Live

Hear, here

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› johnny@sfbg.com

As I walk into City Hall, I hear a horn from the street — not a car horn, but a single trumpet. Further inside, what might be a few notes from a harpsichord hover in the air, followed by the twitters and chirps of swooping birds. A man sits on the steps at the foot of the rotunda stairs, looking up in slight bewilderment, wondering where in the hell the trees and small jungle might be. The source of these sounds is above him, by the rotunda’s dome — eight transducers installed by sound artist Bill Fontana that employ echolocation as part of a site-specific sound sculpture titled Spiraling Echoes.

A few days later, I step out of the rain and onto a wet 22 Fillmore bus, with a persistent hum, drone, or whine in my ears. I’m wearing headphones and listening to Jacob Kirkegaard’s latest recording, Labyrinthitis (Touch Music/Fonik). I hear hearing: Kirkegaard produced the piece by inserting tiny microphones into his ears to record the frequencies — otoacoustic emissions — produced by hairs within the cochlea. Labyrinthitis is both a recording and a live performance, and the live version, during which the audience’s ears are transformed into an orchestra conducted by Kirkegaard, might be even more radical and inventive.

While one work might seem vast and exterior and the other almost infinitely interior in nature, these two sound projects have more than a few things in common. The CD version of Kirkegaard’s Labyrinthitis includes a short piece by the composer Anthony Moore, who conducted an extended interview with Fontana in 2005 that surveyed Fontana’s projects. Labyrinthitis comes with a more extensive essay written in San Francisco by Douglas Kahn. A deeper resonance, however, stems from audio and visual correlations between City Hall’s rotunda and the human ear. Photos of the rotunda’s dome visibly echo the images of the spiraling interior roof of the Medical Museion in Copenhagen, where Kirkegaard created Labyrinthitis, a roof that plays a central role in the recording’s material packaging. Both structures evoke the interior of an ear.

Spiraling Echoes is a more playful work. It’s in keeping with some of Fontana’s other pieces in iconic sites — through sound, he’s taken apart Big Ben’s timekeeping, replaced the traffic noise around the Arc de Triomphe with sea ambience, and brought Niagara Falls to New York City’s Whitney Museum. For more than thirty years, Fontana has made a practice of bringing the "natural" into man-made realms — there is a potent current of environmentalism within his aesthetic. This is true of Spiraling Echoes‘ quicksilver collage of bird chatter, trickling water, and streetcar and church bells, which darts up and down four public-access floors of City Hall in a manner that magnifies the beauty of the architecture and plays with historical markers, such as the smile on a statue of Harvey Milk. (One can imagine Milk enjoying this piece and, eventually, being driven batty by it.) The infusion of nature is a subtle hint to not trash monuments, and in turn the environment, in order to create newer architecture. It’s tempting to suggest prankish unauthorized versions of Fontana’s project in commercial sites such as downtown malls.

Another characteristic that Spiraling Echoes and Labyrinthitis share is the ability to produce disorientation. Fontana’s piece brought out the Scotty Ferguson in me through its combination of surprising sound and potentially dizzying height. Kirkegaard incites a similar lack of balance no matter where one is standing — the title of Labyrinthitis refers to a balance disorder that can be related to tinnitus. It’s easy to imagine a Pekingese ripping out its owner’s jugular upon encountering the recording’s relentless low-key yet high-pitched intensity, what musicologists might refer to as "Tartini tone." With Labyrinthitis, Kirkegaard has given new and revelatory meaning to the idea of a cochlear implant. I hope he performs his piece in San Francisco one day. Recombinant Media Labs, for one, would be an ideal setting.

SPIRALING ECHOES

Through May 8, free

City Hall

www.sfacgallery.org

Is inequality making us sick?

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OPINION The rich get richer, the poor get poorer, and the middle class gets squeezed. It’s gone on so long, we hardly get angry anymore. But we do get sick.

Several recent studies indicate that the life expectancy gap between the most and least deprived Americans has widened since the early 1980s, paralleling the growing economic inequality during the same period. And, if the past is an accurate gauge, today’s economic crisis will only make things worse.

The wealth-health gradient is evident everywhere, even here in San Francisco. According to the SF Department of Public Health, rates for congestive heart failure are 42 percent higher in the Sunset than St. Francis Wood/West Portal; 131 percent higher in Mission/Bernal Heights, and 279 percent higher in Bayview/Hunters Point.

Contrary to myth, it’s not the CEOs who are dropping dead from heart attacks; it’s their subordinates. And it’s not violence or drugs that are the biggest killers in poor neighborhoods but chronic diseases.

Some point the finger at our broken health insurance system. But studies suggest medical care accounts for only about 15 percent of our health gap. That’s because health care repairs our bodies when they break down; it doesn’t affect what makes us sick in the first place.

What about making healthy choices? Don’t the poor smoke more and eat unhealthy foods? True — it’s hard to eat well if you live in a food desert like the Bayview, where there are no supermarkets. But even after correcting for individual behaviors, health inequalities remain. Poor smokers are more likely to get sick than rich smokers.

Many factors affecting health have little to do with individual behaviors. They include exposure to lead and other toxics; the quality of schools; the outsourcing of jobs; proximity of parks; the wages and benefits companies pay; exposure to discrimination; secure, quality housing; affordable preschool … When these conditions are distributed unequally, so is our health.

A century ago, U.S. life expectancy was about 48 years. Much of the 30-year increase since is due not to new drugs or medical technologies, but to improved living conditions. The abolition of child labor, the eight-hour workday, housing and sanitation codes, and other reforms won working Americans a bigger share of our growing prosperity.

By 1976, thanks to civil rights, Medicare, and other progressive policies, economic inequality had reached a 20th century low. The health gap between rich and poor, as well as that between whites and African Americans narrowed between 1966 and 1980.

Then we reversed course. While most European countries were providing paid parental leave, universal preschool, four or more weeks of paid vacations, and guaranteed health care, the United States, starting with the Reagan administration, cut taxes on the rich, slashed social programs, and deregulated business and banking. Economic inequality in the U.S. is now greater than it’s been since the 1920s. The consequence? The health gap is growing again too.

The wide class and racial inequities in the U.S. and the health inequalities they drive are not natural. They are the products of social policies that we as a society have made — and can make differently. We once did. Solutions lie not with new drugs or technologies, but our political priorities.

Larry Adelman is executive producer of the documentary series Unnatural Causes: Is Inequality Making Us Sick? (www.unnaturalcauses.org ) Find out more about the health of San Francisco neighborhoods at www.thehdmt.org and www.healthmattersinsf.org.

Durst: Tax cut zombies from the Planet No!

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Next Obama will encounter such terrifying inhuman threats as the Lobbyist Vampires of Capitol Hill, American werewolves in Baghdad, the Ethanol children of the corn, Nightmare on Wall Street, and the Texas oil profits chainsaw massacre

By Will Durst

(Will Durst is a comedian who writes sometimes. This is one of them.)

It is the stuff of nightmares. Hear the shabby shuffle of their soft somnambulant stutter and your skin begins to crawl. To see their haunted hollow eyes on the cable news shows taking no notice of their surroundings is a spiral straight into terror. The worst part is the cries of the children as they cower behind couches, hands over their ears blocking out the monotonous intonations of the mind numbing mantra- “Tax Cuts. Tax Cuts. Tax Cuts.” They are the Tax Cut Zombies from the Planet No!, and they are not of this earth. Okay, maybe they are, but they sure don’t live in the real world.

Newsom still MIA

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By Tim Redmond

You know the mayor is in serious trouble when his business allies say he’s missing in action. From the Chron this morning:

Scott Hauge, a San Francisco business owner who is president of the advocacy group Small Business California, said the meetings that Chiu organized this week were the first occasions small business has been brought into City Hall talks since budget negotiations started heating up several weeks ago.

“The mayor has not brought us to the table, which is very frustrating because we are the major employers in San Francisco and we are really hurting right now,” said Hague, adding that he’s worked with every mayor since Dianne Feinstein and that it is unprecedented to have a board president, not the mayor, convene these types of discussions.

While nobody who has been attending Board President David Chiu’s meetings will talk about the details, I’m getting the clear impression that business (including the Chamber of Commerce and the Committee on JOBS) and labor (particularly SEIU Local 1021) are actually making progress toward a July special election that could help prevent a total meltdown in city services.

And Newsom didn’t even send a representative to the meetings.

My favorite comment from the mayor:

“But I guess the question is, what more can I do? I can make things up to do today in order not to go down there (to San Jose)

Newsom has to “make things up to do today?” How about talking to the key stakeholders and trying to arrange a deal on a budget that everyone can live with?

Nathan Ballard, the mayor’s press flak, told us that

The mayor has been meeting with labor, business and the supervisors to work together on solutions.

But nobody in business or labor or on the board of supervisors seems aware of that.

More V-Day events and ideas

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By Molly Freedenberg

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Vau de Vire heats up Cosmic Love Ball this weekend.

It seemed perfect. When you and your partner met last summer, you agreed you both hate to celebrate Valentine’s Day. But as the holiday approaches, you’re starting to sense that one of you might not be as satisfied with a Saturday night of TV dinners and missionary sex – you know, the same old same old — as previously suggested. If you want your morning BJ on Sunday, you realize, you’re going to have to start planning and shopping. Fast.

That’s where we come in. We’ve compiled a list of (even more) sexy events and creative gift ideas to get — and keep — your honey in the mood. And if you’re single? Perhaps these ideas will help you meet someone you can lie to next year about hating the holidays.

EVENTS

Bawdy Storytelling JellyFish Gallery, 1286 Folsom. Feb. 11, 7-11pm, $5-$15. The series celebrates its second year with a “Coitus Interruptus” themed evening: tales of prurient cessation and carnal comebacks, featuring host Dixie De La Tour, Tim Barsky, Kirk Read, Cathy Goerz, Leo Petropolis, and more. Bring your own bottle.

Cosmic Love Ball 2: Silver & Skin CELLSPACE, 2050 Bryant. www.starsapphire.org.
Feb. 14, 9pm, $10-$15. Star Sapphire, in conjunction with Vau de Vire Society, presents this funky, festive event, featuring performances by Materialized, Vau de Vire dancers, and aerialists; live body painting; and beats by DJs from Green Gorilla, Space Cowboys, and more. Dress up!

Fuck Love, We Want Money The Uptown, 1928 Telegraph, Oakl. (510) 451-8100, www.uptownnightclub.com. Feb. 13, 9pm, $10. Black Widows Burlesque, San Francisco’s original gothic strip revue, sexes it up (and maybe scares the shit out of you) bloody Valentine’s style.

Lucky Love 13 Anon Gallery, 285 9th St. www.anonsalon.com. Feb. 13, 9pm, donations welcome. Join the folks responsible for Sea of Dreams (and a host of other kickass parties) for a red and black ball.

Bizarro Gavin’s alternate universe

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By Steven T. Jones

What kind of alternate universe does Mayor Gavin Newsom live in? Apparently, it’s one where you can write your own reality and ignore inconvenient fiscal and political realities.
The last example of Newsom’s tenuous connection to the real world is his announcement today of a “local economic stimulus package” that cuts the payroll and property taxes paid by the business community and offers local businesses $23 million in no-interest loans.

Latest “Death of Fun” casualty: Bay to Breakers

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Photo by NileGuide

By Steven T. Jones

The Chronicle reports that the sponsors of Bay to Breakers — which have been under pressure from city officials (and the Chronicle) to crackdown on partying at the event — have banned alcohol and unauthorized floats at the popular, 97-year-old event. What the hell is happening to this town?!?!
As we’ve reported (over and over and over and over and over again), the very events that make San Francisco such a fun and dynamic place to live are under attack by party-poopers, nervous nellies, and the forces of intolerance and conservatism, people whose goal (as our friends at the SF Party Party like to say) is the “suburbanization of San Francisco.”
Already, there are movements forming to boycott Bay to Breakers and/or engage in some creative and alcohol-fueled civil disobedience. Hmm, maybe this is going to be a fun B2B after all.

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Photo by Atrayu

Suck my manhole: Porn god Buck Angel talks FTM realness

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Justin Juul takes on singular porn hottie Buck Angel in part one of this exclusive SEX SF interview.

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Buck Angel is a dude who makes a living having sex with other dudes in movies with names like “Buckback Mountain,” “Pig Ass,” and “The Buck Stops Here.” He has huge muscles and tattoos, smokes expensive cigars, and lives in Mexico where people don’t give a shit about anything. But that’s not what makes this dude so cool. Buck Angel is exceptional because he has a pussy instead of a dick.

Buck Angel started his entertainment career way back in ‘80s as a super skinny, super hot, fashion model named Susan. Seriously, he was so hot even Howard Stern wishes he could go back and “do him” (although the feeling isn’t mutual). Modeling was great for a while, but Susan knew she’d never be happy as a woman. So she became a Buck instead.

The Guardian recently sat down with Angel to find out what happens when chicks stop being chicks and start being dudes with vaginas who fuck other dudes for money and fame (or something like that).

Part One: On Being A Man With a Pussy

SFBG: Hey Buck, before we get started, I just want to get one thing straight: you’re a transsexual, right? I admit I’m not too familiar with guys who used to be girls. What do you call yourself?

Buck Angel: Ok, well, I’m obviously not a very politically correct person so this might sound weird, but here’s the deal: a transsexual is someone who changes his or her sex so obviously, I am a transsexual. I’ll always be a transsexual, but I don’t live my life that way. When I think about transsexuals, I think about people who are in the process of going through a sex change. That’s not me. I’m finished with my sex change and I’m a man!

SFBG: So you’re just, like, a dude?
Angel: Exactly.

SFBG: What about your pussy?
Angel: I’m a man with a pussy, dude. It is what it is.

Splitting heirs

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SILENT FILMS Horror movies have never been more plentiful or popular than they are now — which says more about the times we live in than there’s room to discuss here — yet in film’s first decades they barely made an appearance. The early 20th-century rush to modernity, particularly in the U.S., made anything that smacked of superstition seem childish, silly, even distasteful; the simple life of yore, with all its greater hardships, was still too fresh to invite nostalgia. Not until the one-two punch of Universal’s Dracula and Frankenstein (both 1931) did the genre flourish, and for years afterward many quasi-horror films ended with protracted, often ludicrous explanations as to how their supernatural events were faked by ingenious criminals or undercover detectives.

The template for all subsequent "old dark house" chillers — including James Whale’s 1932 The Old Dark House — was provided by Paul Leni’s 1927 hit, The Cat and the Canary, which the Silent Film Festival screens this Saturday at the Castro. Based on a popular stage play by San Francisco–born John Willard, this was the first of at least six versions to date. All were horror comedies, both exploiting and sending up the hoary conceit of greedy heirs gathered in a creepy mansion for the reading of a vengeful late relative’s will.

In Leni’s take, they’re estranged relatives drawn to the "grotesque mansion of an eccentric millionaire" 20 years after his demise. In life, he’d imagined them as giant black cats clawing at him; in death, he designates the youngest and most distant niece (Laura La Plante) as sole recipient of his fortune. There’s a catch, of course: the dough goes elsewhere if she’s proven — or driven — mad during a long night bedeviled by escaped lunatics, fanged fiends, secret passageways, and so forth.

A German art director who’d directed the Expressionist horror classic Waxworks (1924), Leni arrived in Hollywood with a Universal contract and a wealth of visual imagination. Cat remains goofy gothic fun, from ill-named housekeeper Mammy Pleasant to animated intertitles that "shudder" with fright. Beyond Murnau’s own rapturous Sunrise (1927), the day’s other features are slapstick gems: vintage Buster Keaton outing Our Hospitality (1923) and A Kiss from Mary Pickford (1927), a vehicle for equally beloved Russian comic Igor Ilyinsky utilizing footage of the Soviet Union visit that "America’s Sweetheart" and Douglas Fairbanks made in 1926. (Dennis Harvey)

SAN FRANCISCO SILENT FILM FESTIVAL’S WINTER EVENT

Sat/14, noon, $14–$17 (four-movie pass, $52)

Castro Theatre

429 Castro, SF

www.silentfilm.org

Firestarters

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"I’ve always been a serious musician," says drummer and multi-instrumentalist M.E. Miller, "so I hate to be thought of as some fool who just created havoc."

Miller’s old band the Toy Killers created plenty of havoc with their music, as showcased on the recent CD retrospective The Unlistenable Years (ugEXPLODE), which draws on live and studio recordings from their early 1980s peak.

Co-founded by Miller and fellow percussionist Charles K. Noyes in 1979, the Toy Killers created a squirming, clattering din that encompassed no-wave noise, free improv, and even the mutant dance music of downtown New York City peers like Material and the Golden Palominos. Their shifting lineup included such future avant-garde all-stars as John Zorn, Bill Laswell, and Elliott Sharp, as well as a post-DNA Arto Lindsay on guitar and vocals. But fairly or not, the Toy Killers were as notorious for their confrontational live performances as they were for their music. Miller was responsible for many of their live antics, which included a penchant for setting things on fire and igniting M-80s, dynamite, and other explosives.

There’s a Zen-like calm to the way Miller describes people’s reactions to his group’s brand of "anti-performance art." Asked how the outfit’s (literally) fiery performances went over with their Lower East Side audiences, Miller, speaking over the phone from his home in Alameda, flatly responds, "Not well." He recounts one gig at Soundscape in which audience members set up a barricade of chairs to separate themselves from the band.

Then there was an incident that took place at the Kitchen during an Elliot Sharp concert. "He just said, ‘At one point, Miller, I’m gonna turn to you, and you just make somethin’ happen,’<0x2009>" the drummer recalls. "So I just made an incendiary go from the drums straight up about six to eight feet. It just went ‘fa-foom,’ and I got all burned." The house lights came on, and the show was over.

"I think I probably pissed a lot of people off, but it was … purely for amusement. It was funny," he summarizes. Miraculously, no one, apart from Miller, was ever injured at the Toy Killers’ shows, and they never burned any venues down — an achievement that prospective show bookers might keep in mind.

The Unlistenable Years won’t cause your CD player to burst into flames, and there’s undoubtedly a visual element that’s lacking on some of the live recordings. But for the most part, the music holds up on its own, conveying a sense of near chaos that’s in keeping with their reputation as a live entity. In fact, ugEXPLODE label head and Oakland resident Weasel Walter didn’t know a thing about the band when he first encountered them in the late ’80s via Speed Trials (Homestead), a 1983 compilation that highlighted the band alongside Sonic Youth, Swans, Lydia Lunch, and the early Beastie Boys, who once opened for the Toy Killers.

The Toy Killers’ contribution, "Victimless Crime," caught Walter’s attention due to Noyes’ peculiar style of drumming. "I was really into free jazz drums and stuff like that," Walter said by phone. "But he seemed to approach drumming from a point of total disruption…. It’s like the Shaggs or something." (On his bandmate’s unique drumming style, Miller marvels, "It sounds like there is a rationale, but I’ve never been able to figure it out…. You either have to be incredibly bright or severely retarded to play like that.")

Walter filed away the band name in the back of his mind for nearly two decades. Miller, meanwhile, had been off the radar for years: it turns out he’d been playing in a wedding band since moving back to the Bay Area in the early ’90s — he grew up in Sunnyvale and later attended UC Santa Cruz — before finally connecting with fellow Bay Area improvisers like Henry Kaiser and ROVA’s Larry Ochs a few years ago. When Walter found out, he sought out Miller and persuaded him to hand over all the old tapes he could get his hands on so he could put together their long-overdue "debut" — some three decades after their first live shows.

Not content to stop there, the group — or at least a new incarnation of it — is working on a new album that showcases founders Miller and Noyes along with newcomers Kaiser, Walter, and others. They plan on unveiling a new live Toy Killers later this year, although the elusive Noyes, who still lives on the East Coast, probably won’t be involved. Still, Walter is excited at the chance to work with these battle-scarred veterans. "I feel like part of my job is to encourage these older guys to not be in the middle and not hold back," he says. "People who have counted these guys out for one reason or another are not gonna be able to count them out at all."

nowave.pair.com/ugexplode

Speed Reading

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SAN FRANCISCO NOIR 2: THE CLASSICS

Edited by Peter Maravelis

Akashic Books

300 pages

$15.95

San Francisco has many legacies, including the social movements of the 1960s and ’70s. But before more recent utopian impulses, SF was the Barbary Coast — and Chinatown, North Beach, and the Financial District were havens for gambling, prostitution, and crime. This gritty, nefarious reputation was enhanced in the ’30s by Dashiell Hammett’s novel The Maltese Falcon, and in the ’40s by John Huston’s film version, among other SF-set stories. SF was a noir city, defined by hard drinking and hard living. This is a legacy that the current city perhaps would prefer to forget, much like a blackout during a drunken binge.

In his excellent introduction to the first San Francisco Noir anthology in 2005, editor Peter Maravelis writes, "Crime fiction is the scalpel used to reveal San Francisco’s pathological character." With San Francisco Noir 2: The Classics, Maravelis does more than pick up the scalpel once again. Using a timeline, he reprints some of the grainiest SF snapshots by Barbary Coast writers. He starts with Mark Twain’s hard-boiled description of the infernal Hall of Justice in the late 19th century — a rogues gallery of vermin, where judges drop like flies from stress-induced heart-attacks. He then traces these noir elements to a doppelganger tale by Jack London, on to Hammett, and to contemporary authors such as William T. Vollmann, who writes what Maravelis calls "splatter-noir, where plutocracy has won and the dispossessed give graphic descriptions of the tears in the social fabric." Through recent stories by Janet Dawson, Oscar Penaranda, and others, Maravelis ups the ante, as if to say: this is the real San Francisco. Always has been, always will be. (D. Scot Miller)

ST. VALENTINE’S DAY NOIR

Sat/14, 8 p.m.

Ha Ra Club

875 Geary, SF

(415) 362-8193

www.citylights.org

———-

WARHOL LIVE

Edited by Stéphane Aquin

Prestel

272 pages

$75

Roger Copeland has his claws out at the very beginning of "Seeing Without Participating," an essay in Warhol Live, the LP-size silver-covered brick of a monograph accompanying an exhibition of the same name devoted to music and dance within Warhol’s gargantuan oeuvre. The target of his attack isn’t as noteworthy as the argument that follows, which is in sync with Peter Gidal’s recent writing on Warhol’s distinct repositioning of traditional forms of participation and spectatorship. From there, Copeland reveals filmmaker and choreographer Yvonne Rainer’s influence on Warhol. Some other musings within Warhol Live spotlight obvious or over-familiar aspects of Pop or rock history. But John Hunisak convincingly argues that Warhol shared Ondine’s love of Maria Callas and recognized her as a punk pioneer; Branden W. Joseph digs up uncommon information about Warhol’s brief stint as a member of a band called the Druds; and Melissa Ragona perceptively taps into Warhol’s (by way of Brigid Berlin’s) recordings.

The book’s vibrant and powerful visual presentation hints that the exhibition — which opens this week at the De Young Museum— might be more rewarding in terms of organization than content. Fluorescent 1980s portraits and Interview covers don’t flatter Warhol, who had fallen into embracing the past-prime Cars and talent-less groups such as Curiosity Killed the Cat by the time of his death. Still, it’s refreshing to see a gathering of sleeve art for his albums, and here and there there’s a surprise pleasure, such as the potent pages devoted to the color slides used at Exploding Plastic Inevitable events. (Johnny Ray Huston)

WARHOL LIVE

Sat/14 through May 17

De Young Museum

50 Hagiwara Tea Garden Drive

Golden Gate Park, SF

(415) 750-3600

———-

ANDY WARHOL: BLOW JOB

By Peter Gidal

Afterall Books

86 pages

$16

It’s too easy, really, to say that an 86-page appreciation of Andy Warhol’s Blow Job is the critical equivalent of the film’s title. One potentially funny — though also provocative — aspect of Blow Job is its 36-minute length, a span of time that would make any jawbone, even a purely imaginary one, ache. As filmmaker and writer Peter Gidal points out, that time span is partially achieved through projection — like Warhol’s screen tests, Blow Job is presented at the silent-film speed of 18 frames per second, though it was shot at 24 or 25 frames per second.

The temporal is one main focus of Gidal’s heady interpretation of Blow Job, which comes and goes much like the many-reeled subject, and which is art historical and philosophical more often than theoretical, and never vogue-ish when it tends toward the latter. One of the unexpected rewards of this book is Gidal’s discussion of paintings in relation to Warhol’s films, in particular Diego Velázquez’s sinister Luncheon or Three Men at a Table and Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). His passage about Warhol’s Shadow series of silkscreens is revelatory. Gidal persuasively removes Warhol from mere camp interpretation, even if his recognition of or devotion to the sensual aspects of Blow Job and Sleep (1963) is fleeting at best. At times, one wishes he could mirror rather than admire and explicate Warhol’s knack for expressing complex ideas in simple, monosyllabic terms. Like Roger Copeland in the new monograph Warhol Live, Gidal is most insightful when addressing the mortal themes and pull of Warhol’s art, and the challenging — and not merely transgressive — manner in which he reframes notions of acting and watching. (Huston)

True colors

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› le.chicken.farmer@gmail.com

CHEAP EATS Red. Green. Yellow. Dark green. Orange. Light green to the point of being almost yellow. Earl Butter was showing me his peppers, which is not a euphemism. If it were, I wouldn’t know what it meant. So lucky for all of us, this was literal Truth. There they were, true peppers, in all their shapely and colorful glory, on Earl’s kitchen table. Some of them were in bags.

"Weren’t you born in Texas?" I said.

"No no," he assured me. "I lived there when I was little."

I said I hoped he didn’t intend to ever go back, because they might not let him in if they knew the way he made chili. As many kinds of peppers as possible, no meat.

For my part, forgiveness was automatic, not only because I love my buddy Earl, but because I wasn’t staying for dinner anyway. What a guy! When he cooks, he cooks for the whole floor, and some of the people on his floor are vegetarian.

Sure, I would do things differently. Either cook for myself, or move to a different floor. But I’m not Earl Butter, and this is an important point: I don’t know who I am.

Not the chicken farmer, that’s for sure. I gave my girls away and moved to a fancy-pants neighborhood in Oakland, arguably Oakland’s fancy-pantsiest: Rockridge. I’m mobile (new car), I’m upward (new car); if only I were young, I would be a yuppie.

And, to the extent that yuppies are kind of antithetical to, say, hippie new-age energy healer/poet types, I would embrace my new identity so hard its ribs would crack. I love where I live, and I love the people around me. On the other hand, I’m still as poor as pickle juice. I can afford to live in Rockridge because my apartment is free, in exchange for taking care of the kids sometimes, like picking them up at school, playing music with them, kicking a ping-pong ball in the park, and other things I love to do anyway, like helping with dinner.

Which reminds me: Earl Butter was making chili. But you can’t make chili on an empty stomach. I needed me a bath. But you can’t exactly bathe on an empty stomach either, if you’re me. So I tugged on his shirt sleeve until I’d tugged him out of the kitchen, clear out of his apartment, down the stairs to the Mission District, and into my car.

And we drove off in aimless search of cheap eats.

Found ’em! On Ocean Avenue, of all the crazy places, riding off into the Sunset. Eat First. What are you gonna do, name like that? We ordered hot and sour seafood soup, spicy chicken wings, kung pao chicken, and sliced pork with preserved mustard green.

But they wouldn’t let us have that last one. "It’s Chinese food," our waitressperson kept saying, shaking her head.

I countered with the unassailable argument, "And …?" But it wasn’t until I’d persuaded her that I’d had the dish before, many times, and loved it, that she agreed to include it in our order.

Reluctantly. Mutteringly.

Earl Butter pointed out that we were the only whities in the place, that everything else we’d ordered was classic whitey fare, and that no matter how badass I felt on the inside, I looked "irretrievably dainty" — even all sweaty and disheveled from back-to-back soccer games.

Waitressperson came back and said they were out of the pork with preserved mustard greens. Earl thinks she was lying. I believe her.

New favorite restaurant.

As for my new-age trucker mother … maybe you guessed already: he turned out to be more energy healer than truck driver, damn him. On our first date we walked and danced on the sidewalk, looked over a railing into a stream, then sat on a bench and kissed like crazy.

What a wonderful woman I was, he whispered in between things. Deep, oniony, complex, cute …

I had to say what else, and that was, more or less, it. He showed his true colors. I don’t know what shade of pale would describe them. Maybe new-age gray. He was not the color of peppers.

EAT FIRST

Daily: 5–9:30 p.m.

1540 Ocean, SF

(415) 587-1698

Beer

MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

Iran here

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› kimberly@sfbg.com

SONIC REDUCER One can tumble into the disconnect between the reactionary brouhaha last year regarding then-candidate Barack Obama’s proposed engagement with Iran, and the reality, as Iranian-born, Indian-raised vocalist Azam Ali knows it.

"I always tell my American friends, ‘People love America so much in Iran, you wouldn’t be able to pay for a meal — they love Americans that much,’" says the Niyaz frontperson by phone from Los Angeles, where she lives with her husband and bandmate Loga Ramin Torkian and their year-old son Iman Ali. We talk days before Vice President Joe Biden proffers an olive branch to Tehran during the Munich Security Conference. "The one thing that the majority of Americans should realize is that the only country where people are pro-U.S.A. in the Middle East is Iran. The government, of course, is something very different."

"I hope this administration will start some kind of dialogue with the government of Iran," she adds. "It’s really unfortunate that my country is where it is. I’d like to see it flourish and become a part of the world."

Springing from the ashes of Ali’s old band Vas and Torkian’s former ensemble Axiom of Choice, Niyaz is doing its part in bringing together a few seemingly divergent communities: fans of electronica awash with Eastern beats, trance heads, and listeners of traditional Persian, Indian, and Turkish sounds. Their most recent double album, Nine Heavens (Six Degrees, 2008) is the ideal musical unifier for all those parties. One disc unfurls nine electronic originals ornamented with Sufi poetry in Farsi, Urdu, and Turkish, including several by 13th-century mystic and poet Amir Khosrau Dehlavi — who’s credited with inventing the Qawwali and, like Ali, was born in Persia and raised in India — and renditions of Persian and Turkish folk songs. The second, my favorite, delivers acoustic versions of the first disc’s tracks — eons away from the ecstatic pop of Googoosh, but as lush and appealing as the recordings by influential ’80s world-music crossover stars like Najma.

For her part, Ali clearly opens the emotional floodgates on numbers like "Tamana" — something to anticipate when she performs with her multi-instrumentalist husband, oud virtuoso Naser Musa and tabla player Salar Nader at Palace of Fine Arts Feb. 13.

It’s a talent she may not have been able to offer to her native country — "women are not allowed to perform there," she demurs — though Niyaz has played in Dubai and Turkey, where Ali and Torkian plan to relocate soon, and it’s made her popular with soundtrack composers looking for a sonic dose of the so-called Orient. Ali has sung on scores for films like The Matrix: Revolutions (2003) and TV shows such as Alias — all of which was accomplished without an agent.

"You really can’t support yourself doing the music we do," she confesses. "You don’t do world music for money. I’ve been fortunate. I’m not proud of all the projects I’ve worked on, but it has worked for me, though I don’t get to express myself doing that work. For the most part [clients] want the flavor — they don’t want something that is culturally specific. What a lot of Eastern music brings is just that kind of emotional intensity, that depth, they’re looking for."

Instead she looks to Niyaz for that artistic fulfillment. "We work totally backwards from people who do most electronic records," she explains. They record all their acoustic elements, then deliver the tracks to producer-collaborator Carmen Rizzo (Coldplay). "Sometimes we’re not able to incorporate all the acoustic elements because there’s not enough sonic space for them." The group realized halfway through the making of Nine Heavens that they had a rich acoustic album as well an electronic one. "A lot of times when you add electronics it seems like you’re trying to mask something that’s not there," says Ali. "But this reveals us."

NIYAZ

Fri/13, 8 p.m., $27–$53

Palace of Fine Arts Theatre

3301 Lyon, SF.

——-

MASTER MUSICIANS OF JAJOUKA


Brian Jones imbued the maestros with rock ‘n’ roll glamour, but it was the mesmerizing music that made an impact on figures like Ornette Coleman and William S. Burroughs. Live Volume 1 (Jajouka) ushers in the forthcoming films The Hand of Fatima and Boujeloud on the music, the musicians, and their influence. Wed/11–Thurs/12, 8 and 10 p.m., $30–$35. Yoshi’s, 1330 Fillmore, SF. www.yoshis.com. Also Sat/14, 2 p.m., free. Amoeba Music, 1855 Haight, SF. www.amoeba.com

NOFX


Party with them, punkers, in honor of the SF band’s 25th anniversary. The problem: getting into these sold-out blowouts. Wed/11, 8 p.m., $23. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com; Fri/13, 8 p.m., $22.50. Fillmore, 1805 Geary, SF. www.livenation.com; Sat/14, 8 p.m., $22. Parkside, 1600 17th St., SF. www.theeparkside.com; Sun/15, 8 p.m., $23. Slim’s, 333 11th St., SF. www.slims-sf.com

THE WHORESHOES


The Bay’s honky-tonk and old-time honeys bring out the uke and spoons for the SF Bluegrass and Old-Time Festival. Thurs/12, 9 p.m., $12–$14. Café Du Nord, 170 Market, SF. www.cafedunord.com

YO MAJESTY


"Kryptonite Pussy," anyone? Giving that electro a good hard God-fearing, out, and feminist twist, Shunda K and Jwl B will accept your tributes now. Fri/13, 10 p.m., see Web site for price. 103 Harriet, SF. www.hacksawent.com

THE MUSIC TAPES


A haunted symphony comprising singing saw, old-time banjo, magic tape organ, euphonium, and an NBA-size metronome materializes on Music Tapes for Clouds and Tornadoes (Merge). Tues/17, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Public safety adrift

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› sarah@sfbg.com

Shortly into his first term as mayor, Gavin Newsom told a caller on talk radio — who was threatening to start a recall campaign if the mayor didn’t solve the city’s homicide problem — that Newsom might sign his own recall petition if he didn’t succeed in reducing violent crime.

But Newsom didn’t reduce violence — indeed, it spiked during his tenure — nor did he hold himself or anyone else accountable. Guardian interviews and research show that the city doesn’t have a clear and consistent public safety strategy. Instead, politics and personal loyalty to Newsom are driving what little official debate there is about issues ranging from the high murder rate to protecting immigrants.

The dynamic has played out repeatedly in recent years, on issues that include police foot patrols, crime cameras, the Community Justice Court, policies toward cannabis clubs, gang injunctions, immigration policy, municipal identification cards, police-community relations, reform of San Francisco Police Department policies on the use of force, and the question of whether SFPD long ago needed new leadership.

Newsom’s supporters insist he is committed to criminal justice. But detractors say that Newsom’s political ambition, management style, and personal hang-ups are the key to understanding why, over and over again, he fires strong but politically threatening leaders and stands by mediocre but loyal managers. And it explains how and why a vacuum opened at the top of the city’s criminal justice system, a black hole that was promptly exploited by San Francisco-based U.S. Attorney Joseph Russoniello, who successfully pressured Newsom to weaken city policies that protected undocumented immigrants accused of crimes.

Since appointing Heather Fong as chief of the San Francisco Police Department in 2004, Newsom has heard plenty of praise for this hardworking, morally upright administrator. But her lack of leadership skills contributed to declining morale in the ranks. So when he hired the conservative and controversial Kevin Ryan as director of the Mayor’s Office of Criminal Justice — the only U.S. Attorney fired for incompetence during the Bush administration’s politicized 2006 purge of the Department of Justice, despite Ryan’s statements of political loyalty to Bush — most folks assumed it was because Newsom had gubernatorial ambitions and wanted to look tough on crime.

Now, with Fong set to retire and a new presidential administration signaling that Russoniello’s days may be numbered, some change may be in the offing. But with immigrant communities angrily urging reform, and Newsom and Ryan resisting it, there are key battles ahead before San Francisco can move toward a coherent and compassionate public safety strategy.

SHIFTING POLICIES


The combination of Ryan, Fong, and Newsom created a schizophrenic approach to public policy, particularly when it came to immigrants. Fong supported the sanctuary city policies that barred SFPD from notifying federal authorities about interactions with undocumented immigrants, but Ryan and many cops opposed them. That led to media leaks of juvenile crime records that embarrassed Newsom and allowed Russoniello and other conservatives to force key changes to this cherished ordinance.

Russoniello had opposed the city’s sanctuary legislation from the moment it was introduced by then Mayor Dianne Feinstein in the 1980s, when he serving his first term as the U.S. Attorney for Northern California. But it wasn’t until two decades later that Russoniello succeeded in forcing Newsom to adopt a new policy direction, a move that means local police and probation officials must notify federal authorities at the time of booking adults and juveniles whom they suspect of committing felonies

Newsom’s turnabout left the immigrant community wondering if political ambition had blinded the mayor to their constitutional right to due process since his decision came on the heels of his announcement that he was running for governor. Juvenile and immigrant advocates argue that all youth have the right to defend themselves, yet they say innocent kids can now be deported without due process to countries where they don’t speak the native language and no longer have family members, making them likely to undertake potentially fatal border crossings in an effort to return to San Francisco.

Abigail Trillin of Legal Services for Children, cites the case of a 14-year-old who is in deportation proceedings after being arrested for bringing a BB gun to school. "He says he was going to play with it in the park afterwards, cops and robbers," Trillin says. "His deportation proceedings were triggered not because he was found guilty of a felony, but because he was charged with one when he was booked. He spent Christmas in a federal detention facility in Washington state. Now he’s back in San Francisco, but only temporarily. This boy’s family has other kids, they are part of our community. His father is a big, strong man, but every time he comes into our office to talk, he is in tears."

Another client almost got referred to U.S. Immigration and Custom Enforcement (ICE) even though he was a victim of child abuse. And a recent referral involved a kid who has been here since he was nine months old. "If the mayor genuinely wants to reach out to the immigrant community, he needs to understand how this community has perceived what has happened," Trillin said. "Namely, having a policy that allows innocent youth to be turned over to ICE."

Social workers point out that deporting juveniles for selling crack, rather than diverting them into rehabilitation programs, does nothing to guarantee that they won’t return to sell drugs on the streets. And making the immigrant community afraid to speak to law enforcement and social workers allows gangs and bullies to act with impunity.

"This is bad policy," Trillin stated. "Forget about the rights issues. You are creating a sub class. These youths are getting deported, but they are coming back. And when they do, they don’t live with their families or ask for services. They are going far underground. They can’t show up at their family’s home, their schools or services, or in hospitals. So the gang becomes their family, and they probably owe the gang money."

Noting that someone who is deported may have children or siblings or parents who depend on them for support, Sup. John Avalos said, "There need to be standards. The city has the capability and knows how to work this out. I think the new policy direction was a choice that was made to try and minimize impacts to the mayor’s career."

But Matt Dorsey, spokesperson for the City Attorney’s Office, told the Guardian that the Sanctuary City ordinance never did assure anyone due process. "The language actually said that protection did not apply if an individual was arrested for felony crimes," Dorsey said. "People have lost sight of the fact that the policy was adopted because of a law enforcement rationale, namely so victims of crime and those who knew what was going on at the street level wouldn’t be afraid to talk to police."

Angela Chan of the Asian Law Caucus, along with the San Francisco Immigrant Rights Defense Committee, a coalition of more than 30 community groups, has sought — so far in vain — to get the city to revisit the amended policy. "The city could have reformulated its ordinance to say that we’ll notify ICE if kids are found guilty, do not qualify for immigration relief, and are repeat or violent offenders," Chan said. "That’s what we are pushing. We are not saying never refer youth. We are saying respect due process."

Asked if Newsom will attend a Feb. 25 town hall meeting that immigrant rights advocates have invited him to, so as to reopen the dialogue about this policy shift, mayoral spokesperson Nathan Ballard told the Guardian, "I can’t confirm that at this time."

Sitting in Newsom’s craw is the grand jury investigation that Russoniello convened last fall to investigate whether the Juvenile Probation Department violated federal law. "Ever since the City found out that the grand jury is looking into it, they brought in outside counsel and everything is in deep freeze," an insider said. "The attitude around here is, let the whole thing play out. The city is taking it seriously. But I hope it’s a lot of saber rattling [by Russoniello’s office]."

Dorsey told the Guardian that "the only reason the city knew that a grand jury had been convened was when they sent us a subpoena for our 1994 opinion on the Sanctuary City policy, a document that was actually posted online at our website. Talk about firing a shot over the bow!"

Others joke that one reason why the city hired well-connected attorney Cristina Arguedas to defend the city in the grand jury investigation was the city’s way of saying, ‘Fuck You, Russoniello!" "She is Carole Migden’s partner and was on O.J. Simpson’s dream team," an insider said. "She and Russoniello tangled over the Barry Bonds stuff. They hate each other."

Shannon Wilber, executive director of Legal Services for Children, says Russoniello’s theory seems to be that by providing any services to these people, public or private, you are somehow vioutf8g federal statutes related to harboring fugitives. "But if you were successful in making that argument, that would make child protection a crime," Wilber says, adding that her organization is happy to work with young people, but it has decided that it is not going to accept any more referrals from the Juvenile Probation Department.

"We no longer have the same agenda," Wilber said. "Our purpose in screening these kids is to see if they qualify for any relief, not to deport people or cut them off from services."

Wilber’s group now communicates with the Public Defender’s Office instead. "Between 80 and 100 kids, maybe more, have been funneled to ICE since this new policy was adopted," Wilber said. "This is creating an under class of teens, who are marginalized, in hiding and not accessing educational and health services for fear of being stopped and arrested for no good reason, other than that their skin is brown and they look Latino".

Wilber understands that the new policy direction came from the Mayor’s Office, in consultation with JPD, plus representatives from the US Attorney’s office and ICE. "They bargained with them," Wilber said. "They basically said, what are you guys going to be satisfied with, and the answer was that the city should contact them about anyone who has been charged and booked with a felony, and who is suspected of being undocumented."

She hopes "something shifts" with the new administration of President Barack Obama, and that there will be "enough pressure in the community to persuade the Mayor’s Office to at least amend, if not eliminate, the new policy," Wilber said "The cost of what the city is doing, compared to what it did, is the flashing light that everyone should be looking at."

"It costs so much more to incarcerate kids and deport them, compared to flying them home," she explained. "And we have cast a pall over the entire immigrant community. It will be difficult to undo that. Once people have been subjected to these tactics, it’s not easy to return to a situation of trust. We are sowing the seeds of revolution."

WEAKEST LINK


When Newsom tapped Republican attorney Kevin Ryan to head the Mayor’s Office of Criminal Justice a year ago, the idea was that this high-profile guy might bring a coherent approach to setting public safety policy, rather than lurch from issue to issue as Newsom had.

Even City Attorney Dennis Herrera, who isn’t considered close to Newsom, praised the decision in a press release: "In Kevin Ryan, Mayor Newsom has landed a stellar pick to lead the Mayor’s Office of Criminal Justice. Kevin has been a distinguished jurist, an accomplished prosecutor, and a valued partner to my office in helping us develop protocols for civil gang injunctions. San Franciscans will be extremely well served by the talent and dedication he will bring to addressing some of the most important and difficult problems facing our city."

But the choice left most folks speechless, particularly given Ryan’s history of prosecuting local journalists and supporting federal drug raids. Why on earth had the Democratic mayor of one of the most liberal cities in the nation hired the one and only Bush loyalist who had managed to get himself fired for being incompetent instead of being disloyal like the other fired U.S. Attorneys?

The answer, from those in the know, was that Newsom was seriously flirting with the idea of running for governor and hired Ryan to beef up his criminal justice chops. "If you are going to run for governor, you’ve got to get to a bunch of law and order people," one insider told us.

Ryan proceeded to upset civil libertarians with calls to actively monitor police surveillance cameras (which can only be reviewed now if a crime is reported), medical marijuana activists with recommendations to collect detailed patient information, and immigrant communities by delaying the rollout of the municipal identity card program.

"In the long run, hopefully, dissatisfaction with Ryan will grow," Assembly Member Tom Ammiano told us last year when he was a supervisor. "He could become a liability for [Newsom], and only then will Newsom fire him, because that’s how he operates."

Others felt that Ryan’s impact was overstated and that the city continued to have a leadership vacuum on public safety issues. "What has happened to MOCJ since Ryan took over?" one insider said. "He doesn’t have much of a staff anymore. No one knows what he is doing. He does not return calls. He has no connections. He’s not performing. Everyone basically describes him with the same words – paranoid, retaliatory, and explosive – as they did during the investigation of the U.S. attorneys firing scandal."

"I’ve only met him three times since he took the job," Delagnes said. "I guess he takes his direction from the mayor. He’s supposed to be liaison between Mayor’s Office and the SFPD. When he accepted the job, I was, OK, what does that mean? He has never done anything to help or hinder us."

But it was when the sanctuary city controversy hit last fall that Ryan began to take a more active role. Sheriff’s Department spokesperson Eileen Hirst recalls that "MOCJ was essentially leaderless for five years, and Ryan was brought in to create order and revitalize the office. And the first thing that really happened was the controversy over handling undocumented immigrant detainees."

One prime example of Ryan’s incompetence was how it enabled Russoniello to wage his successful assault on the city’s cherished sanctuary ordinance last year. Internal communications obtained by the Guardian through the Sunshine Ordinance show efforts by the Newsom administration to contain the political damage from reports of undocumented immigrants who escaped from city custody.

Newsom solidly supported the Sanctuary City Ordinance during his first term, as evidenced by an April 2007 e-mail that aide Wade Crowfoot sent to probation leaders asking for written Sanctuary City protocols. But these demands may have drawn unwelcome attention.

"This is what caused the firestorm regarding undocumented persons," JPD Assistant Chief Allen Nance wrote in August 2008 as he forwarded an e-mail thread that begins with Crowfoot’s request.

"Agreed," replied probation chief William Siffermann. "The deniability on the part of one is not plausible."

Shortly after Ryan started his MOCJ gig, the Juvenile Probation Department reached out to him about a conflict with ICE. They asked if they could set up something with the U.S. Attorney’s Office but the meeting got canceled and Ryan never rescheduled it.

Six weeks passed before the city was hit with the bombshell that another San Francisco probation officer had been intercepted at Houston Airport by ICE special agents as he escorted two minors to connecting flights to Honduras. They threatened him with arrest.

"Special Agent Mark Fluitt indicated that federal law requires that we report all undocumenteds, and San Francisco Juvenile Court is vioutf8g federal law," JPD’s Carlos Gonzalez reported. "Although I was not arrested, the threat was looming throughout the interrogation."

Asked to name the biggest factors that influenced Newsom’s decision to shift policy, mayoral spokesperson Nathan Ballard cites a May 19 meeting in which Siffermann briefed the mayor about JPD’s handling of undocumented felons on matters related to transportation to other countries and notification of ICE.

"That morning Mayor Newsom directed Siffermann to stop the flights immediately," Ballard told the Guardian. "That same morning the mayor directed Judge Kevin Ryan to gather the facts about whether JPD’s notification practices were appropriate and legal. By noon, Judge Ryan had requested a meeting with ICE, the U.S. Attorney, and Chief Siffermann to discuss the issue. On May 21, that meeting occurred at 10:30 a.m. in Room 305 of City Hall."

Ballard claims Ryan advised the mayor that some of JPD’s court-sanctioned practices might be inconsistent with federal law and initiated the process of reviewing and changing the city’s policies in collaboration with JPD, ICE, the U.S. Attorney, and the City Attorney.

Asked how much Ryan has influenced the city’s public safety policy, Ballard replied, "He is the mayor’s key public safety adviser."

Records show Ryan advising Ballard and Ginsburg to "gird your loins in the face of an August 2008 San Francisco Chronicle article that further attacked the city’s policy. "Russoniello is quoted as saying, "This is the closest thing I have ever seen to harboring,’" Ryan warned. And that set the scene for Newsom to change his position on Sanctuary City.

PUSHED OR JUMPED?


When Fong, the city’s first female chief and one of the first Asian American women to lead a major metropolitan police force nationwide, announced her retirement in December, Police Commission President Theresa Sparks noted that she had brought "a sense of integrity to the department." Fellow commissioner David Onek described her as "a model public servant" and residents praised her outreach to the local Asian community.

Fong was appointed in 2004 in the aftermath of Fajitagate, a legal and political scandal that began in 2002 with a street fight involving three off-duty SFPD cops and two local residents, and ended several years later with one chief taking a leave of absense, another resigning, and Fong struggling to lead the department. "It’s bad news to have poor managerial skills leading any department. But when everyone in that department is waiting for you to fail, then you are in real trouble," an SFPD source said.

Gary Delagnes, executive director of the San Francisco Police Officers Association, hasn’t been afraid to criticize Fong publicly, or Newsom for standing by her as morale suffered. "Chief Fong has her own style, a very introverted, quiet, docile method of leadership. And it simply hasn’t worked for the members of the department. A high percentage [of officers] believe change should have been made a long time ago."

But Newsom refused to consider replacing Fong, even as the stand began to sour his relationship with the SFPOA, which has enthusiastically supported Newsom and the mayor’s candidates for other city offices.

"The day the music died," as Delagnes explains it, was in the wake of the SFPD’s December 2005 Videogate scandal. Fong drew heavy fire when she supported the mayor in his conflict with officer Andrew Cohen and 21 other officers who made a videotape for a police Christmas party. Newsom angrily deemed the tape racist, sexist, and homophobic at a press conference where Fong called the incident SFPD’s "darkest day."

"Heather let the mayor make her look like a fool. Who is running this department? And aren’t the department’s darkest days when cops die?" Delagnes said, sitting in SFPOA’s Sixth Street office, where photographs and plaques commemorate officers who have died in service.

Delagnes supports the proposal to give the new chief a five-year contract, which was part of a package of police reforms recommended by a recent report that Newsom commissioned but hasn’t acted on. "You don’t want to feel you are working at the whim of every politician and police commission," Delagnes said. But he doubts a charter amendment is doable this time around, given that the Newsom doesn’t support the idea and Fong has said she wants to retire at the end of April.

"I’d like to see a transition to a new chief on May 1," Delagnes said. "And so far, there’s been no shortage of applications. Whoever that person is, whether from inside or outside [of SFPD], must be able to lead us out of the abysmally low state of morale the department is in."

Delagnes claims that police chiefs have little to do with homicide rates, and that San Francisco is way below the average compared to other cities. "But when that rate goes from 80 to 100, everyone goes crazy and blames it on the cops. None of us want to see people killed, but homicides are a reality of any big city. So what can you do to reduce them? Stop them from happening."

But critics of SFPD note that few homicide cases result in arrests, and there is a perception that officers are lazy. That view was bolstered by the case of Hugues de la Plaza, a French national who was living in San Francisco when he was stabbed to death in 2007. SFPD investigators suggested it was a suicide because the door was locked from the inside and did little to thoroughly investigate, although an investigation by the French government recently concluded that it was clearly a homicide.

Delagnes defended his colleagues, saying two of SFPD’s most experienced homicide detectives handled the case and that "our guys are standing behind it."

A NEW DIRECTION?


Sparks said she didn’t know Fong was planning to retire in April until 45 minutes before Chief Fong made the announcement on Newsom’s December 20 Saturday morning radio show. "I think she decided it was time," Sparks told the Guardian. "But she’s not leaving tomorrow. She’s waiting so there can be an orderly transition."

By announcing she will be leaving in four months, Fong made it less likely that voters would have a chance to weigh in on the D.C.-based Police Executives Reform Forum’s recommendation that the next SFPD chief be given a five-year contract.

"The mayor believes that the chief executive of a city needs to have the power to hire and fire his department heads in order to ensure accountability," Newsom’s communications director Nathan Ballard told the Guardian.

According to the city charter, the Police Commission reviews all applications for police chief before sending three recommendations to the mayor. Newsom then either makes the final pick, or the process repeats. This is same process used to select Fong in 2004, with one crucial difference: the commission then was made up of five mayoral appointees. Today it consists of seven members, four appointed by the mayor, three by the Board of Supervisors.

Last month the commission hired Roseville-based headhunter Bob Murray and Associates to conduct the search in a joint venture with the Washington-based Police Executive Research Forum, which recently completed an organizational assessment of the SFPD. Intended to guide the SFPD over the next decade, the study recommends expanding community policies, enhancing information services, and employing Tasers to minimize the number of deadly shootings by officers.

"The mayor tends to favor the idea [of Tasers] but is concerned about what he is hearing about the BART case and wants closer scrutiny of the issue," Ballard told us last week.

Potential candidates with San Francisco experience include former SFPD deputy chief Greg Suhr, Taraval Station Captain Paul Chignell, and San Mateo’s first female police chief, Susan Manheimer, who began her career with the SFPD, where her last assignment was as captain of the Tenderloin Task Force.

"It would be wildly premature to comment on the mayor’s preference for police chief at this time," Ballard told the Guardian.

Among the rank and file, SFPD insider Greg Suhr is said to be the leading contender. "He’s very politically connected, and he is Sup. Bevan Dufty’s favorite," said a knowledgeable source. "The mayor would be afraid to not get someone from the SFPD rank and file."

Even if Newsom is able to find compromise with the immigrant communities and soften his tough new stance on the Sanctuary City policy, sources say he and the new chief would need to be able to stand up to SFPD hardliners who push back with arguments that deporting those arrested for felonies is how we need to get rid of criminals, reduce homicides, and stem the narcotics trade.

"The police will say, you have very dangerous and violent potential felons preying on other immigrants in the Mission and beyond," one source told us. "They would say [that] these are the people who are dying. So if you are going to try and take away our tools — including referring youth to ICE on booking — then we will fight and keep on doing it."

While that attitude is understandable from the strictly law and order perspective, is this the public safety policy San Francisco residents really want? And is it a decision based on sound policy and principles, or merely political expediency?

Sup. David Campos, who arrived in this country at age 14 as an undocumented immigrant from Guatemala, says he is trying to get his arms around the city’s public safety strategy. "For me, the most immediate issue is the traffic stops in some of the neighborhoods, especially in the Mission and the Tenderloin," said Campos, a member of the Public Safety Committee whose next priority is revisiting the Sanctuary City Ordinance. "I’m hopeful the Mayor’s Office will reconsider its position. But if not, I’m looking at what avenues the board can pursue.

"I understand there was a horrible and tragic incident," Campos added, referring to the June 22, 2008 slaying of three members of the Bologna family, for which Edwin Ramos, who had cycled in and out of the city’s juvenile justice system and is an alleged member of the notoriously violent MS-13 gang, charged with murder for shooting with an AK-47 assault weapon. "But I think it is bad to make public policy based on one incident like that. To me, the focus should be, how do we get violent crime down and how do we deal with homicides?"

Campos believes Ryan has sidetracked the administration with conservative hot-button issues like giving municipal ID cards to undocumented residents, installing more crime cameras, and cracking down on the cannabis clubs. "I’m trying to understand the role of the Mayor’s Office of Criminal Justice," Campos said, raising the possibility that it might be eliminated as part of current efforts to close a large budget deficit. "In tough times, can we afford to have them?"

The change in Washington could also counter San Francisco’s move to the right. Federal authorities, swamped by claims of economic fraud and Ponzi schemes, might lose interest in punishing San Francisco for its Sanctuary City-related activities now that President Barack Obama has vowed to address immigration reform, saying he wants to help "12 million people step out of the shadows."

"It’s hard to believe that there isn’t going to be some kind of change," another criminal justice community source told us. "A lot of this is Joe Russoniello’s thing. Sanctuary City ordinances and policies have been a target of his for years."

Rumors swirled last week that Russoniello might have already received his marching orders when Sen. Barbara Boxer announced her judicial nomination committees, which make recommendations to Obama for U.S. District Court judges, attorneys, and marshals.
Boxer will likely be responsible for any vacancies in the northern and southern districts, while Feinstein, who is socially friendly with the Russoniello family, will take charge of the central and eastern districts. Criminal justice noted that Arguedas, who San Francisco hired to defend itself against Russoniello’s grand jury investigation, is on Boxer’s Northern District nomination committee.
Boxer spokesperson Natalie Ravitz told the Guardian she was not going to comment on the protocol or process for handling a possible vacancy. "What I can tell you is that Sen. Boxer is accepting applications for the position of U.S. Attorney for the Southern District (San Diego), a position that is considered vacant," Ravitz told us. "Sen. Feinstein is handling the vacancy for the U.S. Attorney for the Eastern District. Beyond that I am not going to comment. If you have further questions, I suggest you call the Department of Justice press office."
DOJ referred us to the White House, where a spokesperson did not reply before press time. Meanwhile Russoniello has been publicly making the case for why he should stay, telling The Recorder legal newspaper in SF that morale in the U.S. Attorney’s San Francisco office is much improved, with fewer lawyers choosing to leave since he took over from Ryan.
That’s small consolation, given widespread press reports that Ryan had destroyed morale in the office with leadership that was incompetent, paranoid, and fueled by conservative ideological crusades. Now the question is whether a city whose criminal justice approach has been dictated by Ryan, Fong, and Newsom — none of whom would speak directly to the Guardian for this story — can also be reformed.

What to do on V-Day weekend

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Grab a hold of your honey (and hiney) and dive into the plush heart-shaped bed of these events …

199-vday.long.jpg
Alexander Warnow’s “I love you because…” See Art/Fashion Events, Sat/14

PARTIES, EVENTS, AND BENEFITS

Black Valentine Masquerade Club Mighty, 119 Utah; www.mighty119.com. Feb. 13, 10pm-3am, $15. Sunset Promotions and Blasthaus present this all-out party extravaganza, featuring UNKLE’s leading man James Lavelle, Evil Nine, and revelers dressed in dastardly dark costumes.

Bootie — A Special Valentine’s Party DNA Lounge, 375 11th St.; www.bootiesf.com. Feb. 14, 10pm, $12. Celebrate the holiday mash-up style with DJ Freddy, King of Pants, twisted love songs by house band Smash-Up Derby, and a midnight mashup show by Valentine.

CockBlock Rickshaw Stop, 155 Fell; 861-2011, cockblocksf.com. Feb. 14, 10pm, $7 . Get your Valentine’s groove on at this queer dance party for lezzies, queers, lovers, and friends, featuring DJ Nuxx.

Date and Dash Noc Noc, 557 Haight; www.dateanddash.com. Feb. 14, 8pm, $35 (free to first 20 people). Speed-dating with a Lower Haight twist. RSVP for red drinks, trendy beats, and a faux auction.

I Heart the Utah Hotel Utah Saloon, 500 Fourth St.; 546-6300, www.thehotelutahsaloon.com. Feb. 14, 9pm, $8. Celebrate the kind of love that lasts — that between a bar and 100 years’ worth of patrons — with oyster shooters, champagne, a costume contest, and live music by El Capitan and Let’s Make Something.

Love on Wheels Dating Game Rickshaw Stop, 155 Fell; 861-2011, www.rickshawstop.com. Feb. 13, 6-9pm, free for SFBC members. Join this dating game exclusively for two-wheelers, where bike bachelors and bachelorettes quiz a panel of three cyclists to select their date — and then roll to hip local spots.

Milonga de Amor Ferry Building; 990-8135. Feb. 13, 5:30-8pm, free. Celebrate V-Day, sensuous tango, and slow food.

Sexy Tour of SF Strip Clubs for Singles or Couples (510) 291-9779, www.slinkyproductions.com. Feb. 13, 6-10pm, $99/person or $190/couple, includes entry to all clubs, two drinks, and full-course dinner. Peek into a world of fantasy, glamour, and intrigue with the safety of a fun group and a guide whose expertise is leading women and couples.

Valentine’s Day Music

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PREVIEW There couldn’t be a more disaster-prone pairing than Friday the 13th and Valentine’s Day, but if the Black Valentine’s Masquerade on Feb. 13 at Mighty has anything to do with it, everything’s going to go horribly, horribly right. UK electro weirdo James Lavelle of UNKLE and DJ duo Evil 9 are slated to kick off a party that includes shambling zombies, friendly demonic folk, blasts of electro-metal, and horror-movie synths. To be sure, it’s a costume party, so try to remember that the ghouls and ghosties aren’t actually anything more than people in disguise.

John Cameron Mitchell, director of Shortbus (2006) and Hedwig and the Angry Inch (2001), which he also wrote and starred in, proposes to tip off V-day with nothing less than a showcase on the origin of Love — or so the name of his gig and film screening would have you believe. Mitchell’s set to belt out a few numbers live onstage at the landmark Victoria Theatre, then screen his cult hits Feb. 13–15. The show also promises an exclusive director’s commentary on the goings-on behind the scenes, plus a slew of titilutf8g readings on sex, love, and romance.

If a more traditional concert is more to your taste, minus drippy musings on the perfume of roses and a huddle of cooing lovebirds, consider the Valentine’s Day punk rock soiree at Hemlock Tavern. The defiant lo-fi anarchists of Hunx and his Punx — a side project of Gravy Train!!!! keyboardist/vocalist Hunx — will bring their take on distorted garage rock to the fore, just as V-day winds down. Pitiless amounts of noise, anyone?

BLACK VALENTINE’S MASQUERADE Fri/13, 10 p.m., $15. Mighty, 119 Utah, SF. (415) 626-7001, www.mighty119.com. John Cameron Mitchell and Hedwig and the Angry Inch Sat/14, 7:30 p.m., and Sun/15, 8 p.m., and Shortbus Fri/13, 8 p.m., and Sat/14, 11 p.m., $25. Victoria Theatre, 2961 16th St., SF. (415) 863-7576, www.victoriatheatre.org. Hunx and his Punx with Dreamdate and Shannon and the Clams Sat/14, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923, www.hemlocktavern.com

Master Musicians of Jajouka

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PREVIEW Drone, baby, drone. The riveting Sufi trance sounds of the Master Musicians of Jajouka with Bachir Attar first reached many Western ears in 1971, thanks to late Rolling Stones member Brian Jones’ enthusiastic endorsement, the classic recording Brian Jones Presents the Pipes of Pan at Joujouka (Rolling Stone/ATCO/Point), and praise from such cultural explorers and beat icons as Timothy Leary and Brion Gysin. The ensemble’s new Live Volume 1 (Jajouka) is their first in eight years and was recorded in Lisbon on the last night of a weeklong tribute to Paul Bowles, one of the group’s many ardent admirers.

MASTER MUSICIANS OF JAJOUKA Wed/11–Thurs/12, 8 and 10 p.m., $30–$35. Yoshi’s, 1330 Fillmore, SF. www.yoshis.com. Also Sat/14, 2 p.m., free. Amoeba Music, 1855 Haight, SF. www.amoeba.com

Lush ‘n’ loopy: Juana Molina to blow out her sound with a full band in SF

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By Todd Lavoie

Prepare to be riveted – loop-and-layer-loving Argentine experimentalist Juana Molina will be bringing her bewilderingly intricate electronic/acoustic hybrids to the stage of the Great American Music Hall Friday, Feb. 13.

If you’ve wondered how the impossibly layered constructions of her recordings could ever translate to the live setting – here’s your chance. Having caught her solo Swedish Hall performance from a couple of years ago, I can attest to her ability to mesmerize. Armed with an acoustic guitar and a battery of electronics and effects pedals, she didn’t merely perform her songs – instead, she built them from the ground up, laying down basic components at the beginning of each song and gradually adding them together one by one.

Live wires: the Gourds set for Slim’s showdown

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By Danica Li

If you know the Gourds, you know them prolific Texan folk don’t take things lying down – especially when there’s a frenetic album-a-year quota to be maxed out around these parts. Alternative country, progressive bluegrass, or whatever you want to call it, the Austin, Texas, honky-tonk veterans have been making sweet music since the dawn of the ’90s, when multi-instrumentalists Kevin “Shinyribs” Russell and Jimmy Smith formed the group alongside drummer Charlie Llewellin and accordionist Claude Bernard. A bit of member reshuffling later, the band emerged with a new drummer and Max Johnston of Wilco fame manning the banjos, and has kept that rotation ever since.

Does Coachella or Bonnaroo have the better lineup?

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By Danica Li

It’s about time that the lineups for the two biggest of the bigwig music festivals on the continent, Coachella and Bonnaroo, leaked online, precipitated by a now traditional annual flurry of bizarre Internet rumors, faux photo-manipped posters, and jittery, cross-fingered posts on Stereogum. Naturally there’s plenty of cross-pollination between the two, and no stunners, except that Phish hasn’t played Bonnaroo ever before, where most of the bands on both lineups are religious frequenters of music festivals as well-established as South by Southwest in Austin, Texas, and as far-flung as the Roskilde Festival in Denmark and Punkkelpop in Belgium.

The big names aren’t so dimunitive, but then Coachella has a long and storied history of luring in bomb marquee reunions that it’s struggled to live up to since the legendary Pixies jammed together onstage in 2004. Paul McCartney headlines on Friday, the Killers on Saturday, and the Cure on Sunday. My Bloody Valentine’s playing on Sunday, too, while Leonard Cohen, Superchunk, Okkervil River, Morrissey, MSTRKRFT, Franz Ferdinand, Girl Talk, Crystal Castles, TV on the Radio, Yeah Yeah Yeahs, Throbbing Gristle, and Lykke Li are all scheduled to play during the fest’s three days of music, California sunshine, and wacky art installations.

.meggie. on the beach, off Union Square

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By Laura Peach

Although San Francisco kisses the Pacific Ocean, the possibility of cold, fog and rain keeps its residents from looking like they live by the sea. Flip-flops rarely graze the sidewalk, and sheer sundresses are often eschewed in favor of warmer, more substantial fabrics and garments.

Petaluma native Meggie White wants to change that. Her breezy, beautiful new Union Street boutique, .meggie. — which is having a special sale event this Friday (see below) — is breathing fresh, sea-salty air into San Francisco’s shopping options. Walking into her shop is like walking into a beach house, bathed in bright pastels and punctuated by bleach white starfish and seashells scattered about the shelves.

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Better yet, this beach house is a giant closet. Seersucker shirts with embroidered hems hang off cabinet corners. A rainbow of light, oversized scarves filters the sunshine pouring in the window. Shoes and boots trot up a stepladder. Loose knit throw sweaters hang beneath wooden picture frames. Delicate gold earrings dangle from white branches.

Those glittering hoops are what inspired White to open her beach house boutique. She wanted to stop selling the jewelry she designs and makes through stores so she could bring the prices down. And she wanted to create a space where other small, independent lines could thrive. “I know how hard it is to go knocking on store’s doors and get your label in there,” says White. “I have fun building relationships with local designers, I love hearing how excited they are when what they make flies out the door and I have to order more.”

Lit: What about Iraqi women?

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By Marke B.

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To a slightly lesser extent than the invasion of Afghanistan — where Taliban assholes are still spraying young girls’ faces with acid — the occupation of Iraq was touted as a women’s liberation project. We were the white knights coming to tear the veils off and throw open wide the doors to fancy new schools, theaters, community centers, and business opportunities.

Boy, that turned out to be quite a bit of presumptive hash. In the giant WTF that followed “shock and awe,” many learned the limits of such blanket assertions — but of course the deaths of tens of thousands are still seen here as nothing but a big fat lesson for Westerners. What about the people who had to live through it all?

One incisive complaint is that the West has failed to include enough voices from Iraq to give a fuller picture of the occupation’s effects — both the disastrous and the hopeful. Iraqi women, especially, seem even more invisible now than before the invasion.

Co-authors Nadje Al-Ali, Reader in Gender Studies at the University of London’s School of Oriental and African Studies and Nicola Pratt, Lecturer in Comparative Politics and International Relations at the University of East Anglia, just released a new UC Press book that attempts a corrective. What Kind of Liberation?: Women and the Occupation of Iraq is the first book to examine how Iraqi women have fared since the invasion, and attempts to “expose the gap between rhetoric that placed women center stage and the present reality of their diminishing roles in the ‘new Iraq.'”

Get in bed with the Suicide Girls

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By Molly Freedenberg

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All Benni wants for Valentine’s Day is you … and another tattoo.

The first Suicide Girls event I attended was a prom several years ago, before SGs became minor celebrities, appearing on Real Sex and in Dave Grohl’s video and touring the country with Warped Tour or their own burlesque show. It was held at some dive bar near the Tenderloin, the kind of place where you drink cheap beer and don’t want to put your jacket on the ground. My how things have changed. Now, the alt pin-up site will co-host an event at the swanky Supperclub for Valentine’s Day. The event promises to be interesting eye candy for casual observers and hardcore SG fans alike, as not only will tattooed and Manic Panic-ed sexpots be in attendance, but performing aerial tissu and go-go dancing. And since SGs also have come a long way since their original underwhelming live performances — thanks to an influx of models who also are talented performers, as well as better stage management and choreography — chances are the shows will be worth seeing for more reasons than just witnessing your online masturbation material come alive. (Though that’s as good a reason to go as any.)

Feb. 14, 7:30pm-2am, $100
Love is Hell (in Bed)
Supperclub
657 Harrison, SF
(415) 348-0900
www.supperclub.com

My first orgy: A beginner’s guide to group sex

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By Rita Sapunor

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Live in San Francisco long enough, and you’re going to get invited to a sex party. Stay longer and it’s only a matter of time before you’re considering throwing one yourself. When this time comes, you’re going to have a lot of questions to ask yourself, questions like: Which friends would be the least awkward to have sex in front of? Should my sex party be more about spiritual connection or hardcore action? What is the range of this whip, and should I tape off a safety boundary for liability purposes? Unfortunately, there’s no Judy Blume novel to get you through this challenging rite of passage. This is where San Francisco’s Center for Sex and Culture comes in.

CSC’s mission is to provide sex-positive education to diverse communities through informational lectures, experiential classes, and cultural events. Curious and not not horny, I trudged through the rain on a recent Friday night to attend CSC’s panel on group sex, lead by psychologist and sex party enthusiast Reid Mihalko.

With five minutes until curtain call, Mihalko is setting up, adjusting mic volumes and straightening the tablecloth. "Does everyone know where the bathrooms are?" he asks, breaking the silence. I can’t remember a time when a host of any sorts addressed bathroom location so immediately, but then Mihalko is no ordinary host. Blond, six feet five inches tall, and with a strong build, Mihalko is a play-party veteran with the penchant for linen to prove it.

Tonight he and his eight-member panel will reveal the ins-and-outs of what can make and break a play party, which is basically lifestyle community-speak for orgy: planned parties wherein the guests, in some manner, get it on — throw pillows optional. All the event’s panelists have not only attended, but have planned and staged play parties, some just for women, some just for men, some for "advanced players" and others for the tantra-inclined. The panelists double as massage therapists, sexologists, writers, teachers, and event planners who fell into the scene and took to it like fish to water.

We, the audience, are just here to watch and listen for tonight, but I get the impression that not everyone’s a novice here, as two long-lost friends recall a wild party from 20 years ago and many others touch and kiss as easily as they speak. One woman leaves her seat just before the show to return with a handful of hard candies. "Who wants something sweet?" she asks, in an Isabella Rossellini–esque accent. She passes them out to the most enthusiastic. "One left!" she announces. "Who wants one?"

"Why not?" postures one older gentleman in a fanny pack.

"Why not??" she asks in mock shock, retracting the cellophane-wrapped candy. "Do you want it or not?"