Live

Bag drag

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› kimberly@sfbg.com

SONIC REDUCER As a once-impressionable protein unit who wrapped my eyeballs around any and all TV comedy, I’m slightly abashed to say I haven’t caught Saturday Night Live regularly in many a year. So I was surprised to hear rumors a while back that the series was allegedly biting off one of the Bay Area underground music scene’s fave figures: Jibz Cameron — known and loved for her garage-rock spaz-outs with the Roofies and her pretension-leveling levity behind the counter at Lost Weekend Video. And then there’s her super-girl-group of sorts, Dynasty, with Numbers drummer Indra Dunis and Neung Phak vocalist Diana Hayes, and her solo spin-off project, Dynasty Handbag.

“I don’t watch it either,” Cameron says from Brooklyn, as pet Chihuahuas struggle over a chew toy in the background. “But I get a phone call every other Saturday, ‘Omigod, you won’t fucking believe it…’ and I say, ‘I already know.'” She’s talking about SNL‘s house DJ Dynasty Handbag, a character that first popped up on the show in 2005, hosting a faux-MTV talk show. The occasional Kenan Thompson character is a far cry from Cameron’s Dynasty Handbag, a crazed kitsch-waver — a kind of schizo Bride of Peaches and Krystle Carrington — that Cameron developed on petite SF music stages before moving east four years ago. The project started life as the portable version of Dynasty and turned into a multi-referent alter ego.

The SNL character hasn’t reappeared in the last year, but it still offends. “It’s still on their DVDs, and I do performance that’s comedy-related,” she says. “People research me on the Internet, and my site comes up first, but they’re there, though I’m the OG, the OD, the OGD.” She says she sent SNL a cease-and-desist letter and when “that didn’t go anywhere, I took it to Volunteer Lawyers for the Arts. I’m not in a full-blown lawsuit with them, but we’re sort of in discussion with them.” At press time, SNL representatives have not responded to requests for comment.

Cameron says she does have a new “plan of attack.” Her friend Dave Sitek of TV on the Radio will be producing a podcast radio show called Radio Woo Woo, which she will cohost. “My plan is to just keep talking about it on the air,” she says, adding that the podcast will premiere TV on the Radio’s new album this fall.

The low-broiling brouhaha hasn’t stopped Cameron from developing her Dynasty Handbag performances into narratives. This week she’ll unveil three short pieces at CounterPULSE. One, Bags, revolves around Cameron’s relationships with five empty shopping bags: “Each one sucks my soul in a different way, like bad relationships in my 20s. One is really needy; one’s really demanding; and one just wants to get fisted.” A work in progress, O Death, sees Cameron attempting to bury her own dead body.

Cameron has been far from dead and buried in New York: within months of moving to the Big Snapple she was crowned Miss Lower East Side in Murray Hill’s annual pageant, and she has presented solo shows at PS 122 and Galapagos Art Space. “Everybody works so hard here — it’s really influenced me to go ahead with my stuff. And there’s just the intensity of seeing so many insane people every day,” says Cameron, who was raised by hippie parents in Mendocino County (“My childhood was peppered by characters with beards and long, droopy fun bags”). “That’s really helpful, too.” *

DYNASTY HANDBAG: TALES FROM THE PURSE

Thurs/19 and Sat/21, 8 p.m., Fri/20 and Sun/22, 10 p.m., $20

CounterPULSE

1310 Mission, SF

www.directfromnyc.com

MAGIC NUMBERS, FLYING DRUMS: THESE NEW PURITANS

Southend-on-Sea, UK’s These New Puritans purvey an austere, twinkling breed of synthetic/organic art-pop — one that evokes both Wire and the Klaxons. Who suspected the murky mystical inclinations embedded in the band’s debut, Beat Pyramid (Domino)? “Pyramids are about secrets and chambers,” vocalist Jack Barnett, 20, offers from his band’s tour stop in Chicago. “Some of the songs have to do with magic.” He claims 16th-century occultist-mathematician John Dee plays into his searching New Puritans as much as the Wu-Tang Clan, which Barnett praises for the “eerie, tiny little sounds in the background” of their productions.

Now the combo is attempting to write music that marries “the round canons of Steve Reich” with the beats of dancehall — provided Barnett manages to dodge the projectiles heaved by his drummer twin, George. When making music with your twin, Jack says, “you’re honest to the point of getting completely out of hand. As in drums being thrown at me. On a regular basis.”

Thurs/19, 8 p.m., $12–$13. Popscene, 333 Ritch, SF. www.popscene-sf.com

THE HAPPENINGS?

 

100 YEARS AT THE HOTEL UTAH

The 1908 edifice where Robin Williams, Cake, Counting Crows, and countless others broke out brings back witnesses and whoops it up. With Penelope Houston, Paula Frazer, Jesse DeNatale, Colossal Yes, Greg Ashley, Blag Dahlia, and others. Thurs/19; reception 7 p.m., ceremony 7:30 p.m., music 9 p.m.; $8 show. Hotel Utah, 500 Fourth St., SF. (415) 546-6300

 

JAYMAY

The bookish Long Island chanteuse flirts with song stylings slouching betwixt Feist and Keren Ann. Thurs/19, 9 p.m., $12. Café Du Nord, 2170 Market, SF. (415) 861-5016

 

GEORGE MICHAEL

He’s never going to dance again through this sort of arena show, the UK pop star hinted recently. Thurs/19, 8 p.m., $56–<\d>$176. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-TIXS

 

DEATH CAB FOR CUTIE

Narrow Stairs finds the Seattle cabbies stretching into darker realms. With Rogue Wave. Sat/21, 8 p.m., $39.50. Greek Theatre, UC Berkeley, Berk. www.apeconcerts.com

 

Earth, here and now

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› a&eletters@sfbg.com

"I’m a big fan of Roy Buchanan and Danny Gatton and Merle Haggard’s guitarist, Roy Nichols. I also like a lot of western swing, like Hank Thompson and Bob Wills and the Texas Playboys. Jerry Reed. Waylon Jennings is one of my favorite guitar players."

Listening to Dylan Carlson rattle off a list of his favorite country pickers might seem a little strange. After all, this is the guy who practically invented the drone-metal genre in the early 1990s as the leader of Sub Pop outcasts Earth. Their snail-paced, sludge-caked drone explorations might be termed "primordial," yet they were anything but traditional or rootsy. Some probably questioned whether they were music at all.

The band’s landmark Earth 2 (Sub Pop, 1993) is a legendary lease-breaker of an album thanks to its wall-rattling sonics. For years the recording — and the band in general — puzzled onlookers, who wondered what Nirvana’s old label was doing releasing something so unseemly. Earth once played a music-biz festival in New York during the early ’90s, and as Carlson recounts by phone from Seattle, "I had friends telling me, ‘Oh, yeah, there were all these industry people here, and they were totally confused.’ They thought we were assholes and stuff, like we were making fun of them."

The joke’s on them now, even it wasn’t back then. Thanks to Earth worshippers Sunn O))) and the scads of other low-end drone specialists who have cropped up in recent years, the band’s once-misunderstood sound has come to be seen as pioneering, opening the way for a range of experimentalists operating at the crossroads of metal, improv, and avant-garde rock. The thing is, Carlson doesn’t have much interest in that sound anymore.

"Obviously it’s flattering to be liked by people and to influence people," he says. "But for me, it’s not something I would do again, since I don’t like repeating myself and I’m trying to move somewhere else."

Earth’s more recent recordings, including 2005’s Hex: Or Printing In The Infernal Method and this year’s The Bees Made Honey in the Lion’s Den (both Southern Lord), move at the same slow hypnotic pace of the older material, but they do so with less volume, more space, and a surprising twang element. These discs have come with the help of a new cast of supporting musicians — including trombonist-keyboardist Steve Moore and Master Musicians of Bukkake members John Schuller and Don McGreavy on bass — and a new, more clearheaded approach for Carlson. They also come in the wake of a long hiatus that led many to assume Earth was finished as a band.

"I got dropped by Sub Pop [after 1996’s Pentastar] and wasn’t sure I wanted to play music anymore," he explains. "And I had a lot of [personal] wreckage to take care of, so that’s pretty much what I spent those years doing."

He started playing the guitar again in late 2000, but found himself less interested in feedback and doom-laden riffs and more interested in country music. As he explains, "For some reason, every so often I’ll go to my collection, and for whatever reason something will catch my fancy, and I’ll become obsessed with it for awhile. And that was the stuff."

He started playing with drummer Adrienne Davies in 2001, whose minimalist, mostly brushed sound has been a fixture on the newer Earth albums. He wasn’t planning on playing live again or even using the Earth name, he says, but things fell into place thanks to a reissue of some old recordings and a coinciding East Coast mini-tour. As a result, Earth was reborn — with a different lineup and a different sound.

"I mean, there are similarities between everything I do just because it’s me doing it," Carlson says. "But I’m just always trying to expand with each record and grow as a musician, hopefully, rather than repeating the same thing over and over again." Even so, he adds, "I kind of hear how musics are linked, rather than how they’re different."

Earth: Mach II’s brand of sparse, loping, desert minimalism is a far cry from the wall-of-sound drones of the many Earth-inspired bands currently operating. It’s not metal, but it’s certainly not country either. It’s more like some sort of bizarre-world Americana, with its mantra-like repetition, subtle guitar twang, and wide open sense of space. Jazz guitarist and fellow Seattleite Bill Frisell, who has developed his own skewed take on Americana over the years, makes a guest appearance on Bees, and a Ry Cooder cameo wouldn’t be out of place.

Carlson credits the open-minded, genre-crossing Seattle scene for helping the new Earth evolve and branch out. "It’s not like during the ’90s when everyone was trying to get signed and was worried about playing a specific genre. It’s just people who are into all kinds of music and just want to do the best stuff that they can."

EARTH

With Jesse Sykes and the Sweet Hereafter and Aerial Ruin

Fri/20, 9 p.m., $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

Frameline 32: Sex changes

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TAKE ONE In Iranian director Tanaz Eshagian’s Be Like Others, fear hovers over a whole nation, leading to schizophrenic behavior. By concentrating on three different individuals before and after they went through sexual reassignment operations in Iran, Eshagian reveals an incredibly sad and asphyxiating society — one where homosexuality is banned and punishable by death but changing one’s sex is legal.

No matter how progressive the act of changing one’s sex might sound, Be Like Others proves that it has conservative and oppressive connotations in Iran. Most of the people considering surgery in Eshagian’s film do so because they feel that it’s their only alternative to a gay male or lesbian identity that involves disrespect, harassment, and the possibility of a horrible death. Yet instead of finding acceptance post-operation, many are even more alienated.

The reason for this insanity, as explained by one official: being gay or a cross-dresser allegedly disrupts the “social order.” In other words, gender-bending blurs the distinctions between the sexes, making Iranian social role-assignment — largely determined by sex — a confusing task.

Mind-boggling and utterly scary, Be Like Others is a great comment on people’s obsessive need to label and compartmentalize, and a statement about our disgusting fear of anything that lacks clear delineation. At first, Eshagian’s documentary might make you feel lucky to live in a country where measures against homosexuality are not as extreme. But as it sinks in, it will make you question how far removed the situation in Iran really is from that in the United States. (Maria Komodore)

TAKE TWO At first the Iranian laws that make Tanaz Eshagian’s movie necessary seem not just cruel, but absurdly and arbitrarily so. How could homosexuality be illegal and punishable by death, while the government not only sanctions sexual-reassignment surgery but acts as its facilitator?

In Be Like Others, the answer comes from Cleric Kariminiya, a so-called Theological Expert on Transexuality, during an information session for prospective patients and their families. While Islamic law explicitly forbids homosexuality, he explains, there is no such explicit restriction on changing one’s gender.

In other words, the binary sexual politics of Iranian authority are undermined by the existence of queer citizens, whose mannerisms or predilections suggest a continuum. Eshagian’s powerful film follows a few citizens who, too visibly close to the middle of that continuum, are forced to decide between the suffering and danger of their current lot and an abrupt surgical introduction into social legitimacy.

The decision-making process these individuals face is extremely difficult viewing. Those people who successfully transition often have no other option but sex work to survive. Suicide is rampant.

Eshagian’s project is exceptional because it leaves the viewer enlighteningly confused about Iranian attitudes toward gender and law. The most fascinating character in the film is a transgender woman dedicated to the care of patients in transition. She is supportive, devoted to her patients’ well-being, and fully entrenched in the traditional Iranian views of men and women. (Jason Shamai)

BE LIKE OTHERS

Mon/23, 7 p.m., Victoria

Sonic Reducer Overage: RTX, RZA, Liz Phair, and more

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Imaad Wasif waxes “Oceanic.”

Oh, Ess-eff, as if you ever stop unfurling the good times. Here’s a few more worthy shows that didn’t make it into print.

RTX and Imaad Wasif
Rasp-rock pied piper Jennifer Herrema lopes into town with RaTX (Drag City), alongside Imaad Wasif and his new combo, Two Part Beast, who’ll doubtless charm with his excellent, self-released Strange Hexes. With Bridez. Fri/20, 9:30 p.m., $10. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923

Sir Lord Von Raven
Times Flys meets Gris Gris for off-the-cuff rock in this new combo. With Apache and Toko-Ri Get High. Fri/20, 9:30 p.m., call for price. Knockout, 3223 Mission, SF. (415) 550-6994.

RZA
Backed by a live band, Bobby Digital give us a taste of Digi Snacks (Koch). With Stone Mecca, Zeph and Azeem, and Ben Flowz. Sat/21, 8 p.m., $30. 1015, 1015 Folsom, SF. www.1015.com

Olema Inn

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› paulr@sfbg.com

If Marin County is a state of mind, would it be catty to describe that state of mind as schizophrenic? Despite a compact geography, Marin shows the world a surprising number of faces; there’s Mount Tam, Muir Woods, Black Sands Beach with its sporty naked people, the writhing population centers in the southeast (my least favorite quarter), and — my most favorite — the rolling, wooded, gently farmed county to the west.

West Marin is an enchanted realm, a genteel Arcadian dream. The city is just 20 miles distant, but one does not feel it. For those of us who’ve had occasion to live in one of the metropolises of the East, whose sprawl can take several hours to escape, this swift vanishing of urbis is an abiding miracle. Humanity’s self-absorbed throbbing subsides, and there is peace across a landscape luminously painted by Thaddeus Welch more than a century ago. The two-lane roads, uncluttered with traffic, wend through tidy little villages and country junctions often punctuated by sharp church steeples, past neatly kept fields, pastures, and orchards. And at the end of one of those roads lies the Olema Inn, an oasis of civilization and civility.

The Olema Inn has been a fine restaurant for nearly a decade, but its deeply atmospheric building is far older, with roots extending back well into the 19th century. When you step onto the Victorian veranda, you have a momentary vision of Mark Twain standing there, gazing out, maybe waiting for a stagecoach or looking for a spittoon — and then you see the "Marin Organic" sign and, for better or worse, you’re right back in the early 21st century.

Inside, the building has been buffed to a soft shine. The lobby, with its inviting bar, has the look of an Edwardian salon — plump, comfy chairs amid lots of rich wood — while the dining rooms beyond are a gracious blend of mullioned, multi-light windows, antique pine floors, fresh white walls, and garden views. While Twain lingers on the porch, twirling his moustache, you have been seated in an Edith Wharton novel, where the linens are always well-starched.

The "Marin Organic" sign tells us that the restaurant is a serious food destination: the kitchen participates in the west county’s responsible-agriculture culture while committing itself to do right by the high-quality ingredients thereby produced. The ethic seems almost indistinguishable to me from that of Chez Panisse, and the results are comparably impressive.

Since western Marin is a locus of oystering — Tomales Bay is the home of Hog Island oyster farm, as well as an unknown number of great white sharks — the Olema Inn’s menu offers this bivalve in a variety of guises. You can get eight sizable oysters on the half-shell for $18; they can be cooked or raw (or some of each), with a wide choice of toppings, including tomato and basil, bacon and fennel, and a classic mignonette made with sauvignon blanc. Excellent and memorable, every one — and I would not describe myself as an oyster-lover.

Soup probably doesn’t get enough credit as a vehicle for chefly expression, but at the Olema Inn, it isn’t for lack of effort or ingenuity. A bowl of wild nettle soup ($10) could easily have been mistaken for green paint ready to be splashed on a military rig, except for the large fried oyster, flecked with breading, in the middle. Only slightly less intense a green was a chilled soup of puréed asparagus ($10), poured around a set of large shelled prawns and dotted with slivers of kumquat.

Sand dabs, a local maritime treasure, are known to be bony, and it might be that their reputation suffers because of this, but they make a fabulous fish and chips ($14). We couldn’t find a single splinter of bone, and the tubular strips of flesh were juicy within their golden crust — a hint that the fish had not been frozen. The chips were limper than what one would consider ideal, but they had been fried in duck fat, which more than made up in flavor what had not been achieved in crispness.

The flavor of duck also pleasantly pervaded a steak hash ($18): cubes of potato and beef, dottings of fresh fava beans, and coarse flaps of onion and fennel root adrift in a ducky broth into which a poached duck egg slowly leaked its yolk. The steak had been billed as the star ingredient, but the dish would have been fine without any meat at all — or maybe just some duck confit? Hash is a well-known recycling center for leftovers, but leftover duck confit often finds its way into salads, not hashes. And sometimes there isn’t any leftover confit at all.

Although bread pudding is another locus for leftovers, Olema Inn’s vanilla version ($9) didn’t seem at all fatigued — more like a fresh morning bun, envelopingly soft and warm. Our server was particularly enthusiastic about the chamomile crème brûlée ($9). It did turn out to be almost obscenely creamy — a true custard — beneath its cap of caramelized sugar, though I strained to detect any hint of chamomile in the flavor. The sour love-bite of lemon, on the other hand, was plainly discernable in the profiteroles ($9); they were filled with lemon-cookie ice cream and were assembled from fresh, house-made pastry, to judge by their exquisite tenderness. Wharton no doubt would have approved. As for Twain: he had vanished into the unseasonable mist, and the veranda was clear when we left. *

OLEMA INN

Lunch: Sat.–Sun., noon–4 p.m. Dinner: daily, 5–9 p.m.

Sir Francis Drake Blvd. at Highway 1, Olema

(415) 663-9559

www.theolemainn.com

AE/DISC/MC/V

Beer and wine

Not noisy

Wheelchair accessible

Sweet and spicy

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› le_chicken_farmer@yahoo.com

CHEAP EATS I dreamed I was pouring hot sauce on my ice cream, and the thought I was thinking along with the action, in the dream, was: So, it has come to this. Hot sauce on every single thing, even ice cream. Is this my nature, then? To go around setting sweetness on fire?

Don’t you love it when the dream interprets the dream for you? And then all you have to do in the morning is make your coffee and sit outside in the sunshine, watching your chickens scratch for gold. You are free to think about other things. Or to go about your business, which in my case is Breakfast, Lunch, and Dinner, with 10-minute breaks in between for going bafroom, talking on the phone, reading, writing, and plucking.

My most angelic friend kinda wants to be a stripper. We talked on the phone for a long time last night. While we were talking, my mom called on the other phone, 2 a.m. her time, and sang a scary old church song to my answering machine. Poor thing. I wouldn’t be surprised if it stops working, on principle, and I have to buy a new one.

"Make me a channel of your peace," my mother sang, after the beep. "Where there is hatred, let me bring your love. Where there is something, something something something." Her phone went bad, but as I recall the last line didn’t rhyme anyway.

If only my mom had electricity, I would buy her an answering machine and retaliate. I would call it at 2 a.m. my time (which is 5 a.m. there), and sing to it, to her, my latest sensitive singer-songwriter hymn about how I like it up the ass.

"Make me a channel of your piece" …

Oh, hi, St. Francis. I didn’t see you there. You’re my favorite saint, you know, even though if you were alive today you would probably be a member of PETA. And your songs don’t rhyme. But I think a city I love might have named itself after you, and I know I did, only I spelled it with an e. You are my middle name, but I don’t consider myself exactly Catholic, you see.

So the other person I talked to for hours yesterday was Johnny "Jack" Poetry. I can call him that again (instead of Johnny "Jack" Journalism) because he quit the paper and put his poems on the Internet. His wife, Mrs. "Jack" Poetry, one of my dearest, oldest, belovedest friends in her own right (I call her Mrs. "Jack" Poetry out of respect, ’cause she’s sort of a recovering feminist), recently became a Catholic. Now, I have only ever known lapsed Catholics, and occasionally, as in the case of much of my family, unlapsed ones. People who were born Catholic and stayed that way. Mrs. "J." P. is the first person I know to become one, by choice! And for this I love her madly.

So she was away at mass, the Mrs., then she came home from mass, while Johnny "Jack" and me were still on the phone, discussing secular matters such as poetry and pork rinds, and — lo and behold — she had a couple of nuns in tow!

My point being that this is exactly why I have two phones now. Because I live for moments like this. It’s right up there with the time the feds knocked on my mom’s door while we were talking, to account for her whereabouts because Bill Clinton was coming to town, make me a channel of your peace. Or the time the cops came and she dropped the phone, left me dangling, and swore at them until they left. Or arrested her, I forget.

Johnny "Jack" tele-described to me the vision of his sweet wife with a couple of elderly nuns, one wearing a Winnie-the-Pooh baseball cap over her habit, sallying into the wilderness on the world side of his window, hot day, Indian Valley, Idaho, tromping blessed and holy through the weeds, where the ticks are.

My new favorite restaurant is Khana Khazana. Spicy, good, Indian food in Emeryville. The service is very friendly and welcoming. Indeed, it stayed open just for us, even though we showed up five minutes after closing. Points for that, and for hot that means HOT. Portions could have been bigger, for the price. Or I can try and find more work. Either way. *

KHANA KHAZANA

4336 San Pablo, Emeryville

(510) 547-0992

Daily, 11 a.m.–9 p.m.

Beer & wine

MC/V

Another shelter down

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› amanda@sfbg.com

Inside the front door of the Marian Residence for Women, a small handmade sign by a former resident advises newcomers, "Don’t compare this place to any others."

But I’ve stayed in the city-funded homeless shelters, and after a night at Marian, it’s hard not to rave about the differences. I’m given an actual bed to sleep on, with freshly laundered sheets, blankets, and a pillow. The bathrooms and showers are clean, and I’m offered every toiletry I could possibly need — as well as pajamas. Dinner is a wholesome meal of turkey, potatoes, and steamed greens — not the mystery meat on Wonder bread I received at the city’s MSC South shelter.

And unlike the tension I’ve witnessed at other shelters, the atmosphere inside Marian is close to pacific. After dinner, the 29 other women shower, read, rest on their beds, work on their laptops, or talk quietly while sitting at small tables in the common area. After my mandatory shower, I sit with an employee who explains the rules — be respectful of others, no drinking or drugs, and don’t forget to do my chore, which is assisting with dinner service. As long as I’m home by 7 p.m., I can have my bed as long as I need it.

That is, she clarifies, until the end of August — when they’re closing the shelter. For good.

Marian is a casualty of a plan by St. Anthony Foundation to cut $3 million from the foundation’s operating budget. In addition to closing the $1.2 million Marian facility, which houses 30 women in the emergency shelter and 27 in a transitional program, St. Anthony also will shutter its 315-acre organic dairy farm in Petaluma, currently used as a rehabilitation program for homeless addicts. Its Senior Outreach and Social Services [SOSS] is also losing staff and office space as it consolidates with the Social Work Center.

Five of the foundation’s 11 programs face cuts, the result of a two-year sustainability study that St. Anthony’s executive director, Father John Hardin, said will keep the charity out of a fiscal tailspin.

"We’re not in a financial crisis," he told the Guardian. "The reason we’re doing this is so we won’t be in a financial crisis."

He said the closures reflect the organization’s desire to get back to basics.

But, as one of the 40 soon-to-be-laid-off employees said, "They’ve said they want to refocus on basic services, but I see shelter as a basic service."

St. Anthony receives no city money for the work it does, but the closures are occurring in what’s already a war zone of budget cuts for social services in San Francisco. The loss of any of St. Anthony’s programs affects the city as a whole.

"Are we concerned? Yes," said Dave Knego of Curry Senior Services, which frequently refers seniors the group can’t help to St. Anthony’s SOSS program. "Unfortunately, we already have a waiting list, and the city’s cutting our funding back by 10 percent."

The closure of Marian is yet another sign of the slow erosion of shelter space in San Francisco. Since July 2004, 364 shelter spots have disappeared. By the end of August, Marian’s 57 beds and Ella Hill Hutch’s 100 mats will be gone as well. "You can’t afford to lose 57 beds, especially in a place where women are being treated like human beings," said Western Regional Advocacy Project’s Paul Boden, who’s worked with homeless services in the city since the 1980s. "What I thought was really ironic was there wasn’t any attempt to build a community effort to discuss how to save this facility. These beds are an incredibly important community resource."

Some of the women who live in the transitional program at Marian wanted to rally and save the shelter. "First and foremost was to try to save Marian Residence for Women," said Leticia Hernandez, a two-year resident of the transitional program who still hasn’t lined up a place to go when the shelter closes. "Even if we couldn’t save it, we thought it was still worth a try because any money that would come would go back to them." The women drafted a letter asking for help, which they’d hoped management would distribute to the press and public.

The foundation, Hernandez said, had a "thanks, but no thanks" response.

Hardin told us that St. Anthony’s wasn’t facing a financial crisis, so "we’re not going to get up and cry wolf. We want to go back to some of the basics. We’re turning people away from the clinic," he pointed out.

He agreed that shelter was a basic service, but said, "We can’t do it all."

The foundation wouldn’t detail its intentions for the building once it’s vacated Aug. 31, beyond affirming that it would be rented. "That’s going to be an income generator," said foundation spokesperson Francis Aviani. "We are hoping to get a social service agency to use the space in the way it’s designed for, helping folks."

Multiple St. Anthony employees said they were told the facility would be used for medical respite — beds set aside for people who aren’t in critical condition, but are too ill or fragile to mingle with the general population and have nowhere else to go — and a St. Anthony board member confirmed that was the only plan presented to the board.

Marc Trotz, director of the San Francisco Department of Public Health’s Housing and Urban Health division, which oversees its $2.5 million, 60-bed medical respite program currently housed in two facilities, told us the city is looking for a new respite site. He confirmed that the Marian building is a facility the agency has seriously considered. "We’re not looking to push one program out in favor of another or anything like that." But, he said, "It’s a potential site that would work well."

While St. Anthony is cutting $3 million in programs, foundation staffers have been working for several years on a $22 million capital campaign for a new administrative building at 150 Golden Gate Ave. The building will replace a facility at 121 Golden Gate, where offices, the clinic, an employment center, and a dining room are currently housed. The popular dining room — which serves 2,600 meals a day — will ultimately move back to 121 Golden Gate after the building is razed and rebuilt to meet modern earthquake safety standards. The project is part of another $20 million campaign that includes a partnership with Mercy Housing to build affordable rentals on the upper floors.

St. Anthony staffers say the types of donors who will contribute to a new building are very different from those who will fund ongoing programs.

Meanwhile, food costs in the dining room have increased 18 percent in the last three months, and St. Anthony staffers expect another 25 percent increase during the coming quarter. At the same time, other free food programs in the city have closed, which means St. Anthony is seeing new faces in the dining room.

Aviani confirmed that donations have increased 8 percent to 10 percent, but the group receives very few "unrestricted" funds. Most of the money is earmarked for the dining room. In a way, she said, "that’s the community deciding what they want."

A third of the organization’s $19.7 million budget comes from bequests — a form of donation that has waxed and waned in recent years. According to Aviani, the foundation has yet to receive a single bequest this year.

The group has increased grants and deployed new fundraising methods, but she said that "The amount of grants out there for shelters and women’s programs are few and far between." She acknowledged that shelters are needed, and said St. Anthony has been "pretty outspoken about that."

The foundation has kept a tight lid on talk about the closures. None of the employees contacted by the Guardian would speak on the record — for fear, they said, of losing their severance packages.

Aviani said severance packages — which include pay and personal job coaching — are not on the line. "We asked them not to create a gossip chain, to stay focused on their work, and when people have questions, direct them to me. We didn’t say they couldn’t talk to anyone at all. That wasn’t the message at all."

Whether or not the gag order was intentional, it has had an effect and created suspicion about the foundation’s true intentions.

Even the city deferred to the organization when questioned about the potential plan to rent the Marian building and use it as a medical respite facility. "We’re not going to talk about that," said DPH spokesperson Eileen Shields. "We’re going to let St. Anthony talk about that at this point because it’s St. Anthony’s call."

On Feb. 14, Newsom — who has said shelters don’t solve homelessness — announced he would like to redesign the city’s shelters and called on the community to come up with suggestions. One of his specific suggestions was to create more medical respite centers.

In May, the Local Homeless Coordinating Board, which is chaired by Hardin, released a report outlining a number of detailed suggestions for improving city-funded shelters and services. It specifically stated that shelter beds shouldn’t be sacrificed to make room for respite.

The Mayor’s Office has yet to formally respond to the report, but at the June 2 LHCB meeting, Kayhan said there were a few things he felt confident the mayor would endorse.

"We heard loud and clear: more senior beds," Kayhan said. "And I’ll add to that women’s beds." He said that respite care would be "moving and co-locating with another location. We think that could free up space at one of the shelters." And, he added, that space could be allocated to women or seniors.

Which makes it sound like more beds for women and seniors are in the works — but considering the elimination of Marian and a shelter at Ella Hill Hutch Community Center, the city is still looking at a net loss of places for the homeless to sleep at night.

Board member Laura Guzman, who runs the Mission Neighborhood Resource Center, said she heard Hardin announce the Marian closure at a May 5 meeting. "He said it was a very difficult decision. I believe he said we’re going to try to open some medical respite beds," Guzman said. "All along we’ve said we don’t want to replace shelter with medical respite beds, but that’s exactly what’s happening."

Shuttering Marian is just one more loss in an environment of dwindling resources for women. Buster’s Place, the only 24-hour drop-in center for men and women, closed in March, and was replaced by a smaller facility that only allows men.

Five of the city’s other shelters have sections for women, but one of them is slated to close as well and none can offer a women-only safe space like Marian. A Woman’s Place is the only other all-female facility, and its 15 mats on the floor are always full. "With Marian closing, there’s going to be more of a demand on the total system," said Janet Goy, executive director of Community Awareness and Training Services, which runs A Woman’s Place. "It’s a loss, no question."

Emily Murase of the Commission on the Status of Women said it’s difficult to accurately count homeless women because women tend to take more measures than men to stay off the streets, though they may not necessarily be safely housed. Women are more prone to couch-surf, stay in abusive relationships, or settle for some other kind of compromised situation.

Murase’s group now funds a special women-only program at Glide Memorial Church, whose director, Willa Seldon, said, "We’re certainly seeing an increase in volume of women in the city to our programs. In October, we were seeing 11 in our support groups. That increased to 18 by March. It could definitely be related to Buster’s Place closing."

Hardin acknowledged the need for women’s shelters but said the city ought to take on the burden. "Maybe closing the Marian is a tipping point," he said. "As I said in front of the Board of Supervisors, it’s the government’s responsibility to provide the safety net. We’re the hands beneath the safety net."

Sandy Van Dusen has been living in the transitional program for a year and a half since her husband was murdered. She’s been told that she is about to get a studio apartment. She’s visibly excited about the move, and grateful to the foundation. But, she says, she’s still been crying every day since she heard Marian is closing. "They saved my life," she says, crying a little now. "They’re doing what they told me to never do — throw in the towel."

*

A heart once nourished

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› gwschulz@sfbg.com

Community court, every second Thursday at 10 a.m. Narcotics Anonymous on Wednesday. Apprenticeships for construction workers, Monday, bright and early.

The ancient letter board just inside the entrance of the Ella Hill Hutch Community Center tells much of the story of this neighborhood institution. Since 1981 it’s been a crucial hub for the Western Addition, a mostly level stretch of terrain west of downtown that rivals the Mission District and Bayview–Hunters Point as the source of the most despair from senseless gun violence.

For decades Ella Hill was a safe haven, a place where kids and seniors felt comfortable, where people could learn and teach and talk and work together, a little oasis in the world of urban hurt.

A placard affixed to one wall of the entryway honors Thurgood Marshall, the nation’s first African American US Supreme Court justice. In a small office nearby, a tutor assists a young girl with the multiplication table. Elsewhere, a list of rules forbids profanity, play-fighting, and put-downs.

There’s also a poster of Ella Hill Hutch, the first black woman elected to San Francisco’s Board of Supervisors, where she served from 1978-81.

But in 2006, a man was murdered during daylight hours in the center’s gymnasium before dozens of witnesses. That slaying was one of at least five brutal incidents that took place in the shadow of Ella Hill between 2006 and 2007; three more murders occurred within blocks. Many remain open cases today.

And now the center is having serious problems — troubles that reflect those of the city’s African American population, which has been plagued by violence and socioeconomic changes that are closing opportunities and forcing longtime residents out the city.

Several census tracts in the neighborhood that at one time contained between 3,000 and 6,000 black residents are down to 1,000 or far less, according to a San Francisco State University study commissioned by the city last year. The report showed that between 1995 and 2000 San Francisco lost more of its black population than 18 other major US cities.

Ironically, the city is now preparing to close the final dark chapter on 50 years of federally subsidized redevelopment in the Western Addition. But the displacement that the bulldozers set off half a century ago continues today, unabated.

That exodus has compounded structural problems at the center just when its remaining clients need it most. The nonprofit late last year underwent an organizational shake up and brief takeover by the Mayor’s Office to save it from imminent financial collapse. The center’s executive director of two years, George Smith III, was fired with little public explanation last year, and a permanent head was named only recently.

As with many aspects of this troubled community, it was unaddressed violence that fed the fire. Simply subsisting in the heart of a violent neighborhood was strain enough for Ella Hill. But suffering an attack from within seemed too much to bear for an institution some call "San Francisco’s Black City Hall."

The 2006 killing took one man’s life, but Ella Hill itself — still facing an uncertain financial future — felt the searing rounds too. Now some wonder if the nonprofit can survive the very violence and poverty it was created to help end in a neighborhood that’s changing forever.

In Ella Hill’s noisy gymnasium at the building’s east end, two teams of middle schoolers practice basketball.

"My job is to be in the best position to box him out for a rebound," their coach says as they crowd around the free throw line.

The kids are radiant and attentive now. But from this same basketball court on April 27, 2006, the Western Addition briefly edged ahead of the rest of the city in extreme bloodshed.

Donte White, 22, was working part-time at the center. As he supervised a basketball game, two unidentified males entered Ella Hill. One brandished a firearm and shot White at least eight times in the face, neck, and chest as several kids looked on in utter horror. Among them was White’s young daughter.

Police arrested 25-year-old Esau Ferdinand for the attack five months after White’s murder. But within two weeks prosecutors decided they could no longer hold him and declined to press charges when a key witness disappeared on the eve of grand jury proceedings.

Even with other witnesses filling the gym, police gathered few additional leads, an all-too-common story in a neighborhood where residents often prefer to avoid both law enforcement and vengeful criminal suspects.

The center installed cameras and an alarm. A buzzer was placed on the front door. But the new security measures cut against Ella Hill’s image as a demilitarized zone, and the center remains shaken by White’s murder. Some parents began barring their children from going there.

"Can you imagine something like that, someone coming into a rec center in the middle of the day with a firearm and shooting and killing a guy?" asks Deven Richardson, who resigned from Ella Hill’s board in 2007 to focus on his real estate business. "That really set us back big time in terms of morale. It really was a dark moment for the center."

Sup. Ross Mirkarimi, whose district includes Ella Hill, says that after he took office in 2004, he learned that the police weren’t stationed at the center during prime hours and had never created a strategy for attaching themselves to the center the way they had at other safe-haven institutions in the city, like schools. He told us he’s had to "really work" to get the nearby Northern Station more integrated into Ella Hill.

"Before the murder of Donte White, there had also been a series of incidences inside Ella Hill Hutch," Mirkarimi said over drinks at a Hayes Valley bar. "Nothing that resulted in anybody getting killed, but certainly enough indicators that really should have been taken more seriously by the mayor."

In June 2006, shortly after White’s shooting, the San Francisco Police Commission and the Board of Supervisors held a tense public meeting at the center. Residents, enraged over the wave of violence that summer in the Western Addition, shouted down public officials, including Chief Heather Fong, who was forced to cut short a presentation on the city’s crime rate.

That same month, the supervisors put a measure on the ballot to allocate $30 million over three years for violence-prevention efforts like ex-offender services and witness relocation. But Mayor Gavin Newsom, following a policy of fortifying law enforcement over community-based alternatives, opposed the measure because it excluded the police department. Prop. A, designed to finance groups like Ella Hill with connections to the neighborhood that the police will never have, lost by less than a single percentage point.

Meanwhile, four homicides in the neighborhood that year joined frequent anarchic shootouts in the Western Addition, including many that never made headlines because no one was killed. The fatalities led to promises by City Hall that the area would be saturated with improved security, including additional security cameras that have mostly proved useless in helping the police solve violent crimes.

On June 3, 2006, 19-year-old Antoine Green was standing on McAllister Street near Ella Hill early in the morning when he was shot to death in the head and back. On Aug. 16, 38-year-old Johnny Jackson’s chest was filled with bullets as he sat in the front seat of a Honda Passport on Turk Street not far behind Ella Hill. A woman next to him in the car suffered a critical gunshot wound to the head.

Two more killings occurred further east at Larch Way, a popular location for murder in the neighborhood.

Burnett "Booski" Raven, a 32-year-old alleged member of the Eddy Rock street gang, was found bleeding at 618 Larch Way early Oct. 7, his body laying halfway in the street and containing at least 10 gunshot wounds. On July 22, police found 23-year-old John Brown, another purported Eddy Rock member, wedged under a Chevy pickup truck, dead from up to seven gunshots.

Brown had reportedly survived two prior shootings, but the Western Addition’s cultural condemnation of "snitching" to police has so infected the neighborhood that he allegedly told police not to bother investigating either of the attacks.

Loïc Wacquant, a sociology professor at the University of California, Berkeley, says neighborhoods like the Western Addition that once contained stable black institutions — schools, churches, and community centers that glued residents together — have been overwhelmed by the rise of a white-collar, service-based economy, the decline of unions, and the withdrawal of meaningful social safety nets.

Cities have responded to the resulting marginalization with more police officers, more courts, and more prisons. But the failure of those institutions to cure rising violence "serves as the justification for [their] continued expansion," Wacquant quoted Michel Foucault, the famous late UC Berkeley sociologist, in the academic journal Thesis Eleven earlier this year.

The roots of the Western Addition’s tragedy go back to the early post-World War II era. In 1949, Congress enacted laws giving cities extraordinary powers to clear out land defined as "blighted." In San Francisco, that meant neighborhoods where low income people of color lived.

The Western Addition was devastated. Huge blocks of houses were bulldozed. Clubs, stores, restaurants — the heart of the black neighborhood — were wiped out. Many residents were forced out of the neighborhood and sometimes the city forever; others lost their property and their livelihoods (see "A half-century of lies," 3/21/2007).

By the 1970s, neighborhood activists were hoping that at the very least the Redevelopment Agency would pay for a recreation facility for kids. But city officials wouldn’t put up the money, recalls the Rev. Arnold Townsend, a longtime political fixture in the city and associate pastor of the Rhema Word Christian Fellowship.

Townsend said activist Mary Rogers — whom he calls "the greatest champion kids ever had in this community" and a famous critic of redevelopment — gave up on City Hall and went to Washington DC, where she sat in at a meeting that happened to include Patricia Harris, Secretary of the Department of Housing and Urban Development under President Jimmy Carter. Rogers, joined by a group of colleagues from San Francisco, bumped into Harris afterward.

"[Harris] shook Mary’s hand like politicians do, and Mary wouldn’t let her hand go until she had a meeting," Townsend said. "They were having a tug-of-war over her hand."

Rogers’ determination paid off, and enough political channels opened up that money for the center became available. Then-Mayor Dianne Feinstein cut the ribbon for the $2.3 million Ella Hill Hutch Community Center four months after the supervisor’s death, complete with outdoor seating for seniors, a gymnasium, tennis courts, and child-care facilities.

A young counselor named Leonard "Lefty" Gordon who worked at the Booker T. Washington Community Service Center, one of the city’s oldest black institutions — it was founded in 1919 on Presidio Avenue, where it remains today — was named executive director of Ella Hill three years later and led the center to wide acclaim for 17 years.

A recreation coordinator at Ella Hill started a reading program for young athletes after discovering that a local high school football star wasn’t aware he’d been named the city’s player of the year: the teenaged boy couldn’t read the newspaper to find out. Other programs for tutoring and job training targeting young and old residents were likewise started under Gordon.

Many of the people we interviewed recalled the "kitchen cabinet" meetings convened by Lefty Gordon at Ella Hill as among their fondest memories. Everyone from the "gangbangers to police" attended Gordon’s meetings, Townsend said, and made them a repository of complaints about what was happening in the neighborhood.

Alphonso Pines, a former Ella Hill board member and organizer for the Unite Here! Local 2 union, eagerly showed up at the meetings for months after attending 1995’s Million Man March in Washington.

"I hate to see brothers die, regardless of whether it’s at Ella Hill," Pines said of Donte White’s 2006 killing. "But that was personal for me, because that was the place where I had sat on the board for years. That was real shocking."

Lefty’s son, Greg Gordon, said that his legendary father — who died of a heart attack in May of 2000 — worked so hard for the center that he allowed his own health to deteriorate.

Most beneficiaries of Ella Hill’s social services now live in the southeast section of the 94115 ZIP code, roughly bordered by McAllister and Geary streets to the south and north, and Divisadero and Laguna streets to the west and east.

The majority of Ella Hill’s approximately $1.4 million annual budget comes from government sources, either through grants or nonprofit contracts.

Newsom, through his community development and housing offices, has given $860,000 over the past three years to Ella Hill to help job-ready applicants obtain construction work and other general employment in the neighborhood. The center launched its JOBZ program in 2006, targeting formerly incarcerated young adults and others with a "hard-to-employ" status.

Caseworkers must convince some participants to leave gangs, deal with outstanding warrants, pay back child support, expunge criminal records, or eliminate new offenses, all of which can exacerbate a desire to give up. Sometimes the center has to buy people alarm clocks.

"None of these other programs that are being funded in this community want to deal with the kinds of kids or people who come to Ella Hill…. [It] is the last stop for everybody," said London Breed, head of the African American Art and Culture Complex on Fulton Street and a Western Addition native. "That’s where people go who have no place else to go, which is why it’s so important."

Most nonprofits working for the city must regularly report their operational costs or show how program funds are being spent on graduation ceremonies and trips to university campuses. The required forms are mind-numbingly bureaucratic and reveal little about what a place like Ella Hill might face on a practical level each day. But last year, former executive director George Smith betrayed a crack in Ella Hill’s veneer.

"Once again violence has impacted the community with three incidents in close proximity to the complex this month alone," he wrote to the San Francisco Department of Children, Youth and Their Families, which supports the center with college preparation grants. "One of the victims was a young man scheduled to graduate from high school in June."

On May 25, 2007, 19-year-old Jamar Lake was leaving a store on Laguna and Eddy streets, northeast of Ella Hill, when a teen suspect opened fire on him. Paramedics were so worried about security in the neighborhood that they fled before attempting resuscitation, according to a report from the San Francisco Medical Examiner. Lake died at General Hospital that day.

Weeks later, a manic 12-hour long feud erupted between several gunmen on McAllister Street. Seven people were wounded during two daytime shootings that took place in the Friendship Village Apartments, across the street from Ella Hill.

Then in July, a suspect randomly and fatally stabbed 54-year-old Kenneth Taylor in the neck as he sat on a park bench near sundown at Turk and Fillmore streets, within easy view of the SFPD’s Northern Station. Police didn’t respond until Taylor stumbled to the sidewalk and collapsed; a witness had to flag down a patrol car.

Following the Lake shooting, the mayor and police department promised, as they had the year before, that foot patrols would be increased in the 193-unit Plaza East Housing Development and other public housing projects in the Western Addition.

But the city’s most visible response has bypassed Ella Hill — which has some street credibility — altogether. Instead, City Attorney Dennis Herrera went to court to get injunctions against street gangs in June 2007.

Herrera’s initial filing came days after the wild shootout on McAllister Street, but the timing was coincidental. The city attorney also had been preparing injunctions against gangs in the Mission and Bayview-Hunter’s Point for months. For the Western Addition, the city attorney noted a "recent rise in violent crimes perpetrated by the defendants," and asked that the members of three gangs be banned from associating with one another inside two "safety zones" marked along the contours of their respective territories, a 14-square-block area that straddles Fillmore Street and rests just north of Ella Hill.

"The conditions within the two safety zones have become particularly intolerable in 2007 as the deadly rivalry between the Uptown alliance and defendant Eddy Rock has intensified," Herrera’s office told the court. "In 2007 alone, this rivalry is the suspected cause of at least three homicides and numerous shootings within the two safety zones."

Some critics viewed barring people from congregating with one another a civil rights violation. And worse, they feared it would merely shove more African Americans and Latinos out of the Western Addition, which would benefit the city’s wealthiest white residents.

"All of this stuff about gang injunctions is a bunch of malarkey," said Franzo King, archbishop of the Saint John Coltrane African Orthodox Church on Fillmore Street. "You don’t really have gangs here…. [In San Francisco] they’re a big club."

Herrera nonetheless convinced a Superior Court judge to issue the injunctions after filing 1,200 pages of evidence arguing that the three "clubs," which include only about 65 people named by the city, are endless public nuisances and force organizations like Ella Hill to battle with them for the affections of Western Addition youth.

Police admit that the injunctions since last year have, in fact, led people to simply leave the neighborhood. Still, they insist the injunctions have reduced trouble in the Western Addition. The Knock Out Posse, for instance, is evaporating, they say.

Paris Moffett, a 30-year-old alleged Eddy Rock leader, told the Guardian in a separate story on the gang injunctions last November that he and others were organizing to quell violence in the neighborhood and would do so in defiance of the gang injunctions (see "Defying the injunction," 11/28/07).

But on the day that story ran, Moffett hampered his new cause when, according to a March 27 federal indictment, police arrested him in Novato for possessing a large quantity of crack and MDMA, as well as a Colt .45 semiautomatic.

After Lefty Gordon died, the center went through a couple of directors in relatively short order. Robert Hector, a second-in-command to Lefty Gordon, helmed the center briefly; he was replaced with George Smith III, who left in 2007.

Meanwhile, problems at Ella Hill grew.

"The seniors just stopped their participation," Anita Grier, a former Ella Hill board member who first ran for the San Francisco City College Board of Trustees in 1998 at Gordon’s encouragement, told us. "Things were never excellent, but they just got much worse once [Gordon] was no longer director."

The center, a standalone nonprofit, had long struggled financially in part because it relied so much on contracts and grants from the city rather than pursuing funds from private donors. Mirkarimi says Ella Hill’s structure is unlike any other community center in the city. Many other centers are directly maintained by the San Francisco Recreation and Park Department.

Contract revenue from one Ella Hill program, such as providing emergency shelter to the homeless, was often diverted to keep another on life support or to simply cover the center’s utility bills.

By early 2007, the center faced a financial catastrophe. Donald Frazier joined Ella Hill’s board as president in January 2007 and embarked on a reform effort to turn the center around. He commissioned what came to be a blistering audit that revealed the nonprofit owed over $200,000 in state and federal payroll taxes. As a result, the center faced $63,000 more in penalties and accrued interest.

Mirkarimi blames community leaders in his district for refusing to acknowledge a crisis at the center and for not turning to City Hall for help when Ella Hill appeared to be slowly rotting from the inside out.

The mayor’s staff, he adds, wanted to believe Ella Hill was working on its own and should’ve continued to do so because, despite its financial reliance on the city, it was technically an independent nonprofit. In reality, Mirkarimi said, "They were afraid to piss off black people, is what it comes down to. They were afraid to tell it like it is — that things weren’t working."

Sending delinquent invoices to the city, failing to institute reasonable accounting standards, and falling far behind on its payroll taxes all threatened the government contracts and grants that kept San Francisco’s Black City Hall afloat. By extension, the audit concluded, that meant Western Addition residents who relied on Ella Hill were "victimized" by the center’s improper use of its limited resources.

Aside from the audit, which Ella Hill instigated itself, there’s no indication in the records of agencies funding the center that any problems were occurring, which implies the city wasn’t paying attention.

"As far as I’m concerned," Mirkarimi said, "we had a renegade institution, and the only reason it wasn’t renegade in an illegal sense was because the lease allowed them to have a parallel governance structure. But it was renegade in the sense that the city neglected to supervise properly."

In November 2007, just after residents hijacked a chaotic board meeting with an extended public comment period, Frazier told the directors in closed session that the Redevelopment Agency was planning to restrict future funding for the center due to its management problems.

One month later, the mayor dispatched an aide, Dwayne Jones, along with redevelopment agency director Fred Blackwell, to a meeting at Ella Hill with an ultimatum. Jones told the assembled that new interim appointees would be taking over the center’s bank books, recreating its bylaws, and electing a new board and executive director. The old board would essentially be dissolved. According to observers at the meeting, Jones told them that if they resisted the plan, funds received by Ella Hill from various city agencies would be jeopardized, as would its low-cost lease of city property.

Two defiant board members viewed the move as a "hostile takeover" of a private nonprofit organization by the mayor and voted against it, but the rest of the board agreed to the restructuring. Mirkarimi says there was simply no alternative.

"Right now it needs to be shrunk to what it can do really well, instead of doing what they had to do in the last five years, an incremental sloppy way of programming," he said.

The interim board in April named a former Ella Hill employee and Park and Rec administrator, Howard Smith — unrelated to George Smith — to be the center’s new executive director. But after all the changes Ella Hill made to fix its leadership problems, there are no assurances the city won’t leave Ella Hill without the money it needs to keep the doors open next year.

It’s noon on a recent Friday and Ella Hill’s new executive director is scrambling to keep things together. An employee wants him to glance at a form. Another man wants to come in and play basketball. Smith has a board meeting minutes from now, but he’s scheduled an interview with the Guardian at the same time.

Smith’s a well-built man dressed in a pressed suit, polished shoes, and a sharply-knotted tie. He’d mostly avoided our calls for weeks. Word spread in the neighborhood that the Guardian was planning some sort of hit piece on Ella Hill.

But it won’t be a newspaper that capsizes the center.

A significant portion of the center’s funding will be threatened over the next year. The redevelopment agency is scheduled to end its 45-year reign in the Western Addition by then, a blessing of sorts since so many people in the neighborhood feel it’s done nothing but upend the lives of black residents. But the end of the agency means that redevelopment funds for Ella Hill’s job placement programs, about $400,000 annually, will disappear.

In addition, about $300,000 more a year will dry up since the San Francisco Human Services Agency hasn’t renewed an emergency homeless shelter contract with the center. Mirkarimi believes the mayor, too, will try to stop providing Ella Hill with funding through his community development office next year.

If Newsom does back away, Mirkarimi warns, there will be "a very loud showdown."

"What I’m worried about is that the Newsom administration is basically cutting and running on this, and I’m not going to allow that to happen, at least not without a fight," he said.

The alternative is for Rec and Park to take over managing Ella Hill’s facilities with DCYF continuing to fund youth programs there while the Redevelopment Agency commits community benefits dollars from a legacy fund to the center — the least it can do after a half-century of transforming the neighborhood, locals be damned.

An interagency council made up of the center’s primary funders could collectively watchdog its performance, Mirkarimi says. Once Ella Hill’s leaders prove that the center has fully returned to its original mission, it can consider expanding to serve other populations in the neighborhood, or even seek a plan to detach further from the city.

The mayor’s spokesperson, Nathan Ballard, did not respond to an e-mail containing detailed questions, and his aide, Dwayne Jones, did not return several phone calls. But Smith said during a later lunch interview at the Fillmore Café that he agrees with Mirkarimi’s idea.

"There are so many programs out there that say they’re doing something on paper, but they’re really not doing it," Smith said. "They’re running ghost programs. So what I’ve been saying at Ella Hill since I got there is, ‘We will do exactly what we said we were going to do.’<0x2009>"

In the meantime, Smith is determined to prove that Ella Hill’s history has only just begun. The mural of Lefty Gordon outside the center received a fresh coat of paint recently, and the color pops. The sidewalk is being repaved and new handrails installed. The walls inside are clear of the aging posters and letter board that hung there a few months ago.

Before heading off to his board meeting, Smith teasingly asks an adolescent boy meandering in the center’s entryway for 75 cents. The boy’s always hitting him up for pocket change.

"I don’t got any," the boy responds.

"You don’t have any," Smith corrects.

Smith suddenly realizes what time it is.

"Hey, why isn’t this guy in school?" he wonders aloud.

At that moment, only the Ella Hill Hutch Community Center was asking the question. *

Homonuptials: More Day 1 wedding shots

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Guardian photog Ariel Soto got these shots of Phyllis Lyon and Del Martin’s wedding at City Hall yesterday, as well as some of the celebratory crowd outside.

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The view from City Hall steps

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Spiralling toward matrimony

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Phyl and Del (in wheelchair) cutting the gorgeous Citizen Cake cake

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Joined by the glowing, and glowing-haired, mayor

Ariel says: “From my perch up in the balcony of city hall, looking down at the throngs of media and a beautiful white cake, my heart started beating faster and faster because I was about to witness a true piece of much awaited and much deserved history — the first legal same-sex marriage of Phyllis Lyon and Del Martin on June 16th in San Francisco’s City Hall. The couple was greeted with lots of love and joy and loud cheering, along with the huge crowd outside the court house who were also joining in with the festivities, passing out flowers, singing songs and just being darn happy that this day has finally arrived. Congrats Phyllis and Del on your much awaited marriage — and may your love and courage live on forever!”

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Well-wishers from above

Dead men walking to cost shit-tons more

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It’s one of California’s oldest prisons still in operation if not the oldest. The San Quentin State Prison was first built in July of 1852 at Point Quentin in Marin County just north of here on more than 400 pristine acres of Northern California land.

It’s history is illustrious. Johnny Cash performed a live concert there in 1969, you might have heard. Metallica shot the video for “St. Anger” there as well in 2003, which would have been a lot cooler if it was 20 years before and the song was “Dyers Eve,” but whatever.

San Quentin’s also the place where the major news cable networks like to go when they want to do a two-hour reality special titled something like “Dudes Looking Murderous in Front of a Camera While a Voiceover Describes the Prison’s Simple Day-to-Day Operations, But No One’s Really Paying Attention to the Reporter Because They’re Engrossed by the Distant Prospect That the Guy With Tattoos on His Head Playing Cards Might at Any Moment Stab in the Throat the Guy Playing Bones Nearby.”

Larry King did one recently where he kept asking a group of pre-selected inmates to detail their stories of prison rape and clandestine drug use, but they mostly wanted to talk about rehabilitation and missing their kids.

Anyway, San Quentin also houses all of California’s male condemned inmates, the people scheduled to be executed for committing murder and/or littering in Marin County and/or not voting for Mark Leno. Pumping poison into condemned jail inmates is a costly business, more costly than simply jailing them for life, anti-death penalty advocates contend, if you factor in all of the appeals and the special housing requirements.


Metallica in San Quentin

Althousing odyssey

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Marianne Moore takes you on a guided tour through the often confusing, always thrilling world of Bay Area alternative housing

We all know San Francisco housing is murder, with median rent for a one-bedroom apartment going for nearly $2200. So when I came home from college for my sweet but unpaid SF Bay Guardian internship, I knew I would have to be resourceful. I was prepared to live anywhere and do (almost) anything, as long as it was cheap. If you’re a local reading this via free wireless in your rent-controlled apartment (enjoy it while it lasts!), you may find this information irrelevant and stressful; or maybe you’ve been through it all. But if, like me, you can visit the beautiful Bay only for too-short summers, or you’re passing through or in transition, read on.

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Home sweet hostel? Not if you’re local.

The USA hostel on Post, like most hostels, will sometimes let you work a certain number of hours per week in exchange for a free bed. You have to work at least 24 hours and the nightly rate is $25 for paying guests, so it comes out to about $7.50 an hour, well below minimum wage in San Francisco. When I tried to arrange things over the phone from New York, I was told by the bored-sounding receptionist that I would just have to show up for a couple nights so they could “see if they liked me.” That made me a little nervous, but since I’m not totally unlikable I still thought it was worth a try. When I checked in and presented my California driver’s license, I was told that I wouldn’t be allowed to stay unless I could show an out-of-state ID. Apparently the company has a policy against boarding California residents, a policy specifically designed (it seems to me) to keep out homeless people. This isn’t typical for hostels; places I’ve stayed in New York City are regularly used as stopgaps by people between apartments. I couldn’t help but think that the hostel shuts out native Californians to protect their guests (mostly drunk-ass Eurotrash on holiday) from the realities of life in SF, presenting a tourist experience in line with trips to Ghiradelli Square and Pier 39.That, plus the popularity contest application process, had me heading straight for the nearest internet café and the dizzying wilderness of options that is Craig’s List .

Lit: Beautiful Children and what doesn’t stay in Vegas

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By Todd Lavoie

The notion that Las Vegas is a playground for complete id-indulgence certainly holds resonance for a nonstop onslaught of tourists. But what is the city like for folks who work and live in such an environment?

It’s a question worth considering. Unfortunately, many answers are prone to the hypocritical grandstanding trotted out by self-described moralists such as William Bennett (whose fondness for Vegas’ betting tables, once it became public, ultimately proved more than a bit inconvenient for such posturing). Truth be told, one could probably gain more meaningful insight from the storylines of CSI: Las Vegas than from the wild-eyed Sodom and Gomorrah depictions of the city whipped up by preachers and political pundits. At least the TV show explores motives and surrounding circumstances rather than summarily damning everyone to hell.

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The glitter-glue cover of Charles Bock’s Beautiful Children

A more valuable contribution to the dialogue has arrived with Charles Bock’s debut novel Beautiful Children (Random House, 417 pages, $25), a sweeping portrait of the author’s home town which strips away the city’s glittering veneer to reveal a degraded core. At the epicenter of Bock’s troubled Las Vegas landscape sits twelve-year-old Newell Ewing, a coddled, almost joyless boy — comic books are his chief source of comfort — who suddenly disappears from his affluent suburban home. Newell’s parents, Lincoln and Lorraine, are both haunted by personal compromises. They also have never bridged an understanding with their only child.

Facing the music

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› a&eletters@sfbg.com

Mini video-enhanced chamber operas seem to be the flavor of the month, at least in a certain stretch of the Mission District. Only three weeks ago, Bay Area composer Erling Wold’s solo opera Mordake began its world premiere run at Shotwell Studios (as part of the San Francisco International Arts Festival) with inimitable tenor John Duykers in the part of the titular medical mystery and suicide — a pampered Victorian gentleman with the seemingly sentient face of his sisterly "evil twin" pasted to the back of his head. Beautifully constructed throughout (beginning with Wold’s prerecorded but generally enthralling minimalist score and Dukyers’ expansively human turn as "the man who ate his family"), Mordake availed itself of an exquisite and all-encompassing video design that cunningly developed the opera’s themes while allowing traditional lighting, costumes, and sets to be kept to a select minimum.

Meanwhile, a few blocks away at the Lab on 16th Street, composer-librettist Lisa Scola Prosek’s Trap Door followed suit with a one-hour chamber work on the plight of a US soldier in Iraq accused of killing an unarmed civilian. Billed as a "video opera," Trap Door is in fact performed live by a cast of seven and another six musicians (including composer Prosek at the piano) but unfolds against a wall-projection (designed by filmmaker-videographer Jacob Kalousek) whose purpose is to open up and to some degree comment on action otherwise constrained by a physically tight, nontraditional stage with minimal scenic components.

Like Wold, Prosek is a gifted local composer happy to work at or near the Bay Area’s new-theater fringes, and is well versed in its multimedia possibilities. Her last chamber opera, Belfagor, based on Machiavelli’s satirical comedy and set to an Italian libretto, also incorporated an elaborate video-based design scheme as part of its impressive debut at the Thick House. But the results in Trap Door prove far less successful this time around.

Only part of the problem has to do with the multimedia dimension: missing Kalousek’s synched video contains some arresting images and evocatively incongruous backdrops (such as the negative image of a revolving Ferris wheel overlapping one particularly dramatic scene), but others feel either less inspired or arbitrary, simultaneously being difficult to read or fully take in against the multiple surfaces at the back of the stage.

Beyond these individual elements, it’s the underlying theme that proves problematic. Based on a dream of the composer’s, Trap Door uses music as both vehicle and metaphor for exploring the moral agency of a hapless soldier, Private Able (Clifton Romig), who is presented with an impossible situation in which his simple human wants and patriotic dreams run up hard against the chaos, hypocrisy, corporate double-dealing, and native outrage that dwell at the bloody forefront of American empire. As promising as that may sound, it seems to have been too complex an idea to adequately develop here, at least not without falling back on overly compressed musical motifs and a kind of stiff dramatic shorthand that skirts mere caricature.

Director Jim Cave’s solid staging ensures that the many swift scene changes come over gracefully. But the condensed action means that even the main character and his Iraqi counterpart — the taxi driver Omar (tenor Mark Hernandez) — have little dramatic depth, while characters like Jane the Journalist (soprano Bianca Showalter) can only come across as cartoons. The more choice aspects remain, unsurprisingly, the musical ones. Romig’s smooth, rich bass meshes nicely with a set of agreeable voices, including several fairly strong duets with sopranos Maria Mikheyenko and Eliza O’Malley. But in general, even the music feels too cramped and underdeveloped, like a series of tantalizing abstracts for some larger vision.

TRAP DOOR

Thurs/12–Sat/14, 8 p.m., $15–$20 sliding scale

Lab

2948 16th St., SF

(415) 864-8855, www.thelab.org

Speed Reading

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GO FUG YOURSELF PRESENTS THE FUG AWARDS

By Heather Cocks and Jessica Morgan

Simon Spotlight Entertainment

268 pages

$29.95

Dear Diary: I wanted to like Go Fug Yourself Presents the Fug Awards. Really, I did. Partly because this tome by GoFugYourself.com creators Heather Cocks and Jessica Morgan feels like a miss-guided tour through the mind of the cattiest, most clothes-obsessed cheerleader — one who spells Kanye, K-a-y-n-e and admits she’s too lazy to check the exact origins of the It Girl phenom. (Er, try Clara Bow of the 1927 silent film It.)

From its opening salvos at Inexplicable Style Icons (well, Vogue and all of Vogue‘s tatty offspring differ when it comes to Chloë Sevigny and Sienna Miller), to its truly startling images of a death-rattled Marc Anthony and a radical-plastic-surgery-disaster Kenny Rogers, Fug Awards is the book equivalent of the meanest girl in high school. You kind of, sort of, want to pal around with her, if only to protect yourself from the harsh glare of judgment. Alas, instead of nasty kicks, what it offers is unfunny and even tedious — like an awards ceremony, it fluffs its pseudo-pomp with overly lengthy intros and kaboodles of glossy red carpet snaps. Fug Awards only inspires you to dress in the most conservative yet "classic" garb, accessorized with a sorry case of the fashion blahs.

True, the orange-hued aesthetics that inspire the Tanorexics Awards are startling in these melanoma-riddled times — occasionally there’s a logic to Cocks’ and Morgan’s middle-of-the-road rage. But does Cate Blanchett deserve to be in here simply for trying out an unconventional ensemble by a chance-taking designer? Must one wear a gown to a car promotional event?

Oh, Diary, such a long, lukewarm sip of haterade makes one wonder: why try anything sartorially daring or new and be subjected to a similar clawing, courtesy of your neighborhood Fug-in-training? XOXO (Kimberly Chun)

BEAUTIFUL CHILDREN

By Charles Bock

Random House

417 pages

$25

The notion that Las Vegas is a playground for complete id-indulgence certainly holds resonance for tourists. But what is the city like for folks who work and live there? Charles Bock’s debut novel Beautiful Children strips away the city’s glittering veneer to reveal a degraded core. At the epicenter of Bock’s troubled Las Vegas landscape sits 12-year-old Newell Ewing, a coddled, almost joyless boy — comic books are his chief source of comfort — who disappears from his affluent suburban home. Newell’s alienated parents, Lincoln and Lorraine, each embark on a distressing solitary journey to find out what has happened.

Beautiful Children is also populated with runaways and street kids. Aside from one notable exception, these characters appear trapped underneath the weight of unfulfilled expectations. Their friends, family, and acquaintances — pawn shop dealers, gambling addicts, exploited sex workers — expand the tangle of disillusionment. The result is a modern counterpart to the alienated Los Angeles cityscape of Nathanael West’s classic 1939 snuffed-dream chronicle The Day Of The Locust.

Beautiful Children has been on the receiving end of more than a few "cinematic" compliments. Bock crafts an ambitious pull-back-the-curtains epic reminiscent of the early work of filmmaker P.T. Anderson. Occasionally the author appears overly aware of his novel’s filmic qualities, resulting in heavy-handed dialogue. Still, he portrays the underbelly of Las Vegas with precise detail. What happens in Vegas does not stay in Vegas. Instead, Bock argues, what happens in Vegas is actually happening everywhere. (Todd Lavoie)

Tech art 2.0

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› a&eletters@sfbg.com

REVIEW Does anyone still truly abide by the hope that technology is the benevolent force that can deliver a luminous future? Sure, we’ve got biotech, greentech, and Web 2.0 to tackle disease, our environmental sins, social alienation, and economic downturn. But at the same time, who isn’t aware of the corporate capitalist machinery and toxic waste that will accompany the next Apple marvel or Monsanto-engineered miracle crop? Can a Silicon Valley researcher really find a way to reverse global warming?

We all hope for, and perhaps believe in, that miracle cure. It’s a way to generate optimism, however slight. This is the cultural condition that serves as the thematic starting point of "Superlight," the San Jose Museum of Art exhibition component of the second biennial 01SJ Global Festival of Art on the Edge, a technology-focused series of live events, most held June 4-8. The show, curated by Steve Dietz, and the festival are rooted historically in what may be called electronic and digital art, but "Superlight" finds thematic inspiration in the more generally pervasive, free-floating anxieties of our greenhouse gas–warmed psychic atmosphere: environmental and economic meltdowns, food shortages, personal disappointments, and the like. Recognizing that most of these conditions are brought about by the same technological advancements that are looked to for ways of stabilizing if not rectifying those conditions, Dietz presents a couple dozen solo and collaborative artists not as saviors, but as people who can "aerate and illuminate" our contemporary concerns.

It’s no accident that the show presents a range of media, not all of it plugged in, and much of it formed with hybridized materials and approaches. If the digital art genre was not so long ago equated with computer screens and chirping electronic soundtracks — don’t worry, you’ll find some of that here, and in Second Life corollaries to some pieces — the atmosphere of the galleries suggests analog objects and psychological positions that aerate some of that virtual space.

It happens in a delightfully literal manner in Taiwanese artist Shih Chieh Huang’s perversely adorable robotic creatures made from plastic bags, water bottles, and electric fans. The sculptures gracefully appear to breathe as the bags fill and evacuate, and they have light components that glow in the heightened colors of late model car dashboards. The vibe is more troubling in psychologically tinted — and somewhat glitchy — interactive works such as Lynn Hershman Leeson’s Global Mind Radar/Reader (an Emotional Barometer), which takes a cultural pulse as a female figure, projected inside a glass dome "blogosphere," goes through a series of emotional gestures responding to live blog input concerning current events. That position is echoed in Bruce Charlesworth’s installation Love Disorder, which is tartly described in exhibition text: "A huge projected video character has ambivalent feelings about you." And he’s not shy about expressing them. These works use anthropomorphism to generate identification with the machinery, though the latter two tout complex, glitch-friendly technology that dare us to believe, or at least question, if they actually work.

Mixed emotions also infuse Daniel Faust’s elegantly composed and slightly wistful color photographs of now-historic Silicon Valley corporate architecture and outmoded data archives, depicting them as stately yet oddly humble. The images are visually skewed toward a modernist history via research facility. That kind of past idealism is perhaps behind the utopian-themed collaborative projects by Free Soil and Red 76, which tap into a pervasive yearning for utopian endeavors, both on earth and Second Life sediment. These works, however, find their most vital components outside the museum — in tours and social gatherings — and their diagrams and historical artifacts are more confusing than illuminating.

More insistent is the video documentation of projects by HeHe (Helen Evans and Hieko Hansen), a pair of Paris designers who harness carbon-filled industrial pollution, second-hand smoke, and various light sources to urge us to look at the world, and the amazing possibilities in available hardware and software, with an uneasy sense of wonder. From a literal standpoint, their pieces fit this exhibition’s premise best: their use of illumination resembles a technologically fortified nature that manages to inspire as it metaphorically sticks our noses in holes in the ozone. If that’s not superlight, what is?

SUPERLIGHT

Through Aug. 30

Tues.–Sun., 11 a.m.–5 p.m.

San Jose Museum of Art

110 S. Market, San Jose

$5–$8, free to members and children under 6

(408) 271-6840, www.sjmusart.org

San Francisco Ethnic Dance Festival

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PREVIEW World premieres are not what you expect in traditional, culturally specific dance. But the myth of the unyielding art form passed from generation to generation dies hard, perhaps because there is comfort in believing that "some things don’t change." Sorry, but the village square has gone the way of stoop sitting. So-called ethnic dance started to change the minute it moved from the grange to the stage. What’s great about the enduring appeal of World Art West’s San Francisco Ethnic Dance Festival — celebrating 30 years this year — is that its producers encourage rethinking traditional forms so that they honor the past while embracing the future. It’s the only way an art can survive. To put more than moral support toward that effort, SF EDF gave out four 30th-anniversary commissions this year. Ensambles Ballet Folklorico de San Francisco presents its commission, Las Cortes Mayas, a celebration of Mexico’s regal past, this weekend. Another highlight is the first appearance of one of India’s classical dance genres, Kuchipudi, which is related to but faster-paced and more feathery than Bharatanatyam. Sindhu Ravuri’s solo is inspired by Indian temple sculptures. Hailing from Oakland is hip-hop/modern dance troupe Imani’s Dream in a premiere that reflects the youth group’s everyday reality. What else can you expect on this second of four weekends of cultural dance offerings? Afro-Peruvian footwork, Middle Eastern belly, Korean memorializing, Chinese court, Caribbean-flavored flamenco, and Scottish ritual dance. You’ll also hear a lot of live music: these days, EDF is almost as much a world music as a dance festival. And if that’s not enough to lure you in, throughout the month of June, World Arts West is offering a series of low-cost participatory workshops that welcomes all comers.

SAN FRANCISCO ETHNIC DANCE FESTIVAL June 1–29. This week: Sat/14–Sun/15, 2 p.m. (also Sat, 8 p.m.). $22–$44. Palace of Fine Arts, 3301 Lyon, SF. (415) 392-4400, www.worldartswest.org

Yelp is on the way

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By Dona Bridges

Sometimes I want to give you my heart, Yelp.com. I want to praise you in typo-ridden prose and give you that highest of all honors, the five star rating. You are a star, a soapbox, a great leveler of the playing field, where the voices of the people at last ring loud and clear, audible above advertisers and bullshit merchants.

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Sure, some of my friends talk shit about you. They say that you’re too influential, and we now have to live and die by the sharply worded textual swords wielded by Laura B. or other (less hilarious) Yelp members. My restaurant co-workers click through your reviews and say, “What if I came to your workplace, then wrote about it on a highly trafficked website? While not bothering to fact check?” I might agree sometimes, especially when there’s a new review of my workplace that uses words like “slow,” “annoying,” or – how ’bout this —”bitch.”* I might roll my eyes, get all red in the face, and join the hating party: “Yeah! You come in here and do my job! Then I’ll yelp you until you cry!”

It’s pronouced “Oo-vuh:” Uwe Boll, Part Two

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Postal is now playing at the Roxie — and will be there until Wed, June 11. It hasn’t exactly been taking the critical world by storm, but I enjoyed it, more or less. Still deciding? Read on for part two of my interview with director Uwe Boll and cast members Zach Ward and Larry Thomas.

San Francisco Bay Guardian: Do you think the fact that Postal makes light of terrorists and 9/11 will be a turn-off for audiences who would otherwise be into watching an over-the-top comedy?

Zach Ward: Why? I mean, why would you not make fun of terrorists? That’s like saying you can’t make fun of Nazis, or drug dealers. They’re douchebags. Terrorists are douchebags. Are you gonna sit underneath your chair and be worried about their opinion of you? I’ve been told that other actors turned [my] part down because they were scared of the controversy. If I’m gonna live my life in fear, I’m not living my life. If you’re gonna let a person in a foreign land with their own sets of values decide what you do on a daily basis, you might as well move there. South Park did this too — the price of freedom is eternal vigilance. Get off your fat fuckin’ ass and stand for something. You can’t have it both ways. You can’t be the home of the free and then turn around and say, “Oh, we can’t do the Mohammed joke, because then the Islamic fundamentalists will be upset.” Well, fuck yourself. If you’re an Islamic fundamentalist, you’re not supposed to be watching fuckin’ TV in the first place, so you can kiss my rosy red freckled ass. And if I’m supposed to sit here and apologize to you, you need to be in my house. This is my country. I’m not gonna kowtow to another opinion. This is where the government is supposed to be afraid of us, we’re not supposed to be afraid of the government. We’re supposed to stand up and create this country around our ideals, not by what Viacom thinks. Not by integrated vertical corporate fuckin’ structure. No, that’s ridiculous. And the fact that we’ve gotten to the point where we have to defend that? That’s what made America great.

A space colony in Wisconsin

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› annalee@techsploitation.com

TECHSPLOITATION Every year in late May, several thousand people descend on Madison, Wis., to create an alternate universe. Some want to build a galaxy-size civilization packed with humans and aliens who build massive halo worlds orbiting stars. Others are obsessed with what they’ll do when what remains of humanity is left to survive in the barren landscape left after Earth has been destroyed by nukes, pollution, epidemics, nanotech wipeouts, or some combination of all four. Still others live parts of their lives as if there were a special world for wizards hidden in the folds of our own reality.

They come to Madison for WisCon, a science-fiction convention unlike most I’ve ever attended. Sure, the participants are all interested in the same alien worlds as the thronging crowds that go to the popular Atlanta event Dragon*Con or the media circus known as Comic-Con. But they rarely carry light sabers or argue about continuity errors in Babylon 5. Instead, they carry armloads of books and want to talk politics.

WisCon is the United States’ only feminist sci-fi convention, but since it was founded more than two decades ago, the event has grown to be much more than that. Feminism is still a strong component of the con, and many panels are devoted to the work of women writers or issues like sexism in comic books. But the con is also devoted to progressive politics, antiracism, and the ways speculative literature can change the future. This year there was a terrific panel about the fake multiculturalism of Star Trek and Heroes, as well as a discussion about geopolitical themes in experimental writer Timmel Duchamp’s five-novel, near-future Marq’ssan series.

While most science fiction cons feature things like sneak-preview footage of the next special effects blockbuster or appearances by the cast of Joss "Buffy the Vampire Slayer" Whedon’s new series Dollhouse, WisCon’s highlights run toward the bookish. We all crammed inside one of the hotel meeting rooms to be part of a tea party thrown by the critically-acclaimed indie SF Web zine Strange Horizons (strangehorizons.com), then later we listened to several lightning readings at a stately beer bash thrown by old school SF book publisher Tor.

One of the highlights of the con was a chance to drink absinthe in a strangely windowless suite with the editors of alternative publisher Small Beer Press, whose authors include the award-winning Kelly Link and Carol Emschwiller. You genuinely imagine yourself on a spaceship in that windowless room — or maybe in some subterranean demon realm — with everybody talking about alternate realities, AIs gone wild, and why Iron Maiden is the best band ever. (What? You don’t think there will be 1980s metal in the demon realm?)

Jim Munroe, Canadian master of DIY publishing and filmmaking, was at WisCon talking about literary zombies and ways that anarchists can learn to organize their time better, while guest of honor Maureen McHugh gave a speech about how interactive online storytelling represents the future of science fiction — and fiction in general. Science fiction erotica writer/publisher Cecilia Tan told everybody about her latest passion: writing Harry Potter fan fiction about the forbidden love between Draco and Snape. Many of today’s most popular writers, like bestseller Naomi Novik, got their start writing fan fiction. Some continue to do it under fake names because they just can’t give it up.

Perhaps the best part of WisCon is getting a chance to hang out with thousands of people who believe that writing and reading books can change the world for the better. Luckily, nobody there is humorless enough to forget that sometimes escapist fantasy is just an escape. WisCon attendees simply haven’t given up hope that tomorrow might be radically better than today. They are passionate about the idea that science fiction and fantasy are the imaginative wing of progressive politics. In Madison, among groups of dreamers, I was forcefully reminded that before we remake the world, we must first model it in our own minds.

Annalee Newitz (annalee@techsploitation.com) is a surly media nerd who bought way too many books at WisCon and can’t wait to read them all.

Beyond the budget spin

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OPINION Local government is frozen. The mayor’s office and the Board of Supervisors have been engaged in open warfare for months. This week, Mayor Gavin Newsom announced that in order to balance San Francisco’s budget, city services and community-based organizations will have to undergo draconian cuts.

In a preemptive move against embarrassing protests, the mayor’s press office did not reveal the location of the annual budget presentation to the news media until late Friday afternoon. Even the supervisors, who will be debating and voting on the budget during the month of June, were left in the dark until then.

While the mayor didn’t blame city workers for the financial crisis, he did suggest that Service Employees International Union Local 1021, which represents the low-wage, frontline, service-providing city workers, should "help out."

Well, we have. SEIU members stepped up to "help out" in fiscal years 2003–04 and 2004–05 by agreeing to wage freezes and self-funding our pensions. All the recent midyear cuts were in public health agencies and among SEIU-represented nonprofits.

Most recently we stepped up by helping draft and vigorously campaigning to pass Proposition B, which freezes city workers wages for two years and tightens eligibility for retiree health care benefits in exchange for a modest increase in city pension benefits.

The mayor’s budget director repeatedly has said that this is a spending problem, not a revenue problem. Talk about spin.

Moreover, in his June 2 budget presentation, the mayor made no mention of raising revenue as an answer to our fiscal problems. You could almost hear Gov. Schwarzenegger’s voice as Newsom presented a slash-services budget with a "no-new-taxes" slogan waiting in the wings for his next campaign.

Everyone knows it’s expensive to live in San Francisco. Paying city employees a wage that allows them to stay in the community they serve isn’t a budget "problem." It ought to be a basic part of what City Hall does and cares about. And if that means looking at bringing in new sources of money, we should have that conversation.

We believe there are various revenue sources that make more sense to explore than some of these service cuts, including a real estate transfer tax increase for high-level properties.

Fortunately, the mayor’s proposal is just a starting point. Soon we will be proposing specific alternatives.

Toward that end, the San Francisco Human Services Network and Coleman Advocates for Children and Youth have organized a citywide forum on the mayor’s proposed budget cuts. SEIU 1021 is cosponsoring this event. The San Francisco budget and revenue town-hall meeting will be held June 9 from 2-4 p.m. in the San Francisco Main Library’s Koret Auditorium, 100 Larkin (at Grove)

Don’t get angry. Get organized.

Robert Haaland

Robert Haaland is a longtime San Francisco activist who works for Local 1021.

Drug deal hurts consumers

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› gwschulz@sfbg.com

City Attorney Dennis Herrera made San Francisco the first government entity in the nation to accuse two major players in the pharmaceutical drug industry of conspiring to illegally manipulate the price of prescription drugs when he filed a lawsuit May 20. Connecticut followed Herrera’s lead days later, and filed an almost identical suit making the same charges.

The cases could have far-reaching implications. If Raymond Hartman, an economist and visiting professor at Boalt Hall School of Law who testified in a related case filed by a group of East Coast labor unions two years ago is correct, then consumers, insurers, and Medicaid administrators nationwide have overpaid for prescription drugs by billions of dollars as a result of the price manipulation scheme (see “Big Pharma’s Shadow,” 12/20/06).

To explain the highly complex litigation, consider how goods are usually priced. Take the 99¢, three-ounce bags of chips that are reliably available at the corner store near your house. Cool Ranch Doritos. Chili Cheese Fritos. Sour Cream and Onion Ruffles. It wouldn’t be a true bodega if there wasn’t a rack of them situated near the front door or register.

For as long as anyone can remember, it seems, they’ve cost just 99¢, regardless of the local cost of living, from Richmond, Va. to San Francisco. That’s because the suggested retail price of 99¢ is printed ubiquitously by the manufacturer on the packaging.

So you’d notice if a sticker suddenly appeared, lazily affixed to your bag of Sun Chips, stating a new price: $1.99. The manufacturer didn’t place it there because behind the sticker you can still see the old printed price. And the counter clerk didn’t place it there, because he knows the true suggested retail price is still just 99¢ and the laws of supply and demand never called for a price increase.

Instead, a local company that buys chips from the manufacturer and distributes them to the bodega in your neighborhood put it there. The bodega owner didn’t complain because now it’s possible for him to earn an extra dollar for each bag. In fact, as a result of the new sticker, he’s more likely to take his business back to that particular distribution company over a competitor since that company is willing to artificially inflate the retail cost of a bag of chips on his behalf simply by putting a new price tag on the bag.

Now imagine that the product isn’t a cheap bag of chips but billions of dollars worth of pain-reducing or life-saving pharmaceuticals. And the distributor isn’t a local guy who drives a delivery truck full of boxes of chips but a multinational corporation, headquartered in San Francisco, that’s ranked 18th on the Fortune 500 list, with $93.6 billion in annual revenue and a CEO, John Hammergren, who received compensation in 2007 worth more than $22 million after presiding over the company’s record profits that year.

Imagine, too, that the distributor is powerful enough to slap new price stickers on cartons of drugs around the country, not just at your corner bodega, so you can’t simply elect to shop elsewhere to protest the new prices. Neither can you just stop consuming needed medicines the way you can snack chips.

Herrera’s federal civil suit probably has escaped media attention due to its esoteric nature (not to mention a potential conflict of interest at the San Francisco Chronicle, but we’ll get to that in a minute). It charges that McKesson Corp., along with a tiny drug data publisher based in San Bruno called First DataBank, conspired in an "elaborate scheme" to unfairly mark up the price on more than 400 name-brand prescription drugs. The conspiracy allegedly resulted in the San Francisco Health Plan being forced to make thousands or even millions of dollars in excess payments to cover the cost of such medications.

The SF Health Plan is not the same as Healthy San Francisco, the city’s historic 2006 bid to grant universal health care to the 82,000 adults here who live without insurance. The SF Health Plan extends mental, medical, and dental health coverage to about 50,000 people, including approximately 28,000 children in the city, and offers in-home support workers to the disabled and elderly. The plan is funded through a combination of federal and state dollars known in California as Medi-Cal and elsewhere as Medicaid.

The programs help low-income residents get health care, but its public subsidies are being endangered by a massive state budget deficit. So making sure the SF Health Plan is paying the appropriate price for prescription drugs, a $200 billion industry in the United States, is more important than ever.

McKesson and First DataBank, the lawsuit alleges, placed new stickers on drug packages so that everyone — from private insurers to Medi-Cal to consumers without insurance who simply walk up to a pharmacy window and cover their drug treatments with cash — paid far more than they should have, based on an industry calculation that’s similar to the suggested retail price printed on our analogy of a bag of chips. Herrera says he took on the suit because San Francisco is not alone in overpaying for pharmaceuticals and he saw a chance to force greater reforms in the system.

"We make our decisions based on the facts and the law, and we do our best to protect consumers, taxpayers, and businesses alike," Herrera told the Guardian. "This impacts a lot of things. It’s about protecting consumers from having high drug costs passed on to them. It’s about protecting taxpayer dollars since this is the San Francisco Health Plan, and it’s something that emanates out of a city program. But it’s also about protecting businesses, because a lot of businesses and health plans are the ones footing the bill for increased drug costs."

First DataBank is not listed as a defendant in Herrera’s suit but is described as "an unnamed co-conspirator." The company is a little-known subsidiary of the private, New York–based media conglomerate Hearst Corp., which owns dozens of major publications including the San Francisco Chronicle, the Seattle Post-Intelligencer, Esquire, and The Oprah Magazine. Spokespersons for McKesson and First DataBank refused to comment for this story.

As far as revenue is concerned, First DataBank is a bit player in the world of pharmaceuticals. Court records in a related 2006 suit describe its annual pretax income as just $19 million, barely enough to cover the McKesson CEO’s compensation last year.

But the company is nonetheless important to people who rely on prescription drugs. It’s one of the few major companies in the United States that maintains a sophisticated electronic database of information on tens of thousands of prescription drugs. Plus, First DataBank possesses a virtual monopoly on the market because the company merged with its only real competitor, Medi-Span, in 1998. Its database includes numbers, for instance, on what a drug manufacturer like Aventis might charge distributor McKesson for the allergy medicine Allegra, a figure known as the "wholesale acquisition cost."

Because it’s almost impossible to track every transaction between McKesson and retail chain pharmacies that McKesson distributes bulk drugs to, like Rite Aid and CVS Caremark McKesson, it’s First DataBank’s job to survey the distributors and come up with an "average wholesale price."

After you obtain a bottle of Allegra with a co-pay to take care of your stuffy nose, your insurance provider, say, Blue Cross or Kaiser Permanente or the SF Health Plan, refers to First DataBank’s massive catalog of drugs — for which they’ve paid a hefty subscription fee — to make sure the price they’re paying for your allergy medicine is the one properly set by the market.

First DataBank claimed for years that it was surveying multiple drug wholesalers like McKesson to come up with its average published prices and that it was increasing the number of surveys it conducted. But there aren’t that many wholesalers to actually survey because so many of them have merged with one another in recent years. Also, two out of the nation’s three top wholesalers apparently declined to participate in the surveys as a matter of policy.

Troy Kirkpatrick, a spokesperson for Cardinal Health, one of McKesson’s few competitors, said his company doesn’t give out proprietary information to anyone, let alone First DataBank.

"We have a long-standing policy of not providing confidential pricing information to external sources," Kirkpatrick said. "So if we get asked to share that type of information, we decline."

By 2001 it appeared that First Databank wasn’t really surveying several wholesalers or even the two major companies that compete directly with McKesson, according to court records. First DataBank allegedly conspired with McKesson to establish an artificial baseline markup on hundreds of drugs that didn’t accurately represent their true suggested retail price

.

But if the bodega, or in this case, the retail pharmacy, is benefiting from the new stickers, then what’s in it for McKesson?

Herrera’s suit contends that if pharmacies like CVS and Rite Aid saw McKesson pressing the scales for them, they’d return to McKesson with their business instead of its two other major American wholesale competitors, Cardinal Health and AmerisourceBergen.

The three companies aggressively compete with one another for business just like they’re supposed to in good ol’ free-market America. But now it appears that McKesson has found a way to game the system and edge ahead of its two rivals. Indeed, McKesson is narrowly beating them in total revenue according to the Fortune 500 list.

Profit margins from drugstore chains were sagging at the time the alleged scheme between McKesson and First DataBank took off, and chain pharmacies had been pressing manufacturers to help them earn higher profit margins. According to the lawsuit, distributor McKesson came to the rescue.

So the final question, then, is whether the drug stores were enriched by all this.

Longs Drugs last year made more than $5 billion in revenue. About 20 percent of that, or $1 billion, came from the government-subsidized health care programs Medicare and Medicaid, according to company records.

In its most recent annual report to the Securities and Exchange Commission, Longs admits that if insurers began using a different benchmark than the prices published by First DataBank, such as a pricing guide that more accurately reflected market prices, there could be a "material adverse effect on our financial performance."

A fall revenue measure

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EDITORIAL If you think the June ballot was busy, wait until November. San Francisco will be electing six district supervisors. The mayor and organized labor are going to be pushing the mother of all bond acts, roughly $1 billion to rebuild San Francisco General Hospital. There’s likely to be a public power charter amendment mandating that the city mount a real effort to take over the electric grid. There will probably be a major affordable-housing initiative that includes a set-aside for low-income housing and perhaps some affordable-housing bond money. It’s shaping up as an election that will change the city’s direction for years to come — but there’s still a crucial piece missing.

There’s no money.

Public power will, of course, generate vast amounts of new revenue, but not immediately: the process of setting up the system and fighting Pacific Gas and Electric Co. in court could drag out for several years. That, of course, is all the more reason to get started — if the city had done this years ago, we wouldn’t have a budget crisis today.

But in the meantime, right now, San Francisco needs cash — and there needs to be a November ballot measure that brings in new revenue to pay for more affordable housing and to save the services Mayor Gavin Newsom is cutting.

It’s tough to pass new taxes in California. Most of the time, state law mandates a two-thirds majority vote by the people to enact any new form of taxation. But it’s a bit easier when the supervisors are up for election; on those ballots, the threshold is only 50 percent. And with at least four tightly contested supervisorial races bringing out voters, labor bringing out the troops for the General Hospital bond, and the Democratic Party pushing to get voters out for Barack Obama, the turnout should be excellent.

So if there’s ever a good time to try to pass a tax measure, November 2008 ought to fit the bill.


All sorts of tax proposals have floated around City Hall in recent years and some of them — for example, a higher real-estate transfer tax — were defeated at the ballot. Some groups will oppose any tax proposal, and it’s hard to find constituencies that want to work hard for higher taxes.

So the key to crafting a revenue measure is to ensure that it’s as progressive as possible, and that it takes into account the concerns of those small businesses and homeowners who aren’t rich and can’t afford huge new levies. We see two good options:

1. A city income tax. This hasn’t been seriously discussed since the 1980s, but it ought to be. California law bars cities from collecting traditional income taxes — that is, San Francisco can’t tax the incomes of everyone who lives here. But in 1978 the state Supreme Court ruled that cities can tax income earned from employment in the city. The upside is that a San Francisco employment income tax would hit commuters, a huge group who use city services and don’t pay for them. The downside is that people who live here but work, say, in Silicon Valley would escape the tax.

But overall, income taxes are the fairest method of collecting revenue, and a city tax could be set to hit hardest on the wealthiest. The city could exempt, say, the first $50,000 of earned income, levy a modest (say, 1 percent) tax on the next $50,000, then increase the marginal percentage so that people with enormous salaries pay as much as 2 or 3 percent.

The beauty of this: most of the people who paid the top-end income tax would simply write it off their federal income taxes — meaning this would be a direct shift of cash from Washington DC to San Francisco. And it would come primarily from people who have already received a huge tax windfall from the Bush administration.

Yes, some people would cheat. Some businesses would try to claim their employees all really worked out of a satellite office in another city. But New York City has a municipal income tax. So does Philadelphia. They manage to deal with the cheaters. The supervisors at least ought to consider the idea.

2. A new business tax. Almost everyone agrees that San Francisco’s business taxes are unfair. The city places a flat tax on businesses — a small merchant pays the same percentage as a giant corporation — and some partnerships, like law firms, get away with paying no city taxes at all. The best way to fix that may be to create a single, progressive business tax (probably on gross receipts), with no loopholes, that exempts the first $100,000 or so and actually lowers the levy on small businesses while significantly raising it on big ones. Most small businesses would get an actual tax cut while the big guys would pick up the tab.

Together, a tax package like this could bring in the $250 million a year or so the city needs — and some of the money could go to cutting, say, Muni fares or reducing the sales tax so working-class San Franciscans would pay less.

Almost everyone at City Hall knows the current tax system is unfair, regressive, and inadequate. We’ve been calling for the supervisors to do something about it for years now. November 2008 seems like an excellent time.

Rise above

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Also in this issue:
>>An interview with outlaw biker Ian Schwartz
>>An interview with SJBMX.com’s Chris McMahon
>>Sit the fuck down: The Sean Parker story

› duncan@sfbg.com

I push off and head down a makeshift plywood runway, compressing as I roll over the edge and into the Technicolor graffiti of the drainage ditch. The transition between the banked wall and the flatbottom has an abrupt kink in it, enough to send you to your face if you’re caught sleeping. I take some weight off the front end and try to maintain my speed as I pump into the opposite corner and carve the far end of the ditch where there’s an over-45-degree wall that runs behind what my friends and I call the "death pit" — a gaping cutaway in the bottom of the culvert, five feet deep, filled with broken glass, and frequently used as a urinal. Since I’m at the apex of my backside carve, up a wall 10 feet above last week’s Miller Time, I’m jolted by the crackle of a loudspeaker:

"You are trespassing. Leave the area at once or you will be arrested."

My concentration shot by the sheriff’s announcement, I jump off my deck and over the chasm at the base of the bank, barely clearing the skater’s version of a Vietnam tiger pit, and land on the rough concrete beyond the edge. My board bullets straight in, though, so I’ve got to lower myself — gingerly — into the mostly dry detritus and rescue it before my friends and I jet out of the spot and into the manicured back nine of Pleasanton’s Castlewood golf course. We get to the car, throw the boards in the trunk — mine has a "Skateboarding Is Not a Crime" sticker on the bottom — and head to the next spot, a ditch called the Rat Trap.

The year is 1987. I’m 16, in high school, and living with my parents in Fremont. The scene plays out over and over in much the same way: a drainage ditch, a nicely painted curb or ledge at a shopping center, the occasional backyard pool, and night sessions at the Tar Banks, a set of embankments around a loading dock with curbs at the top. It’s an underground railroad of repurposed architecture, none of it designed with a skateboard in mind but all of it highly skateable.

Taking the $4.7mil Cunningham skatepark. Video by Jarrod Allen, www.jarrodallen.com

Every weekend my crew hits as many spots as we can, and the constants shape up like this: urethane, aluminum, Canadian hard rock maple, concrete, and asphalt. Maybe blood, maybe beer — we’re teenagers after all — but nearly always: cops.

Skateboarding may not be a crime, but it sure as hell feels like one.

Flash forward 20 years. I’m with a different crew as I pull onto a street in suburban Redwood City, and I’m no longer rollin’ in my mom’s Plymouth Sundance, but my own truck. The other thing that’s changed is the number of wheels per head. There are four heads to eight wheels, and we’re here to ride the Phil Shao Memorial Skatepark. On bikes.

The park does not disappoint. There are a million kids trying tech ollie flip tricks around the perimeter of the park, but the bowl is what I’m about. Big and shapely with almost burlesque hips poured into her concrete, I’m in love as soon as I roll in. There are a few local bikers who have the place dialed, nonchalantly airing a few feet out and throwing the bars before heading back down the tranny. The only two skaters riding the bowl are a tall skinny teenager and his little sister, who looks to be about 10, and they have it on lockdown: lipslides on the spine, grinds, rock and rolls — everything smooth and fast. "Yeah!" I yell as they take their runs, stoked on their skills.

I know the times have changed when I see the little girl come up out of the bowl in the $450,000 public piece of silky-smooth concrete perfection, walk over to her mother, who’s posted up on a ledge, get a cell phone and make a call. Not five minutes later there are seven (I counted) Redwood City police officers converging on the bench where my friends and I are sitting. They randomly collar my buddy Scott — though I was the last one to drop in — and write him a ticket for $100. I have to admit, I’m flabbergasted.

Guess what: skateboarding isn’t a crime anymore — it’s gone mainstream. Successful companies hire lobbyists to promote the sport, and communities spend big bucks building new facilities for skaters. And now some skaters, many of them kids who never had to live in the underground world that I did, are using their legitimacy to push out the new outlaws — people who ride BMX bikes.

It’s crazy — two cultures that share so much, fighting over how many wheels they ride.

"Is that your daughter’s bike?"

The question comes from one of my coworkers, and, believe it or not, it’s not intended to be snarky. I can’t ride in public without someone saying "cute little bike," while giggling to themselves — or laughing and pointing. Seeing a six-foot-tall, 200-pound, bald-headed, tattooed white dude on a "kid’s bike" is like being passed on the sidewalk by a bear on a unicycle. At one point reactions like these would’ve rubbed me the wrong way, but nowadays, I nod and smile. Sometimes, I try to explain what constitutes a "full grown" BMX bike. While it’s got small wheels — 20 inches in diameter — the top tube, from the seat to the stem, measures 21 inches, and the handlebars are considered pro-sized at eight inches high by 28 inches wide.

Bicycle motocross, or BMX, is purported to have started in 1963 when the Schwinn corporation of Chicago unveiled the Stingray, which was basically a downsized version of the company’s balloon-tired cruiser-type bikes. Kids pretended to be grown-ups by aping Roger DeCoster and other moto heroes — launching their bikes off jumps, racing in empty fields and abandoned lots, and cranking wheelies down the sidewalks of Anytown, USA.

"It all began the way most individual sports start," motorcycle customizer Jesse James says in a voiceover at the beginning of the 2005 BMX nativity story/documentary Joe Kid on a Stingray, "kids pretending to be grown-ups, but acting like big kids."

I have been riding since I was seven. After three decades, one truism remains, and I can’t candy-coat it. I’ve got to speak it like a true BMXer: BMX is rad. It is and always has been an entity unto itself, progressing from wheelies, skids, and bombing hills to encompass myriad styles and surfaces, from streets to pools to dirt jumps to ramps to the balletic grace of flatland freestyle.

This summer, big kids on little bikes will be jumping 30-foot gaps at as many miles per hour as BMX pays homage to its racing roots at the 2008 Olympic Games in Beijing. On June 12 in New York’s Central Park, Kevin Robinson will try to break the legendary Mat Hoffman’s record for the highest quarter-pipe air on a bike — 26 feet, 6 inches.

It doesn’t take death-defying world records, the X Games, the Olympics, or the stupefaction of squares with cameras to make BMX legit. That feeling of overcoming fear and doubt by jumping a little farther, a little higher, the rush of nailing a trick, or carving a bowl, hasn’t changed in half a century. The legitimacy lies in that feeling, behind your breastbone, and it doesn’t change as you get older. Your wrists hurt, your ankles hurt, and your back hurts, but the feeling is the same. Kid’s bike? Hell yeah, it’s a kid’s bike.

It’s not as though I was blissfully unaware of a beef between bikers and skaters that day in Redwood City. Ask any BMXer to tell you a story of friction between the two and four-wheeled sets, and it’s not going to take them long to come up with something.

"When I was 12 years old, a skateboarder threw my bike out of the bowl at Ripon skatepark," says Jackson Ratima, now 19, a Daly City rider sponsored by Fit Bikes. "He was, like, 20 years old or something."

Tim "Wolfman" Harvey, 21, another up-and-coming pro, tells a similar story about a visit to the Bay Area from his native Massachusetts, when a local skater hassled him at the Novato skatepark. "I didn’t even know anything about California. It was my first time out bike riding, period. The guy was giving me all kinds of crap, yelling at me."

Ironically, Harvey, as friendly and easygoing a guy as you could hope to meet, almost turned pro for skateboarding before an ankle injury made it nearly impossible to ollie, an essential trick in street skating. He now lives in Petaluma and is a member of the painter’s union in San Francisco, where he’s a familiar face at street spots, but now on a bike. Back then, though, he "thought California was a scary place."

The Bay Area — and SF in particular — may be the worst place for bikers seeking a vibe-free session. "I’ve never experienced hostility like it is out here," Ratima says.

Smoldering after the Redwood City incident, I began to fixate on the "Skateboarding Is Not a Crime" slogan from my youth. Originally a bumper sticker made by Transworld Skateboarding magazine in the mid ’80s, Santa Cruz Skateboards currently makes a deck with that written on it, so the skate community has gotten a lot of mileage out of being oppressed.

"Skateboarding isn’t a crime?" I’d ask myself. You’re damned straight skateboarding isn’t a crime: it’s the law. BMX is a crime. There isn’t a biker alive who rides transition who hasn’t rolled into a taxpayer-funded park and had a knee-high grommet point to the sign and say, "Bikes aren’t allowed."

Not allowed, huh? Son, I skated my first pool when you were doing the backstroke in your papa’s ball bag.

Look: I love skateboarding and always will. Both skaters and bikers are doing the same thing, copping that same feeling rolling over the same terrain. The war makes no sense.

"We have religion and race and class dividing us. I refuse to be divided by what type of wheel size I have," says Jon Paul Bail, a local at Alameda’s Cityview skatepark.

Bail, 40, is the artist and pundit behind politicalgridlock.com. Through the Home Project, a program run through the Alameda Unified School District, Bail helped raise $150,000 to build the park, $8,000 of which came directly from his company’s coffers. He helped design the park, and he helped pour the concrete in the park, which opened in 1999. Mixed sessions of bikers and skaters were going down for six months with minor tensions but no major incidents when then–City Attorney Carol Korade advised City Hall that mixed use was too dangerous, and shut the bikers out.

My call to Corinne Centeno, Redwood City’s Director of Parks, Recreation, and Community Services, got off to a rough start: "I understand [the Phil Shao Skatepark] is not bike-legal, right?"

"Right. It was built as a skatepark," she replied, subtly italicizing the first syllable with her tone of voice.

"It wasn’t designed for bikes," she repeated, before adding, "but their having been prohibited from the start hasn’t necessarily kept people out." In an effort to do just that, the city is building a fence around the park, with bids currently ranging from $23,000 to $60,000.

The semantic argument — "it’s called a ‘skatepark,’ not a ‘bike park’<0x2009>" — is usually reserved for laypeople who don’t know enough about skateboarding or bike riding to see its inherent lack of logic.

Drainage ditches are not called a "skating ditches," nor were they designed for skating. Swimming pools are not called "skating pools." Yet, therein lie the roots of the modern skatepark, along with full pipes, which are based on industrial-size drainage systems also not intended for wheels. Every day skateboarders and bikers transcend these limits through creative repurposing.

Collision, and the fear of collision, is the main thing public officials cite when shutting bikers out of parks. "It’s unnerving," Vancouver pro skater Alex Chalmers wrote in a 2004 Thrasher manifesto, "BMX Jihad: Keep It in the Dirt."

"BMXers cover so much ground so quickly, especially when they’re pedaling frantically to blast a transfer, that it’s particularly hard to gauge these collisions," he wrote.

But the fact is that in any given park BMXers and skaters take different lines, and the best way to acclimate each group to the other is through exposure. If bike riders are banned, it increases the risk of collisions when a few bikers decide to chance the ticket or brave the vibe-out and ride anyway. A lot of bikers hit parks early in the morning because they don’t want to deal with hassles. During the overlap in "shifts," this leads to bewildered skaters who aren’t used to the lines a biker takes, and vice versa.

And the head-on menace is greatly overstated, largely disappearing when a park is integrated, if only unofficially. At Cityview, the police have displayed somewhat less zeal in ticketing bikers during the past few years. "They treat us like gays in the military," says Bail. "Don’t ask, don’t tell." And yet everyone manages to coexist.

At the new $850,000 skatepark in Benicia, which opened in October, integration isn’t a big deal. "From its conception, we designed it to be a skateboard park and also for bikes," says Mike Dotson, assistant director of parks and recreation. Technically, the park has designated bike hours, but since it’s largely unsupervised, there’s a mildly laissez-faire approach to enforcement. "In the very beginning there was a lot of concern about the use of both bikes and skateboards," Dotson says, stating that the park was packed the first few months. "Initially we had one or two calls on it. Since then I can say I haven’t had any calls on it — in relation to bikes and skateboards being in it at the same time or other complaints."

And there are mixed-use parks all over the world, as far away as Thailand and as nearby as Oregon: "You go to Oregon, and you can ride wherever you want," says a stunned Maurice Meyer, 41, lifelong San Francisco resident and founding member of legendary bike and skate trick team the Curb Dogs. Long Beach, Las Vegas, Phoenix, even Alex Chalmers’ hometown of Vancouver — all have parks where bikes and skates legally ride at the same time. What’s up with the Bay?

Lawyers, insurance underwriters, and city hall types may never understand how a park works. "It’s out of ignorance," Bail says. "To them it looks like chaos. To anyone who has skate etiquette — which is everyone — we all take turns."

Besides, let’s face facts: a skatepark is a dangerous place — to different degrees at different times, and for different reasons. "I swear to God, every time I go to the skatepark I see a hundred boards flying all over the place," Ratima says, "and I’ve never seen a bike go flying and land on a guy’s head." It’s not an inflatable jumpy house — it’s fun, but it’s not made out of cotton balls and your mother isn’t here. Usually.

Rose Dennis, press liaison for the San Francisco Recreation and Park Department, seemed baffled that someone would want to ride a bicycle inside the skatepark part of the new Potrero del Sol. Perhaps as a way of distracting me from my damn-fool idea, she kept hyping the park’s "other amenities."

I live three blocks from Golden Gate Park — if I want to play Frisbee, I’m not going to drive across town. I want to ride. When I brought up the possibility of scheduling bike-only sessions in the yet-to-be opened park, she suggested I draft a letter to general manager Yomi Agunbiade, before adding that "the facility wasn’t designed for that type of recreation."

When I (graciously, I thought) let her know that it would be not only possible to ride a bike there, but highly gratifying, she got a little heated: "At the end of the day, the buck stops with us. If one of you guys breaks your skull open and you’re bleeding all over the place, believe me, no one’s going to have any sympathy for Rec and Park if they make really nonjudicious decisions."

In other words, like a lot of city officials, she’s worried about getting sued.

But you know what? There’s actually less chance a BMXer will successfully sue the city. I give you California Government Code Section 831.7, which states the following: "Neither a public entity nor a public employee is liable to any person who participates in a hazardous recreational activity … who knew or reasonably should have known that the hazardous recreational activity created a substantial risk of injury to himself or herself and was voluntarily in the place of risk."

The law lists "bicycle racing or jumping" as being a "hazardous recreational activity." It’s on a fairly extensive list, along with diving boards, horseback riding, and the ever-popular rocketeering, skydiving, and spelunking, which, as I’m sure you’ve heard, are all the rage with the kids these days — much more popular than BMX.

But the words "skateboarding," "skateboarder," and "skateboard" are not listed anywhere in the text of the Hazardous Recreational Activities law, commonly called the HRA law. In fact, the International Association of Skateboard Companies has been lobbying to get the bill amended to specifically include "skateboarding" since 1995, when Assemblymember Bill Morrow (R-San Diego) took up the issue. Morrow’s bill was rejected by the state Senate Judiciary Committee in 1996. In 1997, Morrow and skateboard association lobbyist Jim Fitzpatrick gave up on amending the HRA and instead pushed Assembly Bill 1296, which added Provision 115800 to the state’s Health and Safety Code, which states, in part and in much less forceful language — without using the word "liable," for instance — that owners or operators of local skateparks that are not supervised must require skaters to wear helmets, elbow pads, and knee pads, and that they must post a sign stating said requirement.

It doesn’t say anything about "if one of you guys breaks your skull open and you’re bleeding all over the place" while wearing a helmet, then you can’t hold the operator liable.

When I asked San Francisco Deputy City Attorney Virginia Dario-Elizando how the law might apply to the city’s skateparks, she told me, "This question has never come up. I must tell you, I’ve never even seen the rules for the skateparks — no one’s ever asked me to look at them."

BMXers are willing to compromise if that’s what it takes. In May, San Jose opened the 68,000-square-foot Lake Cunningham skatepark, built by the same design firm (Wormhoudt) as the Benicia park at a price of $4.7 million, and the place has bike hours. Like any park, there are rules. Like some parks, there’s supervision, so the rules are enforced: separate bike sessions; helmet, elbow, and knee pads required at all times; brakes required on bikes; no smoking; no songs with swear words over the park soundsystem; no bikes in the three bowls with pool coping even though they only allow plastic pegs, which are undoubtedly softer on coping than metal skateboard trucks … it’s a long list of restrictions. It’s inconvenient for guys who don’t like pads or don’t run brakes, and there’s some griping, but we’ve got our eyes on the prize: the place is amazing, with a huge full pipe, massive vert bowls, and a decent street course.

I would like skaters to realize a couple of things: skating and BMX aren’t so different from each other, at least in the feeling each gives you, right there, behind your sternum, where your heart beats.

Bikers are going to ride no matter what, just like skaters are going to skate. Legal or not, we’re not going to go away. "I got arrested for riding there when I was 14," Ratima says of the Daly City skatepark. "They took my bike and threw it in the back of the car. I just kept going every day, and finally they just gave up."

"I’ve ridden bikes on vert," Thrasher editor Jake Phelps tells me during a phone conversation. "I can ride a bike in a pool, I can do that. I’m stoked when I ride a bike in a pool. Feels hella fun to me. Catching air on a bike is awesome, no doubt about that."

This, from the longtime editor of the bible of the "fuck BMX" set. It’s either baffling or heartening. I can’t decide which. "I don’t mind people that are just regular," he says. "If they’re skateboard people or they’re bike people too, I’ll respect anybody that respects me."

That’s what it comes down to: respect. I respect the fact that skateboarders did not come into this age of skateparks easily. I faded out when there was nothing, and I came back when they were in small towns across America, and I missed all the politicos and dreary meetings. It’s time for bikers to stop feeling like second-class citizens and demand a seat at the table. In the words of Black Flag, it’s time to rise above.

Live 105’s BFD

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PREVIEW Rock may be dead, but before it kicked it shot enough seed into the musical milieu that today its numberless bastard sons and daughters testify that Rock isn’t what you are, it’s what you do: namely, rock the fuck out. Hosting obvious punk and indie-rock progeny Anti-Flag and Alkaline Trio, as well as hip-hop and electronic-influenced distant relatives Lyrics Born and MSTRKRFT, Live 105’s BFD 2008 brings rock’s diverse diaspora together for a three-stage, all-day family affair.

Proof that Rock slept around? Listen to the accents of the vocalists — Cypress Hill, the chart-topping Latino hip-hop group, spits Spanish-spiced rhymes; punk rockers Pennywise, despite their hard-driving style, still speak the slow, stretched-out vowel sounds of SoCal; and Flogging Molly, when the lyrics don’t slur with Guinness, boast an Irish brogue.

Assorted accents aside, the bands themselves follow in their father’s footsteps, drawing from genres as varied as reggae and house. Take Moby: the face of techno for many, he fuses punk rhythms and distorted guitars with disco beats and the airbrushed production techniques of pop music. Or the Flobots, who note the Roots and Tool as influences, and feature multiple MCs as well as a full band — trumpet and viola included.

Despite siring more spawn than Genghis Khan, no one ever said Rock was easy — promiscuous, yes, but success in the industry evades all but a few. Enter the Soundcheck Local Music stage which works like rock nepotism: the notoriety of big brothers lends a hand to little brothers’ first steps toward aural apotheosis.

LIVE 105’S BFD Sat/7, noon–11 p.m. Shoreline Amphitheatre, 1 Amphitheatre Pkwy, Mountain View. $10.53. (415) 421-TIXS, www.live105.com