Local

Prop 16 opponents celebrate

It’s now official: Prop 16 is toast.

With 87 percent of the election results in, Prop 16 was losing, 52.6 percent “no” to 47.4 percent “yes.”

Yes, that’s the measure that the state’s most powerful utility company, Pacific Gas & Electric Co., just sunk a record-breaking $46 million into. 

On election night, victory belonged to a small, brainy group of under-funded green-power activists, filmmakers, bloggers, and attorneys who put their hearts and souls into beating PG&E’s measure. The measure was designed to destroy municipal energy programs that offer an opportunity to depart from PG&E with greener power. Sup. Ross Mirkarimi was a vocal opponent of Prop 16, and the chief supporter of San Francisco’s community choice aggregation program.

Not long after Mirkarimi made an entrance at the Otis Lounge in San Francisco, where opponents of Proposition 16 were glued to computer screens watching election results roll in, the green “Yes” box displayed on the voting results website turned to a “No.”

“We’re winning!” Someone shouted. A cheer arose, and hands shot into the air. Mirkarimi’s face broke into a beaming grin. Public power advocates Eric Brooks, Bruce Wolfe, and Paul Fenn stood nearby, along with Dave Room of the Local Clean Energy Alliance and Ben Zolno, a blogger who created YouTube videos against Prop 16.

Matt Freedman, of The Utility Reform Network (TURN), was perched with a computer on his lap for the duration of the night, and his co-workers, including TURN executive director Mark Toney, clustered around and watched, eyes wide and faces lit up, as things started trending in their favor.

“PG&E has one thing, and one thing only on their side, which is money,” Toney said early in the night, when the numbers were close, but still too early to tell. “The fact that we’re so close is amazing, given that they’ve outspent us 500 to 1.”

State Sen. Mark Leno, an outspoken opponent of Prop 16, made an appearance early in the night, then returned later as things swung in the favor of the opponents.

“I think [Prop 16] represents the epidemic of corporate greed that is so challenging in this country right now, whether it’s banking or the oil industry,” Leno said. “I think a victory tonight would really speak to Calfornia voters rebuking the lies and the deceit” spread by PG&E.

As the results grew stronger in their favor, opponents went into celebration mode. 

A little after 1 a.m., the exuberant crew took an impromptu stroll to San Francisco’s PG&E headquarters on Beale Street.

Banners adorned PG&E’s fortress-like building. Printed on them was the slogan, “We can do this.”

Note: This post has been updated from an original version.

Our Weekly Picks: June 9-15, 2010

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WEDNESDAY 9

EVENT

Jim Woodring

Seattle-based cartoonist Jim Woodring just released the latest in his two-decade run of comics featuring Frank, a character somewhat resembling a 1930s animation-style cat. But Frank is probably the most realistic entity on display in Weathercraft, a wordless graphic novel that features a constant barrage of mytho-psychedelic abominations ranging from what Woodring calls a “two-mouthed fear cow” to an amorphous giant ear-creature taking notes with its paw. His drawing style is stunningly detailed, and he’ll be “showing” his work at two Bay Area bookstores — a fitting approach since he can hardly present a reading of his complex but text-less explorations. (Sam Stander)

7:30 p.m., free

Pegasus Books Downtown

2349 Shattuck, Berk.

(510) 649-1320

www.pegasusbookstore.com

Also Thurs/10, 7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com

MUSIC

Ferocious Few

The Ferocious Few is one of the most exciting rock bands in the Bay Area, and still relatively obscure. Locally renowned for its ability to command a street corner as if it’s Wembley Stadium, the Few traffics in the kind of hard-edged, twangy blues-rock that never goes out of style. Having just returned from a West Coast tour in support of its debut LP Juices, the band is poised to explode into national prominence (at least within the indie circuit) any second now. This show could be the last chance you’ll ever get to say “I saw them before they got huge.” (Zach Ritter)

With the Generals and Eugene and the 1914

9 p.m., $8

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

THURSDAY 10

STAGE

Gutenberg! The Musical!

In the grand tradition of theater about theater, Beards Beards Beards: A Theatre Company is producing Scott Brown and Anthony King’s Gutenberg! The Musical! But don’t expect a reliable primer on Johann Gutenberg and his fabulous printing press. Instead, Gutenberg! traces two Broadway hopefuls, Doug Simon and Bud Davenport, who are pitching their rather absurd musical concept to any producers who might be listening. If their YouTube trailer is to be believed, the production will feature deliberately groan-worthy choreography and several hats. And possibly Dragonball-inspired posing. Beards Beards Beards was cofounded by SF State grad Amanda Dolan, who is directing, and Joey Price, who costars as Bud. (Stander)

8 p.m., $20

Exit Stage Left

156 Eddy, SF

(949) 742-2365

www.beardsbeardsbeards.com

MUSIC

Stiff Little Fingers

Northern Irish punk outfit Stiff Little Fingers was never as critically acclaimed or commercially successful as its late-1970s contemporaries The Clash and the Sex Pistols, but it damn well should’ve been. In a just world, the opening riff from “Alternative Ulster” alone would be enough to secure an eternal spot in the proto-punk pantheon. The Fingers made its bones amid the political disquiet of post-troubles Belfast, wielding barbed lyrics and razor-sharp guitars against the grim partisans on both sides of Ireland’s ethnic conflict. The band broke up in 1982, but five years later it returned, like Arthur out of Avalon, to resume battle against the world’s injustices. Slim’s, with its cramped-basement aesthetic and battered barstools, is the perfect venue for these guys — bring a fist to pump, a foot to stomp, and all the righteous outrage you can muster. (Ritter)

With Culann’s Hounds

9 p.m., $20

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

STAGE

Die Walküre

Following its production of Das Rheingold in 2008, San Francisco Opera is offering Die Walkre, the second installment in Richard Wagner’s notorious operatic tetralogy. Baritone Mark Delavan continues from Das Rheingold as Wotan, head of the Norse pantheon of gods (a role he will reprise in SF Opera’s production of the entire Der Ring des Nibelungen cycle next summer). Whether you’re an Apocalypse Now fan in for “Ride of the Valkyries,” an epic fantasy lover seeking squabbling gods, or just someone who likes a bit of weird incest with your German musical theater, SF Opera’s take on this classic work of Romantic intensity promises to be … intense. Francesca Zambello directs and Donald Runnicles conducts. (Stander)

Also Sun/13, June 19, 22, 25, and 30

7 p.m., $20–$325

War Memorial Opera House

301 Van Ness, SF

(415) 864-3330

www.sfopera.com

FRIDAY 11

FILM

“Midnites for Maniacs: She-Roes”

Smack-dab in the middle of the Castro’s inexplicably long Sex and the City 2 booking comes “Midnites for Maniacs: She-Roes,” a trio of films that celebrate women in less shrill, less shoe-obsessed ways. First up is Penny Marshall’s 1992 ode to World War II-era women’s baseball, A League of Their Own, featuring one of Madonna’s least cringe-worthy acting turns. Several film stars will be in attendance — most notably Lori “Tank Girl” Petty. Then, polarizing feminist/femi-not horror film Jennifer’s Body (2009) begs you to give it a second chance, with the added bonus of Oscar-winning, slang-slinging screenwriter Diablo Cody in person. Finally, invincible Midnites for Maniacs fave The Legend of Billie Jean (1985) returns. Holding out for a She-Ro? Look no further. (Cheryl Eddy)

A League of Their Own, 6:30 p.m., $13 (for one or all three films)

Jennifer’s Body, 9:30 p.m.

The Legend of Billie Jean, 11:59 p.m.

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

VISUAL ART

“Pony Up, Bot”

Do you like ponies? Robots? Trippy whimsy? If you answered “yes” to any of the above questions, then I suggest you check out “Pony up, Bot,” an exhibition of new work by artists Adrianna Bamber and Eric Nichols. (If you answered no to all of them, then yours must be a gray existence indeed.) Bamber’s mind-warping-yet-adorable watercolors are what you get when you spill Ralph Steadman all over your Dr. Seuss. And Nichols? According to the Design Guild, his pieces “showcas(e) a postapocalyptic existence where PartyBot interacts with endless nights while remaining the sole resistance to annoying evil scum.” Now you can be forgiven for not being able to wrap your head around all that since it is, admittedly, insane. But admit it — “PartyBot”? Whoever he is, you know he’s up to something brain-meltingly awesome. This show is your opportunity to feel like a kid again — if you were the kind of kid who did tons of mescaline. (Ritter)

Through July 1

7 p.m. (opening), free

Design Guild San Francisco

427 Bryant, SF

(415) 462-6303

www.designguildsf.com

DANCE

San Francisco Moving Men

In the professional dance world, the male dancer is a rare and coveted entity. Thus a contemporary dance company consisting solely of men, like Joe Landini’s San Francisco Moving Men, should be treated with awe and appreciation. If graceful, athletic boys aren’t enough to win your admiration, Landini’s provocative choreography certainly will. In Dancing @ The Garage, part of the National Queer Arts Festival, the Men run up walls, bounce off artificial turf, duck flying tennis balls, and disco on a three-by-five shag rug. The show also features Christine Cali’s dance company Cali & Co. (Katie Gaydos)

Through June 26

Fri.–Sat., 8 p.m.; Sun., 2 p.m., $20

Garage

975 Howard, SF

(415) 518-1517

www.sfmovingmen.org

EVENT

thread | bare

Why shop at the boring ol’ mall when you can support local designers — and see the clothes in a runway show populated by local performers, including the fabulous Fauxnique? Plus, not for nothing is “thread | bare” dubbed “a striptease fashion auction,” since you can bid on, and get your mitts on, outfits as soon as they come down the catwalk. If you can’t make tonight’s festivities, which also feature a performance by all-male burlesque troupe SF Boylesque, stop by the Lab to peruse the goods during the weekend-long trunk show. Designs include the “neo-couture” of Miss Velvet Cream, graphic tees by Turk and Taylor, dresses by Invisible Hero Clothing, and more, plus several artists who work with repurposed materials, including Kittinhawk, Mittenmaker, and Ghetto Goldilocks. Recycling is fierce! (Eddy)

7–10 p.m., $10–$20

Trunk show Sat/12-Sun/13, noon-6 p.m., free

The Lab

2948 16th St., SF

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

SATURDAY 12

FILM

Burning Man Film Festival

Want to visit the playa without all the dust? Whether you’re a seasoned burner or a wide-eyed newbie, the Burning Man Film Festival is sure to offer a thought-provoking perspective on Black Rock City. In honor of Burning Man’s 25th anniversary, the film festival traces the past and present of BM and examines how various aspects of the event have changed over time. Saturday’s four shows center around BM footage shot from 1991 to 2003, while Sunday’s three shows feature films shot from 2002-10. (Gaydos)

Sat-Sun, 2 p.m., $10

Red Vic Movie House

1727 Haight, SF

www.burningman-filmfest.com

SUNDAY 13

MUSIC

Real Estate

Though the real estate market’s down, you can go see the band Real Estate for a measly cost. Martin Courtney and his cohorts offer plenty in the way of sun-soaked pop hooks and dreamy lyricism to match our cold SF summer. With a self-titled debut that garnered critical raves in 2009, Real Estate is sort of like the Beach Boys on downers. Opening for the band is the SF-based Young Prisms, your standard roughly hewn, unpolished indie band. But like the night’s other act, All Saints Day, it’s harmless, catchy fun. Real Estate, on the other hand, is fun with brains. No escrow required. (Ryan Lattanzio)

8 p.m., $14

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

MONDAY 14

MUSIC

Jenny Owen Youngs

Female adult alternative is a frequently snubbed genre, probably due to its proximity to the Lilith Fair. But these two shouldn’t necessarily be yoked, especially for East Coast darling Jenny Owen Youngs. She wears humility on the sleeves of her boyish duds, revealing she’s neither starlet nor simpleton. Like Youngs herself, the songs are blunt and oddly sexy. And she’s far more than just a girl and her guitar, especially since she spiked the placid drawl of her first EP with a cover of Nelly’s “Hot in Herre.” That song was probably written for a dive as small as Bottom of the Hill, so it feels right that Youngs is playing here again. (Lattanzio)

With April Smith and the Great Picture Show, William Tell

8 p.m., $12

Bottom of the Hill

1233 17th St. SF

(415) 621-4455

www.bottomofthehill.com

TUESDAY 15

EVENT

Bret Easton Ellis

American literary psycho Bret Easton Ellis reprises his nihilist vision of L.A. and the wilting of once sprightly youths, along with their brain-dulling drug use, in Imperial Bedrooms. The sequel to 1985’s cult classic Less Than Zero, a novel you should read in that first winter break of freshman year, this new book revisits the same milieu of users and losers. But now they’re all middle-aged and having much less sex. A notorious asshole among the contemporary literati, Ellis continues to probe the surface of social mores — with a hot, poison-dipped poker. It’s smart of his press to host this event (a conversation with book critic Tom Barbash) on the book’s release date. If you read it before, you might not be inclined to show up. (Lattanzio)

6 p.m., $20

Commonwealth Club

595 Market, SF

(415) 597-6700

www.commonwealthclub.org The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

 

Bucharest calling

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arts@sfbg.com

FILM In the five years since Cristi Puiu’s improbable epic, The Death of Mr. Lazarescu (2005), a small group of philosophically-inclined filmmakers who were still young during the last days of Ceausescu have been disproportionately responsible for the minor masterpieces of world cinema. None of the Romanian films at Cannes (including Puiu’s follow-up, Aurora) nabbed a prize this year. But the three features in the Pacific Film Archive’s “Tales from the Golden Age: Recent Romanian Cinema” series — Lazarescu, 4 Months, 3 Weeks and 2 Days (2007), and Police, Adjective (2009) — were all heavily garlanded. They gain power when seen in series, where their common syntax comes into focus.

All three films unfold as underground odysseys. A character is tested in a series of trials flowing, directly or indirectly, from the state. In Lazarescu, the eponymous figure is sent upon a Styx-like course of hospitals, accompanied first by reproachful neighbors and then a willful medic. By the time the doctors correctly diagnose his original complaint of the stomach and head, his neurological condition has deteriorated to the point that he can no longer form the words himself. In 4 Months, we trace a young woman’s movements through the city as she ensures a safe course for her friend’s illegal abortion (the film is set two years before Ceausescu’s fall). As more and more is asked of her promise, the film’s handheld style comes to seem charged by irreversibility. In Police, Adjective, we watch a quiet young detective trail a dead-end case: he’s been assigned to gather evidence for a uselessly punitive drug bust of a few teenaged hash-smokers. When he finally refuses to order a raid, he gets an unexpected linguistics lesson from his chief (played with appalling charisma by Vlad Ivanov, the abortionist in 4 Months; in both films he seems the very embodiment of the banality of evil) who dismantles the detective’s logic word by word.

With narratives like case histories, peeling back a social situation until its very marrow is exposed, these films take no shortcuts to empathy. Morality is specifically broached, and each centers on protracted, tangled negotiations carried off by wonderful acting. The apparent detachment of the long-take style is deceptive. In fact, the films’ scenarios are rigorously worked out to express moral quandaries with concern for those on the receiving end. The ostensible real time of the long take is easily distended by exigent circumstances; the decision not to cut gives a taste of the agony, powerlessness, and tension that meet the characters. Indeed, the observational camera is an insinuation, drawing us into the complex ethical mechanics at the level of action and plot. They induce the presence of mind required to dislodge a nasty splinter. It’s difficult to imagine an American documentary taking on health care with an unblinking intransigence on par with Lazarescu, and this, more than the formal style, accounts for critics using the language of ethics and truth to describe the film.

By positioning individual characters at the margins of a centralized bureaucracy, the Romanian films certainly do illuminate untruths. Several of the broad shorts in the new omnibus film, Tales from the Golden Age, threaten to turn the gnomic quality of the Romanian films into shtick, but in the context of the PFA series, these “urban legends from the Ceausescu era” put a gentle historical spin on some of the leitmotifs of the earlier features. The best by far is The Legend of the Air Sellers, a tender 4 Months-meets-John Hughes film in which a teenage girl joins up with a scruffy older guy for a decidedly low-tech scam: they take bottles from local residents under the premises of collecting water and air samples for the state and then redeem the glass for change. The con is revealing of a central paradox of the period: that citizens could be frustrated by the state of things while at the same time credulous that the state would fix them. The girl is a natural capitalist, farming out bottle collecting to unwitting landlords; the boy, for his part, only really wants to watch VHS tapes on a prized video player.

Harun Farocki and Andrei Ujica’s found footage essay-film, Videograms of a Revolution (1992), is the outlier of the series both in terms of age and form, but in its methodical analysis of the Romanian Revolution of 1989 as a paradigmatic modern event, the film draws very close to the social relevance of the recent Romanian films — much closer than the nostalgia-tinged episodes of Tales from the Golden Age. Two sequences in Videograms loom large for the Romanian films in the PFA series. In the first, Ujica’s voice-over identifies an initial spark for the revolution in a moment of intercessional static, when an official camera trained upon Ceausescu’s scripted reality pans to observe a disturbance in the crowd, “more out of curiosity than resolve.” Then there are those bundled shots depicting newly victorious revolutionaries dug in at the political headquarters and TV station (an important location for Police, Adjective director Corneliu Poumboiu’s 2006 film, 12:08 East of Bucharest). Attempting to forge their initial reforms, they flail at the deeply ingrained restraints of institutional language.

Toward the end of Videograms, we watch dramatic embedded footage of ragtag revolutionaries and other civilians taking cover from sniper fire coming from one of the oppressive high-rise buildings that play such a prominent part in the Romanian cinematic imagination. Ujica’s voice-over takes analytical measure of the scene: that the belief in an enemy is a binding legacy, a “recollected habit,” and that the unspoken fear so long deployed by Ceausescu’s regime as “internal tactic of deterrence” will not simply vanish. The new Romanian cinema was surely born in the shadows of this phantom fighting.

TALES FROM THE GOLDEN AGE: RECENT ROMANIAN CINEMA

June 11–June 27, $5.50–$9.50

Pacific Film Archive

2757 Bancroft, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

From the Kamala Harris party

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City Attorney Dennis Herrera, and Board President David Chiu, Criminal Justice Podcaster David Onek and other local luminaries floated around the Delancy Street Foundation where, oddly, the booze was free flowing, allegedly thanks to the largesse of Vanessa Getty.


The walls here are adorned with photos of Delancy Street Foundation founder Mimi Silbert, including an unusually unflattering photo of San Francisco’s mayor Gavin Newsom (with his name mispelled to include a final e). Among the crowd of supporters was Lateefah Simon, who works for the Lawyers Comittee for Civil Rights. She told me she was supporting Kamala Harris for AG based on her experience working for her for four years.


“I’ve never had a more difficult boss,” Simon said. “We would all shake before meetings because she demanded such a level of detail and excellence.


As of this time, Harriss has not put in an appearance, although she is rumored to be lurking in a back room in a building.

Another bloody budget

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rebeccab@sfbg.com

In the days since June 1, when Mayor Gavin Newsom unveiled his proposal for San Francisco’s $6.48 billion budget for the next fiscal year, public sector employees and community organizations have been poring over the hefty document to determine how their jobs, services, and programs survived cuts made to close a $483 million shortfall.

For police and firefighters, a key Newsom constituency, the news is good. There were no layoffs to San Francisco firefighters, and while members of the Police Officer’s Association gave up $9.3 million in wage concessions under the lucrative contract Newsom gave them a few years ago, police officers will still receive a 4 percent wage increase on July 1.

For others, the release of the mayor’s budget signified a tough fight looming before the Board of Supervisors, one with high stakes. Cuts to homeless services, mental health care, youth programs, and housing assistance, along with privatization proposals, have raised widespread concern among labor and liberal advocacy organizations. Public input on the budget will continue at the Board of Supervisors Budget and Finance Committee until July 15, when the amended document is considered by the full board.

At a June 1 announcement ceremony, Newsom asserted that the budget was balanced “without draconian cuts,” saying, “We were able to avoid the kind of cataclysmic devastation that some had argued was inevitable in this budget.”

Nearly a week later, Board President David Chiu told the Guardian that sort of cataclysm wouldn’t be staved off for long if the city continues on the course of repeatedly making deep budget cuts without proposing any significant new sources of revenue.

“Now that the smoke has cleared, it is clear that the mayor’s proposed budget is perfect for a mayor who is only going to be around for the short term, but it does not address the long-term fiscal crisis that our city is in,” Chiu said. “Next year, we’re looking at over a $700 million budget deficit. The year after that, we’re looking at almost an $800 million budget deficit. The budget proposal that Newsom put out balances the … deficit on many one-time tricks and assumptions of uncertain revenue.”

Meanwhile, advocates said even the cuts proposed this time would bring serious consequences, especially with unemployment on the rise, state programs being cut in Sacramento, and families feeling the pinch more than ever.

“Poor and working class families, and families of color in San Francisco, are facing kind of an assault on funding and on safety net services on multiple levels,” said Chelsea Boilard, family policy and communications associate for Coleman Advocates for Children and Youth. “I think a lot of it is that families are concerned about their ability to stay in the city and raise their kids here.”

 

“NO NEW TAXES”

During the budget announcement, Newsom emphasized the positive. He found $12 million in new revenue simply by closing a loophole that had allowed Internet-based companies to avoid paying that amount in hotel taxes. He said 350 currently occupied positions would be cut, but noted that it was less than a cap of 425 that public sector unions had agreed to. Cuts were inevitable since the ailing economy inflicted the city’s General Fund with significant losses, particularly from business and property tax revenues.

Nonetheless, Newsom’s budget is already coming under fire from progressive leaders. For one, there are no new revenue-generating measures in the form of general taxes, which could have averted the worst blows to critical safety-net services and might help remedy the city’s economic woes in the long-term.

“There are no new taxes in this budget,” Newsom declared. “I know some folks just prefer tax increases. I don’t.”

Yet Chiu said many of Newsom’s assumptions for revenue were on shaky ground, prompting City Controller Ben Rosenfield — Newsom’s former budget director — to place $142 million on reserve in case the projected revenues don’t pan out.

“These budget deficits continue as far as the eye can see,” Chiu noted. “Even if those amounts come in, something like 90 percent of them are one-time fixes. So even if the mayor is right, it doesn’t solve next year’s problem, or the year after. Which is why many of us at the board believe that we have to consider additional revenue proposals to think about the long-term fiscal health of the city.”

Sup. John Avalos, chair of the Budget and Finance Committee, described Newsom’s budget as “pretty much an all-cuts budget,” noting that he and Chiu planned to introduce revenue-generating measures. They were expected to introduce proposals — including an increase in the hotel tax and a change in the business tax — at the June 8 board meeting.

Because despite Newsom’s rosy assessment, many of his proposed cuts are deep and painful: the Recreation and Park Department would be cut by 42 percent (with its capital projects budget slashed by 90 percent), Economic and Workforce Development by 34 percent, Ethics Commission by 23 percent (basically eliminating public financing for candidates), Department of the Environment by 14 percent, Emergency Management by 10 percent, and the list goes on.

 

CUTS TO SOCIAL SERVICES

Progressives say Newsom’s budget reflects skewed priorities. While relatively little is asked of public safety departments, health and human services programs face major staffing and funding losses. “Poor people are being asked to shoulder the burden,” noted Jennifer Friedenbach, director of the Coalition on Homelessness.

Nearly $31 million would be slashed from the Department of Public Health, and more than $22 million would be cut from the Human Services Agency under Newsom’s proposed budget. While this reflects only 2–3 percent of the departmental budgets, there’s widespread concern that the cuts target programs designed to shield the most vulnerable residents.

Proposals that deal with housing are of special concern. “We have more and more families moving into SRO hotel rooms. We have families in garages. We have a really scary situation for many families,” Friedenbach said.

Affordable housing programs within the Mayor’s Office of Housing would get slashed from $16.8 million currently down to just $1.2 million, a 92 percent cut. Other cuts seem small, but will have big impacts of those affected. Newsom’s budget eliminates 42 housing subsidies, which boost rent payments for families on the brink of homelessness, for a savings of $264,000. Meanwhile, a locally funded program that subsidizes housing costs for people with AIDS would be cut, for a savings of $559,000.

Transitional housing would be affected, too, such as 59 beds at a homeless shelter on Otis Street, which Friedenbach says would be lost under Newsom’s budget proposal. “We’ve already lost more than 400 shelter beds since Newsom came to office, so that’d be a huge hit,” she said. Since the recession began, she added, the wait-list at shelters has tripled. The Ark House, a temporary housing facility that serves LGBT youth, would also be closed.

Overall, homeless services delivered by HSA would take a $12 million hit in Newsom’s budget, or about 13 percent, offset slightly by homeless services being increased by $2 million within the Mayor’s Office budget, a 71 percent increase.

Outpatient mental health services, such as Community Behavioral Health Services, would also be affected (See “Cutting from the bottom”), in violation of current city law. Several years ago, then-Sup. Tom Ammiano introduced legislation establishing a “single standard of care” to guarantee access to mental health services for indigent and uninsured residents.

“If timely, effective, and coordinated mental health treatment is not provided to indigent and uninsured residents who are not seriously mentally ill, those residents are at risk of becoming seriously mentally ill and hence requiring more expensive and comprehensive mental health care from San Francisco,” according to the ordinance, which was passed in June of 2005. Newsom’s budget proposes changing this legislation to enable cuts to those services, which would result in 1,600 people losing treatment, according to Friedenbach.

Unfortunately, advocates for the poor has gotten used to this ritual of trying to restore cuts made by Newsom. “There are some sacred cows that seem to survive year after year, and then we’re left fighting over what we can get,” said Randy Shaw, executive director of the Tenderloin Housing Clinic (THC).

The Central City SRO Collaborative, which supports tenants living in single-room occupancy hotels in the mid-Market Street area and is operated through THC, is slated to be cut by 40 percent along with three other similar programs — a replay from last year when the mayor proposed eliminating funding and the Board of Supervisors restored the cut.

“I think you’d see more fires, more people dying from overdoses. You’d see really bad conditions,” Jeff Buckley, director of the program, told us of the potential consequences of eliminating the inspections and resident training that is part of the program.

Funding was also eliminated for THC’s Ellis Eviction Defense Program, the city’s only free legal defense program with capacity to serve 55 low-income tenants facing eviction under the Ellis Act.

 

THREAT TO RENTERS

One of the most controversial proposals to emerge from Newsom’s budget is a way for property owners and real estate speculators to buy their way out of the city lottery that limits conversion of rental properties and tenants-in-common (TICs) to privately-owned condos if they pay between $4,000 and $20,000 (depending on how long they have waited for conversion), a proposal to raise about $8 million for the city.

“I went back and forth because I know the Board of Supervisors can’t stand this,” Newsom said as he broached the subject at the June 1 announcement. “I still don’t get this argument completely. Except it’s a big-time ideological discussion. It’s so darn ideological that I think it gets in the way of having a real discussion.”

Yet Ted Gullicksen, director of the San Francisco Tenants Union, said the argument is quite clear: making it easier to convert rental units into condos will accelerate the loss of rental housing in a city where two-thirds of residents are tenants, in the process encouraging real estate speculation and evictions.

“It will encourage TIC conversions and evictions because it makes the road to converting TICs to condos that much easier,” Gullicksen said. “It’s going to be a huge gift to real estate speculators.”

Newsom press secretary Tony Winnicker disputes that impact, saying that “these units were going to convert anyway, whether next year or six years. This merely accelerates that conversion without altering the lottery to protect jobs and services.”

But Gullicksen said the proposal obviously undermines the lottery system, which is the only tool tenant advocates have to preserve the finite supply of rent-controlled apartments, noting that even if the condos are later rented out, they will no longer to subject to rent control. That’s one reason why the Board of Supervisors has repeatedly rejected this idea, and why Newsom probably knows they will do so again.

Avalos said he and other progressive supervisors will oppose the proposal, despite the difficulties that will create in balancing the budget. “It’s kind of like putting a gun to our heads,” Avalos said of Newsom’s inclusion of that revenue in his budget.

To offset that revenue loss, Avalos has proposed a tax on alcohol sold in bars and Gullicksen is proposing the city legalize illegal housing units that are in habitable condition for property owners willing to pay an amnesty fee.

Some housing advocates were also struck by the timing of proposing condo conversion fees while also eliminating the Ellis Eviction Defense Program. “We’re really the only ones doing this,” Shaw noted. He said the program is crucial because it serves low-income tenants, many of whom are monolingual Chinese or Spanish speakers who lack the ability to pay for private attorneys to resist aggressive landlords.

 

PRIVATIZATION PROPOSALS RETURN

The Department of Children, Youth. and Families budget would be reduced by 20 percent under Newsom’s budget, with the greatest cuts affecting after school and youth leadership programs. Roughly a $3 million cut will result in the loss of around 300 subsidized slots for after school programs, said Boilard of Coleman Youth Advocates. Another $3 million is expected to come out of violence-prevention programs for troubled youth; an additional $1 million would affect youth jobs programs.

Patricia Davis, a Child Protective Services employee who lives in the Mission District with her two teenage sons, said she was concerned about the implications for losses to youth programs, particularly during the summer. “You can imagine what’s going to happen this summer,” she said. “I feel that a lot of kids are going to do a lot of things that they have no business doing.”

Davis, who says she’ll have to look for a new job come Sept. 30 because the federal stimulus package funding that supports her position will run out, said she was not happy to hear that police officers would be getting raises just as that summer school programs are being threatened with closure. “Couldn’t the 4 percent [raise] go somewhere else — like to the children?” she wondered.

Meanwhile, privatization proposals are causing anxiety for SEIU Local 1021 members, who recently gave millions in wage concessions and furloughs along with other public employees to help balance the budget. A proposal to contract out for jail health services cropped up last year and was shot down by the board, but it’s back again.

“When you make it a for-profit enterprise, the bottom line is the profit. It’s not about the health care,” SEIU Local 1021 organizer Gabriel Haaland told us. “It isn’t the same quality of care.”

Haaland said he believes the mayor’s assumption that the proposal could save $13 million should be closely examined. Other privatization schemes would contract out for security at city museums and hospitals.

Institutional police in the mental health ward at SF General Hospital and other sensitive facilities are well trained and experienced with difficult situations so, Haaland said, “the workers feel a lot safer” than they would with private contractors.

Regarding Newsom’s privatization proposal, Avalos said the board was “opposed last year and the year before, and we’ll oppose [them] this year.”

In the coming weeks, Avalos and other members of the Budget and Finance Committee will carefully go over Newsom’s proposed budget — which is now being sized up by Budget Analyst Harvey Rose’s office — and solicit input from the public. Chances are, they’ll get an earful.

“People are scared. They are scared to death right now,” Boilard said. “As it is, people’s hours are being reduced. And it’s getting harder and harder to find a job because so many people are out of work that the level of competition has gotten really fierce. This is the time that we need to invest in safety net services for young people and families more than ever — and all those services and programs and relationships that people depend on are disappearing.”

Steven T. Jones and Kaitlyn Paris contributed to this report.

From the progressive DCCC party

2

Alex Emslie gives this report from the progressive DCCC victory party:


As of 9 p.m., close to 100 people have gathered at the Project 1 art gallery and DJ lounge to celebrate the progressive slate for Democratic County Central Committee.


At this point, candidates are beginning to trickle into the dimly lit gallery, chatting with the crowd over the quiet din from a DJ booth in the back.


“It’s a beautiful array of San Francisco progressives,” Assembly District 13 candidate Alix Rosenthal said of the partygoers. She said the most important part of her platform is getting more women elected locally. She also wants to preserve the nightlife culture in San Francisco.


“I’m getting distracted because I can’t believe I’m winning,” Rosenthal added after checking election results behind the DJ booth.


David Cutler, a San Francisco resident since 1987, stood by the bar waiting for more candidates to arrive. “It’s nice to have this much accessibility to our local politicians,” he said.


The real question on everyone’s mind, though, is how the election will turn out; the progressives currently control the commitee, but only narrowly. “Right now, we have about 16 or 17 votes, and we need 18,” Sup. John Avalos said. “I think we’re going to catch a couple more.”

Ethics boss finally ousts Luby, a crusading public advocate

13

Oliver Luby has long been the most public-spirited employee of the San Francisco Ethics Commission, the one person in that office who repeatedly exposed powerful violators of campaign finance rules and blew the whistle on schemes to make the system less transparent and effective, drawing the ire of Director John St. Croix and Deputy Director Mabel Ng in the process.

St. Croix repeatedly tied to silence and punish Luby, who fell back on civil service and whistle-blower protections to save his job as a fines collection officer and continue doing it properly. But it appears St. Croix has finally succeeded in ousting Luby, who this week was notified that his last day will be June 11.

During budget season last year, at a time when St. Croix was trying to punish Luby for sounding the alarm about a new campaign finance database would effectively delete important data (something St. Croix defended but the vendor, NetFile, later corrected), St. Croix quietly removed a special condition for Luby’s job that required at least 12 months campaign finance experience.

So when Mayor Gavin Newsom ordered more than 400 layoffs of city employees to balance the budget, Luby’s job was just another 1840 level position, subjected to being taken by someone from another department with more seniority, which is what happened when Ernestine Braxton, a junior management assistant with the Department of Public Works, took the job.

When I asked St. Croix about why he removed the special condition from Luby’s job and whether it was retaliation for his battles with Luby, St. Croix told me, “You want me to talk about a personnel matter and I’m not going to talk about it.”

Yet Luby says its clear the St. Croix targeted him for removal. “Once that condition was removed, it was only a matter of time before I was bumped by someone in the same civil service job class but with greater seniority,” Luby wrote in a message to supporters, adding that he’s still figuring out what his options are.

Luby first got on the wrong side of Ethics Commission management back in early 2004 when he and fellow employee Kevin DeLiban accidentally were sent a memo from the office of campaign attorney Jim Sutton, treasurer for the Newsom for Mayor campaign, detailing a scheme to illegally pay off campaign debts with money laundered through Newsom’s inauguration committee.

Ng and then-director Ginny Vida ordered them to destroy the document, but they saved a copy and exposed the scheme, which Sutton then backed away from implementing (the pair was publicly honored for their efforts). But Luby continued to have professional differences with Vida’s replacement, St. Croix, often over the favorable treatment given the clients of Sutton, who runs the most expensive and deceptive campaigns on behalf of powerful downtown corporations and organizations (and whose hiding of a late PG&E contribution to defeat a 2002 public power measure resulted in a largest fine Ethics ever ordered).

For example, in 2007, Luby wrote a memo showing how enforcement actions by Ethics disproportionately targeted small campaigns (often by progressive candidates) and ignored serious violations by the most powerful interests in the city (which, if pursued, would have resulted in big fines, money the city desperately needs). We at the Guardian obtained the memo and wrote a story, causing St. Croix to order Luby to not longer write memos recommending way to improve operations at Ethics. And in November 2008, Luby wrote an op-ed in the Chronicle showing how St. Croix had ignored and covered up campaign finance law violations at City College of San Francisco that later led to the criminal indictment of former Chancellor Phil Day (whose trial is expected to begin later this year).

With each of these battles, Luby was threatened by St. Croix and had to seek support from his union, SEIU Local 1021, and the protection of civil service and whistleblower laws. But now, it appears that San Franciscans are losing the only person in the Ethics Commission that could be trusted to act in the interests of the city and the public.

Appetite: 3 delectable events for June

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6/5-6/6 – SUNSET CELEBRATION Cruise down to Menlo Park this weekend for Sunset Magazine’s annual celebration weekend, a key South Bay event for foodies and wine lovers. Plenty of the Bay Area’s best will make an appearance, with a street food spirit pervading this year’s line-up. Our own Ryan Farr grills up special dogs for the event: Crispy Crunch FrankaRoni (deep fried mac n’ cheese squares with franks) and cheddar brats (pork/bacon/cheddar sausage). Food trucks are parked on-site, like Liba’s Falafel Truck, Sam’s Chowder House, and two of my tops: Seoul on Wheels and Gelateria CiCi. Chefs and Food Network stars host cooking demos, such as Roy Choi of the insanely popular Kogi Korean BBQ in LA. There’s wine seminars (for an additional $10; sign up ahead of time), live bands, Sunset’s special glam camping exhibit of tricked-out, funky campers, and an Artisan Food Pavilion housing cheeses, breadmakers, cured meats, sweets (like 479 Popcorn and NeoCocoa truffles) for sampling or purchase.
$16
Saturday (6/5) and Sunday (6/6), 10am-5pm
80 Willow Road, Menlo Park
More info here

6/12 – SLOW FOOD’S GOLDEN GLASS WINE EVENT Seven years running, The Golden Glass Wine Event (www.thegoldenglass.com) is Slow Food’s (www.slowfood.com) annual fundraiser with over 100 sustainable international wine producers. Napa, Sonoma and Mendocino counties all represent, but so do South Africa, France, South America, Italy, Spain, Greece, Australia, and so on. Golden Glasses are awarded to the best “slow” wines in the world, those that follow Slow Food principles of “good, clean and fair” production practices. Sample-size plates of local charcuterie, cheeses and other bites will flow, as will food from restaurants like Delfina, Il Cane Rosso, One Market, Thirsty Bear, A16, Perbacco, and the much-anticipated Plum Restaurant. And, yes, proceeds benefit the “Slow Food in School” programs, so you’re imbibing for a good cause.
$60 pre-purchase; $70 at door ($55 for Slow Food members) – includes unlimited wine and five food tickets (additional at $20 for 5 tickets)
Saturday, 6/12, 1-5pm

Fort Mason Center, the Festival Pavilion
www.thegoldenglass.com

6/16 – BAY AREA RISING STARS AWARDS CEREMONY StarChefs.com (www.starchefs.com/tickets) hosts their Rising Stars Revue and Awards Ceremony for this year’s Bay Area Rising Star winners at Ghirardelli Square. Hosted by Gary Danko’s (http://www.garydanko.com) chef de cuisine, Martin Brock, the night is a walk-around tasting gala featuring signature dishes and cocktails from Rising Star chefs, pastry chefs, sommeliers, restaurateurs and mixologists. Celebrate (and sample the best from) the winners, many of our local favorites, who were chosen from more than 90 candidates:

Chefs
Matthew Accarrino, SPQR
John Paul Carmona, Manresa
Maximilian DiMare, Wood Tavern
Louis Maldonado, Aziza
Thomas McNaughton, Flour + Water
Scott Nishiyama, Chez TJ

Pastry Chefs
Melissa Chou, Aziza
Catherine Schimenti, MICHAEL MINA

Mixologists
Erick Castro, Rickhouse
Brian MacGregor, Jardinière

Sommelier
Sarah Valor, Commis

Concept
Joshua Skenes, Saison

Restaurateur
Shelley Lindgren, A16 and SPQR

Hotel Chef
Josh Thomsen, The Claremont Hotel Club & Spa

$95; $150 VIP tickets, including pre-event reception with champagne and Petrossian Caviar
Wednesday, June 16; 7:30-10pm
Ghirardelli Square, 900 N. Point Street
www.starchefs.com/tickets

About Peskin’s “coup”

45

It’s interesting that the Examiner and Chron both seem to be pushing the same slate of 24 candidates for the Democratic County Central Committee — and most of the folks on the list are not incumbents. Electing the so-called “moderate” slates would, in fact, mark a dramatic change in the politics of the DCCC — and yet, the Ex’s Ken Garcia still talks about a “progressive coup.” As if somehow the left is trying to take over a committee that hasn’t really changed all that much in years.


Garcia:


A few years back, the local Democratic party organization was the object of a coup engineered by former Supervisor Aaron Peskin and the aforementioned Daly that rid the group of many of its moderate members and replaced them with like-minded ultra-liberals, several of which were elected to the Board of Supervisors in large part because of the support of the DCCC, which controls slate mailers, raises money and otherwise does everything in its power to increase its power.


In fact, in 2008 Peskin was elected to the DCCC and became chair. But it was hardly a dramatic change in the commitee’s politics. Let’s look at the numbers.


You can read the list of candidates who won slots on the committee in 2006, before the supposed “takeover,” here. And you can see the list of candidates who won in 2008, the “coup” year, here. Guess what? They’re remarkably similar. In the 12th Assembly District, only three of 12 seats changed hands. Susan Hall, a progressive, retired. Dan Dunnigan and Jason Wong, both part of the more moderate wing, lost. Jake McGoldrick, Eric Mar and Michael Bornstein, all progressives, were elected. Net political change: exactly two sets for the progressives.


In District 13, Sue Bierman, an incumbent in 2006, died and was replaced by David Chiu, who was re-elected in 2008. Gerry Crowley retired, and exactly two other incumbents — Holli Thier and Bill Barnes — were unseated, replaced by Peskin and Chris Daly.


“Many of the moderate members,” Ken? Try four. Out of 24 elected seats. That’s a turnover rate of about 16 percent. Some coup.


As it turns out, the balance of power in the committee shifted just enough for Peskin to get elected chair, in a very close vote. But most of the votes on the committee, on most of the key issues, are fairly lopsided; a motion to oppose the sit-lie law, for example, passed overwhelmingly.


So the real coup attempt here is a well-funded move by downtown to oust the current incumbents and move the Democratic Party to the right. That’s what this election is about. 

Nevius family values

6

The Chron’s C.W. Nevius has made a big deal of moving back into town from the suburbs — and the offhand comment by Steve Jones in an email to Nevius has almost become a sticky nickname. In fact, his own newspaper’s website, sfgate, headlined his column “Suburban twit moves to city.”

But Chuck’s got some work to do before he starts to understand San Francisco values.

Take his latest column, about the Democratic County Central Commitee. Now, any Chron columnist (or anyone else) has the right to endorse and advocate for any candidates he or she wants. And Nevius is absolutely right to point out that the DCCC race is crucial, that control of the committee will have a significant impact on the fall supervisorial elections.

Here’s what made me want to scream:

“So, if you’re happy with the far-left agenda, check out the Bay Guardian. (Progs with name recognition like Peskin, David Campos, David Chiu, and John Avalos are probably shoo-ins. Daly is not running.) For those who’d like to see a swing to families, kids, and civility on the streets, here are some suggestions.”

 A swing to families and kids? You must be kidding.

The single greatest issue facing families and children in this city is the cost of housing. That’s why Coleman Advocates for Children and Youth, which almost everyone agrees is the premier family-advocate group in the city, has made affordable housing a huge priority.

Some of what a recent Coleman report says:

 “Two-thirds of all children in the city do not have a secure future in San Francisco

More families in San Francisco are low-income (43%) than middle-income (23%), and face economic hardship even when working full-time jobs.

Extreme racial disparities in family income and access to opportunity mean that the majority of children who do not have a secure future in SF are children  of color, and the majority of children who do have a secure future are white.”

Coleman’s recommendations: Build and preserve affordable housing for families — not market-rate condos, not condo conversions, but below-market-rate housing.

From the report:

“1. Prioritize the needs of 45,000 children growing up in 20,000 extremely-poor and low-wage working families.  trategies must combine investing in a stronger social safety-net for families now, and investing in anti-poverty strategies that will prepare today’s poor children to become economically secure San Franciscans of the future. The city’s housing and educational policies must focus on the children and families with the greatest need, and not get sidetracked by the demands of middle-income or upper-income families whose needs are legitimate but not as urgent.

 2. Invest in affordable homeownership programs for middle-income families, but focus the vast majority of limited housing resources on building permanently affordable family rental housing.”

That is exactly what the progressives — the “far left” folks that Nevius decries — have been talking about all these years. The candidates Nevius endorses are of the political camp that advocates more market-rate housing, more condo conversions, fewer tenant protections — more of the kind of things that drive lower-income families out of the city.

The next priority is education. Families that don’t have a lot of money have no option other than the public schools, and a lot of us who might be able to afford private schools still think public education is the way to go. What the schools need in San Francisco is pretty simple: They need more money. The “moderates: Nevius endorses — who actually count as fiscal conservatives, by San Francisco standards — are generally against raising taxes, as is our mayor. The San Francisco city government doesn’t oversee the schools, and most of the education money in California comes from the state — but San Francisco’s Rainy Day Fund, and the willingness of the supervisors to put money into the local schools, has saved hundreds of teacher layoffs and helped the quality of the local public schools.

 Where did that idea come from? Progressive leader Tom Ammiano.

I’m a San Francisco parent with two kids, and I have a lot of friends who are San Francisco families, and none of us see the Nevius agenda as family-friendly. That’s why we’re supporting the progressives.

Should Antonini recuse himself from Lennar vote?

1

As a Newsom appointee, Planning Commissioner Michael Antonini is expected to be a key vote today in favor of Lennar’s massive redevelopment plan at Candlestick Point-Hunters Point Shipyard.

And then there’s the fact that he wrote an op-ed for the San Francisco Business Times in December 18, 2009, suggesting that business, civic, labor and government leaders can keep the 49ers in town by “joining forces to assist in needed repairs and improvements to Candlestick Park and to expedite development of the Candlestick Point Hunters Point Shipyard, a project that features a “state-of-the art,” 69,000-seat football stadium.”
(The full text of Antonini’s op-ed is included at the end of this post to put his words into full context.)

But Antonini’s cheerleading has got some folks questioning his impartiality when it comes to the decisions that members of the Planning and Redevelopment Commissions will make today around certifying the project’s Final Environmental Impact Report (FEIR) and adopting related environmental findings.

In a June 2 letter to Planning Commission president Ron Miguel, Arthur Feinstein of the Sierra Club, Mike Lynes of the Golden Gate Audubon Society, Jennifer Clary of San Francisco Tomorrow and Jaron Browne of POWER (People Organized to Win Employment Rights) claim that “Commissioner Antonini has clearly prejudged the proposed project and become a strong advocate for locating a football stadium for the 49ers at the Hunters Point site as part of this project.”

“He has publicly urged others to support that stadium and cannot impartially review the record before him to determine whether the EIR is adequate, accurate and objective and whether adequate measures are required to protect the environment,” the foursome continue.

 Noting that he could have chosen to sign the December 2009 op-ed as a Member of the Republican County Central Committee, Feinstein, Lynes, Clary and Browne observe that Antonini “ instead identified himself in the capacity where the law requires him to act impartially – as a Planning Commissioner.”

With others arguing that Antonini’s right to express his opinion is protected by the First Amendment, and Antonini planning to read a rebuttal into the record at 1 p.m. today, it sounds like there’ll be plenty of drama at today’s hearing.

Antonini’s Op Ed in San Francisco Business Times

Friday, December 18, 2009
Business leaders can save the Niners
San Francisco Business Times – by Michael J. Antonini

“The 49ers are deeply and historically identified with San Francisco. San Franciscans Vic and Tony Morabito founded the team in 1946, many years before the Giants moved from New York and the Warriors from Philadelphia.

Hence business, civic, labor and government leaders are joining forces to assist in needed repairs and improvements to Candlestick Park and to expedite development of the Candlestick Point Hunters Point Shipyard, a project that features a “state-of-the art,” 69,000-seat football stadium. Leaders from the Committee on Jobs, the San Francisco Chamber of Commerce, Recreation and Park and others are asking businesses and individuals to help with funding of improvements at Candlestick in return for advertising. These improvements could translate into increased revenue for the contributor, the city and the team. Replacement of aging seats and a highly visible new luxury section are two concepts being studied.

Naming rights to Candlestick Park is an attractive opportunity for a company or an entity to gain nationwide exposure and local acclaim — and, perhaps, position itself to be a key contributor when a new stadium is built at Hunters Point. No new stadium can be built anywhere without significant private investment, in addition to $100 million assured from Lennar Corp. as a precondition of development rights and the amount which the 49ers ownership would invest.

On Thursday, Dec. 17, the San Francisco Planning Commission was to hear comment on the Draft Environmental Impact Report for the Candlestick Point Hunters Point Shipyard Plan. Because this plan features many diverse uses, particularly huge amounts of housing, funding is being rapidly obtained for greatly improved transit and traffic access.

San Francisco must avoid the errors of the past, when we failed to build an arena for indoor sporting, major conventions and entertainment events. Such a facility could have brought huge amounts of revenue to San Francisco businesses.

Leaders have twice stepped up to save the San Francisco Giants. One would expect no less from our leaders when dealing with our home grown, five- time Super Bowl champion San Francisco 49ers!

Michael J. Antonini is a planning commissioner for the City and County of San Francisco.”

 

Spill it over

0

I may be at wit’s end over the crude-stained feathers of everything else, but I’m more than OK with music so far in 2010. Sounds are stretching out, sonic categories are superimposing translucent wings, folks are taking chances for granted. For the past five years, the best DJs have been slowing down their sets, some to the point of blissful stasis — lightly back-pedaling in the midst of history’s traffic. This year that’s help lead to a swelling of the unexpected: indie rock fusing with ghostly rave (Delorean’s sublime Subiza, Caribou’s tricky Swim, Toro Y Moi’s soul-phasic Causers of This) and the return rush of breezy Balearic vibes, with analog synths and subtle digital dubbiness lending a just-left-of-human touch.

Casual experiment is the norm, and even cracked electro-pop stunners like Sleigh Bells’ melted-cheerleader Treats or the skitter-goth Atarics of Crystal Castles’ eponymous new disc make it seem like ultranoise just ain’t no thang. And hey, if I could marry the cinematic hypnodrome-hop of Seattle’s Shabazz Palaces to the sly live techno canter of Zurich’s Galoppierende Zuversicht — both coming to town this weekend — I would be in aural heaven. (I think that’s legal in Portugal now?)

In short, we may be entering a genre-free experiential zone. So why not step it up by immersing yourself in the two-month wonder of our very own experiential music festival, Soundwave? Trust, it’ll be amaze. There will be illuminated forests. There will be “extreme natural resonance” drones in abandoned bunkers. There will be live string duets inside famous sculptures.

This is the fourth installment of the fest, whose theme this time is “green sound.” Artists from around the world will be generating sonic experiments that play off the green ideal. Bike-powered stages, solar- and wind-powered music, real and imagined environments, fantasy creatures — all on the menu and then some.

“The green thing is so big in culture, especially in light of recent events,” Alan So, executive director of Project Soundwave (and total babe, btw) told me. “We want to showcase a full creative, innovative range of responses to the ideas of sustainability and reuse. It’s far from literal, though. There’s a spectrum of ideas. We have a sonic fabric artist from Texas, Alyce Santoro, who makes her clothes out of old cassette tape and then plays herself. She’ll be performing during our month-long Illuminated Forest residency at the Lab.

“Another great thing will be Inflorescence at the Civic Center on June 17. Brett Ian Balogh will install tiny solar-powered devices he calls ‘florets’ in the trees that will collect sound all day, and then at sunset they’ll ‘bloom’ as little lights emitting a sonic tapestry. And our opener on June 6, Resonance, gathers artists to the awesome Battery Townsely concrete military bunker in the Marin Headlands to really play with the possibilities of leftover architecture. Different perspectives, sonic ecology, that type of thing.”

So brings an installation art and design background to bear on the proceedings, insuring a 360-degree experience. The Bay, of course, has a huge experimental music history and a still-thriving scene. But Project Soundwave’s youthful programming, consciously or not, parallels a lot of local nightlife developments, from the gonzo digital culture offerings at the Tenderloin’s Gray Area Foundation for the Arts (www.gaffta.org) to the sonic vanguardism of live analog party OK Hole (third Saturdays at Amnesia, 853 Valencia, SF. www.amnesiathebar.com).

And Soundwave’s green attempts could provide a tingly synthesis of experiment and action. “It’s easy to assume a passive role as an artist or musician,” So told me. “Political art can be so off-putting in its bluntness or perceived negativity that, for an artist, pure abstraction is the only attractive way. We’d like to take a stab at changing that. Developing and utilizing alternative technologies to create ideal states can be both a statement and a contribution.”

SOUNDWAVE FESTIVAL ((4)) GREEN SOUND June 6–Aug. 13, various times and prices, www.projectsoundwave.com

RED BULL BIG TUNE PRODUCER BATTLE with Shabazz Palaces, Rick Rock, and DJ Toomp. Fri/4, 8 p.m., $5. DNA Lounge, 375 11th Street, SF. www.redbullbigtune.com

[KONTROL] FIVE-YEAR ANNIVERSARY with Galoppierende Zuversicht and Craig Richards. Sat/5, 10 p.m.–6 a.m., $20. EndUp, 401 Sixth St., SF. www.kontrolsf.com

The Daily Blurgh: Sex spray, tasty jerky

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Curiosities, quirks, oddites, and items from around the Bay and beyond

Local art thief nabbed, ID-ed.

*****

New spray could help the ‘one minute men’ in your life (and it’s not Axe).

*****

Looking for a new stereo receiver? Wanna swap that old guitar? Need maracas? The Mission’s Music Flea Market is back this Saturday.

*****

“Once upon a time, he was a local celebrity. He earned his nickname after doing a tv commercial for a Round Table pizza named The Big Vinny. For over twenty years, he was the face and voice of a successful used car business in small town Alameda. He sold and he sold and he sold and Californians drove away happy. Today, everything has changed. The business is dead. The lots sit empty. Big Vinny is out of work. But he still remembers the good times.”

*****

Raising children is expensive. Parents, take a tip from Babies and swap out those pre-K math tutoring sessions for a bleached bone.

*****

Hello? Silent Spring, anyone? “The California Department of Pesticide Regulation has proposed registering methyl iodide as a pesticide in California to the dismay of scientists and environmental groups, who say it is so toxic that even chemists are reluctant to handle it.”

*****

Local, sustainable, leather-like: Is jerky poised to become the next SF food micro-trend?

*****

Type dirty to me.

FREE! 7TH ANNUAL BERKELEY WORLD MUSIC FESTIVAL

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 The free 7th Annual Berkeley World Music Festival showcases a dizzying range of world music  performances Noon to 9 PM, on Saturday, June 5th in Telegraph Avenue cafes and shops near UC Berkeley, plus featured concert in People’s Park with Zydeco Flames, Kri Darag! (World fuson-Cambodian Pop) and Sekhou Senegal (West African Music & Dance). There’s everything from The Afrofunk Experience, Ancient Future’s Mathew Monfort (Celtic-Raga), Yassir Chadly (Morrocan riffs), Grupo Falso Baiano (Brazilian Choro), Gramaphone & Dynamo (Greek Rebitika-Balkan-Ladino), Quijeremá (New Latino Folk) and Melanie O’Reilly (Gaelic-Jazz) to belly dance, gamelan & more! Festival epicenter is Telegraph at Haste Street where you can pick up an event map & schedule. As if spectacular free live music isn’t enough, Berkeley Poetry Festival and a unique crafts bazaar where local culture meets world arts ‘n crafts run concurrently until 6 pm. Not to be missed is the Ashkenaz AfterFestival Party at 1317 San Pablo Ave near Gilman Str., with $12 cover starring Markus James & the Wassonrai (Africa meets Mississippi rifts).

For more information visit: www.berkeleyworldmusic.org

Hot sexy events June 2-8

0

I once took a memoir writing class that ended up being all women. One of the most powerful, if slightly cringe-inducing pieces that was read aloud was one from a fifty-something lady who’d just taken her first pole dancing class, a course which culminated in an amateur night at a local tattoo-and-piercing style strip club. This lady was absolutely, deep breathingly, tear jerkingly, blown away by the power surge of arousal that she got from trotting out her decidedly un-pinup lady parts on the floor. It made me wish that all moms got a gift certificate for stripper class upon their last child’s exodus from the family home. Gosh, and what if they all got to check out a Vagina Jenkins show (Fri/4)! Do you like? If you do, check out Slinky Productions’ little how-to on Sun/6. Sure, at $149 it’s spendy, but at what cost sexy?

——————————————-

Kinky Relationships

Just bridging that gap from vanilla to kinky with your naughty hottie? Learn to navigate the difference between “conventional” and pervy love – festish, BDSM – in addition to identifying who’s a good play mate for tonight, and who’s a keeper for tomorrow.

Thurs/3 7:30-10:30 p.m., $15-25 sliding scale

SF Citadel

1277 Mission, SF

(415) 626-1746

www.sfcitadel.org

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Rebel Girl

‘Member the days when all it took to get known was a penchant for sharing personal stories… and scissors and a glue stick instead of quick index fingers and a smart phone? Them were the zine days, and they rocked it when it came to sexual revelation. Here to remind us about why they rocked are some of the sassiest queer zine scenesters everr. Don’t worry, zines themselves, and cupcakes of course, will be on sale for those voracious readers among us. The event’s a part of the National Queer Arts Festival, which is out and out awesome this year.

Thurs/3 8 p.m., $12-20

African-American Art and Culture Complex

762 Fulton, SF

www.queerculturalcenter.org

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Bent

This month’s theme for the kinky youth play party is “Working Stiff,” which in Bent’s case means you’re going to have “The Office XXX” playing all night, sexy secretary strip teases, and a lot of jokes about “billable hours.” Tip from me: absolutely ignore them and please don’t turn in a time card for your floggings on Monday.

Fri/4 9 p.m.- 2 a.m., $20

SF Citadel

1277 Mission, SF

(415) 626-1746

www.stefanosandchey.com/bent

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Exotic Dance Smorgasbord

They break the class schedule down pretty well for you: three kinds of hip gyrations, two “booty shows” (oh my!), three pole dance moves-swings, a lap dance routine and a floorshow routine await you here. And if that’s not a lot of pizazz to fit into six hours, I don’t know what is.

Sun/6 12-6 p.m., $149

Center for Sex and Culture

1519 Mission, SF

www.slinkyproductions.com

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Make Sundae Nasty!

Kick off Pride month (if you haven’t by now, geez you’ve had five days already!) with this sexy, sexy ice cream bar at Renegade’s, the only leather and Levis gay bar in San Jose. Soak your cherries in vodka, smother your body in whipped cream, lick your lips — and if the paddle somehow found its way into your purse, well that’s okay, too.

Sun/6 3-7 p.m., free

Renegades Bar

501 W Taylor, San Jose

(408) 275-9902 

www.renegadesbar.com

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Different Strokes

“About as fun as a hand job,” has been a good chum’s mantra when it comes to the lame and frictive events he’d rather miss. Ah, the much maligned hand job. Would that one of this gentleman’s partners had partook in this class, which promises a smooth rubdown from the ball sac massage to the triumphant fountain finish.

Mon/7 8-10 p.m., $25-30

Good Vibrations

2504 San Pablo, Berkl.

(510) 841-8987 

www.goodvibes.com

More Rara Tou Limen than tutu: Ethnic Dance Fest 2010

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“It’s a great thing for us to be in the festival this year,” says Portsha Jefferson, artistic director of Ethnic Dance Festival first timer, the Rara Tou Limen Haitian dance company. “There’s so many misconceptions about Haiti and voudou — this gives the world a better idea of what makes the Haitian people so strong.” Her company is not the only one that sees the festival as a unique way to shout out to the world. Now in its 32nd year, the Ethnic Dance Festival (begins Sat/5) is cited as one of the reasons that our international dance scene is considered to be among the strongest in the country.

Rara Tou Limen was born on the streets in the Mission, the sole Haitian dancers in the neighborhood’s ecstatic Carnaval festivities. Jefferson, herself a Haitian-American, was compelled to start a group that  worked against negative stereotypes of Haiti, and captured “the beauty of the culture, the people, the music, the food,” the long time dancer says. She was also motivated by an urge to share what her people have achieved. “Knowing [the Haitians’] history, and what they’ve done in terms of revolution and fighting for their rights; the fact that they’re so strong and resilient, that really speaks to me. I think all of those characteristics of the people come through their music, and through the dance. It’s hard not to get caught in it.”

The success of Haitian dance in the Bay echoes a larger trend of SF dancers finding connection with ancestral artistic forms, and even with cultures apart from their own. Rara Tou Limen’s musical director, master Haitian drummer Daniel Brevil, was happy to see the resonance his homeland traditions had created when he arrived in the Bay in 2008. It was far away from the island where he learned rhythms from his father beginning at the age of eight, but “when I got here and I saw how many people taught Haitian dance,” Brevil says “I was so happy and proud to be Haitian. The people that teach it here, [some of them] they’re not even Haitian.”

That kind of exposure to new art forms is exactly what inspires festival organizer Julie Mushet. The executive director of World Arts West, the group that coordinates the festival, Mushet “was completely astounded the first time I got to experience [the festival].”.

Each year, prospective companies undergo a lengthy audition process – beginning with tryouts that can themselves attract crowds of dance fans. 130 local groups auditioned this year for eight dance experts, who then assembled a list of their top 20, and sent them to the World Arts West staff for the final decision on who got to dance in the festival’s three performance weekends.

Mushet says their choices come down to a matrix of qualities; choreography, dynamics between dancers, quality of music, props and regalia — but in the end the festival is also looking for cultural diversity. World Arts West believes that in the connections between dance and other artistic traditions lie a certain key to cross cultural participation.

“Parents tend to take their kids to the ballet, “The Nutcracker,” but it’s harder to figure out how to introduce kids to the hundreds of other [dance] forms they could learn about,” says Mushet. “[The festival] is a great way to see what the child might be interested in – many of the current dancers first attended as audience members, and now twenty years later, they’re part of a group that’s on stage.”

A tutu… or the beautiful, sparkling outfits Rara Tou Limen wears in their Carnaval performance? Pirouettes or the more elemental joy of their rhythmic ducks and twirls to pounding rara drums? With 37 companies dancing the traditional and updated forms of movement from countries like Korea, the Congo, Uzbekistan, and Puerto Rico, the Ethnic Dance Festival has a form of beauty for everyone, be it their own cultural tradition or one they’ll discover the day of the show.

Ethnic Dance Festival
Through June 27
Sat.-Sun., 2 p.m. (also Sat., 8 p.m.), $22-44
Palace of Fine Arts
3301 Lyon, SF
(415) 474-3914
www.worldartswest.org

Viva La Peña

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Here’s to you, Salvador Allende. Our governmental baddies-that-were may have helped assassinate you over the copper-nationalizing ways of your democratically elected Chilean presidential administration. But in your passing, you inspired the birth of an East Bay community center focused on the use of art for social awakening. Which we’re happy to tell you continues to be an integral part of our area’s radical cultural milieu to this day. I’m talkin’ about La Peña Cultural Center, which is celebrating its 35th anniversary Sat., June 5 — a day that will henceforth known as La Peña Day in Berkeley.

You should check it out, Mr. A. Oh wait — you’ve long since shuffled off this mortal coil. My bad. Pero no importa, mi amigo, I’ll tell you about it.

Back in 1975, things were much as they are today, with bullheaded “leaders” encroaching on the sovereignty of other countries. Rankled over the turmoil in Chile, Panama, and Nicaragua, a cadre of political activists took over the rent of a defunct French restaurant in Berkeley.

And just what were these hippies and reds up to? The budding La Peña’s aim was to disseminate information about the conflicts in a way that was not just educational but entertaining. “The core was to use art and music, because you can reach more people that way. It’s much more accessible than political speeches,” executive director Paul Chin tells me. Their model was the Chilean peñas where Allende began his political campaign — salons where art, politics, and community flowed comfortably.

I’m having this conversation with Chin in the center’s lobby. On the walls around us is the center’s 35th anniversary mural, painted by local artists collective Trust Your Struggle. It’s a contemporary take on La Peña’s frontal façade on Shattuck Avenue, an eye-popping 3-D work the center is known for. We’re light-years and several generations from the center’s first years, back before the Internet, before Bushes I and II (and Reagan!), before Shakira, even before Ricky Martin.

Back then, Chin tells me, art and music from the developing world was considered less sophisticated than their Western counterparts. So La Peña began bringing in acts from around the world, artists who could communicate the struggle in their own countries. For some, the fact that they were gracing an American stage was a political statement in and of itself. Over the years, a few got famous: Eddie Palmieri, Los Lobos, Julieta Venegas, and Isabel Allende have performed there — even folk legend Pete Seeger played a La Peña-sponsored show at Berkeley Community Theater.

The center has grown, offering art courses for youth and adults, gallery shows that include international and local artists, weekly jam sessions for immigrant communities. It has hosted cultural series in conjunction with numerous community groups, on Arab culture, on the black lesbian experience, on hip-hop. The center has multiple stages and one of the region’s few Chilean restaurants attached to the lobby so “we can provide food for the body as well as the spirit,” Chin said.

It’s a successful exercise in cross-cultural understanding through art. “I’m proud to say that our stage has been reflective of most of the oppressed communities in the U.S.,” Chin said. But it’s an ongoing process. He recounts an incident with a male-dominated weekly drum session that was reported to be excluding women from hitting the skins. The artists were told to let the ladies play or leave. (Happily, they decided the space for their music was more important than their machismo).

The kaleidoscopic lineup planned for La Peña’s 35th anniversary party, which also serves as the celebration for the newly designated La Peña Day, is a fitting tribute to the center’s accomplishments. A Friday night concert of infectious cumbia beats by Chilean musician-activists Chico Trujillo. A free Saturday street festival featuring dancers, classes, and singing. And, later that evening, a performance by Las Bomberas de la Bahia, local percussionists who play classic Puerto Rican bomba music. Las Bomberas, by the way, is an all female group.

¿Te gusta, Señor Allende?

LA PEÑA 35TH ANNIVERSARY CELEBRATION

Chico Trujillo: Fri/4, 8–10 p.m., $15–$18

La Peña Day Street Carnival and Fair: Sat/5, 12–6 p.m., free

Las Bomberas de la Bahia and Rebel Diaz: Sat/5, 9 p.m., $10–$12

La Peña Cultural Center

3105 Shattuck, Berk.

(510) 849-2568

www.lapena.org

 

The facts of Cloris

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arts@sfbg.com

STAGE With nearly 250 credits in film, television, and stage roles to her name, Cloris Leachman is a true entertainment icon. It’s hard to believe the ever-vivacious and lively actress got her start in show business competing in the Miss America pageant back in 1946, but the now 84-year-old star has generously filled a career spanning more than 60 years.

But age is irrelevant when talking to Leachman, who continues to work with a full schedule in film and television projects as her solo stage show comes to San Francisco this week at the Rrazz Room. Speaking by phone from Palm Springs, where her former husband, George Englund lives — or as she says, her “Once upon a time” husband — “I don’t like to say my ‘ex.’ I don’t think that’s appropriate. It doesn’t mean what happened,” she said.

“A couple of years ago my family got all concerned about me. I don’t really know what it was, but they felt I wasn’t my old self. My daughter talked to her father, and they decided I should write a book, have a one woman show, do talks — and we did it all,” Leachman said, laughing in a deeply infectious and endearing way.

Incorporating spoken passages along with a little piano, singing, and a healthy dose of humor, the show promises to touch on a broad spectrum of Leachman’s career, which includes notable performances as the bombshell beauty in the noir classic Kiss Me Deadly (1955); her Oscar-winning role as neglected wife Ruth Popper in The Last Picture Show (1971); a long string of successful television appearances (which have garnered her nine Emmys) on programs including The Mary Tyler Moore Show and Phyllis, and, of course, her portrayal of Frau Blücher in Young Frankenstein (1974).

The normally forthcoming Leachman demurred when asked about particulars of the show, preferring that people see it for themselves. She did stress that one of her favorite parts of this show — which has been performed in several warm-up gigs leading up to her arrival here — has been interacting and meeting with her fans.

“That’s the fun part, that’s the other half of your show,” she said. “We laugh and hug and cry — having a live audience is thrilling.”

Reminiscing about some of her favorite memories of San Francisco, Leachman espoused her love of the city’s cuisine before commenting — with somewhat embarrassed but gleeful candor — on her fling in a local hotel with Gene Hackman in the 1970s, an assignation she revealed in her autobiography, Cloris, released last year.

“We met in the lobby and he asked if I wanted to have dinner, so we had dinner. I don’t know what happened, we just got on fire, we couldn’t run fast enough to the room,” she laughed heartily. “I remember the first 10 seconds after we got in the room, but I don’t remember anything after that — isn’t that terrible?”

After this week’s shows, Leachman has an array of projects on the horizon, including a new show on Fox from the creators of My Name Is Earl and a role in the film The Fields, a psychological thriller due out in the fall. She will also appear in a movie called You Again with her friend and former Mary Tyler Moore costar Betty White.

Asked about any possible secrets to her success, her openness and self-deprecating humor showed themselves. “I always went on the Johnny Carson show after I’d done a character so people would know I wasn’t that character,” she said seriously, before cracking herself up, and laughing hysterically. “I was even worse!” 

CLORIS! A ONE-WOMAN SHOW

Through June 11

Wed-Sat, 8 p.m.; Sun, 7 p.m., $40–$45

Rrazz Room

222 Mason, SF

www.therrazzroom.com

 

Sexy, seedy, comical

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arts@sfbg.com

THEATER Downwind from a sprawling industrial pig farm stands a shabby little motel under new management. It’s maybe not what Business Week would call an auspicious location, but then proprietor Asuncion Boyle (Chad Deverman) is not your average entrepreneur. His enterprise — registered in marketing decisions like a bar that serves only one drink: “The Pissed-off Son of a Bitch” — is the overthrow of capitalism, one loathsome pig farmer at a time. Moreover, his first target, swaggering Texas dealmaker Charles Masterson (an extremely impressive Keith Burkland), is far from arbitrary. Asuncion — or “Assy” as his kinky lover and Charles’ trophy wife Lola (a compelling Madeline H.D. Brown) likes to call him — stalks the man he blames for his mother’s suicide many years before.

“This is about social justice, not revenge,” insists our somewhat addled if cocksure protagonist. It’s pretty clear no one else believes him, but Lola still proves a willing accomplice, even after she learns of the origin of their affair in his plot to buy her husband’s pig farm in foreclosure and turn it into a desert park for the community. This unexpectedly straightforward and hopelessly naïve stratagem comes backed by a frame-up ploy that recapitulates the violent act Asuncion saw through a motel window as a child, as well as by an inscrutable neo-Marxist treatise he penned called The Apotheosis of Pig Husbandry. The document is the fruit of 10 years of dedicated study in the Albuquerque public library. (History repeats itself indeed, but the second time is definitely as farce, a detail Assy seems to have forgotten.)

The Apotheosis of Pig Husbandry, the latest effort by industrious and popular local playwright William Bivins (Pulp Scripture; The Position), is less a play of ideas than a winking bit of Texan Panhandle neo-noir, a sardonic psychodrama cum thriller, something in the vein of Tracy Letts’ Killer Joe or Dennis Lehane’s Coronado (which SF Playhouse, the producing company, mounted a couple of seasons back). If Assy’s schooling of his materialistic, sadomasochistic, platinum blonde disciple and his verbal sparring with the vigorous and canny Charles come comically peppered with Marxist clichés, it’s the surprisingly tender, tortured relationships between all three on which history will actually turn.

But in also going for something beyond just another seedy, sexy, comical thrill ride, Apotheosis, part of SF Playhouse’s intriguing Sandbox Series of new works, winds up less than completely satisfying, despite a sporadic verve and emotional complexity as well as very engaging performances by a fine cast under direction from Bill English. Circling around the subject of political and personal commitment and the real engines of social change (or lack thereof), Apotheosis can strain after meaning to the detriment of its more forceful aspects — including its merits as a seedy, sexy, comical thrill ride. You’ll have to make allowances for some awkward, even confusing plot points in this table-turner, and forgive a main character who amusingly urges his partner-in-crime to “stay in the abstract” but who is in fact a little too abstract himself to be believed.

Deverman makes it possible to forgive a lot, actually, since he applies a good deal of charm to the part. But Asuncion is simply more concept than character, especially compared with Lola and Charles, who both breath more fully onstage (the dependably astute Burkland is doing some of his finest work in the latter role). Asuncion, by contrast, seems both out of place and off the page. This is doubtless part of the point. But in the end, it’s maybe both too arch and too telling that Assy writes everything, inexplicably and improbably enough, on a manual typewriter. If you can buy that detail, there’s a pig farm next door you should consider. 

THE APOTHEOSIS OF PIG HUSBANDRY

Through June 12

Wed-Sat, 8 p.m., $20–$30

SF Playhouse

533 Sutter, SF

www.sfplayhouse.org

 

100 photos in search of an exhibit

0

arts@sfbg.com

HAIRY EYEBALL "Furthermore" implies that one is not quite finished. There is more elaboration to come, or another point entirely will be addressed. It signals that what the speaker may have fully thought through has not yet been fully stated.

"Furthermore" is also the title of Fraenkel Gallery’s 30th anniversary show, a wonderful assortment of odd ducks and singular sensations, canonized masters and anonymous geniuses. Or as gallerist Jeffrey Fraenkel puts it in the intro to the exhibit’s catalog, these are, "scrappy, tenacious, unrelated photographs that want to become an exhibition."

Fraenkel’s anthropomorphic phrasing (they "want to become an exhibition") is appropriate since these pictures have new stories to tell. Many names and images are familiar (Arbus, Lange, Warhol, Levitt), while others, like the heartbreaking anonymous photograph of 1930s starlet Starr Faithful’s suicide note, aren’t. But none of these photographs are quite finished with what they have to tell us, especially when in proximity to each other.

The pictures are hung in clusters that bring out their thematic or formal affinities while simultaneously enhancing the singular qualities of each individual piece. In one of the first groupings, the scatological mechanics of Morton Schamberg’s 1917 Dada readymade God (this study is reputedly the only known photographic print of the piece in existence) are echoed in the tubular forms of Christian Marclay’s collage Double Tuba and Auguste-Rosalie Bisson’s 1867 albumen print of a pneumatic motor.

Nearby hangs a constellation of feminine self-presentation as masquerade, with Katy Grannan’s anonymous, windswept crone (2009); Ethyl Eichelberger in Peter Hujar’s elegiac 1983 portrait of the performer in Southern belle drag; and the Deco seductress in Andre Kertesz’s Satiric Dancer (1926) emerging as Norn-like sisters from across time and space.

The more abstract groupings are no less evocative, linking up formal experimentations (Mel Bochner’s cartographic Surface Dis/tension) to the serendipitous beauty of scientific documentation (the anonymous 1930 cyanotype of a radio transmission sent from the Eiffel Tower). Wonderful stuff.

FURTHERMORE …


Candy-coating sexual innuendo is an old trick in pop music (see 50 Cent, Madonna, etc.), but the sweets served up by John DeFazio and Leigha Mason at Meridian Gallery seduce precisely because they don’t want your loving. DeFazio’s baroque reliquaries for cultural figures and Mason’s fingernail and hair-laden resin candies are memento mori for youthful fantasies and heroes; roadside tchotchkes picked up from America’s death drive.

Keira Kotler’s monochromatic paintings, with their soothing shifts in luminosity and tone, are the visual equivalent of a drone: seemingly static planes that slowly reveal their depth and subtlety through prolonged exposure. The color fields in "Stillness," her new show at Chandra Cerrito Contemporary, skew more Richter (specifically his 1991 painting Blood Red Mirror, currently hanging at SFMOMA) than Rothko, but their slickness diminishes none of their auratic pull.

Well tickle me proud: it’s June. Electric Works is showing its pride with "More Glitter — Less Bitter," a career retrospective of local legend Daniel Nicoletta. If queer life in this city is a cabaret, then Nicoletta has been its unofficial in-house photographer, snapping SF’s finest LGBT freaks since he was a 19-year-old employee at Harvey Milk’s Castro Street camera store. Sparkle, Danny, sparkle! *

FURTHERMORE

Through June 25, free

Fraenkel Gallery

49 Geary, SF

(415) 981-2661

www.fraenkelgallery.com

THE CANDY STORE

June 3– July 24, free

Meridian Gallery

535 Powell, SF

(415) 398-6176

www.meridiangallery.org

KEIRA KOTLER: STILLNESS

June 4–July 24, free

Chandra Cerrito Contemporary

480 23rd St, Oakl.

(510) 260-7494

www.chandracerrito.com/ccc

DANIEL NICOLETTA: MORE GLITTER — LESS BITTER

June 4–July 10, free

Electric Works

130 Eighth St, SF

(415) 626-5496

www.sfelectricworks.com

Green is good

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FILM How do you make a cult movie? The short answer is, you can’t. Cult movies become what they are not by the efforts of their filmmakers; they must be elevated to second-coming status by fans, superfans who dress in costume and host semi-regular viewing parties, and mega-superfans who get tattoos tributes.

Blessed with the magical combination of terrible acting, zero-budget production values, a laughable script, and directing choices so bizarre they had to be intentional, 1989’s Troll 2 was destined from the start to either wind up in total bargain-bin obscurity or be one of the most backhandedly-praised cult movies of a generation. The documentary Best Worst Movie, helmed by Michael Paul Stephenson (also known as Troll 2‘s freckle-faced kid star), traces the would-be horror flick’s path, from filming in small-town Utah with an amateur cast and a non-English-speaking Italian crew, to straight-to-vid anonymity, to becoming a late-night TV perennial who eventually found a rabidly enthusiastic audience.

Best Worst Movie does a fine job establishing Troll 2‘s cult cred, but it’s also interested in examining what happens to people who are famous only because of their association with one singularly memorable show-biz moment. For Dr. George Hardy — an excitable dentist whose stiff, eminently quotable performance as Troll 2‘s patriarch was his only film gig — his fame, two decades after the larky experience of making a movie he thought nobody would see, is a pleasant surprise (for the most part). For director Claudio Fragasso, who has two dozen non-Troll 2-related credits on his resume, the attention is welcome but also off-putting: he doesn’t seem to grasp that the reason his movie is great is because it’s so bad. Nor is he amused by the fact that his “important film” is considered by many to be a guffaw-inducing joke.

The doc’s worth your time, but Troll 2 is essential viewing no matter what. Screenwriter Rosella Drudi (Fragasso’s wife) penned the script — about a regl’ar family on vacation who realizes they’re under siege by the local goblin population — because she was pissed off at vegetarians. The rest is hard to explain, but gloriously easy to enjoy.

TROLL 2

Fri/4-Sat/5, midnight, $8–$10.50

Lumiere

1572 California, SF

www.landmarktheatres.com

BEST WORST MOVIE opens Fri/4 in Bay Area theaters; Stephenson and Hardy in person at selected opening-weekend shows.

Golden Era

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paulr@sfbg.com

DINE When you step into Golden Era, you pass through a narrow door and descend a few steps, as if into a subterranean world of disrepute. But you land on a landing, instead of at a bar crowded with sooty Mafia dons, as you might have expected, and from the landing you descend another brief staircase to the dining room, which opens out expansively around you. The experience is a little like the one long offered at Postrio, Wolfgang Puck’s (now closed) restaurant near Union Square.

One difference is that while Postrio was very much about au courant glamour, Golden Era shimmers with a sense of lost glamour. The large dining room, with its high ceilings and wooden arches, is a little dowdy, but its bones are impressive. It’s like a beaten-up pair of good shoes. Local lore teaches that the building was once a residence hotel run by Swedes and the spacious dining room a space for the serving of a Swedish menu. And I can’t imagine a Swedish menu without meatballs.

You won’t find meatballs on the menu at Golden Era — in fact, you won’t find any meat at all, or dairy, since the restaurant is vegan. (Another huge difference from Postrio.) And you won’t find anything Swedish. But you will find wonderful Southeast Asian cuisine, including many dishes that traditionally include meat, with vegan artifice substituting for flesh. As a rule I don’t quite like this kind of vegetarian cooking — a "steak" concocted from a portobello mushroom or some such, often fails to convince. Menu cards that make liberal use of quote marks, as Golden Era’s does, also raise a flag or two.

Despite the quote marks, the food is splendid. It compares favorably to that of Millennium, the fancier and pricier (and worthy) spot in the Hotel California. While a vegetarian or vegan kitchen might seem limited at first blush, with so many fundamental ingredients off-limits, the best such kitchens respond with verve and innovation. Because they can’t rely on the innate impressiveness of a beautifully cooked steak or a fish roasted whole, they must redouble their attention to other details, like composition, color, and texture. This the Golden Era kitchen consistently does.

It would be hard to put together a dish that better demonstrates these attentions than crispy chow mein ($7.95), a bird’s nest of crunchy noodles filled like a savory pie with a wealth of vegetables, including broccoli, carrot, bok choy, and mushrooms, all steamed to a slight tenderness while retaining their resiliency. The miracle flavoring was (we thought) mushroom soy sauce, slightly thickened and glossy, almost as if butter had been added — but butter is a vegan no-no, so how was the transformation accomplished? If by corn starch, then the hands in the kitchen are skilled indeed.

The Vietnamese crepe ($7.50), a huge yellow mezzaluna, arrived with a bouquet of fresh herbs, cilantro, mint, and basil. We were given instructions on how to combine the two, but either we didn’t understand or just forgot, and we ended up just slicing the mezzaluna into strips (like a quesadilla) and scattering bits of the herb bouquet over the top. The crepe’s filling seemed to consist largely of underseasoned rice noodles, so the flavor boost from the herbs was important.

No flavor boost was needed for the potstickers ($5.50), which were filled with a ground substance very like pork (tofu?) along with plenty of ginger. Just to make sure, and for that last kiss of verisimilitude, the potstickers were served with a shallow dish of nuoc nam laced with carrot threads. We also found no flavor shortage in the seaweed salad ($7), a tangle of green filaments, like spinach vermicelli after a bad night of tossing and turning, dressed with crushed sesame seeds and plenty of sesame oil.

For sheer wallop — and proof that lively spicing goes a long way toward compensating for lack of flesh or dairy — there’s the spicy noodle soup ($7). The fat noodles and chunks of tofu offer attractive ballast, but the charge lies in the complex, incendiary vegetable broth. To alert the unwary, red sheets of chili oil shimmer on the surface, like rays of a summer sunset glinting from a pond.

"Vegan dessert" sounds like what the late Herb Caen used to call a "self-canceling phrase." But Golden Era’s desserts could pass at just about any restaurant in town. Both the blueberry cheesecake ($4.75), creamy and lemony with a liberal dribbling of blueberry coulis, and the mocha chocolate cake ($3.50), as velvety and rich as a cashmere greatcoat, were accomplishments any Swedish pastry chef would have been proud of.

GOLDEN ERA

Wed.–Mon., 11 a.m.–9 p.m.

572 O’Farrell, SF

(415) 673-3136

www.goldeneravegetarian.com

No alcohol

MC/V

Muted noise

Difficult wheelchair access

Political juggernaut

3

sarah@sfbg.com

City officials are scrambling to secure final approvals to allow Lennar Corp. to move forward with its 770-acre Candlestick/Hunters Point Shipyard redevelopment of San Francisco’s impoverished and polluted southeast sector. But the community remains divided on the project, raising concerns that wary residents will end up being steamrolled by this politically powerful juggernaut.

Some groups say the project needs major amendments, but fear it will be rushed to the finish for political reasons. Others say they are hungry to work and desperate to move into better housing units, so they don’t want all the myriad project details to slow that progress. And Mayor Gavin Newsom’s administration is arguing that approving the project’s final environmental impact report by June 3 is crucial if San Francisco wants to keep the San Francisco 49ers in town.

But many observers fear Lennar wants its entitlements now before its project can be subjected to greater scrutiny that could come with the November elections. Newsom, who made Lennar’s project the centerpiece of his housing policy, will be replaced as mayor if he wins the lieutenant governor’s race. And a crowded field of candidates, many of them progressives concerned about the project’s impacts on the poor and the environment, are vying to replace termed-out Sup. Sophie Maxwell, whose district includes Lennar’s massive territory.

“It’s 180 percent about the 49ers,” land use attorney Sue Hestor told the Guardian, referring to the city’s proposed rush job, as evidenced by a rapid entitlement schedule that the Newsom’s administration wants city commissions and the board to follow.

Under that schedule, which Hestor procured from the Mayor’s Office, Planning and Redevelopment commissioners are expected to certify the project’s final 6,000-page EIR, adopt California Environmental Quality Act findings, approve amendments to the project’s original disposition and development agreement, and authorize land trust and open space reconfigurations — all during a June 3 meeting where public comment will likely last for many hours.

Saul Bloom, executive director of Arc Ecology, a community-based nonprofit that tracks the development, says this schedule stretches the credulity that this is a deliberative process. “There’s no way anyone could make a functional reasoned assessment,” Bloom told us. “How do you have any meaningful public conversation under those circumstances?”

Michael Cohen, Newsom’s chief economic advisor, asserted in an April 29 article in The New York Times that Lennar’s plan is a “really, really good project,” echoing the glowing praise he’s heaped on the project since its conception.

“But there’s nothing new in their proposal,” Bloom told us. “That’s because they haven’t been listening to the public’s concerns. [Cohen] says, ‘Haven’t we talked enough? The community’s been waiting all these years!’ But waiting to get what done?”

Lennar’s project — which had early backing from Newsom, U.S. Sen. Dianne Feinstein, and other political power brokers — was sold as creating “jobs, housing, and parks” and “revitalizing the abandoned shipyard” when voters approved the Lennar-financed Proposition G in 2008.

“Proposition G is from the community and for the community,” Lennar’s campaign promised. “You can turn the abandoned Hunters Point Shipyard into a clean, healthy, sustainable, livable neighborhood — a place where people can raise their children.”

The shipyard once employed thousands of workers, including African Americans who were recruited from the South in the 1940s and ’50s. But the district’s economic engine fell into disrepair when the military left in 1974. Today the neighboring Hunters Point and Bayview neighborhoods have the highest unemployment and crime rates and the largest concentration of African American families in the city.

But the city’s final EIR for the project, which the Planning Department released mid-May, shows that 68 percent of the developer’s proposed 10,500 new housing units will be sold at market rates unaffordable to area residents, and that many of these units will be built on state park land at Candlestick Point.

Lennar is also proposing to build a bridge across the environmentally sensitive Yosemite Slough, significantly changing the southeast waterfront. Lennar says it plans to develop the project’s remaining 3,000 units at below market prices, including one-for-one replacement of rundown Alice Griffith public housing units. Its proposal includes a dozen high-rise towers, 2.7 million square feet of commercial space, 1 million square feet of retail space, a performing arts theater, and an artists colony.

Lennar claims its proposal will create 1,500 construction jobs annually during the project’s 20-year build-out, along with 10,000 permanent jobs, thanks to a United Nations Global Compact Sustainability Center and a vaguely defined green technology office park.

The project and its impacts are already an issue in this year’s District 10 supervisor’s race (see “The battle for the forgotten district,” Feb. 23). Candidate Chris Jackson says Lennar’s proposal is weak when it comes to creating well-paying, low-skilled green collar jobs. He supports Arc’s proposal to including green maritime industrial use at the shipyard.

Arc recommends that the city’s final EIR allow recycling and repairing of ships, including the Suisun Bay Ghost fleet — decommissioned U.S. Navy, cruise, and ferry ships — arguing that “ship recycling and repair are resurgent strategic industrial activities yielding employment opportunities for our existing pool of skilled and unskilled workers.”

Jackson, who was elected to the Community College Board in 2008 and recently jumped into the District 10 race, wants the city to assert that the project is not a regional housing plan.

“It’s a local housing plan for local residents,” Jackson asserts. “It’s not here to provide housing for Silicon Valley. It’s for Bayview-Hunters Point and District 10 residents.”

Jackson understands why some local residents want no delays on final EIR approval: “I can never blame folks in Alice Griffith public housing for coming out and saying ‘no delays.’ They really want something real, housing that is not rat and cockroach infested.”

As a policy analyst (a position he’s quitting to focus on the District 10 race) for the San Francisco Labor Council — which gave key backing to the project in the 2008 election — Jackson knows labor is frustrated by all the project meetings. “I try to tell them it’s better to get this project right than rush it through and find out later that it goes against the interests of labor,” Jackson said.

In May 2008, the Labor Council signed a community benefits agreement (CBA) with Lennar. Since then labor leaders have urged no delays on the project’s draft EIR review. But Jackson believes the city must demand that financial consequences, such as liquidated damages, be a project approval condition if the developer reneges on the CBA.

“Right now the only push-back the city has is to threaten to kill the whole project if Lennar doesn’t meet its timeline,” Jackson said. “But people are really invested in this project, and I don’t believe anyone would pull the trigger and end the entire development. We don’t need to throw everything out; we just need to change them.”

Jackson wants to see the inclusion of a special-use district that would create a cooperative land trust to ensure affordability and home ownership opportunities for local residents. “I love open space and sustainability, but I also want affordable housing and real light-industrial opportunities that can employ people living in the district now.”

Special-use districts, Jackson argues, give city commissioners a way to amend this project to make it more acceptable.

Jackson wants to see strong tenant protections for public housing residents. “The vast majority of those residents are African American. At the end of the day, I want to see economic and environmental justice, so we can say we brought the right change to our community.”

Jackson also would like to see a more independent Mayor’s Office. “Don’t you feel like its 2002/2003, and that if you speak out against the project, it’s like you are speaking out against the Iraq war, and all of a sudden you are not patriotic?”

Fellow District 10 candidate Eric Smith concurred. “The powers that be are definitely moving this thing forward,” he said. “And this is a monster train, a juggernaut that is gathering steam. But how it shakes out down the road remains to be seen. My whole mantra is that there needs to be greater transparency down the line. If I become the sheriff, I’ll be shining a light on all this stuff.”

Smith warned that the community needs to work together or it won’t win a better deal. “It’s clear that folks in the city are hoping against all odds that Lennar can pull this stuff off so they can prove all the naysayers wrong and these community benefits can be realized, and that scrutiny of the projects can go on while all this happens,” he said.

But Arthur Feinstein, the Sierra Club’s political chair, worries that the city’s rush job is resulting in seriously flawed documents and decision-making. “It’s difficult for folks to digest 6,000 pages of comments and responses on the draft EIR in the three weeks since planning posted them online,” Feinstein said. “And nothing has changed despite all the comments, which is why it continues to be a nonsense process.”

Feinstein says the Sierra Club’s top concerns are the Parcel E-2 cleanup on the shipyard, a deal to transfer 23 acres at Candlestick Park for development, and the bridge over Yosemite Slough.

“You can cover most of the site,” he said. “But when it comes to Parcel E-2, where the dump burned for six months in 2002, that’s only 20 acres, it could and should be removed. This is the environmental justice issue that has the community up in arms.”

Feinstein worries about the precedent that selling a state park for condos sets. “This is our park, and they are shrinking it.” He is also concerned that the developer wants to bridge Yosemite Slough for cars.

How many of these concerns will be addressed at the June 3 hearing, which is just days before Santa Clara County voters decide whether to try to lure away the 49ers with a new publicly financed stadium? We’ll see.