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‘Neo-Benshi Night: Move Over, Big Screen’

POETIC CINEMA

Cribbing from Japanese cinema’s early days, last year Konrad Steiner and San Francisco Cinematheque introduced neo-benshi – live narration by local poets of movie scenes. One entertaining highlight of the debut installment was David Larsen’s swaggering oratory for Troy, which proved just how easily, not to mention cheaply, a megamillion dud can be rescued by one person’s wit. Neo-benshi gets another go-round tonight, as (in conjunction with the Poets Theater Jamboree) American Psycho, West Side Story, and early Bette Davis get on-the-spot verbal reinterpretations. Joined by Colter Jacobsen, local lit wonders Dodie Bellamy and Kevin Killian take on William Wellman’s proto-disaster pic The High and the Mighty, while Leslie Scalapino faces down a chapter from the Lone Wolf and Cub series. (Johnny Ray Huston)

NEO-BENSHI NIGHT: MOVE OVER, BIG SCREEN California College of the Arts, Fri/20, 7:30 p.m.

1111 Eighth St., SF. $5-$8. (415) 552-1990, www.sfcinematheque.org

Class act

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With a new full-length on storied UK label Beggars Banquet in their present and a European tour with the National in their recent past, Bay Area band Film School might be assumed to have the world on a guitar string. But think again.

When I last spoke to them two years ago, founder-vocalist-guitarist Krayg Burton was bemoaning his broke state to guitarist-vocalist Nyles Lannon, beneath the posters of Malcolm "By Any Means Necessary" X and the other righteous underdogs at Café Macondo. Film School’s last recording, the EP Alwaysnever (Amazing Grease) had just come out, the tech bubble had burst, and the world was wide open, leaving Burton and Lannon to hawk their Web-related skills on their own.

Now here we are, in early January, tucked into the lamp-lit control room of drummer Donny Newenhouse’s Middle of the Mile basement studio in San Francisco’s Mission District, where Film School recorded about half of the new self-titled second album. The band has been awarded the gift-of-gab buzz at recent SXSWs, praised by NME, and described by BBC 6 host Steve Lemaq as his favorite new band. Next-level stuff. Now if only they can decide how best to approach a set list.

"We fight about the set list every night, every show," the laid-back Newenhouse says from behind the mixing board. He’s the A/V guy of Film School, according to his bandmates. "It’s like the A team – we’re pretty cool, unified, but …"

"We write the set list five minutes before we go on," interjects keyboardist Jason Ruck, Film School’s class clown. So there’s no room for dissention? "But then there is dissention, and we’re discussing it onstage when we’re supposed to be playing. That actually happened once in front of our label head." He looks pleased.

"It kind of ties into going to the next level," bassist Justin LaBo says, curled catlike in an easy chair in the corner. He’s the guy most likely to be expelled from Film School. "Not being, like, I don’t want to say, amateurs or rookies, but having your shit together, being confident and walking onstage knowing what you’re going to play, and not arguing onstage."

You’d be more pro and more polished, but perhaps less … interesting, I offer from the center of the Middle of the Mile booth. "That’s been the argument the whole time," Newenhouse exclaims, miming an irate bandmate. "<\!q>’I don’t want to be one of those fucking bands that has the same set every night and knows what they’re doing when they get onstage!'<\!q>"

"I kind of like winging it a bit," Burton mutters, the "tenured teacher with the vodka in the coffee cup" at this Film School.

"I want to have a rotating set list, written in stone," Newenhouse continues, half-self-mockingly pretending to carry stone tablets engraved with songs to a stage. "<\!q>’Here’s the 10 commandments’ – straight down from the dressing room every night. It’ll be like Spinal Tap’s Stonehenge – we can have midgets dance around them."

Spitballs aside, it’s comforting to know that some things never quite change – be it Film School’s collective, self-deprecating sense of humor or their honest, exploratory doubts – even as one chapter ends and the band appears to be on the brink of graduating into some sort of big time.
GENUINELY GORGEOUS

At first listen, the new Film School is almost off-puttingly polished: It’s one of the best-sounding self-produced, headphones-only albums by a local band I’ve heard of late, blending the poppier hook-and-groove singles-craft of "On and On" and the elastic, massive, 4AD-ish groove of "Pitfalls" with gorgeous wall-of-psych longer pieces such as the airy, multitextured, Floyd-drenched "He’s a Deep Deep Lake," and "11:11," which moves from an almost early U2-like twitch into glitched-up drone before finally ascending into a dervish of guitar noise.

The mixture of tones was deliberate. "We actually value a record that comes from different directions and has a different sound here and there, as long as it’s cohesive, and we spent a lot of time trying to make it cohesive," wise man on campus Lannon says, sprawled in a lounger. "The record actually has, I think, a unique flow to it. It kind of takes you on this ride."

Just don’t call them "shoegazer." "We just like [My Bloody Valentine’s Loveless] because it’s really textured and spacey, not because it’s guys in bowl cuts staring at their shoes," LaBo gripes.
LONG TIME COMING

Much like their six-minute singles, it took a while to get to Film School. The band that began in 2001 as a live ensemble charged with playing ex-Pinq member Burton’s first Film School self-released album, Brilliant Career, has since become a full-fledged collaborative entity, with plenty of production experience courtesy of Lannon, LaBo, and longtime Bottom of the Hill soundperson Newenhouse (who replaced Ben Montesano in Film School when the latter got married about a year ago). Lannon has worked as Azusa Plane and N.Lannon, LaBo has recorded as Technicolor, and Newenhouse has drummed with Holly Golightly and Hammerdown Turpentine.

They started working on Film School in 2004, turning to three different producers before finally deciding to do it themselves in Newenhouse’s studio, where they cut five newer songs and mixed in older dreamier material recorded in Lannon’s bedroom.

"We actually wasted six month’s worth of time on one song," Newenhouse says. "That was a real drag. Technically, it was difficult. I think [the producer’s] idea of what he wanted it to sound like didn’t really mesh with ours. That’s when we realized we should just do this ourselves."

"I haven’t been back here since we recorded," Burton marvels from the corner, a stocking cap pulled over his ears. "I’m starting to remember those eight-hour days, looking round here – it’s like, oh god."

Since the album spans such a long period, one wouldn’t expect the songs to have much in common with each other, though Burton swears they do: "Maybe there’s a little bit of a theme about trying to move forward and feeling a little stuck." And perhaps that has something to do with the long, drawn-out making of Film School? "Maybe!" he says. "I think it might be just getting older and trying to make those next steps in life."

Beggars Banquet first made contact with Film School’s manager two years ago when the band played with TV on the Radio in the UK. It took about a year of e-mails and talk before a deal was struck, around the time when the album was completed. "It took basically all of last year until the dust settled," Lannon says. "Is it even settled yet? I don’t even know. On this last tour we were like OK, it’s official, right? We’re spending money, this advance. I think once the money is in your account, the thing is really happening."

"It’s weird to be working with a label that isn’t worried about going out of business. Not having this dark cloud over you the whole time," Lannon continues, mimicking an imaginary imprint. "<\!q>’Urrrrr, rock music. Records just don’t sell like they used to.’ That’s every other label we talked to. It’s just a recurring theme that you hear as a person in the indie rock world. Every label you talk to has that, starts with that ‘Feel sorry for me, I’m a label’ sob story. But Beggars has figured it out; they’ve been around for a while – it’s a nice situation."

"We can exhale a little," Burton adds gently.

"Now we just have to play well every night!" Ruck cracks.

FILM SCHOOL  Jan. 26, 6 p.m.  Amoeba Music  1855 Haight, SF  Free  (415) 831-1200  With Sound Team and Citizens Here and Abroad  Jan. 26, 9 p.m.  Bottom of the Hill  1233 17th St., SF  $10  (415) 474-0365

Bolivia’s ballot-box revolution

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 The timid rays of the sun receded from the Bolivian tropical savannas, bathing the valleys and disappearing behind the Andean mountains, on the afternoon of Dec. 18. They seemed to foretell that the Bolivian schizophrenic "political culture" was dying. And it happened.

On that day, indigenous Bolivia came out of political anonymity. In a move unprecedented in Bolivian and Latin American democratic history, the great indigenous majority, previously excluded and subordinated, elected one of our own, using the power of responsible and conscientious votes.

An indigenous man, Evo Morales Ayma, is our president! Yes, the llama herder from the forgotten Orinoca village. The man who as a child survived by following sheep and llamas and eating the dried orange peels the truck drivers threw out on the roadside, who as a ragged boy "celebrated" his "joy of living" once in awhile with a dishful of hank’akipa (cornmeal soup); a Bolivian who was born on his mother’s skirts (not in a hospital) under the dim light of a homemade oil lamp; a man who, like many others, dreamed of one day attending a university and becoming a professional but learned that, because of the exclusionary political culture and abject poverty, those dreams were unattainable.

Evo learned the lessons of political leadership in the school of life while working with the unions in Chapare (the tropical province of Cochabamba where he emigrated with his parents because of dire poverty in the highlands). He was deeply moved and outraged when he learned one of the coca growers’ leaders had been burned alive by the military. Later on, the union would open his eyes, mind, and heart to understand the causes of poverty of the Bolivian people.

The Bolivian neoliberal elite, promoted by the United States, tried very hard to avoid and stop the democratic revolution of the indigenous people, but it was too late. The contained anger and outrage on the face of so much corruption and betrayal by the shameless traditional politicians had reached the limits. Now was the time. Indigenous movements, laborers, farmworkers, social organizations, professionals, intellectuals, students, women, day laborers and theunemployed got together, armed with voting ballots and voting booths, to start a democratic revolution.

Before today the Bolivian social movements were labeled as communist and anarchic, or as drug dealers and disrupters of order by the official national and international media. By now the world knows by the results that we Bolivians are not terrorists or drug dealers. We are only people who want to live, people capable of solving our own historic problems using the democratic tools of the game.

The sun shone bright on the morning of Dec. 19. It washed away 180 years of exclusionary darkness and subordination of the indigenous people of Bolivia.

Never again against us! Never again without us! All of us together make Bolivia! Our destiny calls us to work in unity on the multicolored fabric of our national identity!

 Jubenal Quispe

Quispe is a Bolivian lawyer and activist who accompanied a San Francisco Presbyterian Church delegation known as Joining Hands Against Hunger on a recent tour of Bolivia. Translated from the spanish by Nancy Gruel.

For more information see "Evo Presidente!"

Making a splash

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"One, two, three, four – squeeze your butt, Paul! – seven, eight," coach Suzanne Baker says into the microphone, pacing the poolside deck and counting the beats to a techno remix of "Another One Bites the Dust."

The members of Tsunami Tsynchro are in the water doing leg splits in the air. The first time they try it, legs bash into heads. "OK, OK, I can fix this," says Baker. She has them add more space by pushing off each other’s shoulders with their feet. They practice the new move repeatedly. "Again. Under. Again. Under," Baker commands.

Tsunami Tsynchro is the country’s first – and right now, only – male synchronized swimming team. It grew out of the Tsunami Swim Team, a gay and lesbian masters team, started two years ago as a synchro team for gay men (though it now includes several women).

They practice twice a week, today holding their underwater positions with the help of empty milk containers. "The bottles force you to find your body mass," Baker explains as they work to mobilize their bodies. The team is preparing its technical routine, a 90-second display of its most difficult moves that will be performed at this summer’s Gay Games in Chicago, where Tsunami Tsynchro will compete for the first time, alongside all-women’s teams.

It will be a big summer for the team, but it could’ve been bigger. In August the XI Fédération Internationale de Natation World Masters Championships are coming to the United States for the second time ever, but the Tsunami team isn’t allowed to compete. When the Bay Area hosts the FINA Championships at the Stanford Aquatic Center, the nation’s first male synchro team will be just a Caltrain ride away from the bleachers, but a lot farther from being permitted into the pool.
Image problems

Synchronized swimming combines rigorous physical exertion with the demands of polished performance. During routines, swimmers can’t touch the pool’s walls or bottom at any time. They spend a good portion of each routine with their heads underwater and bodies vertical, being judged on how high their legs reach. Coach Baker compares performing a synchro routine to "having to race a 400 individual medley in swimming, holding your breath every third lap, and smiling the entire time."

Stephen Houghton comes to the team with a history of Iron Man competitions and a seven-day stage race across the Sahara desert. He says synchro is tougher, and credits his one advantage not to his years of endurance sports but rather to his ballet training as a kid. "It gave me flexibility, and the ability to count to eight. You’d be surprised how many men can’t count to eight."

Underwater, the swimmers have to do more than count and hold their breath; they also have to control their heart rate. "If you’re pumped up and excited, you burn up all your oxygen," says Stuart Hills, a brown belt in tae kwon do and a former competitive swimmer. "You have to get into a relaxation state."

Pool time can be perilous too. Complicated lifts can lead to injury – bloody and broken noses, for example, and one bad incident involving a knee splintering a set of goggles. But during the routines, the difficulty of the sport has to melt away from the performance. "It’s tough," Hills says, "but you’re supposed to make it look easy."

Image is key to synchro – in a couple of ways. On the one hand, swimmers are judged by the attitude they project during routines; on the other, they must fight the image problem that has hindered their sport’s mainstream acceptance.

Synchronized swimming is a sport almost defined by the mockeries made of it, including the classic Saturday Night Live skits involving a pair of male synchronized swimmers, one wearing floaties. You’re more likely to find synchro on Comedy Central – in movies ranging from Austin Powers to Mel Brooks’s History of the World: Part I – than on ESPN. That’s made Tsunami Tsynchro’s quest for acceptance all the more difficult.

"This is really the last area men haven’t been able to compete [in]," says Bob Wheeler, one of the team’s founding members. Unlike female-dominated sports such as figure skating and gymnastics, synchronized swimming has no male or mixed category. "You don’t have many young boys doing synchro," Baker notes, "so they don’t see a need to make a category yet."

Beyond gender bias, there are other barriers to creating male synchro teams. In general, new synchro teams are not started very often because it’s an expensive sport. The underwater speaker system cost the Tsunami team $3,000. Synchro teams also have fewer swimmers than most swim teams, yet they need more attention and more pool time to hone their routines, so each member must pay more in coaching and pool fees. And in order to develop and practice routines, all the team members must be present.

"This is in no way an individual sport," says Baker.

If new synchro teams are rare, new male synchro teams are even more elusive, the white tiger of aquatic sports. It’s not a sport in which men find it easy to participate. When Wheeler created his Match.com profile, he debated whether or not to put down synchronized swimming as one of his hobbies. As it turned out, Wheeler began dating Kurt Kleespies, a longtime swimmer, who’s now the newest member of the team.

Officially, men aren’t welcome under the sport’s highest guidelines. Though they are allowed to compete domestically under US Synchro rules, FINA, the worldwide governing body of aquatic sports, doesn’t allow men to compete at an international level.

"In theory," Baker admits, "women shouldn’t compete directly with men." At the Olympic level, she says, the rule makes sense since men have the capacity for greater strength. But at the masters level, she argues, the genders are much more evenly matched. Most women competing at the masters level have been longtime synchro swimmers. The men are almost all beginners. And when they’re starting out, she says, men face several significant barriers: "Women tend to be more flexible. Men are denser and therefore less buoyant. These guys are all trained swimmers…. They were sinkers from the get-go."
No men allowed

More than 8,000 international masters athletes will hit the Bay Area in August for the FINA championships in swimming, diving, water polo, and – for women only – synchronized swimming.

Because of the FINA rule, the World Masters Championships can’t allow men to compete. "We are all for people competing in whatever sport they want to compete," says Anne Cribbs, chair of the Bay Area Sports Organizing Committee and executive director of the FINA championships. She supports male participation in the sport if approved by FINA, but can’t permit it in international competition until it’s officially accepted.

Not so long ago, the rule seemed poised for change. "In 2000 I thought it might happen," says Don Kane, competition director for synchronized swimming at the World Masters. Five years ago a proposal was brought before the FINA General Conference to allow men to compete. It was passed by the FINA Congress, but then overruled by FINA president Mustapha Larfaoui, from Algeria, and FINA executive director Cornell Marculescu, from Romania, who cited a lack of male teams. Or, as Kane suggests, concerns by "male-dominated cultures."

The prospects for men competing internationally are not bright in the immediate future, Kane surmises. At the Athens Olympics, Larfaoui had the FINA rules changed so he could run for office again, and Kane doesn’t foresee the synchro rules changing under his command.

As for the Tsunamis, "we thought about registering as a female team and trying to pass as women," coach Baker jokes. She turns serious, though, saying, "These guys are doing a lot of hard work. They should be allowed to compete."

The team is hoping to put on an exhibition routine, though they’ll need FINA permission even for that. But Tsunami board member Brad Hise is optimistic about their chances, saying, "This is the Bay Area; men do things here that people don’t typically associate with us."

Synchro is a sport of physical challenge, artistic movement, jazzy music, gender conflict, and international cultural clashes. And one more thing, says Stevens: It’s also a sport of total surprise. "People disappear underwater, and you think, what will they do when they come up?"

www.basoc.org/pr_032405.html  www.sftsunami.org

True grits

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Punk doesn’t get much more soulful – or outta hand – than Beth Ditto. After watching her tear up the stage at Bottom of the Hill, pulling her enraptured audience members up to dance and taking on "I Wanna Be Your Dog," I shouldn’t have been surprised to find myself chasing the Gossip vocalist down for a phone interview over the course of days, hooking up at the absolute last second. I, like all her other fans, wanna be led around on a leash by the baby-faced diva from Searcy, Ark.

On the line from Portland, Ore., late on a recent midweek evening, Ditto proves that she gives just as good phone as she does soul-stirring performance. Fresh from viewing The Exorcism of Emily Rose ("It was an advertisement for Gambutrol as much as it was an ad for the Catholic Church – they only said it every other sentence!"), Ditto is so winning, earthy, and outright fun in conversation you completely forget about the terrors that came with getting in touch with her in the first place. Runaround – what runaround? I’d much rather get the scoop on Ditto; guitarist Nathan Howdeshell, 26; and their new drummer, Hannah Blilie, 24 (Shoplifting).

"I’m such a grandma," the 24-year-old Ditto says disarmingly. "I’m no good after 11. I got my face off, my glasses on, bra’s off, and my tits are sagging."

SFBG: Were you into punk rock early on?

Beth Ditto: I really identified a lot with Mama Cass. I really like Wizard of Oz. My mom listened to Black Sabbath and Pink Floyd and my dad listened to a lot of Patsy Cline, Kool and the Gang, and the Bee Gees. And, of course, there was a lot of gospel music around. I was a choir kid.

SFBG: How did you come to riot grrrl?

BD: I was a feminist before I was a riot grrrl. I just hated so many things about the world, growing up, in elementary school, my stepdads, and I thought it was annoying how irresponsible they were. I got sick of that. I heard the word feminist, and I thought that’s what I am. I was 13. I did my seventh grade speech on Gloria Steinem.

SFBG: Now the Gossip are huge in the queer music community.

BD: I think the first time it dawned on me was a few months ago, when I realized that people are listening to Gossip records the way I used to listen to Bikini Kill and Need records. That’s crazy because now when I go out to a party, there’s at least one drunk girl who will stop me and talk about that.

SFBG: Do you feel any pressure?

BD: Those are my people. I feel more pressure from the music industry to be more straight-laced or be more thin or to be more toned down. The hardest part is definitely the pressure to be something I’m not.

SFBG: What about your fat activism – has that become more challenging?

BD: The bigger we get the more challenging it is. No pun intended. I think it is hard now because we’re dealing with people who have no fucking idea who Nomy Lamm is, people who have no idea what fat activism is. They don’t have a smidgen of an idea, which tells me they haven’t even dabbled in anything remotely punk or feminist or political. I have my shit figured out, and you realize you live in a bubble with people you think, or hope, have your back.

SFBG: Who turned out to be clueless, in your experience?

BD: People who do your makeup and hair at photo shoots, for fucking sure! Clueless! Not all of them but a lot of them! I can’t have someone do my makeup if they don’t know who I’m talking about if they ask me if I have any ideas and I can’t say, "Debbie Harry ’79" or "Divine the last scene in Female Trouble." If they look at me and say, "Who’s Divine …?" It doesn’t make you a bad person, but I don’t think you should be doing my makeup.

SFBG: What did you want to accomplish with Standing in the Way of Control?

BD: We had a goal of finishing it. We hadn’t put out a record since 2003. Our old drummer was busy all the time. It was obvious that her heart wasn’t in music anymore – she wanted to be a midwife, and she was in school all the time. We toured very seldomly, and we had to say no to all these things we wanted to do.

SFBG: Will you be touring now?

BD: That’s where I’ll be for the next year – on the road, in a van. I’m excited about the West Coast and Europe, but separately – I can definitely not do three months consecutively again. Time home is really important for me. My best friend just pointed out to me, "Beth, you need to be grounded." By grounded, she means being around all of my shoes instead of 10 pair. It drives me crazy. And all of my makeup. I need to be around all of my clothes. Leaving my sweetie [Freddie Fagula] is really hard.

SFBG: How many pairs of shoes do you have? That’s very Imelda-like.

BD: I know it is! I don’t know. Sometimes I’m afraid to know. I’m a high punk femme!

SFBG: Any good gossip?

BD: I burnt some oatmeal cookies. I cook with meat. I’m so meat-and-potatoes – I was raised so Southern. I make chicken and dumplings and cornbread and biscuits and gravy. When it comes to vegetarian things, I’m not a good cook, but I will sure eat the hell out of it.

I had this one person in a band say to me once – we were going out to eat somewhere – "Do you guys eat meat?" I said, "I’ll eat anything. I’ll eat dirt." And he turned around and looked at me and said, "Well, meat is murder." And I said, "No fucking shit! Just turn around and drive the car!" Like I didn’t live in Olympia for four years. "Oh, thanks, you’re really clueing me in." This particular person was just so self-righteous.

SFBG: What did you think of Walk the Line?

BD: Being Arkansan, my Aunt Mary picked cotton with Johnny Cash when they were kids. She used to say to my mom, "Well. He ain’t much. He just that old Cash boy."

Didja hear?

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"Our mission is to make you dance & if yr not gonna dance, just stay at home," the Gossip once posted on the K Records Web site. But even if the best introduction to the Portland, Ore., blues punks is through their notoriously sweat-inducing live shows, two left feet needn’t deter anyone from checking out the trio. With three albums, two EPs, one live record, and a handful of singles, split releases, and compilation tracks to the band’s name, there are plenty of ways for wallflowers to enjoy the Gossip in the privacy of their own homes. Try these career-spanning highlights a greatest-hits mix that, even if public displays on the dance floor ain’t your thing, should get you busting moves in the bedroom mirror.

"WHERE THE GIRLS ARE," "SWING LOW," "BONES," THATS NOT WHAT I HEARD (KILL ROCK STARS, 2001)

After 2000’s promising self-titled debut on K Records, Thats Not What I Heard offered the first hint that the Gossip’s gutbucket blues were more than just a vehicle for Beth Ditto to wail about her unquenchable sexual desire. Sure, there’s plenty of that "Where the Girls Are" and the gospel-queering "Swing Low" are irresistible testaments to graphic Sapphic expression but it’s "Bones," the story of a woman who offs her abusive husband then hits the road, that best captures their explosive energy.

"I WANT IT (TO WRITE)," FLYING SIDEKICK: HOME ALIVE II (BROKEN REKIDS, 2001)

"Put your hand up my skirt! Push it in, pull it out, make it hurt!" Ditto shouts. It’s the relentless hand claps as subtle as a barrage of open-handed bitch slaps and Gories-ripped riffs that truly turn this ode to, uh, digital love into their filthiest romp. Talk to the hand, girl!

"(TAKE BACK) THE REVOLUTION," ARKANSAS HEAT EP (KILL ROCK STARS, 2002)

With references to women workin’ hard for the money too hard for too little, that is and small towns full of even smaller minds, this rallying cry sets the Gossip’s slow-burning political fury ablaze. On "(Take Back) the Revolution," Ditto demands an overhaul in how people think about class, gender, and body image. "All you do is criticize my body, my hair, or the clothes I wear," she hollers at the haters. Certainly for many "kids stuck in a shitty small town," to whom Arkansas Heat is dedicated, it provides much-needed hope.

"CONFESS," "FIRE/SIGN," MOVEMENT (KILL ROCK STARS, 2003)

Movement‘s title doesn’t refer to artistic growth the band’s second album is essentially more of the same. But frantic, frug-worthy stompers like "Confess" prove that’s certainly not a bad thing. Then there’s the raucous "Fire/Sign," which comes off like Ditto’s ominous, don’t-go-there warning to a gay friend not to be wasting time on undeserving dudes. "Now Mary, what are you thinking?" she tsk-tsks, assuming her role as rock’s fag-haggiest soul mama.

<\!s><\i>"SNAKE APPEAL," "NIGHT SCHOOL" 7-INCH (KILL ROCK STARS, 2003)

<\!s><\i>"SLEEPERS," REAL DAMAGE EP (DIM MAK, 2005)

These little-heard gems suggest that, like her band’s deceptively simple music, sometimes less can be best when it comes to Ditto’s voice. "Do you understand what a mess you’re making?" she calmly asks her thoughtless lover on the girl group<\d>inspired "Snake Appeal," letting the subtle, oh-no-you-didn’t tone in her voice provide a bigger eff-you than any bloozy bombast ever could.

"STANDING IN THE WAY OF CONTROL (LE TIGRE REMIX)," "STANDING IN THE WAY OF CONTROL" 12-INCH (KILL ROCK STARS, 2005)

Considering the dramatic depth of Ditto’s voice has always rivaled that of today’s finest dance divas, it’s surprising that it took the Gossip so long to get their asses to the discotheque. If only they’d do it more often: This Le Tigre remix upgrades an already superb dance-punk track into the sort of deeply uplifting anthem for which shedding your inhibitions along with some serious blood, sweat, and tears under the mirror ball is made. Now you too can dance for inspiration.

Third time’s a charm

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It says so right there in the bio: A rock album that all others will be judged against this year was recorded in the same spot where Lionel Ritchie created "Dancing on the Ceiling."

Bear Creek Studios no longer has so much to answer for. To others, that name may conjure visions of an ex-Commodore tripping the light Astaire-style on some drywall. To me, it’s now known as the birthplace of Standing in the Way of Control (Kill Rock Stars).

In my household, up until now, the word on the Gossip has been that their recordings don’t catch the wildfire of their live shows. When Beth Ditto and company first toured the United States with Sleater-Kinney, Ditto was already hinting she could make punk’s great siren of the ’90s sound small, but you wouldn’t find proof in the pinched, monochromatic quality of the 2001 debut album, That’s Not What I Heard, on which each track largely resembled the one before or after it.

The first big hint of a difference came with 2003’s Movement. Some people think its songs aren’t as strong, but the first things I noticed were that the drums had more kick, Ditto’s voice didn’t sound like it had been shrunk by a cramped studio and crappy mic, and the ballad "Yesterday’s News" showed her blues were getting deeper and darker. C’mon, I thought. Bring it.

Then, early last fall, I walked from Bimbo’s 365 Club’s lush lobby into the main room and saw and heard the Gossip that you’ll find on their amazing new album. Ditto had ditched the swirl ’do and basic black fashions for shoulder-length straight hair and a striped, strapless dress. Together with guitarist Nathan Howdeshell and excellent new drummer Hannah Blilie, Ditto launched into what I now know is the title track, and it was obvious from the bumptious hooks and beats that the Gossip were communicating with post-punk disco’s rawest queer spirits, both alive (ESG) and dead (Arthur Russell). This was a band reborn.

Except "born again" doesn’t quite fit the Gossip, who’ve been true believers in a lot of great things like the power of a woman who says what she wants to say and does what she wants to do from day one of their life in the Arkansas swamplands. Strong enough to initially work over both Olympia labels that begin with a K, their guitar-drums-voice approach may have owed some spare change to the Spinanes, or come across as the fun flipside of Heavens to Betsy’s extreme angst, but when it first hit town, you best believe it scorched Fifth Avenue, Washington Street, and the heartless Martin.

Standing in the Way of Control isn’t rocket science just a recording by Guy Picciotto, of Fugazi, that finally captures the sweaty, untamed energy of Ditto and company in concert, letting you start your own dance party whenever and wherever. With a band this great this alive that’s no small feat. The strut of Ditto’s voice is lighter and there’s more snare happening in the rhythms. On "Listen Up!" a cowbell kicks in behind her as she schools children: "There’s some people that you just can’t trust … on the playground, you learn so much."

Ditto’s awesome voice is a source of pure energy and uplift there’s something wonderful about the way it acquires a razor’s edge as it reaches higher on a ferocious anthem like "Yr Mangled Heart." Yet while she sounds upbeat, her words on these songs are haunted. The title track’s stance of defiance amid the everyday-and-endless brainwash bullshit of the Bush era is typically stressed-out.

One song later, on the somewhat Romeo Void<\d>ish "Jealous Girls," Ditto’s wrestling with a feeling that kills girl love and doing so in way that goes beyond sloganeering she explores the pain of the emotion, and the paths that lead to and away from it, before tacking a declaration of independence ("No matter what the price, they can’t take me") to a chugga-chugga finale.

"Coal to Diamonds" could almost be a ballad by the Soul Queen of New Orleans, Irma Thomas from its empty nighttime atmosphere to its sudden, bereft ending. Even if the instrumentation doesn’t move beyond thrift-punk sparseness to include a string arrangement, Ditto is still more than equipped to carry the song on her own. One thing is for sure: There isn’t a more powerful or charismatic frontwoman frontperson in rock these days. Karen O? Please. Frankly, Ditto could teach most of today’s slick R&B ladies with the exception of Mary J. and Keyshia how to go rage as they race up and down the scales.

At the moment, the Gossip have 4,305 friends on MySpace. That number is about to grow. Listening to Standing in the Way of Control, I can only back up what one of those friends has to say: "It even got the little hair on the back of my neck dancin’."

THE GOSSIP CD-RELEASE SHOW

With Numbers, Tussle, and Dynasty Handbag

Jan. 27, 9:30 p.m.

Bottom of the Hill

1233 17th St., SF

$12

(415) 474-0365

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DO NEW MEDIA move more quickly? The San Francisco Museum of Modern Art’s media arts curator, Benjamin Weil, will officially resign Sept. 3. Starting at the museum in 1999 at the zenith of the dot-com boom, Weil was responsible for commissioning well-regarded pieces by Christian Marclay and Pipilotti Rist, whose work is on view until August. He also reinstated the film program and presented numerous sound projects at the museum. He’ll see through upcoming shows featuring Jeremy Blake’s Winchester Trilogy and six works by Gary Hill, which open in February and March 2005, respectively. But Weil will devote most of his time to Eyebeam, a think tank-like art space in New York City where he’s served part-time as curatorial chair since 2003. The serious multitasker is also curating Villette Num&ea cute;rique 2004, a Paris-based new media festival that opens this fall.

I was lucky enough to go on a recent hard-hat tour of the M. H. de Young Memorial Museum, and I have to report that the building will be a breathtaking surprise when it opens next fall. Architects Jacques Herzog and Pierre de Meuron’s vision melds with the park location, not to mention the northern California landscape – the copper surface suits the atmosphere, while the inset windows and courtyards allow for the park to be almost omnipresent. And the view from the much-contested tower? A stunning 360 degrees! The larger interior does raise an important question, though: can the de Young’s curating choices live up to this new and improved structure? Stay tuned.

Monkey business

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 STEPHEN LISBERGER IS a scientific star. His decades-long research into how the brain registers and responds to visual stimuli is considered groundbreaking. His colleagues are effusive in their praise. William Newsome, a Stanford University neuroscientist who investigates similar terrain, told the Bay Guardian that "it could take decades, or even centuries" to assemble a complete, working map of the brain’s essential functions. "And Steve is one of the few people in the world who’s making progress on this."

The federal government thinks he’s worth a fair chunk of taxpayer change: The National Institutes for Health gave Lisberger $1.6 million in grants this year, and since 1992, an NIH database shows, he’s received 31 grants worth a total of more than $12 million.

But Lisberger’s work involves fairly invasive experiments on live subjects, and since you can’t exactly stick electronic probes into the brains of human beings, Lisberger uses rhesus monkeys, those red-faced staples of biomedical research. His experiments have made him the bane of many critics of animal experimentation – and over the past decade he’s become the poster boy for opponents of animal experimentation at UCSF.

Lisberger declined to be interviewed for this story, so we gleaned the outlines of his work from federal documents and UCSF records.

It’s not a pretty picture.

According to the scientific protocol for his experiments, filed with UCSF, Lisberger’s monkeys undergo several different surgeries, under anesthesia, to prepare them for the research. First, each monkey has a restraint device attached to its head with a combination of metal plates, bolts, and screws. That will later allow the monkey’s head to be locked in place for experiments. One or two holes are drilled in the skull, and then cylindrical recording chambers are secured over those holes so that microelectrodes that will allow precise neural activity to be measured can be inserted into the brain with ease. (The electrodes themselves don’t cause discomfort because the brain lacks pain receptors.)

Sometimes, small wire coils are sutured to the monkeys’ eyeballs. Other times the monkeys have spectacles attached to their faces that either magnify or miniaturize everything they see.

The monkeys in Lisberger’s lab are put on a fluid-restriction program, so that each day they are scheduled to "work" they will obey commands for "rewards" of water or Tang. Each monkey is taught to move from its cage to a "primate chair," and once in the chair, its head is locked into the restraining device. Then the animal is prompted to move its eyes in certain ways to receive a reward. Monkeys typically work for two to four hours a day on alternating weeks, often for three years or more.

Lisberger’s protocol states that his work could eventually lead to "the cure for many diseases of learning and memory such as Alzheimer’s Disease."

Suzanne Roy, from In Defense of Animals, says she started looking into Lisberger’s experiments in the late 1990s, after IDA got anonymous complaints from people who said they worked for UCSF. "What struck me was the highly invasive nature of them and the duration of them … " she said. "He’s making the monkeys so thirsty they’ll move their eyes in a certain way for a juice reward. How could anyone do this to an intelligent monkey?"

In 2002 Roy asked Lawrence A. Hansen, a neuropathologist at UC San Diego who is unusual in his willingness to question animal research, to evaluate Lisberger’s protocol. "I have never previously encountered experiments that would deliver quite so much suffering to higher primates for so comparatively little scientific gain…." Hansen wrote afterward. "While I do not doubt that these experimental manipulations will generate valid scientific data, such information is purchased at too high a moral and ethical cost. Even the primary investigator seems to feel it necessary to disguise his actual motivations, which are those of a fundamental research scientist, by invoking a link to a cure for Alzheimer’s disease. This is one of the more ludicrous stretches from basic science to human application that I have ever encountered in my 20 years of research into Alzheimer’s disease and other neurodegenerative diseases affecting human beings."

When we spoke to Hansen recently, he criticized Lisberger’s grant applications and said, "He’s picked a part of the brain that’s not even involved in Alzheimer’s."

Lisberger’s studies are "basic science," meaning that they aim to answer larger scientific questions about how something works – in this case, the brain – rather than to invent or test a treatment. Although it might be somewhat easier to stomach an experiment that might cure Alzheimer’s than one that seeks to understand how the brain functions, it is hard to dispute that this is valid science: How can medical researchers cure problems they fundamentally don’t understand?

But even if you agree that the goals of Lisberger’s research justify his use of animals, you might be troubled by Lisberger’s record. Documents show that some animals enrolled in his research have a difficult time coping with the physical stress involved – and that Lisberger has resisted efforts to make his experiments more animal-friendly.

Clinical notes gathered by IDA and other groups show that Lisberger’s monkeys routinely undergo six or eight surgeries just to deal with their various implants and the infections they sometimes cause, or to remove scar tissue that has built up on the monkeys’ dura, the protective layer between skull and brain, because of repeated electrode insertions. Several monkeys in Lisberger’s lab have shown a significant decrease in body weight, and others have displayed a habit of self-mutilation, biting at their limbs and tearing out their hair.

Several years ago, when the internal committee that oversees animal research at UCSF raised concerns about whether monkeys in Lisberger’s experiments would receive sufficient water, particularly if they were "worked" on consecutive weeks, Lisberger responded in writing. "I am not willing to tie my laboratory’s flexibility down by setting guidelines or limits, or by agreeing to a negotiation with the veterinary staff when we do this," he wrote in a June 1998 letter. "I believe that the experimental schedule in my laboratory is an issue of academic freedom and that the Committee on Animal research lacks that [sic] standing to regulate this schedule."

In fact, the Animal Welfare Act was amended in 1985 to give the committee the primary responsibility for watchdogging researchers and ensuring that measures are taken to minimize the suffering of lab animals.

Less than two years after that bitter exchange, UCSF was cited by federal inspectors for AWA violations linked to Lisberger’s experiments. In one report the inspector wrote, "In my professional opinion, the nutritional requirements for these animals were not met for either food or water." He also noted that a monkey identified as #17652 – who, according to other documents, was enrolled in a Lisberger experiment – had remained assigned to the protocol and was even placed on "long-term water restriction," despite the fact that he had chronic diarrhea.

UCSF temporarily suspended Lisberger’s study and paid a $2,000 fine to settle the matter. And, despite his gaffes, UCSF defends Lisberger.

Vice Chancellor Ara Tahmassian described Lisberger’s lab as a "model program" and said Lisberger is one of the only UCSF researchers who has hired veterinary technicians to work exclusively in his lab and "make sure that everything that happens is done in accordance with proper standards of care." He added, "It’s critical for him, because of the nature of his research, that his animals are properly taken care of." Tahmassian also said that, in an academic setting, "there are times that individuals do believe that an oversight committee such as IACUC is getting into areas of science which the faculty members don’t believe is in their jurisdiction…. It doesn’t mean that the IACUC is going to just back off."

IACUC members also told us that, these days, Lisberger is cooperative. "I think the committee has a very good working relationship with Dr. Lisberger," IACUC chair Linda Noble said.

Even if Lisberger has cleaned up his act, it’s hard to see why UCSF would put him in charge of training the scientists of tomorrow how to work with animals. Yet, according to online course information, Lisberger sometimes lectures UCSF students on "Philosophical/ethical issues in animal experimentation," relevant regulations, and "pain minimization."

Army of glum

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ANY GIVEN FIVE minutes of Battlefield 2 (Electronic Arts) play can resemble the opening scene of Saving Private Ryan. You’re riding in an amphibious tank with your squad across enemy waters. Rumbles from explosions start getting louder and closer. Stray bullets hit the tank’s armor and the water outside. Suddenly you’re on land, the tank stops, and your squad leader yells, "Move!" over your headset. You jump out into utter chaos, bullets flying everywhere, your teammates falling around you. You run for cover as a stray grenade explosion blurs your vision and rings in your ears. With a giant whoosh, a support bomber passes overhead and takes out some enemy tanks. You blitz the checkpoint, trying to pick off remaining defenders and hoping you didn’t miss anyone in the huts that you’re sprinting past.

One of the most realistic war-themed action games ever made, rivaled only by its predecessors, Battlefield 1942 (EA) and Battlefield Vietnam (EA), BF2 is rightfully one of the most popular action games in the country today. It seamlessly integrates land, sea, and air vehicles into lush, photo-realistic maps where trees shake from the force of chopper propellers and snipers hide in swaying blades of grass. And the game play is just as slick as the graphics, allowing you to coordinate complicated team strategies through a simple command system and speak with your squad mates if you have a mic with your computer. The most dynamic part of the game stresses teamwork. Because of its massive strategic depth, if you want to accomplish anything other than annoying people online, you’ll have to work with your team to capture checkpoints and win matches – a feat never quite achieved on this level by other games.

This is the game I dreamed of when I was a kid playing Rogue Spear and Counter-Strike, diet versions of this action-packed feast. But that was before the current ridiculous war and all the oh-my-god footage coming back on television and in films like Fahrenheit 9/11 and Gunner Palace. As the previous games in the series did with WWII and Vietnam, BF2 trivializes the trauma of our current war in Iraq – and a possible future war with China – by making it into entertainment.

The game claims to sidestep politics by presenting a fictional conflict between a hypothetical Middle East Coalition (MEC), China, and the US Marines. The MEC and China switch off battling an invasive United States for strategic checkpoints that your team must camp at for a certain amount of time to gain control of. From the opening cutscene that plays like an action movie with all its destruction-glorifying grandeur, it’s clear that only a nation-player with the will to achieve total military dominance over other countries – and a complete ignorance of the ramifications for the people in those conquered countries – could take pleasure in acting out these scenarios. I’m glad most gamers playing BF2 probably don’t have firsthand experience with military oppression, but games such as this present a disconnect between reality and fantasy that contributes to the acceptance of US military actions.

After 9/11 and the subsequent wars in Afghanistan and Iraq, it’s safe to say that we’ve ceased to live in a bubble. Yet, although BF2 is just a game, its release at a time when 30 percent of soldiers returning from Iraq are reporting mental health issues stemming from the horrors they’ve witnessed, is a sign that our entertainment-industrial complex has shirked its responsibility by uncritically celebrating a very complicated issue, however inadvertently.

The problem is that the premise for war games acts as its own excuse. Nina Huntemann, director of the 2000 film Game Over: Gender, Race and Violence in Video Games, describes how some military games rely on the narrative of neutralizing a terrorist threat without questioning what makes someone a "terrorist" or why we should "neutralize" them. Though BF2 includes little narrative, the idea that there could possibly be a military conflict between the Middle East, China, and the United States is so obvious and predetermined that none of these types of questions even come to mind.

I don’t fault Digital Illusions, BF2’s developer: It’s difficult to sell sensitivity, but it’s easy to sell explosions. I blame a general immersion in entertainment that is predicated on the lie that fantasy is divorced from reality. The fantasy that we are removed from the war in Iraq is one of the things that allows the reality of it to continue.

Video games haven’t just become more like war – war has become like video games. I’ll never forget the moment in Fahrenheit 9/11 when a kid talks about how he listens to the Bloodhound Gang while he sits in his tank and shoots at people. That sounds a lot like what you do in BF2. The war in Iraq is at least partly being fought by kids whose first ideas of war were shaped by video game simulations before they experienced the reality. Like the tactics of dehumanizing the enemy to ease the ethical hang-ups involved in killing them, this extra layer of detachment enables kids to reconcile participating in potentially traumatic events.

Even the US Army actively tries to sell war as a video game. Recently I’ve caught Army recruitment commercials of guys working at computers and coordinating attacks from the comfort of a tent, perpetuating the idea that war can be fought on a flat screen without real-world messiness. Naturally, BF2’s commander screen, on which you can zoom in on different parts of the map and order squad movements or artillery strikes, looks a lot like the graphics flying around an Army commercial.

The Army also invested more than $6 million in a g ame called America’s Army, which it released for free over the Internet in August 2002, less than a year after 9/11 and seven months before war was declared on Iraq. Possibly one of the most sinister forms of propaganda to fly under the media’s radar, America’s Army essentially indoctrinates players into military life through a graphically advanced action game. Openly billed as a recrui tment tool, the game has players make their way through virtual boot camp and then move on to military operations.

Of course, games have always revolved around war and violence, from dodgeball to capture the flag. War is about strategy, problem-solving, and competition, just like most video games. Its popularity as a theme for video games is no surprise, just as it’s no surprise the Army wants to tap into that recruiting pool. These games aren’t desensitizing kids to real violence or instilling them with a lust for it. But the games’ latent values feed an unquestioning acceptance of the United States’ current militarism and normalize it for future generations. I don’t know if we – or the world – can afford another detached generation. Until we find a way to give kids, and, for that matter, adults, a real context for the fantasies provided by the entertainment industry, the enabling disconnect will continue.

Concrete jungle

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THIS WINTER MAY kill Pokey. The HIV-positive 22-year-old lives in a tent in a city park. It’s not the best place for a man with a weakened immune system to dwell — especially not during the rainy season.

“I’ve basically given up,” says Pokey quietly, standing in the gutter of Haight Street near Stanyan.

About a year ago he had a little more hope. He had been clean and sober for six months and had graduated from a live-in drug program run by Walden House. He thought he had beaten his heroin addiction, and he began looking for an apartment. He’s lived on the streets since he was 12.

“I started looking the last three weeks I was [at Walden House],” Pokey says. Social workers and friends helped him look. “I tried day in and day out to get a place and a job. I couldn’t take it. I flipped out. From there I went all the way back down.” He is once again wrestling with heroin.

In his two years in San Francisco, Pokey estimates, he’s looked at between 30 and 40 apartments, with no success. Subsisting on $299 to $490 a month, depending on the whims of Supplemental Security Income administrators, he can’t even afford a room in a residential hotel. The smallest go for $400 to $500 a month, and there aren’t even many of those left; in the past five years the city has lost about 1,000 hotel rooms, most to demolition and renovation.

“How can I use my money on a hotel room when I’m not gonna have any money to eat?” Pokey says. “I’m supposed to eat three times a day, when I take my medicine.”

Less than 10 years ago, in 1989, the city put the number of people homeless on any given night at 6,000. Now that figure is estimated at between 11,000 and 14,000. Over the past decade homeless deaths have climbed from 16 in 1987 to 153 in 1996. A 1996 study by the National Law Center on Homelessness and Poverty ranked San Francisco one of the five worst cities in which to be homeless; the report blamed harassing police practices.

About 3,000 shelter beds are available to San Francisco’s homeless population, including 600 in a giant warehouse on Mission Rock Road in China Basin. The Mission Rock shelter, which clients have dubbed “Prison Rock,” was opened last year in the wake of Mayor Willie Brown’s campaign to kick the homeless out of Golden Gate Park. The shelters are full or over-capacity nearly every night of the year.

“The city does nothing for families. It stands by as the affordable housing stock is destroyed,” says Sandra Stewart, project director of Families Rights and Dignity. Stewart, a mother of three who was once homeless, advocates for poor and homeless families. She says she’s seen a “mass exodus” of low-income families from San Francisco.

“Mabel Teng went on about this being the ‘year of the child’ — well, not for homeless children,” Stewart says. She’s angry that the city vetoed a $75,000 eviction-prevention program for families in a year when it had a $100 million budget surplus. According to Stewart, five years ago families could get emergency shelter on demand. Today the city’s 130 family-shelter beds are full, and the wait list stands at around 100 families. The average family on the list consists of a single parent and two children.

In the nation’s toughest housing market, the help offered by welfare programs isn’t much help at all. As of September 1997, 12,475 San Francisco families received subsidies from CalWORKS, the federally funded welfare program for families; a similar number of adults get General Assistance from the county. A family of three receives $565 a month from CalWORKS; G.A. recipients, including workfare workers, get $279 to $345. In the Bay Area $565 is barely enough to pay for a motel room — with almost nothing left for food and other necessities.

Many of those on the streets are there for want of an affordable apartment. Staffers at Youth Industry, a nonprofit that trains and employs homeless and formerly homeless young people, say that the lack of housing is the hardest problem to solve. The agency provides paid internships to 24 teens and twentysomethings, many of whom put in 40 hours a week only to sleep on the streets. According to Youth Industry managers, “very few” of the young interns have permanent housing.

“More and more of our youth are very — how do I say this? — high functioning,” says Vida Merwin, a youth service coordinator with the nonprofit. “They don’t have drug problems. They can hold a job — they’re proving it here. They have academic aspirations. But they’re forced to rely on [social] services.”

Youth Industry intern Jamie Allsup, 22, has spent most of the last three years on the streets of San Francisco. During his first three months on the job he slept in front of the Youth Industry office, using the arrival of his coworkers as an alarm clock. Since then Allsup has spent half his $800 monthly income on a residential hotel room, sharing a bathroom with 40 other residents. At the end of the month, after he’s paid his shelter, food, and old hospital bills, Allsup has $15 left — not much to put toward a deposit on an apartment. Since the hotel has no cooking facilities, he wastes money eating out every meal. As a single-room-occupancy tenant, Allsup has few guarantees that he’ll retain his room from one month to the next.

Cheeto, a mohawked 21-year-old, works at Pedal Revolution, the Youth Industry bike shop. He’s getting paid to learn to repair cycles, enthusiastically working six days a week and bedding down in parks and parking lots at night. Cheeto refuses to stay in hotels; he’s hoping to save money for an apartment in another city — maybe Oakland. Figures provided by the Department of Human Services show that the vast majority of those who get off the streets do so by leaving San Francisco.

Even in a cheaper market, Cheeto is going to have problems. He has no rental history or landlord references. He jokes about his credit record: “They could go down the street and ask everyone I know if I pay back the money I borrow.

“I don’t have any delusions about living in San Francisco unless I’m living like I am now,” he says. “This place is a playground for the rich.” 

So much flesh, so little personality

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Madonna. At Shoreline Amphitheatre, Mountain View, Monday, July 20th.

During the encores of the first of her two spectacular shows at Shoreline Amphitheatre last week, Madonna, the fantasy idol of American youth, finally asked the musical question lurking in the shadows of her extravagant performance. When the saucy Ms. Ciccone sang “Who’s That Girl?,” the title song of her forthcoming movie and just-released soundtrack album, she made the riddle of her career explicit. But after more than 90 minutes of relentless razzle-dazzle, after Madonna had revealed so much of her flesh and so little of her personality, the question should have been, why do so many people care?

Clearly they care a lot. Over two nights, nearly 40,000 people trekked to Mountain View for their close encounter of the absurd kind. This “Material Girl” made them willing to part with huge chunk of their disposable income for the privilege of watching her cavort through 16 entertaining but uninspiring production numbers masquerading as songs. The largely post-teen concertgoers paid up to $22.50 for an unscalped ticket, before service charges, and had the chance to fork over ten bucks for a slick program, $16 for a T-shirt and untold pocket change for food and drink from Shoreline’s amusement park-style concession. Scores even hired limousines to carry them to the show.

The power of Madonna’s appeal should be the envy of movie and pop stars alike. Even the most charismatic screen idols don’t attract so many people to one place at one time, and only a relative handful of music performers ever develop such commercial appeal. By successfully straddling both pop culture realms, Madonna doubles her draw. She is no ordinary icon.

How does she pull it off when she’s such a transparantly ordinary talent? The quick answer is that she sells sex, but her current show is remarkably unsexy. Nearly every song was punctuated by lacivious moves, from bumps and grinds with her male dancers (including salacious routines with a boy who looked less than half her 28 years) to teasing masturbatory gestures. And the foundation of her costuming — the black merry widow corset with gold sequined breast tips and twirling tassels — was part Marilyn Monroe in Some Like It Hot and part Gypsy Rose Lee. But Madonna’s precisely programmed dancing was little more than a second-rate rehash of Flashdance (from the same choreographer) and her attire came off like a dress-up game, not a seduction. Nor was the secret of her appeal in the music. The seven-piece band and three back-up singers, under the direction of Madonna’s co-producer Patrick Leonard, was loud and punchy, rhythmically sharp and note perfect. But the musicians, shunted to the sides of the elaborate staircase set, were beside the point. Their routine neo-disco grooves varied little throughout the night and only a few of Madonna’s songs, such as “Papa Don’t Preach,” “Like A Virgin” and “Holiday,” get beyond the busy beats with catchy melodic hooks.

No, Madonna must send other kinds of messages to her fans. In “Papa Don’t Preach,” her big hit from True Blue, she seemed to be picking up a social cause, defending a pregnant teenage girl’s freedom of choice. Presented in concert, however, the song became an overcrowded bandwagon for a mishmash of socio-political themes. Giant projected images of clouds in a blue sky gave way to those of thunderstorms, the menacing face of a surgeon, the entrance to a giant cathedral. A nightmarish Monty Python-style slide montage hinted at the horrors of abortion and careened through bizarre juxtapositions culminating in a giant blowup of the White House, then Reagan’s face, the faces of happy, healthy children and, finally, the words, SAFE SEX.

Whatever Madonna was trying to say in “Papa Don’t Preach,” her fourth song in concert, was quickly forgotten in the onslaught of MTV-style production numbers that followed. Indeed, the show was little more than an overblown “live” music video, full of silly props and simplified physical interpretations of the songs.

At the center of it all was a vaguely attractive young woman who projected nothing of her real self yet represented a kind of between-the-cracks liberation from the creeping conservatism of the 1980s. After all the dressing up and stripping down, nothing of the performer’s inner nature was revealed. But “Madonna” represented the freedom to act out the most outrageous fantasies without fear or guilt. During “Like A Virgin,” a New York Post front page was projected on the huge screen with the headline “Madonna: I Am Not Ashamed.”

She can be a material girl, a party girl, an innocent harlot in red lace undies and a black leather jacket, a rebel without a cause clothed by Frederick’s of Hollywood. She takes a stand against post-feminism by strutting, leaping and groveling on the stage, declaring that if there’s going to be any exploitation in her career, she’s going to control it. She confounds the objectification of womanhood by adding more layers. One of the few female role models that the mass media has coughed up in pop music during this regressive decade, Madonna is merely making the most of it, and making over her image in as many ways as she can within the narrow range of options. She leaves it to her fans to create their own answers to the question, “Who’s that girl?”*

Of Lenin and latecomers

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Lenin for lawyers

The 50-year-old San Francisco chapter of the National Lawyers Guild has long worked with local politicians to formulate legislation on issues from South Africa sanctions to rent control, but has always stopped short of endorsing candidates. Two recent events — the Jesse Jackson presidential campaign and Supervisor Harry Britt’s run for Congress — have prompted some members to suggest a policy change. The group’s latest newsletter includes a fascinating pro-and-con debate.

Doris Walker argues against endorsements, pointing to Britt’s divergence with the Guild over support for the PLO. But the choicest bit of writing is contained in a pro-endorsement argument by Thomas Steel, Nancy Clarence and Brian McAffrey: “A live and vibrant organization dealing with issues that matter will have disagreements. If we’re dead or irrelevant, we can avoid disagreement….

The idea that participation in electoral politics would “compromise’ a leftist organization was rejected by no less than Lenin himself 70 years ago. Indeed, he characterized this perspective as “an infantile disorder’ in his famous polemic, Left Wing Communism — An Infantile Disorder….

Lenin [said]: “While you lack the strength to do away with the bourgeois parliments and every other type of reactionary institution, you must work within them because it is there you will still find workers who are duped….

Otherwise you risk turning into windbags.’

“For lawyers, the risk of turning into “nothing but windbags’ is something of an occupational hazard, while infantile disorders are not exactly unprecedented. We should avoid these mistakes and take part in legislative and electoral reforms along with the communities in which we live.”

The Guild will hold a membership meeting to vote on the issue September 16th. Info.: 285-5066.

Mayoral alternatives

In San Francisco, politics has always been too important to leave to the politicians. So it comes as no surprise that a popular local comedian and a flamboyant newspaper columnist have joined nightclub owner Cesar Ascarrunz in the ranks of contenders who hope to start their political careers at the top. Examiner columnist Warren Hinckle symbolically swept the steps of City Hall Friday and submitted a letter of intent to the registrar of voters signifying his official entry into the mayor’s race. Hinckle has impeccable credentials as a Party Loyalist, but based on his record as a magazine editor, we’d hesitate to let him near the city treasury.

Political satirist Will “Vote for me or don’t” Durst, claiming he is “as incapable of doing the job as any other candidate,” has also filed a letter of intent and plans a rousing campaign kick-off at a Julia Morgan Theatre show in Berkeley Aug. 23rd. Durst told the Bay Guardian he is serious about the candidacy and hopes to “pimp the process” to show people the other candidates never say anything of substance. But he added he doesn’t expect to win and is proceeding “with tongue firmly planted in cheek.” Durst says his campaign proposals include turning Broadway, with its boarded-up sex clubs, into a city-subsidized entertainment district and returning Fisherman’s Wharf to those who fish. Was that supposed to be funny? For more information on Durst’s campaign opener, call the Julia Morgan Theatre at 548-2687.

AIDS quilt

NAMES Project organizers have proclaimed Aug. 17th-24th Aid Quilt Week, and are asking people to form quilting bees to make panels bearing the name of someone lost to AIDS. The 3-by-6 foot panels will be sewn into a massive memorial quilt to be displayed at the Capital Mall in Washington, D.C. Oct. 11th, in conjunction with the National March on Washington for Lesbian and Gay Rights. Completed panels must be sent before Sept. 15th to NAMES Project, PO Box 14573, SF 94114. Info.: 626-5725.

SFRG grows

After eight years of battling Manhattanization on its own, San Franciscans for Reasonable Growth has decided to offer public membership. The nonprofit, 13-member citizens board, a major force in the Prop M victory last fall and a successful defender of the measure in court, plans a public outreach campaign on such upcoming issues as Mission Bay, the 101 corridor and regional transit development. A $25 annual basic fee ($100 supporting membership) will entitle members to a quarterly report analyzing urban environmental issues. President Alan Raznick told the Bay Guardian, “New members should provide a solid base for us to disseminate information. We’re building on our past strengths.” For information, contact Alan Raznick or Esther Marks at 870 Market, Room 1119, SF 94102, or call 392-6760.

Short takes:

Sunday/2ndAttendance at the July 12th screening of Iran/Contra: The Story Behind the Scandal, the Christic Institute video about a secret team in the intelligence community and its operations from Cuba to Vietnam to Nicaragua, was so great the Democratic Socialists of America scheduled additional screenings that will also include a second video in which Christic’s lead attorney, Daniel Sheehan, analyzes recent related developments in Washington. 4:30 pm, Noe Valley Ministry, 1021 Sanchez, SF. $2 Info.: 552-1250….

Tuesday/4th — Katya Komisaruk, who damaged a computer at Vandenberg Air Force Base to protest weapons testing, will speak at a War Resisters League/West potluck that will include a discussion of demonstration tactics. 7:00 pm, 942 Market,

701, SF. 433-6676….

Wednesday/5th — Participants at a conference organized by the Center for Third World Organizing will discuss how toxic pollutants disproportionately affect minorities. 8:30 am-4:30 pm, St Paul’s Episcopal Church, Grand at Montecito, Oakl. $10-$15. Info.: 654-9601.

SF’s economic future

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Sometime early this spring, while most of Washington, D.C. was watching the cherry trees bloom and thinking about the impending Iran-contra hearings, a few senior administration officials began discussing a plan to help domestic steel companies shut down underutilized plants by subsidizing some of the huge costs of pension plans for the workers who would be laid off.

The officials, mostly from the Departments of Labor and Commerce, saw the plan as a pragmatic approach to a pressing economic problem. With the steel industry in serious trouble, they argued, plant closures are inevitable — and since the federal government guarantees private pension plans, some companies will simply declare bankruptcy and dump the full liability on the taxpayers. Subsidies, they argued, would be a far cheaper alternative.

But the plan elicited sharp opposition from members of the Council of Economic Advisors, who acknowledged the extent of the problem but said the proposal was inconsistent with the Reagan economic philosophy. The problem, The New York Times reported, was that “such a plan would be tantamount to an industrial policy, an approach the president has long opposed.”

For aspiring conservative politicians, the incident contained a clear message, one that may well affect the terms of the 1988 Republican presidential debate. To the right-wing thinkers who control the party’s economic agenda, the concept of a national industrial policy is still officially off-limits. In San Francisco, the ground rules are very different. All four major mayoral candidates agree that the city needs to plan for its economic future and play a firm, even aggressive role in guiding the local economy. The incumbent, Dianne Feinstein, has established a clear, highly visible — and often controversial — industrial development policy, against which the contenders could easily compare and contrast their own programs.

The mayoral race is taking place at a time when the city is undergoing tremendous economic upheaval. The giant corporations that once anchored the local economy are curtailing expansion plans, moving to the suburbs and in many cases cutting thousands of jobs from the payroll. The once-healthy municipal budget surplus is gone. The infrastructure is crumbling and city services are stressed to the breaking point.

By all rights, the people who seek to lead the city into the 1990s should present San Francisco voters with a detailed vision for the city’s economic future, and a well-developed set of policy alternatives to carry that vision out.

But with the election just three months away, that simply isn’t happening. Generally speaking, for all the serious talk of economic policy we’ve seen thus far, most of the candidates — and nearly all the reporters who cover them — might as well be sniffing cherry blossoms in Ronald Reagan’s Washington.

“San Francisco’s major challenge during the next 15 years will be to regain its stature as a national and international headquarters city. This is crucial to the city because much of its economy is tied to large and medium-sized corporations….The major source of San Francisco’s economic strength is visible in its dramatic skyline of highrise office buildings.”

—San Francisco: Its economic future

Wells Fargo Bank, June 1987

“In San Francisco, you have the phenomenon of a city losing its big-business base and its international pretensions — and getting rich in the process.”

—Joel Kotkin, Inc. Magazine, April 1987

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IN MUCH OF San Francisco’s news media and political and business establishment these days, the debate — or more often, lament — starts with this premise: San Francisco is in a bitter competition with Los Angeles. At stake is the title of financial and cultural headquarters for the Western United States, the right to be called the Gateway to the Pacific Rim. And San Francisco is losing.

The premise is hard to deny. If, indeed, the two cities are fighting for that prize, San Francisco has very nearly been knocked out of the ring. Just a few short years ago, San Francisco’s Bank of America was the largest banking institution in the nation. Now, it’s third — and faltering. Last year, First Interstate — a firm from L.A. — very nearly seized control of the the company that occupies the tallest building in San Francisco. The same problems have, to a greater or lesser extent, beset the city’s other leading financial institutions. A decade ago, San Francisco was the undisputed financial center of the West Coast; today, Los Angeles banks control twice the assets of banks in San Francisco.

It doesn’t stop there. Los Angeles has a world-class modern art museum; San Francisco’s is stumbling along. The Port of San Francisco used to control almost all of the Northern California shipping trade; now it’s not even number one in the Bay Area (Oakland is). Looking for the top-rated theater and dance community west of the Rockies? San Francisco doesn’t have it; try Seattle.

Even the federal government is following the trend. A new federal building is planned for the Bay Area, but not for San Francisco. The building — and hundreds of government jobs — are going to Oakland.

In terms of a civic metaphor, consider what happened to the rock-and-roll museum. San Francisco, the birthplace of much of the country’s best and most important rock music, made a serious pitch for the museum. It went to Cleveland.

For almost 40 years — since the end of World War II — San Francisco’s political and business leaders have been hell-bent on building the Manhattan Island of the West on 49 square miles of land on the tip of the Peninsula. Downtown San Francisco was to be Wall Street of the Pacific Rim. San Mateo, Marin and the East Bay would be the suburbs, the bedroom communities for the executives and support workers who would work in tall buildings from nine to five, then head home for the evening on the bridges, freeways and an electric rail system.

If the idea was to make a few business executives, developers and real estate speculators very rich, the scheme worked well. If the idea was to build a sound, firm and lasting economic base for the city of San Francisco, one could certainly argue that it has failed.

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NOT EVERYONE, however, accepts that argument. Wells Fargo’s chief economist, Joseph Wahed, freely admits he is “a die-hard optimist.” San Francisco, he agrees, has taken its share of punches. But the city’s economy is still very much on its feet, Wahed says; he’s not by any means ready to throw in the towel.

Wahed, who authored the bank’s recent report on the city’s economic future, points to some important — and undeniable — signs of vitality:

* San Francisco’s economic growth has been well above both the national and state average during the 1980s — a healthy 3.67 a year.

* Per-capita income in San Francisco is $21,000 a year, the highest of any of the nation’s 50 largest cities.

* New business starts in the city outpaced business failures by a ratio of 5-1, far better than the rest of the nation. * Unemployment in San Francisco, at 5.57, remains below national and statewide levels (see charts).

San Francisco, Wahed predicts, has a rosy economic future — as long as the city doesn’t throw up any more “obstacles to growth” — like Proposition M, the 1986 ballot measure that limits office development in the city to 475,000 square feet a year.

John Jacobs, the executive director of the San Francisco Chamber of Commerce, came to the same conclusion. In the Chamber’s annual report, issued in January, 1987, Jacobs wrote: “The year 1986 has been an amusing one, with both national and local journalists attempting to compare the incomparable — San Francisco and Los Angeles — and suggesting that somehow San Francisco is losing out in this artificially manufactured competition. Search as one might, no facts can be found to justify that assertion.”

Wahed and Jacobs have more in common than their optimism. Both seem to accept as more or less given the concept of San Francisco as the West Coast Manhattan.

Since the day Mayor Dianne Feinstein took office, she has run the city using essentially the policies and approach championed by Wahed and Jacobs. Before San Franciscans rush to elect a new mayor, they should examine those strategies to see if they make any sense. After nearly a decade under Feinstein’s leadership, is San Francisco a healthy city holding its own through a minor downturn or an economic disaster area? Are San Francisco’s economic problems purely the result of national and international factors, or has the Pacific Rim/West Coast Wall Street strategy failed? Is the economy weathering the storm because of the mayor’s policies, or despite them? And perhaps more important, will Feinstein’s policies guide the city to new and greater prosperity in the changing economy of the next decade? Or is a significant change long overdue?

The questions are clear and obvious. The answers take a bit more work.

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SAN FRANCISCO’S economy is an immensely complex creature, and no single study or analysis can capture the full range of its problems and potential. But after considerable research, we’ve come to a very different conclusion than the leading sages of the city’s business community. Yes, San Francisco can have a rosy economic future — if we stop pursuing the failed policies of the past, cut our losses now and begin developing a new economic development program, one based on reality, not images — and one that will benefit a broad range of San Franciscans, not just a handful of big corporations and investors.

Our analysis of San Francisco’s economy starts at the bottom. Wells Fargo, PG&E and the Chamber see the city first and foremost as a place to do business, a market for goods and a source of labor. We see it as a community, a place where people live and work, eat and drink, shop and play.

The distinction is far more than academic. When you look at San Francisco the way Wells Fargo does, you see a booming market: 745,000 people who will spend roughly $19.1 billion on goods and services this year, up from $15.4 billion in 1980. By the year 2000, Wahed projects, that market could reach $229 billion as the population climbs to 800,000 and per-capita income hits $30,000 (in 1986 dollars), up from $18,811 in 1980. Employment has grown from 563,000 in 1980 to 569,000 in 1986. When you look at San Francisco as a place to live, you see a very different story. Perhaps more people are working in San Francisco — but fewer and fewer of them are San Franciscans. In 1970, 57.47 of the jobs in San Francisco were held by city residents, City Planning Department figures show. By 1980, that number had dropped to 50.77. Although more recent figures aren’t available, it’s almost certainly below 507 today.

Taken from a slightly different perspective, in 1970, 89.17 of the working people in San Francisco worked in the city. Ten years later, only 857 worked in the city; the rest had found jobs elsewhere.

Without question, an increase in per capita income signifies that the city is a better market. It also suggests, however, that thousands of low-income San Franciscans — those who have neither the skills nor the training for high-paying jobs — have been forced to leave the city. It comes as no surprise, for example that San Francisco is the only major city in the country to post a net loss in black residents over the past 15 years.

The displacement of lower-income residents highlights a key area in which San Francisco’s economy is badly deficient: housing. San Francisco’s housing stock simply has not kept pace with the population growth of the past five years. Between 1980 and 1984, while nearly 40,000 more people took up residence in the city, only 3,000 additional housing units were built.

Some of the new residents were immigrants who, lacking resources and glad to be in the country on any terms, crowded in large numbers into tiny apartments. Some were young, single adults, who took over apartments, homes and flats, bringing five of six people into places that once held families of three or four.

But overall, the impact of the population increase has been to place enormous pressure on the limited housing stock. Prices, not surprisingly, have soared. According to a 1985 study prepared for San Franciscans for Reasonable Growth by Sedway Cooke and Associates, the median rent for a one-bedroom apartment in 1985 was $700 a month. The residential vacancy rate was less than 17.

Housing is more than a social issue. A report released this spring by the Association of Bay Area Governments warns the entire Bay Area may face a severe housing crisis within the next two decades — and the lack of affordable housing may discourage new businesses from opening and drive existing ones away. When housing becomes too expensive, the report states, the wages employers have to pay to offset housing and transportation costs make the area an undesirable place to do business.

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WAHED’S WELLS FARGO report shows a modest net employment gain in San Francisco between 1980 and 1986, from 563,000 jobs to 569,000. What the study doesn’t show is that the positive job growth statistic reflects the choice of the study period more than it reflects current trends. In the late 1970s and early 1980s, San Francisco experienced considerable job growth. By 1981, that trend was beginning to reverse.

According to a study by Massachusetts Institute of Technology researcher David Birch, San Francisco actually lost some 6,000 jobs between 1981 and 1985. The study, commissioned by the Bay Guardian, showed that the decline occurred overwhelmingly to large downtown corporations — the firms upon which the Pacific Rim strategy was and is centered. Since 1981, those firms have cost the city thousands of jobs. (See The Monsters that Ate 10,000 jobs, Bay Guardian DATE TKTKTK).

Some of the firms — B of A, for example — were victims of poor management. Some, like Southern Pacific, were caught in the merger mania of the Reagan years. Others, however, simply moved out of town. And no new giants moved in to take their places.

What drove these large employers away? Not, it would appear, a lack of office space or other regulatory “obstacles” to growth: Between 1980 and 1985, San Francisco underwent the largest building boom in its history, with more than 10 million square feet of new office space coming on line. In fact, the city now has abundant vacant space; by some estimates, the vacancy rate for downtown office buildings is between 157 and 207.

The decision to move a business into or out of a city is often very complicated. However, Birch, who has done considerable research into the issue, suggests in the April 1987 issue of Inc. magazine that the most crucial concerns are what he calls “quality of life” factors. Quality-of-life factors include things like affordable family housing for employees; easy, inexpensive transit options and good-quality recreation facilities and schools — and good-quality local government. In many cases, researchers are finding, companies that need a large supply of “back office” labor — that is, workers who do not command executive salaries — are moving to the suburbs, where people who are paid less than executive salaries can actually afford to live.

“Today the small companies, not the large corporations, are the engines of economic growth,” Birch wrote. “And more often than not, small companies are growing in places that pay attention to the public realm, even if higher taxes are needed to pay for it.”

For the past 20 years, San Francisco has allowed, even encouraged, massive new highrise office development, geared to attracting new headquarters companies and helping existing ones expand. In the process, some basic city services and public amenities — the things that make for a good quality of life — have suffered.

The most obvious example is the city’s infrastructure — the roads, sewers, bridges, transit systems and other physical facilities that literally hold a modern urban society together. A 1985 report by then-Chief Administrative Officer Roger Boas suggested that the city needed to spend more than $1 billion just to repair and replace aging and over-used infrastructure facilities. Wells Fargo’s report conceeds that that city may be spending $50 million a year too little on infrastructure maintenance.

Some of that problem, as Boas points out in his report, is due to the fact that many city facilities were built 50 or more years ago, and are simply wearing out. But wear and tear has been greatly increased by the huge growth in downtown office space — and thus daytime workplace population — that took place over the previous two decades.

To take just one example: Between 1980 and 1984, City Planning Department figures show, the number of people traveling into the financial district every day increased by more than 10,000. Nearly 2,000 of those people drove cars. In the meantime, of course, the number of riders on the city’s Municipal Railway also increased dramatically. City figures show more than 2,000 new Muni riders took buses and light rail vehicles into the financial district between 1981 and 1984. Again, city officials resist putting a specific cost figure on that increase — however, during that same period, the Muni budget increased by one-third, from $149 million to $201 million. And the amount of General Fund money the city has had to put into the Muni system to make up for operating deficits rose by some 737 — from $59 million to $102 million.

The new buildings, of course, have meant new tax revenues — between 1981 and 1986, the total assessed value of San Francisco property — the city’s tax base — increased 767, from $20.3 billion to $35.8 billion. But the cost of servicing those buildings and their occupants also increased 437, from $1.3 billion to to $1.9 billion. In 1982, San Francisco had a healthy municipal budget surplus of $153 million; by this year, it was down to virtually nothing.

The city’s general obligation bond debt — the money borrowed to pay for capital improvements — has steadily declined over the past five years, largely because the 1978 Jarvis-Gann tax initiative effectively prevented cities from selling general obligation bonds. In 1982, the city owed $220 million; as of July 1st, 1987, the debt was down to $151 million.

However, under a recent change in the Jarvis-Gann law, the city can sell general obligation bonds with the approval of two-thirds of the voters. The first such bond sale — $31 million — was approved in June, and the bonds were sold this month, raising the city’s debt to $182 million. And this November, voters will be asked to approve another $95 million in bonds, bringing the total debt to $277 million, the highest level in five years.

The city’s financial health is still fairly sound; Standard and Poor’s gives San Francisco municipal bonds a AA rating, among the best of any city in the nation. And even with the new bonds, the ratio of general obligation debt to total assessed value — considered a key indicator of health, much as a debt-to-equity ratio is for a business — is improving.

But the city’s fiscal report card is decidedly mixed. For most residents, signs of the city’s declining financial health show up not in numbers on a ledger but in declining services. Buses are more crowded and run less often. Potholes aren’t fixed. On rainy days, raw sewage still empties into the Bay. High housing costs force more people onto the streets — and the overburdened Department of Social Services can’t afford to take care of all of them.

What those signs suggest is that, in its pell-mell rush to become the Manhattan of the West, San Francisco may have poisoned its quality of life — and thus damaged the very economic climate it was ostensibly trying to create.

MAYOR DIANNE FEINSTEIN’S prescription for San Francisco’s economic problems and her blueprint for its future can be summed up in four words: More of the same. Feinstein, like Wells Fargo, PG&E and the Chamber of Commerce, is looking to create jobs and generate city revenues from the top of the economy down. Her program flies in the face of modern economic reality and virtually ignores the changes that have taken place in the city in the past five years.

Feinstein’s most visible economic development priorities have taken her east, to Washington D.C., and west, to Japan and China. In Washington, Feinstein has lobbied hard to convince the Navy to base the battleship USS Missouri in San Francisco. That, she says, will bring millions of federal dollars to the city and create thousands of new jobs.

In Asia, Feinstein has sought to entice major investors and industries to look favorably on San Francisco. She has expressed hope that she will be able to attract several major Japanese companies to set up manufacturing facilities here, thus rebuilding the city’s manufacturing base and creating jobs for blue-collar workers.

Neither, of course, involves building new downtown highrises. But both are entirely consistent with the Pacific Rim strategy — and both will probably do the city a lot more harm than good.

Feinstein’s programs represent an economic theory which has dominated San Francisco policy-making since the end of World War II. In those days, the nation’s economy was based on manufacturing — iron ore from the ground became steel, which became cars, lawn mowers and refrigerators. Raw materials were plentiful and energy was cheap.

By the early 1970s, it was clear that era was coming to a close. Energy was suddenly scarce. Resources were becoming expensive. The economy began to shift gears, looking for ways to make products that used less materials and less energy yet provided the same service to the consumer.

Today, almost everyone has heard of the “information age” — in fact, the term gets used so often that it’s begun to lose its meaning. But it describes a very real phenomenon; Paul Hawken, the author of The Next Economy, calls it “ephemeralization.” What is means is that the U.S. economy is rapidly changing from one based manufacturing goods to one based on processing information and providing services. In the years ahead, the most important raw materials will be ideas; the goal of businesses will be to provide people with useful tools that require the least possible resources to make and the least possible energy to use.

In the information age, large companies will have no need to locate in a central downtown area. The source of new jobs will not be in manufacturing — giant industrial factories will become increasingly automated, or increasingly obsolete. The highways of the nation’s commerce will be telephone lines and microwave satellite communications, not railroads and waterways.

IF SAN FRANCISCO is going to be prepared for the staggering changes the next economy will bring, we might do well to take a lesson from history — to look at how cities have survived major economic changes in the past. Jane Jacobs, the urban economist and historian, suggests some basic criteria.

Cities that have survived and prospered, Jacobs writes, have built economies from the bottom up. They have relied on a large number of small, diverse enterprises, not a few gigantic ones. And they have encouraged business activities that use local resources to replace imports, instead of looking to the outside for capital investment.

A policy that would tie the city’s economic future to the Pentagon and Japanese manufacturing companies is not only out of synch with the future of the city’s economy — it’s out of touch with the present.

In San Francisco today, the only major economic good news comes from the small business sector — from locally owned independent companies with fewer than 20 employees. All of the net new jobs in the city since 1980 have come from such businesses.

Yet, the city’s policy makers — especially the mayor — have consistently denied that fact. As recently as 1985, Feinstein announced that the only reason the city’s economy was “lively and vibrant” was that major downtown corporations were creating 10,000 new jobs a year.

Almost nothing the city has done in the past ten years has been in the interest of small business. In fact, most small business leaders seem to agree that their astounding growth has come largely despite the city’s economic policy, not because of it. That situation shows no signs of changing under the Feinstein administration; the battleship Missouri alone would force the eviction of some 190 thriving small businesses from the Hunters Point shipyard.

San Francisco’s economic problems have not all been the result of city policies. The financial health of the city’s public and private sector is affected by state and federal policies and by national and international economic trends.

Bank of America, for example, is reeling from the inability of Third World countries to repay outstanding loans. Southern Pacific and Crocker National Bank both were victims of takeovers stemming from relaxed federal merger and antitrust policies. In fact, according to Wells Fargo, 21 San Francisco corporations have been bought or merged since 1975. Meanwhile, deep cutbacks in federal and state spending have crippled the city’s ability to repair its infrastructure, improve transit services, build low cost housing and provide other essential services.

To a great extent, those are factors outside the city’s control. They are unpredictable at best — and over the next ten or 20 years, as the nation enters farther into the Information Age, the economic changes with which the city will have to cope will be massive in scale and virtually impossible to predict accurately.

Again, the experiences of the past contain a lesson for the future. On of San Francisco’s main economic weaknesses over the past five years has been its excess reliance on a small number of large corporations in a limited industrial sector — largely finance, insurance and real estate. When those industries took a beating, the shock waves staggered San Francisco.

Meanwhile, the economic good news has come from a different type of business — businesses that were small able to adapt quickly to changes in the economy and numerous and diverse enough that a blow to one industry would not demolish a huge employment base.

But instead of using city policy to encourage that sector of the city’s economy, Feinstein is proposing to bring in more of the type of business that make the city heavily vulnerable to the inevitable economic shocks that will come with the changes of the next 20 years.

THE CANDIDATES who seek to lead the city into the next decade and the next economy will need thoughtful, innovative programs to keep San Francisco from suffering serious economic problems. Those programs should start with a good hard dose of economic reality — a willingness to understand where the city’s strengths and weaknesses are — mixed with a vision for where the city ought to be ten and 20 years down the road.

Thus far, both are largely missing form the mayoral debate.

For years, San Francisco activists and small business leaders have been complaining about the lack of reliable, up-to-date information on the city’s economy and demographics. The environmental impact report on the Downtown Plan — a program adopted in 1985 — was based largely on data collected in 1980. That same data is still used in EIRs prepared by the City Planning Department, and it’s now more than seven years out of date.

In many areas, even seven-year-old data is simply unavailable. Until the Bay Guardian commissioned the Birch studies in 1985 and 1986, the city had no idea where jobs were being created. Until SFRG commissioned the Sedway-Cooke report in 1985, no accurate data existed on the city’s labor pool and the job needs of San Franciscans.

Today, a researcher who wants to know how much of the city’s business tax revenue comes from small business would face a nearly impossible task. That’s just not available. Neither are figures on how much of the city’s residential or commercial property is owned by absentee landlords who live outside the city. If San Francisco were a country, what would its balance of trade be? Do we import more than we export? Without a huge research staff and six months of work, there is no way to answer those questions.

Bruce Lilienthal, chairman of the Mayor’s Small Business Advisory Commission, argues that the city needs to spend whatever money it takes to create a centralized computerized data base — fully accessable to the public — with which such information can be processed and analyzed.

A sound economic policy would combine that sort of information with a clear vision of what sort of city San Francisco could and should become.

What would a progressive, realistic economic development platform look like? We’ve put together a few suggestions that could serve as the outline for candidates who agree with our perspective — and as an agenda for debate for candidates who don’t.

* ADEQUATE AFFORDABLE HOUSING is essential to a healthy city economy, and in the Reagan Era, cities can’t count on federal subsidies to build publicly financed developments. Progressive housing experts around the country agree that, in a city under such intense pressure as San Francisco, building new housing to keep pace with demand will not solve the crisis alone; the city needs to take action to ensure that existing housing is not driven out of the affordable range.

Economist Derek Shearer, a professor at Occidental College in Los Angeles and a former Santa Monica planning commissioner, suggests that municipalities should treat housing as a scarce public resource, and regulate it as a public utility. Rents should be controlled to allow property owners an adequate return on their investment but prevent speculative price-gouging.

Ideally, new housing — and whenever possible, existing housing — should be taken out of the private sector altogether. Traditional government housing projects have had a poor record; a better alternative is to put housing in what is commonly called a land trust.

A land trust is a private, nonprofit corporation that owns property, but allows that property to be used under certain terms and conditions. A housing trust, for example, might allow an individual or family to occupy a home or apartment at a set monthly rate, and to exercise all rights normally vested in a homeowner — except the right to sell for profit. When the occupant voluntarily vacated the property, it would revert back to the trust, and be given to another occupant. The monthly fee would be set so as to retire the cost of building the property over it’s expected life — say, 50 years. Each new occupant would thus not have to pay the interest costs on a new mortgage. That alone, experts say, could cut as much as 707 off the cost of a home or apartment.

* DEVELOPMENT DECISIONS should be made on the basis of community needs. A developer who promises to provide jobs for San Franciscans should first be required to demonstrate that the jobs offered by project will meet the needs of unemployed residents of the city. Development fees and taxes should fully and accurately reflect the additional costs the project places on city services and infrastructure.

Land use and development decisions should also be geared toward meeting the needs of small, locally owned businesses — encouraging new start-ups and aiding the expansion of existing small firms.

* ECONOMIC DEVELOPMENT programs should encourage local firms to use local resources in developing products and services that bring revenue and wealth into the city instead of sending it to outside absentee owners and that encourage economic self-sufficiency.

Cities have a wide variety of options in pursuing this sort of goal. City contracts, for example, should whenever possible favor locally owned firms and firms that employ local residents and use local resources. Instead of just encouraging sculptured towers and flagpoles on buildings, city planning policies should encourage solar panels that decrease energy imports, rooftop gardens that cut down on food imports and utilize recycled materials that otherwise would become part of the city’s garbage problem. (Using recycled materials is by no means a trivial option; if all of the aluminum thrown away each year in San Francisco were recycled, it would produce more usable aluminum than a small-to-medium sized bauxite mine.)

Other cities have found numerous ways to use creative city policies to encourage local enterprise. In Minneapolis-St. Paul, for example an economic development agency asked the U.S. Patent Office for a list of all the patents issued in the past ten years to people with addresses in the Twin Cities area. The agency contacted those people — there were about 20 — and found that all but one had never made commercial use of the patents, largely for lack of resources. With the agency as a limited partner providing venture capital, more than half the patent owners started businesses that were still growing and expanding five years later. Some of those firms had actually outgrown their urban locations and moved to larger facilities out of town — but since the Twin Cities public development agency had provided the venture capital, it remained a limited partner and the public treasury continued to reap benefits from the profits of the businesses that had left town.

* CITY RESOURCES should be used to maximize budget revenues. For example, San Francisco currently owns a major hydroelectric power generating facility at Hetch Hetchy in Yosemite National Park. A federal law still on the books requires San Francisco to use that facility to generate low-cost public power for its citizens; that law, the Raker Act, has been honored only in the breach. That means every year PG&E takes millions of dollars in profits out of San Francisco (the company is based here, but very few of its major stockholders are San Franciscans). The last time we checked, San Francisco was losing $150 million (CHECK) in city revenue by failing to enforce the Raker Act and municipalize its electric utility system.

Meanwhile, PG&E continues to use city streets and public right-of-ways for its transmission cables at a bargain-basement franchise fee passes in 1932 and never seriously challenged. Other highly profitable private entities, like Viacom cable television, use public property for private purposes and pay highly favorable rates for the right.

Those ideas should be the a starting point, not a conclusion for mayoral debates. But thus far, we’ve seen precious little consideration of the issues, much less concrete solutions, from any of the candidates.

The mayor’s race, however, is still very much open, and the candidates are sensitive to public opinion. If the voters let the candidates know that we want to hear their visions of the city’s economic future — and their plans for carrying those visions out — we may see some productive and useful discussions yet.*

Learn how to solve the Rubik’s Cube with the easiest method, learning only six algorithms.

Street fairs and fall festivals

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IF YOU’VE been wondering where all the headline acts and theater companies go in that long gloomy stretch before the fall season, take a look at some of the entertainment featured in the following fairs and harvest festivals. Not only do Bay Area late-summer and autumn celebrations provide space for artists, craftpeople and nonprofit organizations to peddle their wares, many feature performers like Maxine Howard, Modern Jazz Quartet, the Asian American Dance Collective and many, many more. In part two of our third annual guide to Bay Area street fairs, we’ve listed TK celebrations from the beginning of August through October. Unless otherwise noted, the fairs — and the entertainment — are free. For more information, or in case you’d like to participate, call the telephone number listed at the end of each festival description.

August 1-2

Nihonmachi Street Fair The streets of Japantown come to life with live entertainment, food booths, arts and crafts and games. Headliners on Saturday include the top-40 group Desire, while Sunday features jazz recording artist Deems Tsutakawa. On both days, Spirit of Polynesia, the Asian American Dance Collective and the Chinatown Lion Dance Collective perform ethnic dances. The event also features Children’s World, with activities and arts and crafts designed especially for two-to 12-year-olds. 11 am-5 pm in Japantown, Post and Buchanan, SF. 922-8700.

Aug 7-???

Festiva Latino ALL FURTHER INFORMATION TO COME ON MONDAY BECAUSE I LOST THE FOLDER THAT HAD ALL THE STUFF IN IT. I DON’T KNOW HOW I LOST IT BUT WE NEED AT LEAST TO MENTION ALL THE STARS THAT WILL APPEAR. PHONE NUMBER: 543-3030.

August 7-9

ACC Craft Fair From custom-made saddles and porcelain lamps to cedarwood desks and ornamental jewelry, this fair highlights the distinctive work of 300 artists from across the nation, including 75 from Northern California. All of the artists are chosen on the basis of integrity of design and excellence of execution, and the show’s organizers say they hope to elevate crafts into a major industry and an important art form. Adults, $4; children under 12 free. Fri., 11 am-8 pm; Sat., 11 am-6 pm; Sun., 11 am-5 pm. Fort Mason Center, Piers 2 and 3, Bay and Laguna, SF. 526-5073.

August 15

Reggae Explosion, ’87 Presented in the style and tradition of Jamaica’s famous annual Sun Splash concert, this event features Haitian art, Caribbean crafts and Jamaican cuisine, as well as dance, poetry, raffles and prizes. Musical artists include the internationally known Don Carlos and his Freedom Fighters Band, Strictly Roots and the sweet steel drums of Val Serrant. $8 in advance; $10 at the door. 1-11 pm, Fort Mason Center, Pier 3. Sponsored by the Western Addition Cultural Center. 921-7976.

August 22-23

Palo Alto Celebrates the Arts Festival Wine tasting and dancing in the streets will bring even more sunshine to Palo Alto’s University Avenue. Wares include high-quality ceramics and pottery ranging from dinnerware and stoneware as well as paintings, prints and one-of-a-kind furniture to decorate and distinguish the home. 10 am-6 pm, University Ave., Palo Alto. Sponsored by the Downtown Palo Alto Arts Fair Committee. 346-4446.

August 22-September 27

The Renaissance Pleasure Fairs A large grove of live oaks provides the setting for spirited pageants and merry parades that attempt to recreate a 16th-century Elizabethan country village. The Northern California Renaissance Fair is an autumn harvest festival, with music and dancing, hearty foods and rare hand-made crafts. Queen Elizabeth and her court are among the more than 1,000 costumed entertainers. Visitors are encouraged to arrive in period dress and join the fun. Adults, $10.50; seniors, $8.50; children under 12 free. Weekends and Labor Day, 10 am-6 pm. Located at the Blackpoint Forest in Novato, Hwy 37 to the Blackpoint exit. Sponsored by the Living History Center. 620-0433.

August 27-30

San Francisco Fair and International Exposition This year’s fair has an international flavor with its theme “San Francisco: Gateway to the Pacific.” San Francisco’s sister cities of Manila, Osaka, Shanghai, Sydney, Taipei and Hong Kong each have their own pavilion, to exhibit the individuality and heritage of each city and country, and highlight San Francisco’s thriving relationship with her sister cities. The fair also features a wine pavilion, a San Francisco history exhibit and, of course, the famous contest program, featuring such past favorites as the “Financial District Strut,” the “Impossible Parking Space Race,” the winners of the Bay Guardian Cartoon Contest and new additions including the “SF Safe Sex Button,” and “Freeways to Nowhere.” Adults, $5; seniors, $3; youth aged 5-15, $2; children under 5, free. Aug. 27th is “Youth Day” (all youth 15 and under admitted free); Aug. 28th is “Senior Day” (seniors admitted for $1.50). 11 am-9 pm, Civic Auditorium, Brooks Hall, Civic Center Plaza, SF. 557-8758.

September 4-6

122nd Annual Scottish Gathering and Games Come join 40,000 Scots for three days of music, dancing, food and contests. Highlights include the Highland Dancing Championships and the Caber Tossing Championship (a caber is a log the size of a telephone pole tossed end-over-end for accuracy). More than 50 clans are expected to set up tents and display their family tartans and coats of arms. Tickets for the Friday night Musical Pageant and Twilight Tattoo are $5 grandstand; $6 box seat, 8 pm, at the Sonoma County Fairgrounds. Sat. and Sun., adults, $11 one day, $16 both days; youth 11-16, $6 each day; seniors, $5 each day; children under 11, free. Sponsored by the Caledonian Club of San Francisco. 897-4442.

September 5-6

A la Carte, a la Park Here’s your chance to picnic with more than 60 top Bay Area restaurants — De Paula’s, Firehouse Bar-B-Q, Vanessi’s Nob Hill and Hunan, among others — presenting their specialties at special prices to benefit the San Francisco Shakespeare Festival’s Free-Shakespeare-In-The-Park program. Sample the great cuisines of the world while enjoying a series of classical and jazz performances and samplings from the drama of William Shakespeare. $2.50 voluntary donations encouraged. 11 am-6 pm, in Golden Gate Park’s Sharon Meadow on JFK Drive across from McClaren Lodge, SF. 441-4422.

September 5-7

Concord Fall Fest This fourth annual Labor Day weekend festival, held in Todos Santos Park, features grape stomps, chili cook-offs and a 10K run. Less energetic fairgoers can enjoy an open-air marketplace of arts and crafts, food booths and live music. 10 am-6 pm, Concord (take Willow Pass Road exit from 689). Sponsored by the Concord Chamber of Commerce. 346-4446.

September 5-7

Sausalito Art Festival One of Northern California’s largest outdoor fine arts exhibitions, the 35th annual art festival is held along the beautiful Sausalito waterfront. More than 100 artists and craftsmen from around the world exhibit a total of 4,000 works of art. A variety of non-stop entertainment will be provided, along with 26 international food booths. Festivities begin Friday night, Sept. 4th, with fireworks and a black-tie party. The Breakers to Bay run begins along the Pacific at Fort Cronkhite in Marin at 8:30 am (register by August 18th). Adults, $3; children 6-12, $2; under 6, free. 10 am-6 pm, Bridgeway and Litho, Sausalito. Sponsored by the Sausalito Chamber of Commerce. 332-0505.

September 7

Arts Explosion This Labor Day festival celebrates the end of summer with a bang (fireworks) and launches the fall arts season. Complementing the showcase of outstanding Bay Area musicians and dance companies will be original performance works; “art by the yard” and a sculpture “glue booth” for children of all ages; an “Arts Row” with a variety of opportunities to interact with local arts organizations. Children under 12 free; adults, $1. 11 am-9 pm, Estuary Park on Embarcadero West, Oakl. Sponsored by the Oakland Festival of the Arts. 444-5588.

September 12-13

Russian River Jazz Festival Bring your suntan lotion, beach chairs, blankets and swimsuits, and swing to the sounds of the legendary Nancy Wilson, Maynard Ferguson and High Voltage, the Wayne Shorter Quintet and a host of others. This year, the festival features two stages set at the river’s edge, with a spectacular backdrop of redwood-covered mountains. Food and crafts will also be available. $23 single day; $42 for both days. Located at Midway Beach near Guerneville. (707) 887-1502.

September 12-13

15th Annual San Francisco Blues Festival The oldest ongoing blues festival in the U.S. offers two days of performances by blues greats from around the country, an unmatched view of the Bay and a superb array of New Orleans and Louisiana cuisine. Saturday’s music lineup includes Johnny Winter, Lonnie Brooks and Oakland’s own Maxine Howard, and on Sunday Roomful of Blues, Albert Collins and Memphis Slim play. $10 in advance; $12 at the door; $16 for a special two-day ticket available in advance only. Noon-6 pm at the Great Meadow, Fort Mason Center, Marina at Laguna, SF. 826-6837.

September 13

24th Street Merchants’ Cultural Festival The 24th Street Fair celebrates Latin American Independence as well as creating a community gathering for artists, residents and merchants. Visitors can enjoy Latin American food and arts and crafts with a Latin theme. A plethora of information booths provides literature on community activities and five stages continuous entertainment by local groups. 11 am-6 pm, 24th St. from South Van Ness to Potrero, SF. Sponsored by the Mission Economic and Cultural Association. 826-1401.

September 18-20

30th Annual Monterey Jazz Festival Monterey Jazz Festival swings again, this year featuring more than 25 superstars, including Ray Charles, The Modern Jazz Quartet, B.B. King, Toshiko Akiyoshi, Etta James and Bobby McFerrin. The event also features food and merchandise booths, and the sponsor, MCI Communications, offers visitors the opportunity to call anywhere in the U.S. free of charge. Although the main stage events are sold out, grounds admissions tickets are still available and allow the bearer access to the outdoor Garden Stage and the indoor Nightclub, which host many of the headliners. $15 a day. Fri., 5 pm-midnight; Sat., noon-midnight; Sun., noon-10 pm. 775-2021.

September 19-20

Mill Valley Festival More than 100 artists, selected by a jury, exhibit their wares at this arts-and-crafts fair set in a beautiful redwood grove. Food, continuous on-stage entertainment and activities for children make this one of the premiere fine arts festivals in the country. Voluntary donations requested. 10 am-6 pm, Old Mill Park, Throckmorton and Old Mill, Mill Valley. 381-0525.

September 19-20

Pan-Pacific Exposition Art and Wine Festival This city-wide festival is held on the site of the 1915 World’s Fair. Horse-drawn carriages and vintage cars transport visitors to the glories of bygone days as the festival celebrates the highlights of San Francisco history. Enjoy ragtime music, a historic fashion show and pennyfarthing bicycle races. Several wine gardens offer premium wines from select California vineyards. 10 am-6 pm, Marina Green, Lyon and Marina, across from the Palace of Fine Arts, SF. Sponsored by the San Francisco Council of District Merchants. 346-4446.

September 20

Folsom: Dimension IV! Now in its fourth year, this fair has established itself as the “End of Summer” celebration. Staged on the equinox of 1987, the fair again features the mascot “Megahood,” who breathes fire and smoke over the crowds. Entertainment includes the Folsom All Stars, the Zasu Pitts Memorial Orchestra and Viola Wills. Expect high-energy performances and technological innovations and one of the most diverse display of local artistry and crafts. The fair is a benefit for the San Francisco Aids Emergency fund and the South of Market Community Association. 11 am-7 pm, Folsom between 7th and 12th St., SF. Sponsored by Budweiser Corporation. 863-8579.

September 26-27

The Pacific Coast Fog Fest Visitors to the Pacific coastline are treated to historical and humorous displays at the Fog Fest. Diners may feast on seafood and of course fogcutters are the featured cocktails. Vintage cars, arts, crafts, continuous entertainment and fog-calling contests make this a welcome new Bay Area event. 10 am-6 pm. Located on Palmetto Ave., between Shoreview and Santa Rosa in Pacifica, Hwy 1 to Paloma exit. Sponsored by the City of Pacifica. 346-4446.

October 2-4

Fiesta Italiana A weekend family event, this year’s fair promises to be the “Besta Festa.” The celebration of Italian-American culture features Italian cooking demonstrations, wine tasting and grape stomping. Mayor Dianne Feinstein is scheduled to cut the pasta ribbon to open the ceremonies, Sergio Franchi will headline with two shows a day and the Italian design Ford Concept Car is on display. Fireworks are scheduled for the end of each day. Adults $8; children $1.50; Seniors and disabled $5 (free from noon-6 pm on the 2nd). Noon-midnight, noon-10 pm on Sun. Pier 45, Fisherman’s Wharf, Shed A and C, SF. Sponsors include Pepsi, Ford Motor Co., Budweiser, Sony, Lucky Stores, EFS Savings and the Port of San Francisco. 673-3782.

October 4th

Castro Street Fair Started in the back room of Harvey Milk’s camera store in 1974, this neighborhood fair has become a city-wide event. Musicians, bellydancers and jugglers appear with prom queens, urban cowboys, visitors from outer space and the Gay Freedom Day Marching Band and Twirling Corps. A variety of music, comedy acts and more than 200 arts and crafts displays are also scheduled. Castro between Market and 19th, SF. Sponsored by the Castro Street Fair. 346-2640.

October 9-25

Harvest Festival For three weekends, the nation’s largest touring festival of handmade crafts, fine art, music, theater and cooking transforms Brooks Hall into a colorful 19th-century village. The event features bluegrass and country bands, continuous stage entertainment, jugglers, acrobats and wandering minstrels, as well as the hundreds of unique shops that line the walkways. Center Stage headliners include Riders in the Sky, and the famed musical comedians the Brass Band, winners of the top prize at the Edinburgh, Scotland Performing Arts Festival. Adults $5; children 6-11, $2.50; children under 6, free. Fri., noon-10 pm; Sat., 10 am-10 pm; Sun., 10 am-7 pm, Brooks Hall, Civic Center. 974-4000.

October 10-11

Art and All That Jazz on Fillmore A second-year revival in remembrance of Fillmore Street’s heyday of music, known in the 1940s, ’50s and ’60s for its hot jazz and blues clubs. Two days to celebrate San Francisco’s jazz roots with fine arts, fine food and fine wine in outdoor cafes. 10 am-6 pm, Fillmore between Post and Clay, SF. Sponsored by the Fillmore Street Merchants’ Association, the Pacific Heights Homeowners’ and Merchants’ Association. 346-4446.

October 11

Montclair Village Fair The winding streets of Montclair Village provide a charming locale for this neighborhood fair, where 50 artisans sell crafts and local schools, business and nonprofit organizations sell food. This year’s fair has a circus theme, with strolling flutists and meandering mimes helping to create a carefree atmosphere. A pancake breakfast kicks things off and is followed by hayrides in Montclair park. 11 am-5 pm, LaSalle at Mountain, Oakl. Sponsored by the Montclair Business Association. 339-1000.

October 17-18

Half Moon Bay Art and Pumpkin Festival Artists and craftspeople from across the United States display wares in more than 250 booths and all-day entertainment features blue grass to rock-and-roll at this “something for everyone” festival. As you might expect, pumpkin goodies abound and the fair kicks off with two pie-eating contests. Other events include a Pumpkin Festival Run and a pumpkin-carving contest. 10 am-5 pm, Main Street in Downtown Half Moon Bay. Sponsored by the Coastside Chamber of Commerce. 726-5202. *

The I-Hotel interviews

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Many lives ago, I remember standing in the back hallway of the International Hotel trying to fathom why it was that this funny, run-down place with these very sad, old, alone men had become the focal point of an enormous array of the concerted power of the state, city and business interests from across the world. And it was not easy then, and it is not easy now, because we were looking at the problem of progress, in some strange sense, and the sadness of one generation, the evils of one generation, seeking redress in another generation. Most of the residents of the I-Hotel were Filipino men who had come to work in the fields of the Central Valley, and had been refused the opportunity to bring over wives or sweethearts, had stayed perhaps too long and had lost their families, lost their wives, lost their sweethearts, lost anything except their companionship with each other, and their attachment to this funny place that they called home, that was not much of a home, but it was all that they had. And so the landowners that owned that prime piece of real estate in downtown San Francisco were being chided for taking away a precious place, which they looked upon as a rundown flophouse, from people who had been cheated of their lives by other landowners, hundreds of miles away. And if there’s any lessons to be learned, it’s the lesson that we are all connected, each to the other, and that everything we do has consequences, not only for ourselves and our immediate family and friends, the people who live in our immediate neighborhood or our city or our state, but across the world, across the century.

Richard Hongisto
Member, San Francisco Board of Supervisor; former San Francisco sheriff

I think that a larger population of voters in San Francisco have begun to see — in part from the I-Hotel — that we can’t continue to Manhattanize the city without destroying our quality of life. And I think that is in part responsible for the passing of Proposition M and other efforts to control density in our city.

We just have to keep pursuing the legislative remedies to prevent the destruction of existing housing stock and replacing it with higher-density construction, and to prevent the conversion of existing low-cost housing into high-profit commercial space and so on. We’ve done some of that already, but I think we can continue to do more. One of the things we need to do is get the right person in the mayor’s office, to get the right Planning Commission in there, which is one reason I’m supporting Art Agnos, because he’s the only person in the race who supported Proposition M.

I wouldn’t let my photograph be taken knocking down a door [if I had to do it over again], because the photograph was completely misunderstood. I was knocking the door panels out of the doors, so the minimum amount of damage was done to the doors, because we were hoping we could get the tenants back in. When we started to do the eviction, the deputies from my department started to smash in the whole door and the door frame, and ruin it. And what I did was I took the sledgehammer and said no, do it like this — just knock out one door panel, and that way if the tenants can get back in, they can take one little piece of plywood and screw or nail it in over the missing door panel. So I showed them how to do it and I got photographed in the act. The photograph has been attributed that I was running around smashing down the doors in hot pursuit of the tenants, when in fact the opposite was the truth.

I think that as a result of the fact that I refused to do the eviction immediately, and then getting sent to jail and sued — I had to spend about $40,000 in 1978 out of my own pocket to defend the suit — I think we made a real effort to forestall the eviction and give the city a chance to take it over by eminent domain and save the building for the tenants. It did not work out in the end, but I’m glad that we gave it the best shot.

Brad Paul
Executive director, North of Markert Planning Association

Well, let me just start by saying that I was there the night that it happened. It was pretty horrifying to watch people, basically, that I was paying — because I’m a taxpayer and they were police officers, paid by the city — to beat people up around me, and I saw people right in front of me have their skulls split open at taxpayers’ expense, so that this crazy person from Thailand, Supasit Mahaguna, could throw all these people out of their homes.

In retrospect, we’ve learned about the important role that nonprofit corporations can play in owning houses and there was a thing called a buy-back plan, which people thought was a scam. Today, you would think of something like a buy-back plan as just a normal way of buying residential property protection. I can’t think of any residential development ten years ago owned or operated by a nonprofit corporation. Today there are lots.

The eviction — I think people paid a very dear price for that. A number of those people are dead now, and I’m sure that the threat of that eviction didn’t help. A more recent case is 1000 Montgomery. The eviction of those people, I think, led to the death of one of the older tenants there. I think that’s one of the sad losses of things like the I-Hotel and 1000 Montgomery and all of them. I don’t think government officials pay enough attention to that when they make decisions on whether or not to let somebody do these things.

But for myself, I’d have to say that there were a number of things that I was involved in ten and 12 years ago that made me decide to do the kind of work I’m doing now. And I’d say one of the single things that had the biggest effect on me was being there that night and watching that, and saying we shouldn’t allow this to happen — that we need to all see that it never comes to this again.

Quentin Kopp
State senator, third district; former member, San Francisco Board of Supervisors

To me it was an unusual episode, and I’m not sure that it was a lesson of any kind. I don’t think it’s been repeated, has it? You know, I’m a believer in property rights, so it’s a difficult issue. On the other hand, I became convinced that there was genuine justification for maintaining the hotel for those who lived there and had an attachment to it. It was a collision of property rights versus feeling sorry for people who would lose their lodgings, lodgings to which they had become accustomed and attached. If I were the property owner, I would be indignant about the way the city treated me …

the tactics that were used, and the litigation — the litigation was horrendous.

Now, the broader social issue I would characterize as preservation, obviously, of low-income housing for a minority group, the Filipinos. [But] if the city had such a robust concern, sincere concern, then the proper act for the city was to condemn the property — to take it and preserve it …

for the people who lived there. But the city was not forthright, the city did not set out to do that — the city tried to strangulate the owner into doing that, by reason of, it’s what I consider a bit cutesy a legislative move — a political move.

So what have we learned? Well, I don’t think that anything has been learned, and not simply because this is sui generis (which is the Latin term for one of a kind that lawyers often employ), but because the city doesn’t have a consistent policy for preserving this kind of living space.

Richard Cerbatos
Former member, San Francisco School Board, San Francisco Board of Permit Appeals

Speaking as a Filipino American, I saw an attempt to destroy a cultural link within the Filipino-American community. It was clear there was an established community living there. The use of the hotel in that general community formed a network and a lifestyle that was identifiable for older Filipino men. The access to the cheaper restaurants in Chinatown, the ability to hang out and speak their language in pool halls — this was all proposed to be destroyed in one big demolition permit. They were in a community where some of their cultural values were intact, and the only thing that kept them intact was the fact that they were close to one another.

I think those sensitivities now are clearer to the general community. I still think there are areas of Chinatown where they’re still going to have to fight this battle….

We’re seeing this: That we can’t allow people to be displaced purely in the name of bigger and better developments, and namely, bigger and better profits. With Prop. M, we’re seeing some attempts at this, and I think the first evolution of this was the I-Hotel.

As far as my sensitivites go, my thing is, through just having lived through it, this was the first time that anyone took on the developers the way they did. There have been later battles, but that was the first one that became known to everyone city-wide. If we are going to put some control on growth, we can use these lessons.

Ed Illumin
Member, I-Hotel Tenants Association

The first eviction notice was posted in December of 1968, so we’re talking about an almost 19-year battle, here. Actually, a 19-year war, because there were little battles in between. But it comes down to the city and various segments of the Chinatown community and the developer, Four Seas, arriving at an agreement on the development for that lot that would include some replacement housing — affordable, low-income replacement housing. I mean really affordable and priority for those apartments going to former tenants of the I-Hotel, and those elderly and disabled. A number of [tenants] have died since that time, so really we’re talking about maybe a dozen or 16 people who are still around to taste the benefits of this long, long war. Some justice, even though it’s late, has arrived and I would say that we finally won the war. It was a long struggle, 19 years, but people will get a chance, if they live long enough, to move in on the 20th year, which is 1988, when the construction should be completed.

It certainly wasn’t positive for the Filipino neighborhood. There are remnants of Manilatown, but to a large extent that neighborhood was destroyed. There was a lot going on there, and the I-Hotel was the heart of the community in that area. The positive thing about it was that it kept the Financial District from encroaching into Chinatown. The Filipinos and the Chinese have had a long history of living together, co-existing, and I think it was pretty much a sacrifice of the Filipino community there to make sure that Chinatown was preserved.

Chester Hartman
Fellow in urban planning, Institute for Policy Studies; lawyer for I-Hotel Tenants Association

In a sense, I think the International Hotel, the tremendous interest and support that the eviction attempt generated over so many years, was a kind of a coalescing and symbolizing of resistance to changes in San Francisco — changes being obviously the downtown corporate world taking over the neighborhoods. I think the fact that so many people came to the aid of the hotel residents, even though they weren’t successful in preventing the eviction, was pretty much a strong building block in developing what has become an extremely strong housing movement in San Francisco, one that really has become very effective in influencing candidates and people in public office, and in getting some laws passed.

So that’s one important lesson — that sometimes victories take a while, and take different forms, but all these struggles are connected. Another, I guess, is really how long it takes to get any results — the absurdity of having a totally vacant lot there for ten years, at a time when people need housing so badly. The fact that a private developer like Four Seas is able in essence to hold on and do nothing with its land when there’s so much need for housing in the Chinatown-Manilatown area says a great deal about … the relationship of city government to private developers.

Curtis Choy
Producer, “The Fall of the I-Hotel”

About the eviction night itself — and I just have a dim recollection now — I remember being very numb, and the fact that I was hiding behind a camera made it easier, because I had something between me and the event. I think I’ve spent a lot of time getting it behind me and if I haven’t seen my own film for, say, half a year it scares the hell out of me to look at the eviction again. I feel hairs standing up on the back of my neck.

What can I say about lessons? It was almost, I shouldn’t say, it was almost worth that eviction, but I mean, that’s the only thing you can get out of something like that — I mean, basically, they killed half those guys by throwing them out.

The potential for revolution in the country was still in the back of our minds in the early ’70s. And here we were trying to use the system, trying to play ball with the system, and it sort of set us up for yuppiedom. It was sort of our last hope to get something together, and we had invested 12 years or so in the struggle. There was kind of a little mass depression that stuck, and that same kind of high energy has never come back.

Sue Hestor
Attorney, San Franciscans for Reasonable Growth

In retrospect, one of the issues that we should have raised and litigated was the lack of an adequate environmental review of the project. We’ve learned a lot since then, and I don’t want to say that people that were involved at that point made a wrong decision, but in 1987 that would be one of the first issues that would be raised.

Secondarily, I think what we learned is how the physical destruction of a building makes it very hard to keep the issue alive — after a while, the hole in the ground becomes something that has to be filled, and the focus of attention drifts away. It’s really striking how when you lose the building, it’s more than just a symbol — it’s the motivating factor in people’s lives.

Allison Brennan
Organizer, San Francisco Tenants Union

They [the city] could’ve taken the building by eminent domain and they didn’t do that — they didn’t want to do that. I mean, the issue is not so much what they could do to prevent it, but why they didn’t prevent it in the first place. And that is basically because San Francisco has very little interest in preserving low-income housing. Its interest, and the interest of most of the people from San Francisco, are in getting rid of low-income housing, “cleaning up” poor neighborhoods, and turning them into nice middle-class neighborhoods, and that’s the stated goal of most city legislation — poor people aren’t what we want.

I think that probably the most important thing that came out of [the I-Hotel struggle] was that, while we don’t have a real good situation for tenants in San Francisco, I think consciousness was raised, among at least a lot of tenants about the situation which tenants are in. And I think that to a certain extent, on a national level, the elderly are getting somewhat better consideration than they did previously.

Gordon Chin
Director, Chinatown Neighborhood Improvement Resource Center

I guess the lessons of the I-Hotel have to go back to 15 and 20 years, to the genesis of the issue. I personally think the I-Hotel symbolized a lot of very key development issues — housing issues, tenant empowerment issues — that gained a national reputation back starting in the 1960s. In some respects, it highlighted many of the particular facets of the housing problem very early on: the need to maintain and preserve existing housing; the threat of commercial and downtown developments; the encroachment into the neighborhoods; the issue of foreign investment and the role that can play in development encroachment; the critical importance of tenant organizing and tenant organization with a support base in the larger community; the need for diverse ethnic, racial, sexual, lifestyle communities to work together on an issue of mutual concern — in this case, Chinese, Filipino, white, all different kinds of people supporting the I-Hotel tenants and getting involved in the issues as they evolved over the last 15 years.The I-Hotel experience has had a positive effect on these issues in San Francisco, and probably across the country. ….

It was a very critical time for the city, and this is going back to the early ’60s, with the previous United Filipino Association, the International Tenants’ Association, the whole bit. You had a lot of environmental movement activity….

I think that’s the I-Hotel’s importance, not just what happened back then. It was the whole evolution of the issue, even after the demolition, when the focus then became — well, we’ve lost the building, but the fight must continue in terms of making sure whatever is built on the site becomes new, affordable housing — not just housing but affordable housing. And it’s culminated in the most recent development plan for the project, which has gained pretty wide-spread support. I guess part of the whole recollection, reflecting back on the ’60s in general, [is that] the I-Hotel was very symbolic of the whole movement — Vietnam, everything.*

Interviews for this story were conducted by: Nicholas Anderson, Heather Bloch, Eileen Ecklund, Mark Hedin, Craig McLaughlin, Tim Redmond and Erica Spaberg.