Live

Taking the Cure at the Shark Tank on May 28

0



The Cure
May 28, HP Pavilion

By Erik Morse

The anticipation was palpable as the Cure took the stage and the opening chords of “Plainsong” overcame the hollowed din of San Jose’s HP Pavilion. Would Robert Smith’s voice hold up, or would it fade halfway through the show as it had on a previous night of the tour in Chicago, when he had disobeyed doctor’s orders to stay home and rest?

By the closing notes of “Prayers for Rain,” the second song of a setlist that would deliver many treats, it was clear that the audience – and Smith – had nothing to worry about. His voice – sometimes playful, sometimes haunting – was in top form and would stay that way for the remainder of evening.

Unfortunately, the textured layers of vocal enchantment were occasionally undermined by the conspicuous absence of a long-time Cure staple: keyboards. The Cure has been keyboardless since the departure of former keyboardist Roger O’Donnell in 2005, and for some inexplicable reason, they have never replaced him. Instead, in a bold yet poorly executed move, they have supplanted the keyboard with Porl Thompson’s guitar. Live, synth heavy tracks like “Catch” and “Play for Today” were depressingly thin, and the pleasure my companion and I experienced from playing air keyboard from the comfort of our seats was fleeting, to say the least.

Symphonic triple-whammy: Three hot conductors step up

0

We loves us some Michael Tilson Thomas — we better, because she’s everywhere, darling — but it must be hard to live and gesticulate passionately for the San Francisco Symphony in the shadow of the great MTT. It’s not a competition! I know! Still, it’s a treat to see SFS program a night specifically dedicated to some of the other stellar conducting talents it retains, especially for a total symphony queen like moiself.

sfstriple.jpg
Three great classical (bow-tied) tastes: Gaffigan, Bohlin, and Shwartz

The three-day “SFS Conductors on the Podium” series will see Associate Conductor James Gaffigan (who blew me and several thousand peeps away in Dolores Park a while back, conducting the 1812 Overture), Resident Conductor and total cutie Benjamin Shwartz, and fierce Chorus Director Ragnar Bohlin take the stage for a nice, slightly challenging change.

sfsschwartza.jpg
Benjamin Shwartz, making beautiful music

Particularly interesting will be the world premiere of Mark-Anthony Turnage’s jazzy-sounding Three Asteroids: The Torino Scale, Juno, Ceres, conducted by Schwartz, and the sure-to-be-spectral a capella double-choir performance of Poulenc’s Figure humaine — a haunting setting of Paul Eluard’s poems about war and spirituality, conducted by Bohlin. Gaffigan conducts Bartok’s seldom-heard Suite from The Miraculous Mandarin, and the Thursday and Saturday programs will also feature Prokofiev’s ragged, fiery Violin Concerto No. 1 in D Major, also conducted by Gaffigan and featuring SFS concertmaster and string-whiz Alexander Barantschik. Should be a revelation.

SFS Conductors on the Podium
Thursday, June 5 at 2:00pm
Friday, June 6 at 6:30pm
Saturday, June 7 at 8:00pm
$25-$125
Davies Symphony Hall
201 Van Ness
(415) 864-6000
www.sfsymphony.org

Election night parties

0

As always, Guardian political reporters will be in the field on Election Night, reporting live from City Hall and all the key parties via this Politics blog. We’re gathering that list of parties now (send yours to me at steve@sfbg.com to ensure you make the list) and we’ll post it by around this time tomorrow so you know where to go. And don’t forget to vote.

Acolade or agony? Tribute metal at Red Devil Lounge

0

reddevilposter.jpg

By Kat Renz

Unbanged head hanging low from missing Wednesday’s Iron Maiden show down in Concord? Fear not, for a second chance to hear “Powerslave” live on stage awaits tonight, May 31. Sort of. High priestess of tribute bands Lynda Mortensen promises a night of metal mayhem with Children of the Damned; Damage, Inc.; Hail Satan; and Electric Funeral playing your favorite anthems by Iron Maiden, old-school Metallica, Mercyful Fate/King Diamond, and Black Sabbath, respectively, at the Red Devil Lounge.

Are you rolling your eyes or already making them up in King Diamond face paint? I know – I’m torn, too. Tribute bands are simultaneously shamelessly exciting and totally depressing. Ubiquitous and popular, it seems every famous band now has its tribute counterpart. (AC/DC may claim the most: a glaringly incomplete Google search found 20 AC/DC tribute bands from around the world, including British Columbia’s BC/DC and ThundHerStruck, yet another all-women one from LA.) The appeal is obvious. Performers get to embody their most-beloved rock star, and the audience gets to see a sincere counterfeit of their favorite over-dosed, broken-up, or not-touring band.

With this glut of impersonators, parameters by which to judge are essential. First there’s the sound. While it’s vital to cut the lead vocalist some slack – ever try to match Bruce Dickinson’s vocal theatrics, much less in front of people? – if the vocals don’t make the cut, it’s over. No magic, no tribute, and no closing your eyes and forgetting.

Mayor uses Shipyard to announce budget, Monday

0

It’s 4 PM on a Friday afternoon, that hour when most employees are counting the seconds to the weekend—and wishing that Monday morning wasn’t only 65 hours away.

But does the Mayor’s Office know what time it is?

And if so, why have we only just found out that Mayor Gavin Newsom is planning to make his Monday morning budget announcement, at 10: 30 am, June 2, at the Hunters Point Shipyard?

The announcement will be made at
View Larger Map“>606 Hunter’s Point Shipyard.
(Unless, Newsom is planning a repeat of his disappearing Olympic Torch stunt.)

The location happens to be the San Francisco Police Department’s Tactical Operations center. Press are being asked to present press credentials for entry.

Could it be that this announcement is being made at the very last minute because the choice of location gives Newsom the appearance of impropriety? Newsom backing Prop.G on the June 3 ballot, the measure that developer Lennar has spent over $3.5 million in an effort to grab even more of San Francisco’s waterfront real estate, adding highly desirable land at Candlestick Point to the shipyard’s wastelands, so it can develop even more luxury condos?

Or could it be because he didn’t want to tip of supporters of Prop. F, the competing measure on the June 3 ballot that requires that 50 percent of development in the Bayview is affordable to people who actually live there—households that tend to make $68,000 and under and can’t afford to buy $500,000 condos and million-dollar townhouses?

Whatever the reasons, the running dogs of the press weren’t the only ones left in the dark about the budget locale.

No one on the Board of Supervisors was informed until 4PM, Friday afternoon, either. That’s when a mayoral aide came by the office of Sup. Ross Mirkarimi, who sits on the Board’s Budget and Finance Committee, to deliver the news of this hitherto top secret location.

Normally, Board members get an invitation at least 10-14 days beforehand.

Mirkarimi calls the move “highly unorthodox and outrageous.”

“What’s really unforgivable is that we are facing the worst budget deficit in San Francisco’s history,” Mirkarimi said. “The Mayor needs to be fostering collaboration, and enlisting the support of everyone he can, especially those who have influence on the budget process. It’s unfortunate that the casualty in all this is our desire to work together.”

Played-out Bill O’Reilly: the no spin zone

0


Play us out already: The original O’Reilly footage of the man flipping out.

By Laura Mojonnier

By now, you have undoubtedly had the pleasure of seeing Bill O’Reilly go ballistic on an old Inside Edition outtake that resurfaced online earlier this month. The clip spread like only viral videos can, and within days, O’Reilly himself addressed the mini-controversy on his show, joking that the taped meltdown was only the tip of the iceberg. “By contractual obligation, I have to create a few dramas every year for the amusement of my coworkers,” he said smiling, exuding an alarming degree of humility, perspective, and self-control that certainly did not win him his contract at Fox.


Inside the back pedal.

O’Reilly’s attempt to put the matter to rest was futile, however. The footage is just too damn good. I’ve already incorporated his best outbursts into my everyday conversation (“Fuck it! Do it live!” and “Fucking! Thing! Sucks!” are my favorites). The clip is the first video that pops up when you search his name on YouTube, and as of press time, it has garnered more than 1.3 million views. I am clearly not alone.


O’Reilly meltdown: the dance remix

But the real story here, I think, is not the meltdown itself – everyone knows that O’Reilly is a barking, chauvinistic blowhard – but rather the dance remix. Nothing hits the spot quite like watching O’Reilly on loop, rapping, “I don’t know / I don’t know / I don’t know / Fuck!” to the sweet techno beat. I can basically recite the entire song by heart. And in light of the remix, the original footage seems a hollow shell of its former self. It no longer possesses the same power to shock and titillate. Why not? The dance remix, in all its repetitive hilarity, shows O’Reilly’s freak-out for what it actually is: a sadly predictable confirmation that his television personality is not an act.

‘REN’-membering Matthew Barney in LA

0

mbarneyren sml.bmp
Heave ho at Matthew’s Barney’s REN. Photo courtesy of www.lipsticktracez.com/reggie/.

By Glen Helfand

How any artist follows up a large scale, career-making project is accompanied by the same critical pressure that greets the sophomore album of a hot new band. Matthew Barney made it through his post-Cremaster days with Drawing Restraint 9, which took over a whole floor at San Francisco Museum of Modern Art a couple of summers ago, though many would agree that while it stayed the course, it was a film and exhibition that didn’t quite rival the five part film/sculpture extravaganza that preceded it.

In an interview before that show, Barney said his next works would be in the realm of live performance, and true to his word, he’s been mining that vein. He staged a typically perverse work at the 2007 Manchester International Festival, an adults-only performance that involved a bull, a self-fisting female contortionist and Barney wearing a live dog on his head. (The reviews were mixed.) Another performance, staged in New York, was shown as a video as part of an exhibition at Los Angeles’s Regen Projects last year.

I can’t say I wasn’t thrilled to get an invitation to a recent Barney performance, titled REN, that took place on May 18 in not so beautiful Norwalk, a south-of-LA suburban flatland populated by convenience stores and auto dealerships. Here’s some of what the invite promised: “’Ren’ represents the first stage of the soul in its journey through the afterlife in which its ‘Secret Name’ is revealed, and subsequently lost. REN will reference the Cremaster Cycle, linking Barney and [music collaborator Jonathan] Bepler’s earlier project to the iconography and mythology of ancient Egypt. REN will feature the return of the 1967 Chrysler Imperial and Aimee Mullins from Cremaster 3, a Southern California drum and bugle corps, ranchera singer Lila Downs, and British performance artist Mouse. Performance is approximately one and a half to two hours in duration.”

Where in the world is Carmen Policy?

1

carmenpolicy.jpg
Where in the world is Carmen Policy?

That’s what Prop. F supporters are wondering amid the deafening silence that has followed their invite to Lennar consultant and former 49ers president Policy to debate POWER community organizer Alicia Schwartz on Saturday, May 31, in the Bayview.

Back in February 2008, Policy made headlines when he was hired by Lennar executive Kofi Bonner to head what has since become the $3 million Prop. G campaign. That measure primarily involves a land exchange that would allow Lennar to build a new 49ers stadium atop the toxic Hunters Point Shipyard site, while building luxury condos and retail buildings on the former Monster Park site.

Prop. F campaign manager Chris Cassidy says that the Prop. F campaign, which would require 50 percent of all Lennar’s housing units to be truly affordable to the folks who currently live in the Bayview, decided to invite Policy to debate Prop. F’s Schwartz, “because of the money Policy has received from Lennar and because of his connections to the community from when he was president of the 49ers.”

Prop. G’s most recent campaign financial disclosures show that $40,915 was paid to Carmen Policy, $343,138 for attorneys’ fees, $1.3 million on advertising, and $767,607 on “consulting services.”

As Power’s Schwartz notes in a Prop. F press release, “Politics can be a contact sport, but it should also be a contest of ideals.”

Prop. F organizers say the debate will take place, with or without Policy, at 5030 3rd Street and Quesada Avenue, ( near the MUNI T-Line – Palou Ave. Stop) on Saturday May 31 – 6:30-8:00

Hey, at least Schwartz is challenging Policy to a dance-off…(watch Schwartz, third from left, do the Cha Cha slide).

Prop 98 could destroy the next Kerouac

0

By Jen Sullivan Brych

What if Jack Kerouac couldn’t find a cheap place to crash in San Francisco so he could drink at Vesuvio Café and bang on his typewriter? Would he have been forced to remain in the “sanitarium” of San Luis Obispo, as he referred to it? Would he have been forever missing what a biographer called the “feverish intensities” of San Francisco, never inspired to write again?

Even worse, what if the next generation of Kerouacs and Alice Walkers and Michelle Teas can’t afford to live in San Francisco anymore? The frightening Proposition 98 on the June 3 ballot would eliminate all rent control in California. If San Francisco loses rent control, it loses writers and its literary scene.

“If rent control goes, I know I’d lose my apartment soon enough,” said writer Peter Orner via email. Orner wrote The Second Coming of Mavala Shikongo, a finalist for the Los Angeles Times Book Prize and winner of the Bard Fiction Prize. He was also a Finalist for the Pen Hemingway Award for Esther Stories.

Orner has lived in the Mission for about five years. “They’d replace me with an investment banker in about forty seconds,” he said.

So why should people care if writers like Orner leave the city en masse? Richard Florida, University of Toronto business professor and author of the book The Rise of the Creative Class, argues that this group of people is creative, makes good money, and values diversity. The creative class includes writers of all genres, as well as educators, financiers, scientists and techies.

The group is attracted to urban areas like San Francisco, which ranked number one in Florida’s creativity rankings for large cities, because of its theater venues, its cafes and spoken word performances, its rock musicians and art galleries; in other words, because of its writers and artists and the quality of life they provide. Florida argues that cities which are successful in attracting this creative class are prospering, while cities that don’t are not. So, if rent control vanishes and the writers and artists disappear, our city by the Bay will suffer.

SF Weekly sneers at sex work

0

blue.jpgfetishgfc.jpgblue2.jpg
Sex writer Violet Blue is one of the best things at the Hearst-run SFGate website, an authentic local voice singing the praises of sex-positive San Francisco. So of course, the soulless and snarky hacks over at the SF Weekly felt compelled to try to knock her down a few notches, sneering at the notion that many of us are accepting of sex workers. And for that, they have been rhetorically bent over and pegged by the lovely Mistress Blue in a blog post earlier today.
You’ve really got to read this thing, which is more investigative in nature than your average flame. She brings up the Weekly’s weird history of fake journalism on another sex story, and digs up some good dirt on the latest perpetrator, freelance writer Benjamin Wachs. Now, we couldn’t verify the rumors about Wachs’ efforts to start a right-wing news site in San Francisco (hey, Ben, good luck with that one). But our research does show the guy moved here a year ago from Rochester, NY, which might come as a surprise to the Brighton-Pittsford Post in New York, where he’s supposedly a local columnist.
Messages to Wachs and the Weekly went unanswered — no surprise — but I’ll update if I hear anything new. Or if you see Ben around town…
wachs.jpg
…maybe you can ask him why he wanted to live in San Francisco if he has such a problem with our values.

Matt Smith loves prop. 98

0

I almost don’t know what to say about Matt Smith’s SF Weekly piece in favor of Prop. 98. I know Smith gets a little unhinged when it comes to housing issues, but his faith in the free market to lower the price of housing in San Francisco – against all odds and all evidence – is just looney.

He starts off with the typical landlord/libertarian argument against rent control, which is that it screws up the marketplace:

Tens of thousands of other apartments are kept off the market through “hoarding,” as individual tenants remain in cheap and cavernous three-bedrooms, hang on to their old $200-a-month apartments long after they’ve moved in with a spouse, or are otherwise motivated to cling to their leases.

Except that Prop. 98 would allow existing tenants to stay in existing rent-controlled apartments, which lose rent control forever when they’re vacated. So the rent-controlled units would be even more valuable, and the incentive to “hoard” even greater. As would be the incentive for landlords to evict long-term tenants.

But wait, there’s more:

Studies also show that rent control discourages construction of new rental apartments New housing construction fell by one third in the seven years after San Francisco’s rent control law passed in 1979. During the 1990s, meanwhile, the number of rental units actually decreased by 7,500.

Ah, but all newly constructed units are exempt from rent control anyway. So something else must be going on here. Perhaps the number of rental units decreased because developers, who care nothing for the city’s housing needs, realized there’s more money to be made selling condos. It’s the same reasons Lennar Corp. broke its promise to build rental housing in Hunters Point: There’s more money in selling units right now than in renting them.

And, of course, we’re losing rental housing – not to rent control but to condo conversions, another way property owners can make money.

Smith seems to think that without rent control

“it’s reasonable to surmise … that downtown apartment construction would accelerate. Rents would stabilize or decline. …. Businesses would flock to San Francisco, which would have ample new office space and more, cheaper homes for their employees.”

Sounds idyllic, if you want to live in Manhattan, which I don’t.

In fact, Matt Smith’s vision of a “great city” is by nature one that’s constantly growing and ever-more dense. He berates the urban environmentalists:

San Franciscans replaced what had been a metropolitan vision of the future with one best described as suburban. Rather than being a great city, it would instead be a tranquil place to live.

Matt, you have no sense of history. After World War II, the captains of industry who had completely taken over planning and development policy, in the military model of command and control, to make the West Coast war machine work, decided they liked that way of doing business. So a handful of them sat down and planned the future of the Bay Area. Low-cost South of Market housing would be demolished to make way for hotels and a convention center. Following the suburban model, BART would connect outlying bedroom communities with a dense downtown office core. High-rise buildings would hold the economic center of the Pacific Rim. A network of freeways would cross the city in a Los Angeles-style grid.

That’s what the master planners who Smith lauds had in mind. And the people who lived here decided that it wasn’t fair that nobody asked them about it. So they fought back, cutting off the freeways, down-zoning neighborhoods, fighting over-development (which, by the way, hurts city coffers more than it helps) and trying to keep this a decent place to live.

Rapid growth is not always good, not always desirable. Cities are places where people live, and keeping them livable is a noble pursuit.

And when it comes to housing in a city like San Francisco, the market will never, ever solve the problem. I’ve written about this over and over, but here’s the latest.

Regulation – treating housing not just like a fungible commodity but like a necessity of life that the market can’t fairly provide – is the only way to keep San Francisco affordable.

Burn this

0

› kimberly@sfbg.com

SONIC REDUCER More power, I say, to sibling twosome Eleanor and Matthew Friedberger of Fiery Furnaces. FF’s forthcoming 51-track, double-CD/triple-LP retrospective, Remember (Thrill Jockey), has been burning up my ear holes for more than two hours now, charged with the power of fraught familial relations, rock-out thunderbolts, and mysterious blueberry boats. And I confess, part of my wonderment at their artistry stems from the fact I could never be in a band with my own bro. Judging from our childhood knock-out, tooth-and-claw smack downs, we’d be at each other throats within minutes of our first band practice — and triumphantly playing bad vibes with the vanquished’s finger bones. Those are our kind of family values.

I get the impression the Friedbergers’ relationship is just as intense, if less bloodied, talking to a chatty, quirky, and disarmingly frank Matthew on the phone from New York City. "We weren’t friends growing up necessarily," he concedes. "We were friends after I left home, but we have to talk to each other so much now that we aren’t friends in the same way. We have to spend so much time together that it’s … ridiculous." Doubling back on himself, the ever-analytical 35-year-old guitarist-keyboardist-vocalist just as quickly shrugs it off. "But that’s the way it goes."

Still, we all know that family bands traditionally have sold the dream of togetherness: feather-light musical fun with none of the fighting-for-grub-at-the-dinner-table heaviness. Seventies ensembles like the Osmonds cozied up to those warm ‘n’ fuzzy associations in the genre’s TV-pop heyday — at the very moment that the generation gap seemed its widest — while more recent combos such as Danielson Famile somewhat self-consciously play off of them. Not so with Fiery Furnaces. An electrical, emotional current between the magnetic, sexily verbose vocalist Eleanor and musical mastermind Matthew runs like a live wire through their songs, many of which show up on Remember, which splices together reworkings from various shows in 2005 and onward. Overall the collection — set for August release but available on tour — is musically formidable, capturing the aggression of their live performances alongside drummer Robert D’Amico, percussionist Michael Goodman, and bassist Jason Loewenstein, and coming off as a little overwhelming.

"Yeah, it’s long. It’s long. It’s long," Matthew drawls somewhat wearily. "People sometimes resent the idea that they have to sit down and listen to the whole goddamn thing. So we wanted to make it clear: you needn’t do that. Please use it as you wish." Consider it, he says, chuckling, "straight background music. I mean, I could say that it’s meant to be an opera about the band, starring the band." Or — Matthew adds, rearranging his thoughts like a tune — look at the songs as objects that show the group "aging." Or try it this way: "It made sense to have the record be about the songs traveling, so to speak. What kind of journeys the songs went on, I say with a smirk," he says, a playful smirk clearly audible over his cell.

That searching sense of play — and enthusiasm — has kept the pair going as FF, which Matthew readily admits he never thought would last this long. Growing up in Oak Park, Ill., he performed in teenage rock combos before his younger sister summoned up the courage — with encouragement from friends and her broheim — to make music. The Brooklyn twosome decided to record their songs in 2002, he recalls, and "then we thought, well, we’d better try to be good."

"It’s no accident we have the same taste," he explains, though they aren’t the type of sibs who were "giving each other supportive hugs all the time." "That’s because our taste was formed by the same things, given to the extent she heard all the records that I listened to when I was a teenager. She’s younger than me, so she heard them at the same time, whether she wanted to or not, because I played them loudly. Even more than that, we understand each other — the things we refer to when thinking of what’s meant to be good in rock."

For the FF, that means making songs with the scraps of ephemera found in audience members’ pockets, otherwise known as their "Democ-Rock" project, launched in honor of the 2008 election season, which the ever-prolific band will record in the near future, and a funk companion album to last year’s ’70s-rock-esque Widow City (Thrill Jockey). It’s all grist for the mill, agrees Matthew, although Remember will stand as the document he feels the most emotional about. "It’s the story of my life in the last few years," he says, laughing. "It sounds like me trying to work hard and do something nice." *

THE FIERY FURNACES

Thurs/29, 9 p.m., $15

Great American Music Hall

859 O’Farrell, SF

www.gamh.com

WINKING AT REM

REM’s Peter Buck was a proto-indie-rock guru of sorts back in the late ’80s day — thanks to his impeccable taste and his way of shining a light on then-unsung predecessors like the Velvet Underground. So it wrecked my head to hear back in 2001 that he was charged in an air-rage incident with allegedly assaulting flight attendants and smashing up a first-class British Airways cabin, all of which he was later cleared of. Anger, however, has its uses, as his band has found on their new, energized CD, Accelerate (Warner Bros), a recording that tackles the tension between REM and its enraging world, rather than creating an otherworldly realm for the listener à la their early works. "I think it’s kind of hard to live where we live, at the time we live, and not be a little frustrated with the way the world is and the way our country is run," Buck says with a sigh, from his Seattle home. "I have to say, I don’t really trust people who aren’t angry about life in general or particular issues."

REM

May 31, 6 p.m.; June 1, 5 p.m.

$39.50–$89.50

Greek Theatre

UC Berkeley, Berk.

www.apeconcerts.com

The Long Blondes

0

PREVIEW When the Long Blondes arrived in November 2006 in fits of preening twirls and smoldering pouts with the decadent disco/new wave revamps of Someone to Drive You Home (Rough Trade), we’d at last found worthy successors to Pulp’s lip-gloss-and-sweat–smeared velvet crown. Fronted by the risky, romantic Kate Jackson, the Sheffield, England, quintet proved to be just as adept at intertwining the tawdry with the chic as their hometown forerunners, delivering laser-precise details of the dating scene while making the blood rush with every dirty dalliance and morning-after sound. Amid the snappy glam guitars, ice-sparkling synths, and jitter-pop rhythms, Jackson peered into the dance floors and singles bars and narrated back with a furious mix of exhilaration, lasciviousness, and cool detachment. Love’s a dangerous game with the Long Blondes, but pity the poor fool who doesn’t join in the frantic romp. When they sang promises of "Giddy Stratospheres" on the disc’s unstoppable Blondie-esque highlight, who could deny themselves such steamy, limb-tingling rapture?

Having recently re-emerged with the darker, rougher-edged Couples (Rough Trade), the Long Blondes remain just as committed to the hot-‘n’-flustered/couldn’t-be-bothered dynamic as they were before, and the Pulp/Blondie parallels hold true as well. On this go-round, however, there’s more menace to their nightclub trawling. Tracks such as "Round The Hairpin" skulk and creep with post-punk hypnotics recalling the likes of the Au Pairs, while the skeletal throb of "Too Clever By Half" offers spooky minimalist-disco deserving of the Italians Do It Better label. But for all their newfound experimentalism, the group has kept its flair for penning liberating live-wire pop anthems firmly tucked in its front pockets. "Falling in love is hard," Jackson reveals on "The Couples." "Writing a love song is even harder." Perhaps, but the Long Blondes have the lust-song thing down.

THE LONG BLONDES With Social Studies. Mon/2, 8 p.m., $15. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.gamh.com

The Cool Kids

0

PREVIEW With the success of their BMX ode "Black Mags" ghost-riding beyond the Internet echo chamber, the Cool Kids are on a roll. After one single for Nick Catchdubs and A-Trak’s Fool’s Gold imprint and a year spent performing live, including 30 dates with M.I.A., the 10-cut Bake Sale EP comes courtesy of C.A.K.E. Recordings/Chocolate Industries, home or former home to such acts as Prefuse 73 and Lady Sovereign. It’s slated to be followed by a proper album, When Fish Ride Bicycles, but right now the Cool Kids are back onstage, peddling — or pedaling? — their own blend of stripped-down hip-hop.

Though many latch onto the Chicago duo’s 1980s fixation and look no further, the carefully casual drawl of 19-year-old Antoine Reed (Mikey Rocks) and the spare, angular beats of 23-year-old Evan Ingersoll (Chuck Inglish) owe as much to Spank Rock or the Neptunes as the Beastie Boys and Run-DMC. With its brassy, clanging drums and tightly reverbed vocals, it’s no surprise that "88" has been snatched up by both HBO and NBA Live 08. If it’s possible to be aggressively nerdy, this pair, who first met on MySpace, are doing it. On "What Up Man," lanky Mikey Rocks raps, "I can build a sandcastle without bringing a pail / And go catfish fishing and come up with a whale," while the rhythm track, built from Inglish’s processed ticks, claps, and basses, chugs greasily along. From the uptempo, hi-trilling "Bassment Party" to the lethargic one-in-four boom of "Jingling" — an off-the-cuff riff on the sound of keys in your pocket — the Cool Kids make hip-hop akin to busting a wheelie. It looks pretty simple, but it’s damned hard to do.

THE COOL KIDS Tues/3, 9 p.m., $18. Independent, 628 Divisadero, SF. (415) 771-1422 www.theindependentsf.com

Tales of the shitty

0

› a&eletters@sfbg.com

REVIEW San Francisco is larger than the stories written about it. This is out of necessity: if we all tried to write down everything that happened here, our arms would get tired. And while the city itself is physically and culturally in thrall to many disparate groups, its history is surprisingly open, belonging most often to those who have nothing more than the inclination to take out a pen and start writing.

Exhibit A: Erick Lyle, a punk kid from Florida who makes zines about pulling off petty scams at chain stores. Mix Lyle and San Francisco and something interesting happens — he becomes a bard of the Tenderloin, distributing his missives (written under the name "Turd Caen") out of a stolen newspaper box. He quietly stocks the shelves of the San Francisco Public Library main branch with his work, leaving clippings and photographs in the library’s archives and inserting his zines in the periodicals section.

Lyle’s new book, On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95), is more likely to end up in the general collection of the library through official channels. After all, it’s reasonably book-size and reasonably book-shaped. It has an official-sounding title — and one that, charmingly, betrays a Tales of the City-like solipsism.

On the Lower Frequencies reminds me of Armistead Maupin’s early work in other ways too. Both are emblematic of the times in which they were written. Maupin’s characters fret about sex and identity (mostly sex) while squeezing melons at the Marina Safeway, while Lyle and his friends steal from Safeway and worry where to live next. The threat of eviction hovers over Lyle and his friends like an anvil, and they cope with a campy lightheartedness that is almost Judy Garland-esque. All they really want to do is throw parades, play music, paint murals, drink cheap beer, interview the mayor, and look for ancient steam vents. To achieve those ends, they live on the cheap and squat in building after building, often in the half-second before its conversion into condos (in one case, a wrecking ball almost takes out a few of them.)

None of these are uncommon tropes in punk writing, except for the "interview the mayor" part. The stories around that encounter — and the other interactions that the group has with city government — made me realize how insular and formulaic much zine content can be: interviews with bands x and y, a few squatting and train-hopping stories, and maybe one about hooking up with a girl who has a pet rat. Lyle’s writing is unusual in its intense curiosity about various subcultures and its sheer enthusiasm for discovering how the city does (and doesn’t) work.

Long-time fans of Lyle’s writing should note that virtually everything here has already been self-published, and that more than a little is lost in the transition to placid, even typography. It’s too bad On the Lower Frequencies didn’t get the warts-and-all reprint treatment that Last Gasp gave its Cometbus anthology. This book is for lending. Your earlier copies of Scam, if you have them, are for hoarding. The original format just feels, in some indefinable way, more secret. It’s hard to describe. Let’s just say that it’s the difference between exploring a building you’ve always been interested in under legitimate circumstances, and walking by that same building one night and finding the door unlocked. And that there’s a party going on inside. *


Pixel Vision: an interview with Erick Lyle

Hellarity burns

0

› news@sfbg.com

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

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

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

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

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

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

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

WELCOME TO HELLARITY


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

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

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

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

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

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

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

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

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

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

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

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

FOR SALE


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

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

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

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

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

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

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

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

OWNERSHIP VS. CONTROL


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

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

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

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

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

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

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

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

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

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

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

ENDGAME


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE


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

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

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

Nuclear fusings

0

› a&eletters@sfbg.com

Jazz has always been about fusing rather than fusion. But there’s a new generation of improvisational players from around the world who are effortlessly blending wide-ranging cultural and generational ideas in their music. These artists are equally conversant in Ben Webster, Kanye West, and Fela Kuti. They might cover Coltrane and Radiohead, but using contemporary Western instruments. It’s jazz with a global scope, modern sensibility, and an intimate, personal feel.

One musician who is naturally engaging a world of influences in his music is Puerto Rico–born saxophonist David Sanchez. When he brings his new sextet to the Herbst Theatre June 13 to debut music from his just-released album, Cultural Survival (Concord), Sanchez will cap an expansive run of so-called multilingual jazz artists coming through the Bay Area. Preceding Sanchez at venues across the region are saxophonist Charles Lloyd, pianist Marc Cary, bassist Esperanza Spalding, and pianist Edward Simon, who are all bringing variations on the theme of modern jazz as a genre informed by worldwide cultures.

It all starts next week with SFJAZZ’s "Miles from India" concert at the Palace of Fine Arts, a live presentation of the recent Four Quarters album of the same name. Producer Bob Belden and Indian keyboardist and co-arranger Louiz Banks reworked the music of Miles Davis and recorded it with such Davis alumni as bassists Ron Carter, Michael Henderson, and Marcus Miller; keyboardists Chick Corea, Adam Holzman, and Robert Irving III; drummers Jimmy Cobb and Lenny White; and such Indian musicians as Ravi Chari on sitar, Vikku Vinayakram on ghatam, and V. Selvaganesh on khanjira. The composer himself used sitar and tabla on numerous sessions throughout the 1970s, when he began making funkier and more layered, open-ended music.

Davis and numerous jazz musicians before him — from Duke Ellington and Yusef Lateef to Randy Weston and John Handy — integrated musical elements from non-Western cultures into their work. So it’s not surprising that a younger player like Sanchez, who is equally at home improvising with Latin jazz piano legend Eddie Palmieri as he is touring with guitarist Pat Metheny, would meld ethnic nuances of his Caribbean heritage with a postmodern jazz sensibility.

SONG CYCLES


Sanchez’s Cultural Survival is a cycle of seven original songs and one Thelonious Monk ballad. The disc culminates in the 20-minute "La Leyenda del Canaveral," inspired by a poem written by Sanchez’s sister Margarita about African and Caribbean sugar cane plantation workers. It’s a relatively new and spare, though lyrically rhythmic, sound for Sanchez, forged during a three-year immersion in African folkloric recordings from Tanzania, Cameroon, and the Congo, and his impromptu tour with Metheny. "Doing the tour with Pat was really a confirmation for me that there are different sounds out there," Sanchez said from his Atlanta home. The saxophonist has mainly played with a pianist but now works with guitarist Lage Lund in his band.

"In some ways there is more space for me there," he added.

Also exploring new concepts is veteran saxophonist Lloyd, who performs at the Healdsburg Jazz Festival May 31 with his Indian-music–inspired Sangam Trio, which includes percussionist Zakir Hussain and drummer Eric Harland. The band uses its ethnic edges as stepping stones. "It’s really what propels the music," Harland said of the intuitively improvisational trio during an SFJAZZ rehearsal in the city.

Venezuelan pianist Edward Simon also mixes new and old approaches: he studied classical piano at the University of the Arts in Philadelphia and jazz at the Manhattan School of Music before joining trumpeter Terence Blanchard’s band. His new Ensemble Venezuela, which plays the Herbst Theatre June 8, is a sterling gathering of major young players including Mark Turner on saxophone, Marco Granados on flute, Aquiles Báez on cuatro, Ben Street on bass, and Adam Cruz on drums. Báez will also perform with his own band while the local VNote Ensemble (formerly the Snake Trio) offers its take on jazz and Venezuelan traditional sounds.

FRESH FLAVORS


Such explorations vary conventional presentations and inject unexpected aural flavors. "Jazz is one of the most immediately gratifying art forms there is because it’s spontaneous development," pianist Marc Cary explained from New York. "It documents a moment, and that’s the moment you want people to hear."

Cary’s Focus Trio performs in Healdsburg June 5. His partners onstage are Bay Area musicians Sameer Gupta on drums and tablas and David Ewell on bass. "Sameer is from India and David is from China," said Cary. "I didn’t pick them because of that. I play with them because they’re good, but they’re bringing that too." On his 2006 album Focus (Motema), Cary wanted to get out of the standard chorus-solo-chorus cycle that has sometimes straitjacketed jazz. "I like continuous movement, a straight line, and I like to color that line," Cary mused. Gupta cowrote one song with Cary and contributed the reflective ballad "Taiwa," and his tablas close out the last three Cary originals with a distinctive flourish.

Cary played behind the übervocalist and band leader Betty Carter and has toured with hip-hop vocalist Erykah Badu, whose influences find their way into his work. "If you’re really going to play this music in today’s times, you have to bring in elements of the past, the present, and what you consider to be the future," Cary said.

That future is now with 23-year-old bassist Esperanza Spalding. The Portland, Ore., native, who graduated from and now teaches at the Berklee College of Music in Boston, recorded her 2006 full-length Junjo (Ayva) with two Cuba-born colleagues from the school: pianist Aruán Ortiz and drummer Francisco Mela. Their rhythmic approaches subtly imbue the recording’s sound as Spalding sings wordless, hornlike runs in a bright, fluttery alto. Her latest album, Esperanza (Heads Up), includes flamenco guitar virtuoso Niño Josele, drummer Horacio "El Negro" Hernández, and saxophonist Donald Harrison. She brings her new band to Yoshi’s in Oakland June 12.

Why have all these players connected with sounds so far afield? The world has not gotten smaller — it’s just better connected. Through technology even the most obscure genres find new and far-flung listeners. The communal spirit informing jazz performance and appreciation also transcends differences: jazz musicians have to be open; otherwise they can’t play the music. "At the end of the day, jazz is about how you relate to things happening at the moment," Sanchez said. He heard a reality in the African tribal drumming music he listened to and wanted to bring it to his own playing. "You have this feeling when you hear it that the music is like water or air for them."

"MILES FROM INDIA"

Sat/31, 8 p.m., $25–$56

Palace of Fine Arts Theatre

3301 Lyon, SF

www.sfjazz.org

CHARLES LLOYD QUARTET AND LLOYD’S SANGAM TRIO

Sat/31, 7:30 p.m., $45–<\d>$70

Jackson Theater

Sonoma Country Day School, Santa Rosa

www.healdsburgjazzfestival.org

MARC CARY’S FOCUS TRIO

June 5, 7 and 9 p.m., $26

Barndiva

231 Center, Healdsburg

www.healdsburgjazzfestival.org

EDWARD SIMON AND THE ENSEMBLE VENEZUELA

With Aquiles Báez Ensemble and VNote Ensemble

June 8, 7 p.m., $25–$56

Herbst Theatre

401 Van Ness, SF

www.sfjazz.org

ESPERANZA SPALDING

June 12, 8 and 10 p.m., $10–$16

Yoshi’s

510 Embarcadero West, Oakl

www.yoshis.com

DAVID SANCHEZ SEXTET

June 13, 8 p.m., $25–$56

Herbst Theatre

401 Van Ness, SF

www.sfjazz.org

Ultrabananas

0

› superego@sfbg.com

SUPER EGO Springtime in Clubland’s looking gorgeous so far: it could totally move covers and dominate the next cycle. A special double pinkies up to all the fab promoters throwing AIDS ride-run-walk-collapse fundraisers and shining limelight on the No on Prop. 98 campaign. I’d air-kiss you to death, but it would crust my Cover Girl Hipster Neutral No. 140 Lipslicks Lipgloss. Ack.

On to biz: yep, the hardcore electro banger sound — think ELO meets Spank Rock, filtered through acid house and bare-bones punk — has set my fuchsia radar to stunned, even though it’s already glitzed up most of the city’s edgier dance floors. It certainly makes me question the meaning of “underground” in the MySpace age. And despite the scene’s sometimes perilous “Girls Gone Wild” flirtations, it’s total ferosh to see so many banger women bringing real DJ and promoter power: Emily Betty, Queen Meleksah, Parker Day, Nastique, Kelly Kate …

Stuttery vocals, ripped-needle basslines, Justice influence, and hands-in-the-air breakdowns are the genre’s sonic commonalities, but the sound’s a mutt, streamlining electroclash and iDJ kitsch into a neon ball-slap to the brainiac minimal techno boyzone. That means it’s stylistically elastic, and two of my favorite San Francisco DJs — and people — from other scenes have vaulted to the banger forefront. Richie Panic (www.myspace.com/richiepanicisagenius) got big spinning mod classics and electroclash before teaming up with DJ Jeffrey Paradise, the banger godfather, to rock the new sound. He fronts an all-out ultrabananas punk energy — Gorilla Biscuits trumps Hot Chip — and his unerring ear blows dragon smoke from my broken lightbulb. Check out Mr. Panic’s top bangers here.

Vin Sol (www.myspace.com/vinsol), on the smoother hand, is a hometown hip-hop hero who tells me he found rap crowds too resistant to experimentation; electro has freed him to splash freestyle classics like Debbie Deb’s "When I Hear Music" over the lowdown banger sheen, and startle laptop lovers with dazzling vinyl pyrotechnics.

Newbies? "Ableton’s my homeboy," 22-year-old PUBLIC (www.myspace.com/publicworld), a.k.a. Nick Marsh, recently said to me with a laugh. He’s been blowing banger minds with his live shows at parties like Blow Up (www.myspace.com/blow_up_415) and software edits of the Cardigans, ELO (yes!), even When in Rome’s melancholic 1988 dance jam "The Promise." And his hypnotic new tune "Colorful" is a hit. "I played in a hardcore band, then went through an acoustic Postal Service phase," said the longtime record collector and musician. "So harder but really melodic stuff is natural to me. I think one way to get everyone on the floor is to take softer songs and make them more aggressive, so there’s a broader energy." He’s sliced and diced Metallica too.

Also fresh is 23-year-old LXNDR (www.myspace.com/djlxndr), who used to spin at raves and dreamt of being Armand Van Helden (!) before gravitating to Felix da Housecat and Richie Hawtin. He describes his sound as POPalicious — heavy beats over classic trax, but tasteful and widely appealing — and presides over the No More Conversations (www.myspace.com/nomoreconversationssf) weekly and wild Youngbloodz monthly (First Fridays at Milk, www.milksf.com). "I like to turn heads with my mixes and really make people notice that I put a lot of thought into how I drop a track. That’s what I always liked about the older dudes when I was coming up," he told me. Aw, sweet. Look for his seven-song EP — on which he plays guitar, bass, and synths — to hit this summer and munch up the younger clubbables.

San Francisco, meet Joe Nation

0

OPINION How would you like to be represented by someone who flacks for the insurance industry, serves real estate developers and landlords with zeal, opposes consumer privacy, and is a role model for corporate Democrats with a firm allegiance to big business?

You wouldn’t know it from the vague aura of his slick ads, but Joe Nation is hoping to be that someone in the state Senate. He’s the third candidate in the hotly contested race that includes two stalwart progressive politicians — incumbent Senator Carole Migden and Assemblymember Mark Leno.

Nation jumped into the Senate race in the 3rd District just three months ago. He’s trying to win in a sprawling district that includes half of San Francisco along with all of Marin and parts of Sonoma County. And he could pull it off.

The real danger of a Nation victory hasn’t been apparent to many San Francisco voters. Eyes have been mostly focused on the Leno-Migden battle, and Nation has never been on the ballot in the city before. But those of us who live in North Bay are all too familiar with Joe Nation.

When Nation’s campaign Web site trumpets him as an "advocate for universal health care," the phrasing is typical of his evasive PR approach. While in the state Assembly, Nation pushed for legislation that would force consumers and taxpayers to subsidize the health insurance industry. Meanwhile, he continues to oppose a single-payer system that would guarantee publicly financed health care for all in California.

Likewise, Nation leaves out key information when he calls himself an "international expert on climate change" for an "environmental consulting firm," ENVIRON International. He’s not eager to disclose that much of his work at the firm is for Coca-Cola, which excels at greenwashing its image to obscure its dubious environmental record.

In the Legislature, where he supported charter schools, Nation was problematic on public education. He earned distrust from the California Teachers Association and the California Federation of Teachers, both of which endorsed Leno in the Senate race.

When lawmaker Jackie Speier put forward a tough bill to safeguard consumer information rather than allowing financial institutions to sell it to the likes of telemarketers, Nation worked to undermine the legislation.

In 2006, nearing the end of his six corporate-friendly years in the state Assembly, Nation launched a Democratic primary challenge to US Rep. Lynn Woolsey — who has strong support in the North Bay congressional district because of her courageous leadership against the Iraq war and for a wide range of progressive causes. Nation attacked her from the right. She trounced him on Election Day.

Nation’s long record of siding with powerful economic players inspired the San Francisco Apartment Association and other landlord groups to throw a big fundraiser for his Senate campaign a couple of weeks ago. To big-check donors with an anti-renter agenda, plunking down money for Nation is a smart investment.

Independent polls now show a close race between Nation and Leno, with Migden a distant third. As a practical matter, the way for progressive voters to prevent Joe Nation from winning the state Senate seat is to vote for Mark Leno. *

Norman Solomon is the author of many books, including War Made Easy: How Presidents and Pundits Keep Spinning Us to Death (Wiley, 2005).

Assessing the deal

0

› sarah@sfbg.com

Mayor Gavin Newsom stood with San Francisco Labor Council executive director Tim Paulson, flanked by Sup. Sophie Maxwell and representatives from megadeveloper Lennar, the San Francisco Organizing Project, and the Association for Community Organizations for Reform Now (ACORN) May 20 to announce "a historic community benefits agreement."

Lennar had been persuaded to promise more affordable housing and other giveaways in order to win some important new endorsements in their troubled bid to take control of Candlestick and Hunter’s points and cover them with about 10,000 new homes.

"This is a very big deal," Newsom said, plugging the Lennar-financed Prop. G and bashing Sup. Chris Daly for his leadership of the campaign to qualify Prop. F, which would require that half the new units be affordable to households making less than $75,000, a requirement that Lennar casts as a deal breaker.

"Prop. F is a pipe dream that guarantees you only one thing: what you already have," Newsom said. "We have to get the message out what a Trojan horse Prop. F is." Lennar’s top local executive, Kofi Bonner, added that the agreement "enables us to go forward, because now we have new allies."

The Labor Council’s ability to invigorate a campaign makes it an important ally. Yet Lennar’s giveaway of more than it had previously promised and the fact that the agreement comes just two weeks before the June 3 vote seem to indicate that the Prop. G supporters have grown desperate.

Lennar already has spent $3.26 million to promote Prop. G and oppose Prop. F, only to find polls showing Prop. F well ahead despite a campaign that has raised less than $10,000. The weak poll numbers clearly convinced Lennar and its backers in the political power structure that voters would be more likely to support Prop. G if Lennar came up with something that seemed legally binding.

But by supporting a deal that appears to pin down Lennar on levels of housing affordability and community investment, Newsom ironically seems to be validating the concern of Daly and Prop. F’s other backers that Prop. G lacks guarantees on these fronts (see "Promises and reality," 04/23/08).

Not even Newsom could deny that Prop. F’s presence on the political landscape pushed Lennar to seek a community benefits agreement with the Labor Council and ACORN, a group that had been a solid part of Daly’s affordable-housing constituency.

"It probably has," Newsom told the Guardian. "That said, I don’t think Prop. F should suggest the deal is better because of them. Perhaps it’s worse."

Daly dismissed Newsom’s attacks as more attempts to hurt Prop. F’s popularity by trying to attach it to Daly’s personal negatives. Daly also attacked the agreement as overstated in its promises and impossible to enforce.

"I really don’t know if there is any net gain from one deal to the next," Daly said. "And how is it enforceable? We’re not sure anything legally binding is on table now. If there was a development agreement then obviously we would have some surety, as we would if we had a development plan that had cleared the approval process — Lennar’s financial vulnerabilities notwithstanding."

Noting that the city has had "bad luck with big order projects before," Daly recalls how Lennar reneged on building rental units at the Shipyard’s Parcel A, where the developer also failed to properly monitor and control asbestos dust despite promising to do so.

The agreement, which doesn’t include the city or any government agency as a party, is certainly unconventional. But is the deal legally binding? And just who benefits from it?

The CBA purportedly commits Lennar to create 31.86 percent "affordable" housing units in the Bayview, contribute $27 million to provide affordable homes throughout District 10, rebuild the Alice Griffith public housing project, and give down payment and first-time homebuyer assistance on another 3 percent of the homes.

All told, Paulson claims the deal locks in an unprecedented 35 percent affordable housing into Lennar’s mixed-use proposal for the Bayview. The deal also obligates Lennar to invest $8.5 million in workforce development in District 10, hire locally, pay living wages, and allow worker organizing with a card check neutrality policy.

"This legally binding agreement is a way we can insure that our community gets the benefits it needs," said SFOP co-president and longtime Bayview resident Eleanor Williams.

Paulson said May 22 the deal is still being "lawyered up" to ensure its enforceability, and ACORN’s John Eller insists the deal was done with community input. "We have had numerous meetings in which the community was demanding accountability and clear commitments to the workforce and housing, including the possibility of home ownership," Eller told the Guardian.

But Julian Gross, director of the San Francisco–based Community Benefits Law Center, clarifies that the deal only becomes legally binding if Lennar builds a mixed-use project in Bayview/Candlestick Point. "A community benefits agreement gives people a way to work in a coalition," said Gross, who helped negotiate CBAs at Oakland’s Uptown and Oak to Ninth projects, and at Lennar’s development in San Diego’s Ballpark Village in 2005.

Michael Cohen, director of the Mayor’s Office of Economic Workforce and Development, said the city hopes to enter into its own legally binding agreement with Lennar over a mixed-use project by the end of 2009, once environmental reviews on the project are completed.

Given that the project is expected to take 12–15 years to complete, could Lennar change the CBA’s terms after it starts to develop the Bayview? Yes, says Donald Cohen of the San Diego–based Center for Public Policy Initiatives, but only if both sides agree to any changes.

"In a private deal between private parties, those parties can agree to change the terms of the deal at any time," Cohen explained.

That’s significant given the divisions over development within the Labor Council. As Paulson confirmed, the building-trade unions were pushing for outright endorsement of Prop. G and opposition to Prop. F, but he successfully pushed for the negotiations with Lennar, which lasted more than eight weeks and almost broke down several times, Paulson told us.

"I told them, I don’t think that’s where we are coming from because Prop. G doesn’t contain guarantees on affordable housing or jobs," Paulson said of his initial response to Prop. G supporters.

The agreement appears to stretch the definition of "affordable housing," reaching up to those earning 160 percent of area median income, which is essentially market-rate housing for the low-income southeast sector.

Prop. F supporter Alicia Schwartz of People Organized to Win Employment Rights said that what labor’s deal with Lennar means is that only 15.6 percent of the housing will truly be affordable to the folks who currently live in the Bayview. While "3,500 units sounds good," Schwartz observed, "Only 50 percent of them will be for families making 60 percent and less of area median income, while the other 50 percent are for 80 to 160 percent AMI. That means $500,000 condos, which 70 percent of the Bayview can’t afford."

Yet Cohen said it’s understandable that the Labor Council crafted a deal that caters to those with above-average incomes.

"Affordable-housing policies over the last 10 years have tended not to address the needs of many of their members," Cohen said. "Many families make more than $64,000, so they can’t qualify for affordable housing, but don’t make enough to buy. This provides a fantastic and large-scale opportunity to address the problem of the squeezing of the middle class in San Francisco."

Public records obtained from the Mayor’s Office show that prior to this latest deal, Lennar planned to build up to 75 percent market-rate housing at the site, including hundreds of million-dollar townhouses, thousands of high-rise units at $787,483, mid-rise units at $734,400, townhouses at $651,366, and low-rise units at $592,797.

But under the CBA, the top tier of condos that Lennar deems "affordable" cost about the same as the cheapest market rate units it had already planned to build, leaving only 1,566 rental units at rates truly affordable to San Francisco’s low-income workers.

Paulson believes the resulting agreement "ensures that residents, workers, tenants, and future homebuyers have a path to new jobs and housing." He also claims that it is tied to the land, "meaning that it would be transferable to other developers if Lennar pulls out."

Joseph Smooke, executive director of the Bernal Heights Neighborhood Center, said he believes the jobs agreements labor negotiated are good. "It’s the housing stuff where they gave away the store," Smooke said. "Why didn’t they stick to the jobs piece and support Prop. F?"

Pointing to the Board of Supervisors’ passage of policy saying that 64 percent of housing in eastern neighborhoods should be targeted at 80 percent of AMI and below, Smooke added, "There are ways to make 50 percent affordable work. This is free land. It’s not rocket science. But is it city policy to protect a developer’s stated desire for 18 to 22 percent profit?"

Meanwhile, Schwartz hopes SFOP and ACORN are being accountable to their base of low-income workers. "Lennar would like to tell you that if Prop. G doesn’t pass, nothing happens. But in reality, the community’s plan stays, plus now there is a 50 percent affordable-housing requirement," Schwartz said. "That’s a win-win."

"For Newsom and Lennar to say that Prop. F is a poison pill — the irony is not lost on the Bayview," Schwartz added, recalling the city’s failure to hold Lennar accountable for its promises and misdeeds. "We’re looking to change the way business is done in San Francisco." *

Hold out for Hunters Point

0

EDITORIAL In the late 1980s, Mayor Art Agnos put forward a plan for development at Mission Bay, which at that point was an underused plot of land that used to be a Southern Pacific railroad yard. He negotiated with the developer, Catellus Corp., and cut what he insisted was the best deal the city could possibly get. He insisted that any more demands — for, say, increased affordable housing — would have so damaged the project’s finances that nothing would ever be built.

Development opponents took the issue to the voters — and the mayor’s plan lost. Catellus promptly came back with a much sweeter deal.

It’s worth remembering that lesson, because next week voters will be faced with a stark choice for a massive Hunters Point–Bayview redevelopment plan. Mayor Gavin Newsom and his allies say the city has squeezed major concessions from the developer, Lennar Corp. The San Francisco Labor Council and two community groups have forced Lennar to sweeten the pot even more (see "Assessing the deal," page 11). At this point, the city’s supposed to have the best deal it can possibly get.

But with all due respect to the Labor Council, Association of Community Organizations for Reform Now (ACORN), and the San Francisco Organizing Project, it’s not good enough.

The battle — which is shaping up as a very close contest — involves dueling ballot measures Propositions G and F. Prop. G is the deal Newsom and Lennar are pushing; it would give the financially troubled developer the right to build 10,000 new housing units, office and retail space, and a new football stadium, along with 300 new acres of parks, in one of the city’s most economically depressed areas. Some of the new housing would be available at below-market rates. Prop. F raises the ante a big notch: it would require that half of all Lennar’s housing be available to people making less than the median area income, which is $75,000 for a family of four.

For the record, it’s worth noting that the new concessions labor got would never have happened if Sup. Chris Daly and a group of Bayview–Hunters Point activists hadn’t placed Prop. F on the ballot. In fact, organized labor wasn’t terribly involved in the redevelopment project until a couple of months ago. That’s when Lennar’s team of political consultants realized that they might be facing a shellacking at the ballot June 3.

The polls show that Prop. F is very popular — and for good reason. It’s a simple proposal that makes excellent intuitive and practical sense. As housing activist Calvin Welch likes to say, San Francisco doesn’t have a housing crisis — the city has an affordable-housing crisis. Multimillionaires don’t have trouble finding places to live. And unfortunately, much of the new housing being built in this city is targeted to the very rich: typical market-rate one-bedroom condos start at around $500,000 and soar quickly into the millions. The rest of the city is getting forced out, and the dramatic, profound gentrification is transforming San Francisco.

Even the city planning department recognizes what’s going on: the Housing Element of the city’s General Plan states that 64 percent — nearly two-thirds — of all new housing ought to be affordable.

But the vast majority of the residents of Bayview–Hunters Point could never afford the vast majority of the new housing units Lennar wants to build. Prop. F seeks to address the deep imbalance in the proposed housing mix.

Lennar is squealing, saying it can’t possibly make the project pencil out with that much affordable housing. The company’s political team pushed the Labor Council to side with them, and in exchange for endorsing G and opposing F, labor got some worthy goodies. The level of what Lennar calls affordable housing is now higher than 30 percent — but when you actually look at those numbers, only about half of the 30 percent is truly affordable to the neighborhood residents who face being forced out of town. There’s also a new job training program and a mandate that new businesses allow their staff to unionize through a simple card-check process (although the city would almost certainly mandate that anyway).

But the bottom line is that the deal labor cut doesn’t meet what ought to be the standard for all new housing in San Francisco. Even after all the concessions, roughly 70 percent of the new units will be available only to rich people. That’s not acceptable in a city that is rapidly losing its artists, writers, musicians, immigrants, students … just about everyone who makes San Francisco such an exciting place to live is now an endangered species. And labor’s deal fundamentally does nothing to change that.

Vote yes on F and no on G. And if Lennar won’t build enough affordable housing, let’s scrap this deal and find someone who will. *

SPORTS: The westies of Red Sox Nation

0

By A.J. Hayes

A cursory inspection of the sea of fans sporting navy blue and crimson at the Oakland Coliseum this past weekend proved that a) Boston Red Sox fans travel really well. And b) David Ortiz replica jerseys are not limited to “Big Popi” sizes.

Dozens of men, women, teens and toddlers of all dimensions ringed the stadium, spreading New England support from foul pole to foul pole and representing Ortiz, the Red Sox massive slugger. And those not wearing Ortiz’s iconic No. 34 modeled jerseys and t-shits representing the likes of Manny Ramirez, Kevin Youkilis, and Jonathan Papelbon. Sprinkled among them were some retro pieces featuring the numbers of Jim Rice, Carl Yastrzemski and Ted Williams.

No matter how Oakland fared on the field against the visiting Bosox, the Green and Gold bean counters knew in advance they would be big winners at the box office. Boston is the hottest ticket in baseball and the Red Sox currently lead the American League in road attendance with an average of nearly 35,000 fans per road game. Plus, the A’s charge more for their tickets when the world champs come to town. In all the three game set in Oakland series netted 97,592 customers.

But long before the Red Sox won two world championships over the past four seasons, the Red Sox were a big draw in the Bay Area. During the Red Sox inaugural inter-league visit/invasion of San Francisco a few seasons ago, Boston fans famously took over the lower grand stand of the Giants freshly minted ball park.

New England and the Bay Area have their share of bicoastal similarities. Both area have Irish/Italian roots; both have legendary sea ports, each has boho street cred and each region is over-shadowed by neon glitz to the south.

Prior to Saturday evening’s contest at the Coliseum we ventured into the heart of the Red Sox Nation’s west coast capitol and let it’s citizenry speak for themselves.

Ray Remocapozzi, 35, sporting Bosox cap and t-shirt:

“I grew up and live in Reno and try to make it out to the Bay Area every time the Red Sox come in. My mom and dad are originally from the Boston area and my half-brother, who is 18 years older than me, turned me on to the team. When I was growing up he brought me a bunch of Red Sox stuff: caps t-shirts, pennants. Naturally, I rooted for them. This is the second time seen the Red Sox this year and the second time we’ve brought our two-year old daughter (out-fitted in Lil’ Popi tee). Red Sox fans are a tight knit group and we run into the same people year after year. This is Red Sox Nation way out west.”

DEMF: Moby’s Go-go, Hawtin clogs, DBX shocks ’em, and too high to skate

0

Detroit native gadabout Marke B. hits Movement ’08: Detroit’s Electronic Music Festival with a handbag full of what-what. Read part one here. The Techno Gods surely had a little laugh on the first (graciously sunny) day of the DEMF. Even though downtown’s sprawling, reinvigorated Hart Plaza on the waterfront – nestled in the shadows of the new casinos pumping serious cash into bigshot pockets and directly opposite the infamous “fist” statue that socks across-the-river Windsor, CA, in the kisser – was brimming with suburban kids and roaming tribes of fun-furred and mohawked candy ravers (love those kids!), and even though Moby (!) headlined, and started his closing DJ set by playing one of his own songs (albeit a remix of his classic “Go”), the old soul of the Detroit underground shone through in quite a few places. (Clarification: Oops my E must have kicked in then. See comment below.) demfdbxa.jpg Waiting for Moby Underground, quite literally. This year, promoter Paxahau Events has reopened the huge concrete-walled basement of the plaza, and has installed the soulful house DJs there, rather than the traditional hardcore noise experimentalists. By two o’clock, heavily muscled dance crews had stripped off their shirts and were throwing down – headspins included – to the sounds of Detroit classicists like Reggie “Hotmix” Harrell and Minx. (That night, freaky Terrence “The Phone Man” Parker and tribal-soulist Stacey Pullen would turn the underground area into a sweaty mass of writhing gay and straight bodies.) upsydaisy.jpg Upside-down to the morning beat demfsteven2a.jpg Terrence Parker hits So much for the house – and notably missing so far this year have been the little independent DJ setups sprouting about the plaza like tiny laptop-vinyl mushrooms – what about the four other stages? What about the techno? The main, video-projected-upon VitaminWater stage, where Moby would later thrash about like a puggle to his electroclash-tinged pop-techno throwbacks, got a slowish start with way-cerebral live sub-dub fractal burbles from local DJ-band hybrid trio nospectacle, which included Jennifer A. Paull, one of the few female knob-twiddlers at the fest. (I went with my fabulous mom, who seemed to be briefly into it.) The stage didn’t really seem to catch fire, though, until Canadian techno purist DBX aka Dan Bell hit the stage in the penultimate slot at 9pm. What Detroit techno used to look like: DBX’s “Electric Shock” from a TV dance show (I think “The Scene” in the late ’80s)