment Services] for six months. Where is my SRO if I can afford to pay for it? So obviously that shit doesn’t work," he says.

He’s bitter about the effect the Golden Gate Park sweeps have had on the SRO stock. "They got SROs right away," he said of the 200-plus people who were removed from the park by HOT, put into stabilization beds, and transitioned to SROs. "They took them right away ’cause Gavin had to clean that shit up," he says.

Tyler, like many people I spoke with, keeps as sharp an eye as possible on City Hall. They read the papers and have opinions informed by firsthand experience about programs like Care Not Cash. They know Kayhan is making $169,000 per year and they’re making $29 every two weeks.

One morning, coming out of the bathroom at Sanctuary, I stop to study a posting for affordable housing on a bulletin board. It’s a studio for $863 per month, more than I pay for my one-room Mission flat. The longer I stay in the shelters and the more people I talk to, the less secure I feel in my economic stability.

Ruby Windspirit has been homeless since Jan. 14, two days before I started my tour of the shelters. The 59-year-old Irish Navajo was attending school in Portland, Ore., studying photography and science, when she became ill with bone cancer. She came to San Francisco to convalesce closer to her daughter, who lives in a one-bedroom apartment in the Castro with three other people.

Windspirit knew she couldn’t stay on the couch for too long and made a reservation for a $27 per night hotel in the Tenderloin. Despite the reservation, she couldn’t get in for two days and the bed she was ultimately given was two box springs with a piece of plywood for support. The sheets were dirty. She left after two weeks and entered the shelter system. She says Next Door is "150 percent better" than the hotel. She has a bed off the floor and the extra blanket her doctor recommended, though she was scolded for trying to plug in her phone.

I try to imagine what people like Windspirit would do if there weren’t shelters. But the Ten Year Council also recommended a phasing out of shelters within four to six years, to be replaced by 24-hour crisis clinics and sobering centers.

There are 364 fewer shelter beds in San Francisco than when Newsom became mayor. This year more may go. The city is currently requesting proposals to develop 150 Otis, which serves as a temporary shelter and storage space for homeless people, into permanent supportive housing for very-low-income seniors. About 60 shelter beds will be lost.

The HSA confirmed there are currently no plans to open any more shelters in San Francisco. The last plan for a new shelter — St. Boniface — fell through, and the money that was set aside for the project still languishes in an HSA bank account. Midyear budget cuts proposed by the mayor put that money on the chopping block.

Buster’s Place is also on the list of cuts. By April 15, the only place where someone can get out of the elements at any time, day or night, could be closed for good.

Kayhan, who previously oversaw Project Homeless Connect, Newsom’s private-sector approach to the problem, agreed that shelters will always be needed. What he worries about are the people who become dependant on them and refuse housing offers, although he’s also thinking about ways that shelters could be more amenable.

"I’d like to look at the next step with Homeless Connect to try and institutionalize that in the way we do business specifically in the shelters," he said, imagining a shelter pilot of one-stop shopping for services.

But just three weeks into his new job Kayhan was reaching out to constituents to try to figure out what isn’t working. He told us, "What I’m trying to do since I came into this position is be on the street and measure the impact the system is having on those that are on the street day in and day out and try to see what part of the system isn’t working properly or needs to be resourced differently so that we don’t see homeless people, long term, on the streets."

One night at MSC, in the bathroom before bed, a young woman tells me her story while I brush my teeth and she washes off her makeup. Not too long ago she drove here from Florida to meet up with her boyfriend. They were hanging out on the street one night when a cop came by, cited him for an open container, and discovered he had a warrant. Now he’s in jail in San Rafael.

She started sleeping in her Suburban while she looked for job and a place to stay. One night while she slept, parked at Castro and Market, she was hit by a drunk driver. She lifts a hank of long blond hair and shows me a bright pink tear of stitches above her temple. An ambulance took her and the drunk to the hospital. Her totaled car was towed. When the hospital found out she had no place to go, it sent her here.

"Now I’m in a fucking homeless shelter," she says, genuinely aghast at the situation and truly lost about what to do. She has her bed for five more days.

She could get a job. She says, "I have hella references," from working in restaurants for years. She could sleep in one of her friends’ cars, but it seems like so much work: waking up in the car, going to a resource center or shelter to wash up, then going to work.

We joke about living in the shelter. "Yeah, you can come over," she imagines telling her friends. "Dinner’s at 4:30."

"You’ve got to leave by 10," I say.

"It’ll be fun. We can hang out and smoke on the patio," she says.

I don’t know what else to say, except "Good luck." I know what it’s like to chase a boyfriend to San Francisco. I remember sleeping in my car when I was 21, during a strange time between graduating from college and getting a place to live for the summer in a town where housing was tight. I think about my little sister, packing up her Subaru one day and taking off to Miami, where she didn’t know a soul. You have a little money, a lot of hope, and that youthful sense of invincibility, but sometimes it all comes down to luck.

I bid her good night, pack up my toiletries, and wipe my face with my shelter-issued towel. It smells vaguely of bleach and shit.

› amanda@sfbg.com

Bryan Cohen contributed to this report.