Local

You heard it here first

0

› a&eletters@sfbg.com

The first time I noticed that my city of art and innovation was getting short shrift was when The New York Times started going on about "freak folk," Joanna Newsom, and Devendra Banhart and really, you know, getting rhapsodic about these baroquely retro space-folk flavors.

And somehow it never quite came up that these people are San Francisco people, and that their music is San Francisco music. I mean, yes, Banhart has a rep as being a bit of a drifter. Yes, Newsom is really from, you know, Nevada City … and yet, where else could they have first truly taken root, where else could they have first broken through the topsoil, drunk of the dew, and soaked up the dappled sunlight, except in the rich, loamy cultural compost heap that is San Francisco, the Bay Area, and its wooly NorCal surround?

This germination of culture, color, sound, and flavor is, in the most organic sense of it, completely cyclical. Ken Kesey’s garden parties put out roots and rhizomes and threw up spores that took hold almost immediately among music lovers in the region. The result was a distinctly American growth medium for the archetypes of Dionysus, Pan, and Astarte; for the mystic and mythic yearnings of the Victorians; and for the willful, self-starting proto-anarchism of the English Diggers. Cross-pollinate that with the intellectual and aesthetic rebellion of situationism and free jazz, borne in with the gusting, blowsy Beat generation, and you have yourself a rather fecund and folkloric little bramble — one that got even more biodiverse with all the punk rock springing up like weeds in the 1970s.

This polyglot epoch of musical discovery gave us so much. Not just the Dead’s first three records, the Airplane, or even David Crosby’s If I Could Only Remember My Name (Atlantic, 1971) — what about Blue Cheer, Moby Grape, Fifty Foot Hose, the Flamin’ Groovies, the Avengers, and the DKs? Rather a multifaceted mix, but relevant, because Bay Area bands like these set the pattern for divergent waves of underground music-making during the next three or four decades.

The last 15 years in particular have seen these retro sounds made new in the Bay Area and then breaking into the critical, and sometimes commercial, mainstream somewhere else. Usually New York is quickest to take all the credit. Like with that whole garage rock revival. Yeah, yeah, the Strokes, blah, blah, the latest in NYC retro-cool. It’s not that we were first, here in SF. It’s just that we’ve been playing that stuff on KUSF-FM for years, and fabulous local bands have been cranking out that sound for years, and suddenly the Big Apple is basking in the hipniz.

Or in the glorification of Williamsburg, which totally followed the Mission District in terms of exuberantly youthful, excruciatingly hip, oft-naïve, and fearlessly spasmodic creative gusto. Dang, before there was a TV on the Radio, Kyp Malone was working at the One World Cafe on McAllister and Baker streets, making music with Rocket Science and the Nigger-Loving Faggots and handing out fresh-pressed records to the community-radio DJ down the street. OK, so that’s not the Mission, but it sort of was a suburb of the Mission.

Or with the whole freak-folk thing. Back in 2004 or thereabouts The New York Times started noticing there were hairy kids playing spacey and folkoric acoustic sounds. They quickly championed the term "freak folk," and in 2006 even ran a big, lushly illustrated, front-page article in the "Sunday Arts & Leisure" section, Will Hermes’ "Summer of Love Redux," that curiously never once mentions San Francisco, despite bolting the whole thesis down with repeated references to Banhart, Newsom, Vetiver, Comets of Fire, the Six Organs of Admittance, and Jolie Holland.

Now we see, from the foggy depths, a new rising of fuzz and hair, the shambling and very organic children of Blue Cheer. Parchman Farm was an early bloomer, as was Comets on Fire, and now the Bay Area is throbbing with shaggy combos exploring the idiom. Assemble Head in Sunburst Sound, Sleepy Sun, and so many of those Frisco Freakout acts — how will these vibrations resonate across the nation over the next five years? And will New York City somehow take credit for that, too? I think not. They’re just too damn cool to grow out their bangs past the uncomfortable midlength stage.

Philly, though, which gave us Bardo Pond, Brother JT, Siltbreeze Records — there’s a hairy, done-it-all scene stealer I can live with.

JOSH WILSON’S TOP FIVE

1. Godwaffle Noise Pancakes closing show at the former ArtSF, Nov. 8

2. William Hooker, Hemlock Tavern, July 24

3. Heavy Metal (1981) and Conan the Barbarian (1982, with James Earl Jones and some other guy) at the Castro Theater’s "Analog Adventures" showcase

4. All Tomorrow’s Parties, Monticello, NY, Sept. 19-21

5. Expo for Independent Arts moves to Dolores Park and triples in size, Sept.

>>MORE YEAR IN MUSIC 2008

Changing climate

0

› news@sfbg.com

GREEN CITY In its final full month in power, the George W. Bush administration has managed to screw up one last chance to take action on the increasingly desperate climate crisis, the latest in a string of diplomatic failures being inherited by the incoming Barack Obama administration.

The UN Climate Change Conferences in Poznan, Poland concluded Dec. 12 after nearly two weeks of negotiations, presentations, and demonstrations. Greenpeace pushed hard for strong action at the conference, even using San Francisco as a staging ground for its message.

Yet what Greenpeace officials initially viewed as a great chance to show a new face of American leadership on global warming instead turned out to be what group spokesperson Daniel Kessler called "a profound disappointment."

Kessler and other representatives from Greenpeace told the Guardian that members of the American delegation refused to agree to any international agreements because they didn’t want to constrain the incoming administration. The indecisive US stance then spread to other industrialized nations and no substantial agreement was reached.

"In Poznan, it seemed like everyone was in a holding pattern waiting for the Obama administration. But it’s just another excuse when what we really need is action," Kessler said.

For Ben Smith, Greenpeace’s global warming national organizer, this is just the most recent strategic move that the administration has made over the past eight years to obstruct any meaningful progress on the environment.

"The reality is, of course, that they’re catering to industry and don’t want to come to an agreement," Smith said. "They’re continuing their efforts to stall any progress."

Much of Greenpeace’s work at the conference has been to work around the US delegation, attempting to show the international community that the Bush administration is in its death throes and out of touch with the country when it comes to dealing with global warming.

On Dec. 6, Greenpeace organized "A Global Day of Action" to send the message that the American people are ready to help save the planet. It staged demonstrations in 25 cities around the country and dozens more around the world. In San Francisco, the organization brought more than 300 volunteers, activists, and community members to Crissy Field to hold a 30-by-50-foot green postcard reading: "Dear World Leaders, We are ready to save the climate — San Francisco. P.S. Yes We Can!"

A helicopter buzzed overhead to capture the image with the Golden Gate Bridge towering in the background. The images and others like it were sent to the Greenpeace delegates in Poland.

During the San Francisco event, Lauren Thorpe, a field organizer with Greenpeace, stood on the back of the flatbed truck that served as the stage and summed up the day’s message. "We really want strong action on global warming and we’re ready for America to take a leadership role on that again," she said.

The atmosphere at the event was hopeful and enthusiastic. Sup. Ross Mirkarimi even stopped by midway through his morning jog, apparently unaware he was scheduled to speak until 20 minutes before. He stood above the crowd in gray sweats and, after catching his breath, delivered a stirring impromptu speech encouraging the audience to hold officials at all levels of government accountable.

"Our federal government is moving at a very glacial pace in order to address the global warming crisis," he said. "And I’m not seeing any evidence that that’s going to turn around soon enough so that we can relax here from a local or municipal perspective."

Though the negotiations in Poland may have fizzled, the outpouring of support from San Francisco and elsewhere has encouraged Greenpeace during this important transition period. Kessler says that Greenpeace will continue to pursue its direct action strategy while working with the Obama administration’s new team.

"There is a lot of hope that he’s going to do the right thing," Smith said.

Lucy Pearce, a campaign leader from the British organization Stop Climate Chaos, urged the Crissy Field crowd to push for bold action on the climate change in the coming year: "We have to keep the pressure on and make sure that we don’t just rest on hope. We’ve actually got to deliver on climate change."

It’s never too late

0

culture@sfbg.com

My dad was a fan of last-minute shopping. As in: he’d go to the mall on Christmas Eve an hour before closing and park in the red zone. Though it drove my mom crazy, it seemed to work for dad — thanks in equal parts to his ability to manage anxiety (he didn’t seem to have any) and the one-stop-shop-iness of the mall experience.

But what if you’ve slacked on your shopping this year and you want to shop locally? Whether your idea of "last-minute" is a week before Santa comes or Christmas morning before the kids wake up, here are some shopping ideas that’ll help make your last-minute mad dash less, well, maddening.

COLLAGE GALLERY


Delisa Sage is as much curator as owner of this charming Potrero Hill shop, which features a mix of vintage and locally-made items with a focus on female designers and hand-made objects. From clocks to cameras and jewelry to housewares, you just might find something for everyone here.

1345 18th, SF. (415) 282-4401, www.collage-gallery.com

LAVISH AND FIDDLESTICKS


These sister stores are an ideal stop when shopping for kids and their parents. Owner Elizabeth Leu carefully chooses toys, clothing, stationery, and books that are stylish, environmentally friendly, and often made by local designers. Both stores have extended holiday hours, and if you sign up for the mailing list, you’ll get a coupon for 20 percent off.

540 and 508 Hayes, SF. (415) 565-0508, www.shoplavish.com and www.shopfiddlesticks.com

DELIRIOUS SHOES


Focusing on unusual styles from small-production shoe companies, Delirious is an ideal stop for your shoe-loving friends and family. Plus, owner Amy Boe has stocked up on socks, tights, bags, and slippers for holiday gifts and stocking stuffers.

317 Connecticut, SF. (415) 641-4086, www.getdelirious.com

SPRING HOME


Come for eco-consciousness, stay for style and selection. Spring always has a variety of gorgeously designed tableware, candles, bath and body products, linens, and often children’s dolls, all sustainable and non-toxic. Think hippie values with Dwell aesthetics.

2162 Polk, SF. (415) 673-2065, www.springhome.com

THERAPY


If there are any holes in your gift list, you can surely fill ’em here. Cards, hats, gloves, jewelry, tchotchkes, home décor, joke gifts … you name it, Therapy carries it — and the Mission District favorite is open Christmas Eve.

541 Valencia, SF. (415) 621-5902, www.shopattherapy.com

CURIOSITY SHOPPE


Fun, funky, and oh-so-cute, this tiny store is chock-full of winsome delights, from wooden mustaches to Russian doll–style stackable bowls. Though usually closed on Mondays, they’ll stay open Dec. 23 for last-minute shoppers.

855 Valencia, SF. (415) 671-5384, www.curiosityshoppeonline.com

PAXTON GATE


An easy hop, skip, and a jaywalk across from Curiosity Shoppe is this weird and wacky favorite where rare stones and plants are as easy to find as taxidermied animals. Plus, they’re open Christmas Eve!

824 Valencia, SF. (415) 824-1872, www.paxtongate.com

CITY BEER STORE


Sure, beer is a niche gift. But there’s no better place to find a unique, imported, hard-to-find brew than this delightful basement shop. Plus, you can drink while you shop.

1168 Folsom, SF. (415) 503-1033, www.citybeerstore.com

BRANCH


Stuck at home with the kids? In bed with the flu? Sometimes shopping online is your only option. But if you’re going to do it, why not shop an SF-based business? The Branch warehouse on Van Ness Street is stuffed floor-to-ceiling with sustainable, adorable gifts, including toys, furniture, housewares, and clothing. Order by Dec. 19 to send gifts by Christmas. Or, if you’re later, simply send a card with a photo of what you’re buying so your giftee knows you weren’t that late.

(415) 626-1012, www.branchhome.com

PHOENIX RISING BODYWORK


What could be easier than a gift certificate, or more welcome than a massage? Purchase an affordable session ($65–$130) with Potrero Hill-based Jennifer Bryce ahead of tiem and let your giftee make an appointment. Bryce is trained in Swedish, shiatsu, hot stone, deep tissue, and many more massage styles, so everybody (and every body) should benefit from her touch.

(415) 215-6205, www.phoenixrisingbodywork.com

THE GIFT OF GIVING


When it’s the idea of a gift that’s more important to you than the object itself, why not donate to your favorite cause — or that of your loved one — in your giftee’s name?

DonorsChoose.org is an interesting option for those who want to know exactly where their money is going. On this site, teachers ask for classroom materials and donors choose which projects to support. Check out the main site at www.donorschoose.org or City Editor Steven T. Jones’ personal choices at www.donorschoose.org/donors/viewChallenge. Support two-wheeled travel by giving to the Bike Kitchen (www.bikekitchen.org), a do-it-yourself resource run by volunteers, or the San Francisco Bicycle Coalition (www.sfbike.org), an alliance promoting the bike for everyday transportation. Other organizations we like are Western Regional Advocacy Project (www.wraphome.org), which seeks to expose and eliminate root causes of civil and human rights abuses; Coalition on Homelessness (www.cohsf.org), which initiates program and policy changes to promote social justice and create exits from poverty; and Nature in the City (www.natureinthecity.org), which seeks to restore wildlife and connect urbanites with the nature where they live. And perhaps the cause closest to our hearts this season is overturning Proposition 8. There’s been some controversy over which of the big marriage equality organizations or smaller grassroots efforts have the tools and resources to affect change, so choose carefully when donating. We like the 10-year-old Equality California (www.eqca.org). Other organizations we trust to support equal marriage rights, as well as other issues of importance to the LGBT community, are the National Center for Lesbian Rights (www.nclrights.org) and Horizons Foundation (www.horizonsfoundation.org).

Need even more ideas? Check out the special deals on the SF Convention and Visitors Bureau site, www.onlyinsanfrancisco.com/shopsf. Also see our staff gift lists on our Pixel Vision blog and our 2008 Holiday Guide. And don’t forget to let us know how you spent your money locally this year at sfbg.com/local, where you’ll enter to win $500 in gift certificates to local businesses.

Beyond the bloody cuts

0

EDITORIAL There’s actually a bright side to the brutally depressing budget struggles in San Francisco and Sacramento. This could be the year Californians finally start to recognize that they can’t have a functioning state, with the services everyone wants, without paying taxes. It could be the end of the Republican lie that the budget problem is only on the spending side, the end of the famous no-new-taxes pledge — and the end to the requirement that two-thirds of the Legislature pass any budget, an archaic rule that is crippling California.

And with a little leadership from the new supervisors at City Hall, this could be the year San Francisco takes a serious look at how local government is financed.

This is no time for modest, cautious proposals. The budget situation is alarming. California is looking at $40 billion in cuts over the next 18 months — more than a third of the entire state budget. San Francisco is looking at $500 million in red ink — roughly half the discretionary spending from the general fund. Filling those holes with cuts alone would be devastating.

This isn’t your average budget battle, where everyone fights to save a few hundred thousand dollars here and a million there for a crucial program. This is, by all accounts, something of an order that the state and local government haven’t seen since the 1930s.

So small-time, piecemeal fixes aren’t going to work. Here’s what the state and the city need to be talking about.

AT THE STATE LEGISLATURE


The first thing that has to go is the two-thirds rule. It’s become almost a farce — a handful of Republicans, who have sworn never to raise taxes under any circumstances, are holding the world’s sixth-largest economy and a state of more than 37 million people hostage to their failed ideology. Enough talk: the Democrats need to mount a massive signature drive for a special election this summer to repeal that requirement.

There are many fair ways to raise taxes to bring in enough revenue to stave off devastating cuts. Raising the income tax levels on the highest wage earners makes the most sense. Gas prices are way down; raising the state gas tax by a few cents a gallon won’t bring prices even close to last summer’s level. We’re nervous about taxing services (medical care, for example, is a "service"), but a carefully crafted tax that exempts essentials ought to be on the table. California is the only oil-producing state that doesn’t tax oil at the wellhead; that’s a no-brainer. So is restoring the vehicle license fee; Gov. Schwarzenegger’s decision to eliminate that fee has cost the state $40 billion over the past five years.

AT CITY HALL


Step one: the mayor has to recognize that there’s no way to solve a half-billion dollar shortfall with cuts alone. Step two: the mayor needs to back off from the layoffs and cuts for a few weeks until the supervisors and the community stakeholders have a chance to meet, talk, and look at all the options. Step three: some far-reaching changes have to be on the agenda, right now.

We like the idea of a city income tax. Technically, under state law, all the city can do is tax income earned within local borders, meaning that commuters would pay (good) and San Franciscans who work out of town would escape payment (bad). But overall, the concept is better than anything else out there. A local income tax that exempts, say, the first $50,000 (assuring that lower-income people pay nothing) with progressive rates skewed toward charging very high wage-earners the most could bring in significant revenue in the fairest way possible.

We’d like to see a progressive business tax — raise the rates on the biggest companies. We could live with a short-term hike in the local sales tax; frankly, we could live with most short-term revenue increases. The supervisors need to look at what new taxes make the most sense and prepare for a special election in the spring to put a revenue package before the voters. And everyone — including the mayor — needs to campaign hard for it.

The city also needs to look at the rainy-day fund, money set aside for bad economic times. Only a small amount of the close to $100 million now in that fund is available in any one year, but that rule might have to be changed.

This crisis is an opportunity — a chance to examine how the city’s current revenue sources are unfair, unstable, and unwieldy. Why are business taxes flat (big corporations and small businesses pay the same rate)? Why does San Francisco rely so much on property and transfer taxes, which shift radically with economic ups and downs? And of course, a public power system would generate enough money to cover a huge part of the deficit. The supervisors need to find an immediate revenue-based solution, but should also start creating a serious task force to overhaul the entire revenue side of the budget. Today.

Save the Small Business Assistance Center

1

As hard times get harder, the small business community is ever more essential to San Francisco

By Bruce B. Brugmann

(Scroll down for this week’s editorials, after the jump)

As the mayor’s drastic package of cuts fall on the Supervisors at their Tuesday meeting,
the questions abound: Why so fast? Why not more discussion and more hearings? Why make the cuts as several supervisors leave the board? Why not wait until the new board is sworn in in January? Why let Mayor Newsom drive the cuts, the agenda, and the timing almost unilaterally?

And there is a key question our editorial points out for Wednesday’s edition:

“Why are we talking about cutting the $800,000 Small Business Assistance Center, which actually helps the most important sector of the economy, when there’s $10 million, much of it redundant, in the mayor’s Office of Economic Development?”

As hard times get harder, the small business community is ever more essential as the city’s economic engine. Small businesses create the most net new jobs in the city, according to major Guardian studies. According to a 2006 study by Economist Kent Sims, Former Mayor Frank Jordan’s economic chieftan, small businesses helped moderate the 2000 to 2004 recession’s negative employment and earnings impact on San Francisco households.

Sims also found that small businesses released less than l0 per cent of their employees during the recession while large businesses released more than 20 per cent of their employees, despite the fact that the two groups of businesses had similar shares of pre-recession private employment. Further, he found that small business layoffs generated about 2l per cent of the negative employment and earnings impacts on San Francisco households in 2003, compared with 79 per cent for large businesses. And of course we all know that it is the small businesses that keep our neighborhoods friendly, vibrant, and economically productive. For example, on the economic point, the Guardian’s Shop Local campaign may put $l00 million into the local economy, immediately. (We are asking our 600,000 or so readers to spend at least $l00 in a locally owned business.)

You get the point. Now more than ever, small business ought to be nourished and protected, not put to the slashers once again at City Hall. The supervisors need to keep the Small Business Assistance Center in the budget and, if necessary, slash the mayor’s $10 million Office of Economic Development. And then the supervisors should take a deep breath, postpone the final vote until the new board comes in, and start considering the realistic progressive agenda advanced in the editorial and stories in the Guardian. B3

Shopping: Where to get the goods tonight

0

By Chloe Schildhause

ccrider1208a.jpg
Bubble baubles from CC Rider

Everyone should be extremely stressed at the moment. You only have 14 more shopping days until Christmas, a mere 10 until Chanukah, and 20 more until my birthday. You’re running out of time! San Francisco merchants and local designers understand this and are here to help you.

TONIGHT: The Divisadero Art Walk starts at 6:00 and technically goes until 9:00, with select businesses open a bit on the later side. Walk between Geary and Haight and check out stores for the thrift lover in your life. CC Rider features vintage goods as well as local designers. I went there the other day and picked up some used books- Stardust: The David Bowie Story as a gift to myself, and The Lani People’s The Daring Science-Fiction Novel of a Race of Beautiful Females That Were Called Non-Human for my science fiction-loving sister (good thing she doesn’t read my blogs.)

Then there’s Still Life, a fabulous treasure chest of a store. The Divisadero boutique, which opened within the year, is a place where one can ogle over the vintage threads and hand made jewelry made from various local designers. I ended up buying a high-waisted brown leather skirt on my last visit, and a gorgeous rose ring for my friend Rosie, but it’s the badass switchblade gun necklace that’s on my wish list.

Gift List #5: Where to shop for the holidays

0

To help with the holiday hullaballoo, the SFBG staff is revealing — at last! — its secret shopping secrets, to perhaps give you some gift inspiration. In this installment: Culture Editor Molly Freedenberg’s gift-giving delights. Previously, Amanda Witherell, Kimberly Chun, Dulcinea Gonzalez and Marke B. shared their faves.

Check out more suggestions in our ginormous 2008 Holiday Guide — and enter our contest to win $500 in gift certificates if you spend $100 locally. Wowza.

blakely-bass-curator_1208.jpg
RAG: Curator Blakely Bass outside the Hayes Valley store

Residents Apparel Gallery (RAG)
When I was a kid, my uncle lived in Eugene, Oregon, a place known to be significantly more artsy, creative, and hip than my suburban hometown. Therefore we always got – and expected – appropriately cool, unique, can’t-get-‘em-at-the-mall gifts from him. Now that I live in SF, I feel it’s my duty to represent what my city has to offer the same way my uncle used to do for Eugene. RAG is one of my favorite places for this kind of shopping. The showcases unique and imaginative clothing and accessories made only by local designers. So from screen-printed T-shirts (for men and women) to whimsical caps, and from hand-crocheted gloves to hand-stitched skirts, I can always find something delightful, one-of-a-kind, and sooo San Francisco.
541 Octavia. (415) 621-7718, www.ragsf.com

Broken but not broke

0

Replife, a.k.a, Daniel Gray Kontar, leads a well-balanced life. How else can one describe a man who in one breath casually mentions that he’s a Ph.D. candidate at UC Berkeley’s School of Education and in the next brags that the parties at his pad in the North Berkeley Hills "are off the meat rack"? The Cleveland transplant has a lot going on, including a new album for London label Futuristica, The Unclosed Mind, which includes tracks produced by the cream of the broken beat crop, from New York’s Arch-Typ to New Zealand’s Mark De Clive-Lowe.

Like many rappers, Kontar got his start in a breakdancing crew where he evolved into an MC for local DJs and beatmakers. From there he stretched his lyrical talents beyond music, stepping into the realm of the written word, where he wrote for Cleveland newspapers and edited and published the underground monthly magazine Urban Dialect, and wrote poetry, climbing through the spoken word ranks until he was National Poetry Slam co-champion in 1994.

Almost 15 years later, Kontar is excited, yet a little bemused, by the release of his first album, which boasts production by the likes of Dego and Kaidi Taitham, of 4 Hero and Bugz in the Attic fame. "It was a case of being in the right place at the right time," Kontar recalled when asked how he lined up such in-demand producers. After he recorded some raps at a minute’s notice for Mark De Clive-Lowe on his Politik project, De Clive-Lowe suggested he ring up Dego, who lived around the way. "When you record with Mark de Clive-Lowe and Dego in the span of two days," he said, "things just kind of happen after that, y’know?" The favors have been returned, with the piano-and-cymbal bursts of the De Clive-Lowe-produced "Emerald City" and the robotic synth stutter of Dego and Taitham’s "Spirit," slotting in nicely next to tracks crafted by lesser-known artists.

From the bossa sway of "Pangea" to the sultry slap of "Put It Down," The Unclosed Mind shows an MC exploring the limits of broken beat, and Kontar said that, unlike some pundits, he doesn’t see the scene dying off, due in part to a recent wave of emigration. "Daz-i-Kue is in Atlanta; Mark de Clive-Lowe is in Los Angeles; and Dego is in Brooklyn. So I think that having these kinds of folks who are the foundation of the movement now in the states is going to increase people’s knowledge of the broken philosophy," he explained. "I call it the broken philosophy because it’s not necessarily a style of music as much as a state of mind or a feeling." (Peter Nicholson)
AFROTEK FESTIVAL
With Replife, Blaktroniks-, Jaswho?, and Douglas Pagan
Dec. 20, 9 p.m., $5
The Dark Room at Club Six
60 Sixth St., SF
(415) 863-1221
www.clubsix1.com

Hustle in hard times

0

› a&eletters@sfbg.com

U Don’t Hustle U Don’t Eat, the appropriate title of the March 2009 album by up-and-coming Menlo Park-East Palo Alto rapper A.G. Cubano, pretty much sums up the state of the once vibrantly lucrative local rap music economy. Profit-wise, it has steadily slid and deteriorated during the past decade amid an extremely tough and competitive environment, forcing artists into creative ways of generating cash.

"It’s ugly out there," said Walter Zelnick of City Hall Records in San Rafael, which has distributed independent local hip-hop since its beginnings in the 1980s. "Numbers are down all around. The numbers of stores out there are down. I don’t think kids even buy CDs anymore." San Francisco’s Open Mind Music, which closed on Halloween, and Streetlight Records in Noe Valley, which closes Jan. 31, are just two of latest retail victims.

"Just getting in the stores is hard as fuck nowadays. I didn’t realize it had gotten so bad," said Dave Paul, whose prolific long-time local indie label just released the Bay Area artists-filled Bomb Hip-Hop Compilation, Vol. 2, a sequel to the 1994 premier volume, which sold way more than the "maybe 600 or 700 CDs" he expects to move of the new disc.

Zelnick also fondly recalls the golden 1990s when local rap compilations like D-Shot’s Boss Ballin’ (Shot, 1995) and Master P’s West Coast Bad Boyz: Anotha Level of the Game (No Limit, 1995) would sell in numbers that now often qualify as No. 1 on Billboard‘s national pop albums chart. "When [E-40’s group] the Click first came out, they were selling over a 100,000. But then sales for artists went down to 50,000 or 40,000," Zelnick said. Now "average CD sales are more like 2,000. And many people are lucky to sell that."

"It’s not as nearly as easy as it once was out here when we could fuck around and sell 50-, 60-, 70,000 copies independently," said longtime Fillmore rapper San Quinn who just released From a Boy to a Man (SMC) and will soon follow up with the collaborative Welcome to Scokland (Ehust1.com) with Keak da Sneak. "I literally grew up in this Bay Area independent rap scene."

Known for his affiliation with JT the Bigga Figga’s Get Low Playaz and more recently for his ongoing feud with his cousin rapper Messy Marv, the 30-year-old rapper is a well-established artist. But even a high-profile performer like Quinn accepts that he will be lucky if he sells the 22,000 that his last solo CD, The Rock: Pressure Makes Diamonds (SMC) tracked on SoundScan. That was in 2006, two long digital years ago. As with many veteran rappers, downloaded music has hurt San Quinn. "The majority of my fans are white boys and Latinos and Asians that have that shit mastered," he said. "And it’s even harder for someone like me who is based out of the capitol of technology here in the Bay Area, home of Silicon Valley."

"Since the selling of CDs in stores has gone down, way down, everyone has had to step up their game," Cubano said. Two months before the release of U Don’t Hustle U Don’t Eat, the shrewd rapper will pave the way with the Feet to the Street mixtape in collaboration with Oakland’s Demolition Men, the accurately self-described "Bay Area mixtape kings," whose trusted brand has helped further fuel the careers of such local rap faves as J-Stalin, the Jacka, and Shady Nate. San Quinn and the Jacka, as well as C-BO and Matt Blaque, are among the names the ever-resourceful Cubano has enlisted for his upcoming releases.

"But then there are so many different ways to make money nowadays," Cubano added. "You can get money out of ringtones. You can sell your songs one at a time for $1 a piece on iTunes or from your MySpace even now. I love MySpace. It is great in so many ways, like connecting with artists straight away and not beat around the bush, waiting for a phone call, or waiting for a nightclub to see someone."

MySpace is also San Quinn’s lifeline where, the rapper said, his music’s daily plays are in the thousands. San Quinn generates money beyond CD and digital music sales. "I do ringtones. I do shows. I have a San Quinn skateboard that I put out through FTC," the rapper said. "On our first pressing we just had, I sold a thousand skateboards at $50 a piece and I get $25 off every skateboard."

He also makes a tidy income doing guest appearances or "features" on other artists releases ("They pay me for a verse"). "I’ve done over 3,000 features," he said of the feat that earned him an inclusion in Guinness World Records for the most collaborations with other artists. Landing on television or video game soundtracks can be highly profitable but also highly competitive.

But for an up-and-coming Bay Area hip-hop artist, it is even more challenging to make a buck. On one recent evening on the Pittsburg/Bay Point-to-San Francisco BART train, Macsen Apollo of Oakland’s V.E.R.A. Clique was putting a new spin on the "dirt hustlin’" sales approach pioneered in the 1990s by Hobo Junction and Mystik Journeymen by walking from car to car hawking copies of his hip-hop group’s CD, keeping a watchful eye out for BART police, in an effort to make some money from his music.

Meanwhile back at the City Hall Records offices and warehouse, where Zelnick works on orders for new releases from local rap cats Balance and Thizz artist Duna, things have changed a lot in a decade. "We’re really at a turning point here," he said. "We’re still here and someone is buying music, but I don’t know how much longer." Last week in the UK, with just a few weeks till Christmas, Britain’s key indie label distribution company Pinnacle Entertainment declared bankruptcy, leaving 400 imprints with no way to get their music into the diminishing number of music retail stores.

"Next year I ‘m going to put out Return of the DJ, Vol. 6 and that will be the final physical release I will ever do," said Bomb’s Paul, who believes the only way for rap artists to make money is to be increasingly innovative and to constantly tour and sell merchandise, including music, along the way. "In the very near future I think the only place left to buy a CD is to go a show. Artists have to come up with new ways to generate cash. I heard of some artists who will sell backstage passes for $300 — or whatever they can get."

Cubano concurs. "If you’re sitting around waiting for that call, it ain’t gonna come," he quipped. "You have to get out there. You gotta be in traffic. People have to expand their hustle. Otherwise you don’t eat."

Superblastered

0

› superego@sfbg.com

SUPER EGO Blue! Red! Yellow! Green! Indigo Girls! (Ew.) This column is on a serious ’90s flashback trip lately — as is the city’s nightlife: witness delightfully grungeful monthly Debaser’s climb to the top of the club charts (www.myspace.com/debaser90s) — dipping its toes into the perilous VH-1 waves of Clintonia. But hardly that icky! My last installment caught up with primal ravers Tribal Funk, and this time around I’m jumping with joy in my silk-tasseled plaid bolero jacket for the 13th anniversary celebration of protean party promoters Blasthaus at Mighty, with techno heartthrob headliners Matthew Dear and Ryan Elliot, a supporting cast of stellar local talent including my DJ crush of the mo’ Nikola Baytala (call me!) a bouncy castle, a sushi bar, and a foot-washer.

Yep, foot-washer.

"His name’s Shrine, and he likes to wash feet. So why not?" breathy Blasthaus Supreme Commander — actual title — Monika Bernstein told me over the phone. That’s a little burner for Blasthaus, whose parties tend to focus more on a dedicated dance vibes than sideshow shenanigans, but no one said they ain’t got dirty sole.

When I think of Blasthaus, I feel the swirly suck of 1998 and its raucous PoP all-nighter at the San Francisco Museum of Modern Art, inaugurating the neon-sprawling Keith Haring retrospective there. I popped three shitty e’s too many and somehow got locked upstairs in the darkened galleries while thousands raged in the atrium below. I don’t remember much beyond that, but Keith says "hi." Also the Watchmen are real.

Blasthaus is anything but stuck in the era of dial-up modems, though, staying true to founder William Linn’s forward-thinking production intent when he named the nascent collective after Weimar-era German fine-art factory Bauhaus, with a hands-in-the-air wink. The company now employs 30 staffers — "We’re like a buzzing virtual hive of little party elves," Bernstein said, laughing — and not a week’s gone by this past year without a Blasthaus shindig bringing in big underground and not-so-underground names. Glitch Mob, Modeselektor, Ellen Allien, Sascha Funke, and Richie Hawtin have all brought sparkly star-fire to its gigs, as well as longtime party partners — break out the Internet boom bubbly — Thievery Corporation, who’ll be headlining the Haus’ New Year’s Eve blast at the Concourse.

"We bring in who we listen to," Bernstein said, "so we’re just as excited about our parties as the people attending them. And a big part of our aesthetic is the art aspect" — Blasthaus has run several galleries, from Joypad to Rx to BoCA, and there’s something arty on the horizon for 2k9 — "so we think of our parties as forms of expression, not just bottom lines. Otherwise, why bother?" They could just bring in DJ Tiësto and retire.

BLASTHAUS 13TH ANNIVERSARY BLOWOUT

Fri/12, 9 p.m., $15 advance

Mighty

119 Utah, SF

(415) 762-0151

www.partyeffects.biz

************

CLASH AND CARRY ON

Holy crap, dubstep’s still happening. In fact, it’s getting bigger, like a blimp on laughing gas, but with polka-dotted clown feet. Which is surely how anyone who’s heard Coki’s 2007 low-frequency smash "Spongebob" has felt, me included. Coki and Mala, a.k.a. Digital Mystikz, will be melting the woofers at Dubclash Volume II, the excellent all-star dubstep clusterfuck (in a very good way) with "US Ambassador of Dubstep" Joe Nice, Sgt. Pokes, and other up-to-the-nanosecond bass purveyors. This is a heart-pounding chance to get a West Coast taste of Brixton, UK’s much-buzzed positivity-centric DMZ party by way of our very own Surefire dubstep crew. Volume II at Mezzanine is an upgrade on this year’s capacity Dubclash parties at Jelly’s, with much more bounce to the ounce.

Sat/13, 9 p.m., $15–$25. Mezzanine, 444 Jessie, SF. (415) 625-8880, www.mezzaninesf.com, www.sfdubstep.com

***********

POKE ‘EM IF YOU GOT ‘EM

I write so much about gay stuff that you’d think my keyboard’s made of fuschia Spandex, and yet the big queer story of 2008 was all the vibrant lesbian nightlife. In particular, the Diamond Daggers, an all-queer-women troupe of vaudevillians, has been putting on spectacularly entertaining offbeat affairs. Grab your golden lasso and get ho-ho happy at their Holiday Roundup, which invites all "Calamity Janes, ranch hands, bronco busters, and rodeo queens" to a Wild West-themed hoedown, with DJ Fairy Butch, live ruckus from the Whoreshoes, and more kooky cowpoke drag and cabaret performers than you can spur on without messing your spangles.

Sat/20, 9 p.m., $12–$20 sliding scale. Fat City, 314 11th St., SF. (415) 525-4676, www.diamonddaggers.com

Tap dreams

0

› amanda@sfbg.com

On Dec. 2 two water conferences were held in San Francisco, attended by very different groups of people.

Downtown, in a room deep within the Hyatt Regency hotel, executives from PepsiCo, Dean Foods, GE, ConAgra, and other major companies gathered for the Corporate Water Footprinting Conference. The agenda that the conference made public included a presentation by Nestlé on assessing water-related risks in communities, Coca-Cola’s aggressive environmental water-neutrality goal, and MillerCoors plan to use less water to make more beer.

But what these giant corporations, which are seeking to control more and more of the world’s water, really discussed the public will never know. Only four media representatives were permitted to attend — all from obscure trade journals not trafficked by the typical reader — and both the Guardian and the San Francisco Chronicle were denied media passes.

The event was sponsored by IBM, and tickets were $1,500 — out of reach for many citizens and environmentalists who might have liked to attend.

And why might people take such a keen interest in the kind of corporate conference that probably occurs routinely in cities throughout the world?

Because there’s almost universal agreement that the world is in a water crisis — and that big businesses see a huge opportunity in the privatization of water.

Only one half of 1 percent of all the water in the world is freshwater. Of that, about half is already polluted. Although water is a $425 billion industry worldwide — ranking just behind electricity and oil — one in six people still don’t have access to a clean, safe glass of it. If the pace of use and abuse remains, the 1.2 billion people living in water-stressed areas will balloon to more than 3 billion by 2030.

That includes California. On June 4, Gov. Arnold Schwarzenegger declared a statewide drought after two lackluster seasons of Sierra snowfall. Scientists are predicting the same this winter. You can see how the state is mishandling the issue by looking at some recent legislation. Schwarzenegger and Sen. Dianne Feinstein have proposed a $9.3 billion bond to build more dams, canals, and infrastructure. At the same time, the governor vetoed a bill that would have required bottled water companies to report how much water they’re actually drawing out of the ground.

In that context, while the big privatizers were hobnobbing at the Hyatt, activists were attending a very different event, the "Anti-Corporate Water Conference," held at the Mission Cultural Center. It was free and open to the public and the media. More than 100 people gathered to hear a cadre of international organizations share information on how to keep this basic human right — water — in the hands of people.

Speakers included Wenonah Hauter, director of Washington, DC-based Food and Water Watch; Amit Srivastava of Global Resistance, a group that works to expose international injustices by Coca-Cola; Mark Franco, head of the Winnemem Wintu Tribe, which lives among water bottling plants near Mount Shasta; and Mateo Nube, a native of La Paz, Bolivia, and the director of Movement Generation Justice and Ecology Project.

Nube spoke about water as a commons, requiring stewardship, justice, and democracy. "We’re literally running out of water. Unless we change the way we manage, distribute, and consume water, we’re going to have a real crisis on our hands," he said. Nube’s remarks tied together the tensions of control and revolt, democracy and privatization, ecological balance and human need — all enormous issues, all related to water and water scarcity, which the Worldwatch Institute has called "the most under-appreciated global environmental challenge of our time."

BASIC NEED, INFINITE MARKET


Water is a basic human need, perhaps even more important than clean air, food, and shelter. People will never strike against water and stop drinking.

And that means, from a capitalistic point of view, it’s a perfect, nearly infinite market. "As water analysts note, water is hot not only because of the growing need for clean water but because demand is never affected by inflation, recession, interest rates or changing tastes," wrote Maude Barlow in her 2007 book Blue Covenant.

If scarcity drives price, anyone with a stake in the water industry stands to gain from an increasingly water-stressed world. As Barlow also reported, "In 1990, about 51 million people got their water from private companies, according to water analysts. That figure is now more than 300 million." By controlling the resource and choosing when and if they engage with the public it allows some of the biggest water abusers to set the terms of a critical ongoing debate.

The fact that humans need water raises important questions: should water be classified as a basic human right available to everyone? Is water part of the commons? If so, should corporations be allowed to control the taps or bottle it, mark up the price, and sell it for profit?

Not much polling has been done on people’s opinions of water, but during 35 informal on-the-street interviews conducted by the Guardian, 31 people said it is a basic human right. The other four said it was subject to the laws of supply and demand.

This week marks the 60th anniversary of the United Nations Universal Declaration on Human Rights, and Barlow, who has been appointed special advisor on water to the UN, will be addressing the General Assembly on the fact that water is still missing from the original 30 Articles.

"The reason that water was not included in the original 30 Articles in the Universal Declaration of Human Rights is that no one at that time could conceive there would be a problem with water," Barlow told the Guardian. "It’s only in the last 10 years that the concept of water as a human right has come to the fore."

The problem has its roots in the inherent conflict between conservation and profit. Saving water is relatively cheap, but there’s no money to be made by eliminating waste. Developing expensive new water sources, though, is a potential private gold mine.

As Barlow points out in her book, technology is becoming an integrated part of the solution to the water crisis. Desalination plants, water recycling facilities, and nanotechnology are all being thrown at the problem — in some cases before a full assessment of use and abuse has occurred.

While technological solutions may be warranted in some places, Barlow worries that relying on them bypasses any true attempts at efficiency and conservation. "I’m not going to say there’s no place for water cleanup," she told the Guardian. "What I’m concerned about is we’re going to put all the eggs in the cleanup basket and not nearly enough in the conservation and source protection basket. What I’m concerned about is the idea that technology will fix it. Meanwhile, don’t stop polluting, don’t stop the over-extraction, allow the commercial abuse of water, allow the agricultural abuse of water because what the heck, there’s tons of money to be made cleaning it up. I think that’s the wrong way of coming at it."

The technological fix is one way the state’s water crisis may slowly seep into private sector control, and a couple of examples show what can happen when private companies don’t play nice with the public, how citizens constantly battle with state agencies to enforce regulations, and how the public process could and should be honored.

GET THE SALT OUT


In theory, California has plenty of water — its 700 miles of coastline border the giant reservoir known as the Pacific Ocean. But humans can’t drink salt water — and some companies see a nice industrial niche in that dilemma. Build a plant that takes out the salt, and suddenly there’s plenty for all.

Several small desalination facilities already exist throughout the state, mostly cleaning water reservoirs brined by agriculture. But another 30 desalination plants have been proposed for the coast as a way to deal with future water shortages.

One is in Carlsbad, near San Diego, where Poseidon Resources is constructing the only large-scale desalination plant that the state has permitted to date. It’s a 10-year-old project that, so far, doesn’t even have a pipe in the ground.

Despite Poseidon’s ability to grease the wheels with local officials, the facility is controversial. It sits next to a fossil-fuel burning peaker power plant, and will be desalinating the power plant’s discharge water, thus shielding its negative environmental impacts by claiming its the power plant that’s sucking up seawater and damaging marine life — the desalination plant is just making use of the wasted water.

That argument doesn’t sit well with Joe Geever of the Surfrider Foundation, who pointed out that part of the power plant is scheduled for a retrofit to air-cooling, and talk is of a potential state ban on using water for this type of cooling system. There are other more environmentally benign seawater extractions, he said, like drilling and capturing subsurface sources, that the desalination plant could have used.

Mostly, he contends, the plant subverts conservation. "Per capita consumption of water in San Diego is much higher than other places," he said. "In southern California we waste an enormous amount of water on growing grass. There’s a lot to be saved."

Poseidon, a private company, is footing the bill for the plant’s construction, but the financing scheme is predicated on a future increase in the cost of water. As Poseidon’s Scott Maloni explained to the Guardian, the contract with the San Diego Water Authority states that the cost of desalinated water can never be more than the cost of imported water. It can, however, walk in lock-step with it — and by all accounts the price to pipe water to sunny southern California is going to increase. Maloni said his company was taking an initial loss but would start paying itself back as imported water costs increase. Eventually rates will be set halfway between the real cost of desalinated water and the higher cost of imported water.

What kinds of guarantees are there that this will happen? Nobody knows. "They’ll say anything, but when it comes to showing you a contract, we’ve never seen anything," said Adam Scow of Food and Water Watch. "There’s a lack of regulation with a private company controlling the water."

The plant now has no less than three lawsuits hanging over it, all filed with state agencies in charge of permitting and oversight — the Coastal Commission, the State Lands Commission, and the San Diego Regional Water Quality Control Board. All basically contend that the state didn’t do enough to require Poseidon to implement the most environmentally sound technology that’s least harmful to marine organisms, as required by state law.

Geever stresses that desalination is an energy-intensive way to get water. "Every gallon of water you conserve is energy conserved," he said. "Not only could San Diego do more conservation, but they don’t recycle any wastewater to potable water standards. That’s much less energy intensive."

Poseidon counters by saying that it invested $60 million in energy efficiency measures for the plant and will be installing solar panels on the roof. Perhaps most telling is that the company sees itself as vending reliability. "It’s not the current cost of water the San Diego Water Authority is concerned about, but the future cost for an acre-foot," Maloni said. "There’s a dollar figure you can put on reliability. Public agencies are willing to pay us a little more for that."

Which gets back to a comment Barlow made about capitalizing on crisis. "We are frightened half to death and everyone who looks at it, right-wing or left-wing, sees that. … They use the crisis to say we have no alternative except to go into massive desalination plants."

And, as Peter Gleick, president of the Pacific Institute pointed out, San Diego wasn’t calling for proposals to bring it more water. "Poseidon wanted to build a desalination plant and it came to San Diego. That’s one way to do it. The other way is for a municipality to say we want a desalination plant, we’re opening it up to bids, let’s have a competition. That didn’t happen, and instead we have one contractor."

Geever added, "Poseidon has been really successful at lobbying politicians and convincing regulators to give them permits."

Which points to one of the chronic ills of managing water systems, particularly in California where water has always been political. "In the 20th century decisions about water were made by white males in back rooms," said Gleick. "It solved a lot of problems, but it led to a lot of environmental problems. The days when water decisions made in back rooms should be over. And they aren’t over, and that’s part of the problem."

DELTA BLUES


Nowhere is that more obvious than the delta, where the state’s two most prominent rivers — the Sacramento and the San Joaquin — meet the Pacific Ocean just north of San Francisco. It’s ground zero for one of the most charged political fights in the state.

Two-thirds of California’s water comes from the delta. About 80 percent of it goes to cropland, watering about half of the state’s $35 billion agricultural industry, much of it through historic water rights that have been granted to a small lobby of powerful growers who sell their surplus rights for profit. Another 18 percent goes to urban water needs, and — in spite of the fact that this is the largest estuary on the west coast of North and South America — only 2 percent of the water remains for natural environmental flows.

Delta issues are legion and begin at the headwaters of the Sacramento River, near Mount Shasta, a land Mark Franco describes as an Eden. "The deer, salmon, and acorns that we eat — everything that we need is there," Franco told the Guardian. "It’s such a beautiful place. Now they’re drying it, that Eden."

Franco is head of the Winnemem Wintu, or "little water people" tribe, and is fighting the first phase of water diversions from the Sacramento River, 200 miles north of the capitol where companies like Coca-Cola, Crystal Geyser, and now, potentially, Nestlé, pump millions of gallons a year into small plastic bottles and ship it around the country to sell in groceries and convenience stores.

"Here in the US, people have become soft. They’ve become so used to just having things directly handed to them that they no longer understand where their water comes from," he said at the anti-corporate water conference. "Realize this: those springs on Mount Shasta are not an infinite supply of water."

After the Sacramento feeds the bottled-water companies, what remains wends its way south, with more diverted directly to farmers and into the State Water Project, which pipes it to drier southern regions. What’s left empties into the delta.

A lack of fresh water, flagging environmental preservation, increasing agricultural needs, and leveed island communities that are seismically unsafe and sinking, all mean the delta is failing as an ecosystem, and has been for some time. Chinook salmon and delta smelt populations are collapsing to such an extent that court orders have halted a percentage of water diversions and salmon fisherman were forced to dock their boats this year. Levees are crumbling, causing islands to flood and raising ire among landowners. Farmers with historic water rights are fiercely protective of them, while environmentalists are lobbying them to use more conservation and efficiency.

Nearly all stakeholders agree that the status quo won’t hold.

The challenge is finding a solution. Ending exports seems impossible, limiting them means massive investments in other resources. No one agrees on what will really save the endangered salmon and smelt or improve conditions for the 700 other native plants and animals.

In 2006, the governor convened a seven-member Delta Vision Blue Ribbon Task Force, which released a strategic plan in October calling for balancing co-equal goals of ecological restoration and water reliability.

The plan also specifically recommended a dual conveyance system similar to what was proposed in a study by the Public Policy Institute of California. It combines some through-delta pumping with a peripheral canal around the delta. PPIC crunched the numbers and determined that the canal was economically better than any of the four options they had weighed.

The peripheral canal idea isn’t new, but it’s been controversial since it was first proposed almost three decades ago. The plan was ushered by then-Gov. Jerry Brown, but defeated by voters in 1982 after a major organizing effort by environmentalists. (Whether voters will cast ballots on it this time remains to be seen, though the Attorney General’s Office, now headed by Brown, has counseled the Department of Water Resources, which is charged with implementing whatever plan is decided upon, that a vote of the people isn’t required.)

Shortly after its release in July, the PPIC report was criticized by five elected Congressional Democrats — Reps. George Miller, Ellen Tauscher, Doris Matsui, Mike Thompson, and Jerry McNerney. "The PPIC report should not be used to ignore the many things that can be done today to restore Delta health, including providing necessary fish flows, undertaking critical ecosystem restoration projects, and making major investments in water recycling and improved conservation measures," Miller said.

Numbers used by the PPIC report have also been criticized by Jeffrey Michael, a business professor at the University of the Pacific in Stockton. In an analysis of PPIC’s work, Michael said the group had used inflated population figures, as well as high costs for desalinated and recycled water, therefore resulting in a report that made it look like it was too expensive to end delta exports altogether and replace them with other water sources.

The PPIC said the state’s population would be 65 million by 2050, that desalinated water costs $2,072 per acre-foot, and recycled water goes for $1,480 per acre-foot — numbers that were scaled to 2008 dollars from 1995 figures. Michael contends that if the numbers were adjusted to reflect actual costs, the peripheral canal wouldn’t look like such a sweet deal.

Maloni, of Poseidon Resources, said the desalinated water cost would be $950 per acre-foot for San Diego, including a $250 subsidy. A similar plant the company is hoping to construct in Huntington Beach will be about $50 more per acre foot.

When asked if $2,100 per acre-foot was a reasonable figure for desalinated water in California, Maloni said, "That’s nuts."

What does all this illustrate? That even among a small cast of purported experts there’s little consensus on several fundamental issues.

Adding more fuel to the fires of public skepticism is that a third of the funding for the PPIC report came from Stephen D. Bechtel Jr. — heir to the Bechtel Corp., which has come under tremendous criticism for its moves to privatize water around the world.

"That is very upsetting to us. They would stand to gain a lot with a contract to build a peripheral canal," said Barbara Barrigan-Parrilla of Restore the Delta.

PPIC’s Ellen Hanak said the funding didn’t affect their findings. "It’s really much more linked to the fact that the foundation is really interested in the environment and water is a part of that."

Linda Strean, the PPIC’s public affairs officer, told the Guardian that it was Bechtel himself who wrote the check, not the foundation. It’s the first time Bechtel has given to PPIC.

But considering Bechtel’s past performance managing water, it doesn’t inspire much confidence.

BECHTEL’S BIG ADVENTURES


In April, Cesar Cardenas Ramirez and César Augusto Parada, traveled from Guayaquil, Ecuador, to San Francisco. The two men were on a fact-finding mission: they wanted to know more about the company that owns Interagua, the company that is supposed to deliver the drinking water that only occasionally comes out of the taps in their homes.

One of the first things they discovered is that 50 Beale St. doesn’t necessarily advertise itself as the home of Bechtel — one of the world’s largest private corporations, with global construction and infrastructure contracts amounting to billions of dollars annually.

In Guayaquil, water service has been problematic for decades. During the 1990s the country received a loan from the Inter-American Development Bank to improve basic infrastructure. The money was given directly to the government, but like many World Bank and International Monetary Fund loans granted throughout Latin America at the time, it was predicated on an eventual privatization of the water service contract.

The money helped — water conditions improved, and the city seemed to be on track to bring service to outlying areas. But in 2000, the city, abiding by the loan conditions, requested bids to run the water and sewage systems. No bids were received. Leaders scaled back provisions that kept some control in the hands of the government, and they got one response. In 2001, Interagua, a company owned by Bechtel, took over water service.

"Since the contract, nobody has been able to drink the tap water," Cardenas, who represents the Citizen’s Observatory for Public Services, a watchdog group formed in Guayaquil to monitor the water contract between the government and Interagua, told the Guardian. "Prior to the contract you could drink the tap water, although there were some sections of the city where the plumbing was old and inadequate."

Even though Interagua is managing a public service, because it’s a private company, information about its exact responsibilities have been elusive. The Observatory does know that Interagua pays nothing for the water it draws from the local river, is guaranteed a 17 percent rate of return, and that it has a minimum mandate to expand service. What’s also known is its citizens’ experience — during the first six months of the contract, some rates were increased 180 percent.

Bechtel’s SF office refused to meet with the two men or answer their phone calls, e-mails, and letters, which highlights the inherent problem with corporate control of water — a lack of accountability. Bechtel didn’t answer any of the Guardian‘s detailed questions regarding the Interagua contract, and only provided a three-page letter originally drafted to the World Bank in December 2007, that paints a rosy scene of productivity and accomplishment in Guayaquil.

"At present, over 2.1 million residents of Guayaquil (84 percent of the population) are connected to the municipal potable water system, and more than 90 percent of the customers have 24-hour per day, uninterrupted service." The letter goes on to state that coverage is expanding with new connections, water quality meets public health standards, prices have decreased, and procedures are in place to help customers who have higher than average bills.

"There are things that have improved, yes," said Emily Joiner, who spent last summer in Ecuador and is author of the book Murky Waters, a history of water issues in Guayaquil published by the Observatory in 2007. But the bottom line is that citizens pay for the service, but they can’t drink the water.

"You still don’t drink the water anywhere in the city at any time," said Joiner. People buy bottled water or boil it. "Bottled water is expensive, as a percentage of income," she said.

Whereas water service was previously priced more like a progressive income tax, with the lowest consumers paying the lowest rates, Interagua has flattened out the rate structure and now big water consuming businesses are paying the same as residents. "It’s pricing some families out of the market," Joiner said. "It’s great for business. It’s not great for people who don’t have enough water to bathe or wash their clothes."

The Observatory would like the water system turned back over to the government. The local authority, which once ran the water service and is now charged with overseeing Interagua, fined the company $1.5 million for not meeting goals for expanding service. According to Joiner, there’s been no follow-up on whether the company is meeting those goals now.

The Observatory also filed complaints with the World Bank, which attempted a settlement, but, according to Joiner, representatives from Interagua refused to sit down at the same table as Cardenas. "The process stalled," Joiner said. "Interagua said the issue had become too politicized. César [Cardenas] has a reputation for rabble-rousing, and at the time he was lobbying for constitutional amendments outlawing privatization. Interagua considered it negotiating with a hostile party."

A new constitution was passed in September that does, in fact, outlaw privatization, but still allows existing contracts to be honored if they pass a government audit.

In the meantime, the local rumor is that Bechtel is arranging to sell Interagua to another company. Bechtel wouldn’t confirm this, and no one could say more beyond what was reported in speculative articles in Guayaquil’s local newspapers.

It wouldn’t be the first time Bechtel bailed on an international water contract. In what was part of a massive privatization of a variety of Bolivia’s national services, in 1996 the World Bank granted the city of Cochabamba a $14 million loan to improve water service for its 600,000 citizens. Like Ecuador, there were strings attached: a future privatization of the city’s water service. It was sold to Aguas del Tunari, the sole bidder — also a subsidiary of Bechtel. Almost immediately rates increased by nearly 200 percent for some families. In January 2000, people stopped paying, started rallying, and the water war began.

Led by La Coordinadora for the Defense of Water and Life, organizers shut down the city, physically blockading roads and demanding the regional governor review the contract. The battle went on into February, resulting in injuries to 175 people and the death of one. Originally the government announced a rate rollback for six months, but the Bechtel contract remained. "The [Bechtel] contract was very hard to get a hold of," Omar Fernandez of the Coordinadora told Jim Schulz of the Democracy Center. "It was like a state secret." Once they did examine a copy of it, Bechtel’s sweetheart deal for a guaranteed 16 percent profit was exposed and people demanded a full repeal.

Eventually, the residents got it, and though decent water service in Cochabamba is still elusive, the water war has become the poster child for successful grassroots activism.

"One of the most inspiring struggles around community control of water happened in Cochabamba, Bolivia, in the year 2000, when international corporation Bechtel — based here in San Francisco — privatized the municipal water system and hiked the water rates for citizens by 30 to 40 percent. Thankfully, there was a popular upsurge. It was a very bitter struggle and people succeeded in turning control back to public hands.

"This success changed the public debate in Bolivia," said Mateo Nube, a native of La Paz, Bolivia, who spoke at the anti-corporate water conference. "People said ‘enough’ to privatization, enough to corporate control. We need to seize control of our government."

You don’t have to go to Bolivia to find water-privatization battles. In 2002, catching wind that the city of Stockton was on the brink of privatizing its water services, the Concerned Citizens Coalition rallied signatures for a ballot measure against the idea. Weeks before the vote, the Stockton City Council narrowly approved one of the west’s largest water privatization deals — a 20-year, $600 million contract with OMI-Thames. The ballot measure still received 60 percent approval, and activists took the issue to court arguing there hadn’t been a proper CEQA process. In January 2004, according to the Concerned Citizens Coalition Web site, "San Joaquin County Superior Court Judge Bob McNatt ruled in our favor — we won on all points. The judge ruled that privatizing, in and of itself, needed environmental review." The city appealed, but eventually dropped the suit and OMI walked away in March 2008.

PUBLIC AGENCY, PUBLIC PROCESS


Bechtel also failed to hold on to a more local contract, a $45 million deal with the SFPUC to manage the first phase of its multibillion dollar Water System Improvement Project. After a 2001 story by the Guardian exposed Bechtel’s exorbitant billing for services that resulted in few gains (see "Bechtel’s $45 million screw job," 9/12/01), the contract was revoked by the Board of Supervisors and granted to Parsons, which runs it now.

Years later, in 2007, when the SFPUC released a draft of the Environmental Impact Report for the $4.4 billion project, massive public outcry arose against it. The plan outlined major seismic upgrades for miles of aging water infrastructure between San Francisco and Yosemite National Park, where the headwaters of the Tuolumne River are captured by a giant dam in Hetch Hetchy Valley and gravity-fed to the city. While the EIR projected little additional water use for San Franciscans, it called for diverting an additional 25 million gallons of water per day from the Tuolumne to meet the needs of 23 wholesale customers in San Mateo, Santa Clara, and Alameda counties.

The Pacific Institute and Tuolumne River Trust collaborated on a study showing that 100 percent of the anticipated water increases were for those wholesale customers — most of it for outdoor water use. The SFPUC hadn’t factored in any increased conservation, efficiency, or recycling measures, nor had it independently questioned the growth numbers.

The EIR received upwards of 1,000 public comments, more than any other document ever generated by the SFPUC. Environmental groups rallied, writing editorials, flooding public meetings, and asserting a different vision of the Bay Area’s water future and stewardship of its primary, pristine water resource.

And it worked. "We got about 95 percent of everything we wanted out of the WSIP process," said Jessie Raeder of the Tuolumne River Trust. "We do consider the WSIP a huge win for the environmental community … because we were able to organize and get a seat at the table and discuss this with the PUC." She said the Bay Area Water Stewards, a coalition of environmental groups, met with the PUC nearly every month and slowly the initial additional river diversions were pared down to a possible 2 million gallons. Also, a cap has been placed on any diversions until 2018, which gives agencies time to implement conservation and efficiency measures.

The SFPUC feels positive about it, too. "We are really thrilled that the program EIR was approved by the Planning Commission, approved by the PUC, and not appealed," said spokesperson Tony Winnicker. He said there were really controversial elements and the trick was balancing the competing interests of wholesale customers and environmental groups. "It took a really hard-nosed look at our demand projections and what we could really do for conservation." He concedes there are still controversies, in particular over the Calaveras Dam, which the Alameda Creek Alliance opposes. "It would be hubris for us to say it’s been a complete success."

"This is a process that would only occur through a public agency," Winnicker added.

"What we saw with the WSIP was a solution where everything was fully transparent," Raider added. "It was all a public process, and there was plenty of opportunity for public input."

Which is really what a public water utility should be doing. "When you’re talking about public water, it isn’t them, it’s us," said Wenonah Hauter, director of Food and Water Watch. "A public water system is only as good as the people involved with it."

DRINK LOCALLY


"This conference isn’t a public event," organizer Andrew Slavin told the Guardian when we tried to gain admittance to the Corporate Water Footprinting Conference. While water activists rallied outside deriding the corporations inside for greenwashing their images, Slavin said that the fact that the conference wasn’t open to the public proved that the corporations weren’t trying to do environmental PR. "If they’re trying to do greenwashing this isn’t the place to do it. The aim is to try to share information."

Slavin pointed to representatives speaking from the Environmental Protection Agency, the SFPUC, and NGOs like the World Wildlife Fund. From an environmental perspective, if these companies are going to be using water, isn’t it worth working with them to reduce their impacts?

"There are companies I call water hunters," explained Maude Barlow. "They destroy water to make their products and profit. Unfortunately, some of the companies that are leading this conference are bottled water companies. I don’t know how you can become ‘water neutral’ if your life’s work is draining aquifers."

Many water activists consider bottled water the low-hanging fruit as far as getting people to change behaviors. San Francisco banned the use of tax dollars to buy it, and the SFPUC has been promoting its pristine Hetch Hetchy tap water, gravity-fed from Yosemite National Park. "Bottled water companies are basically engaged in a multiyear campaign. Their marketing approach is you can’t trust the tap, your public water isn’t safe," Winnicker said.

Slavin said he thought it was weird to protest the conference, because the corporations are genuinely trying to avoid conflicts. He pointed to a company called Future 500 that has created a business out of mediating between corporations and communities. "It’s hard for companies to speak to people so they use other companies to do it," Slavin said.

In fact, representatives from Future 500 appeared to be the only conference attendees who stepped outside to watch the protest.

"I think it’s great," Erik Wohlgemuth of Future 500, said of the protest. "I think press should have been there. I think more of these voices should have been there. My personal view is they need to come up with some sort of reduced rate to allow these nonprofits to attend these kinds of conferences."

Jeremy Shute, a representative from global infrastructure company AECOM who was standing with Wohlgemuth, said, "There’s a tremendous amount of research and thought going into these questions and it would be great if that knowledge could be shared."

But is that going to happen when private companies cite "proprietary interest" as a reason for not sharing more information about their businesses? Or when they don’t have to abide by public records laws, leaving their contracts shielded from public scrutiny? Or when they refuse to answer calls from their constituencies and the media? In which case, should those advocates be in the same room as some of the biggest water users in the world? When pressed with the question, Slavin seemed stumped. "Why didn’t we invite them?" he asked. Then, after a long, thoughtful pause, he said, "I don’t know."

————————

WATER, BY THE NUMBERS

One-half of 1 percent of the world’s water is fresh. [1]

Of that .5 percent, about 50 percent is polluted. [2]

One in 6 people don’t have access to clean, safe water. [3]

Five food and beverage giants — Nestlé, Unilever, Coca-Cola, Anheuser Busch, and Groupe Danone — consume almost 575 billion liters of water per year, enough to satisfy the daily water needs of every person on the planet. [4]

The average human needs about 13 gallons of water each day for drinking, cooking, and sanitation. [5]

An average North American uses about 150 gallons of water each day. [6]

An average African: 1.5 gallons. [7]

An average San Franciscan: 72 gallons. [8]

The average Los Angeles resident: 122 gallons. [9]

About half the water used by a typical home goes for lawns, gardens, and pools. [10]

50 percent of US water comes from non-renewable groundwater. [11]

86 percent of Americans get their water from public water systems. [12]

80 percent of California’s homes get water from public systems. [13]

The 20 percent of CA households receiving water from privately-owned systems pay an average of 20 percent more for it. [14]

Of the 4.5 billion people with access to clean drinking water worldwide, 15 percent are buying it from private water companies. [15]

It takes 3 liters of water to produce 1 liter of bottled water. [16]

Tests of 1,000 bottles of water spanning 103 brands revealed that about one-third contained some level of contamination. [17]

The bottled water industry is worth $60 billion a year. [18]

Water is the third biggest industry in the world, worth $425 billion, ranking just behind electricity and oil. [19]

About 70 percent of CA’s water lies north of Sacramento, but 80 percent of the demand is from the southern two-thirds of the state. [20]

[1] www.gwb.com.au/gwb/news/mai/water12.htm

[2] Maude Barlow, interview with SFBG

[3] foodandwaterwatch.org/world/utf8-america/water-privatization/ecuador/bechtel-in-guayaquil-ecuador

[4] The Economist magazine

[5] www.ens-newswire.com/ens/mar2002/2002-03-22-01.asp

[6] www.canadians.org/water/publications/water%20commons/section4.html; environment.about.com/od/greenlivinginyourhome/a/laundry_soaps.htm

[7] montessori-amman-imman-project.blogspot.com/2008/01/in-news-interview-with-ariane-kirtley.html; answers.yahoo.com/question/index?qid=20080304195801AAnrv4Y

[8] sfwater.org/mto_main.cfm/MC_ID/13/MSC_ID/168/MTO_ID/355

[9] www.nwf.org/nationalwildlife/article.cfm?articleId=928&issueId=68

[10] American Water Works Association

[11] www.canadians.org/integratethis/water/2008/May-28.html

[12] www.foodandwaterwatch.org/water/private-vs-public

[13] California Public Utilities Commission

[14] Black and Veatch’s 2006 California Water Rate Survey

[15] www.canadians.org/water/publications/water%20commons/section2.html

[16] www.pacinst.org/topics/water_and_sustainability/bottled_water/bottled_water_and_energy.html

[17] Natural Resources Defense Council study, "Pure water or pure hype?" (1999)

[18] www.bottlemania.net/excerpt.html

[19] www.timesonline.co.uk/tol/money/article4086457.ece; thegreenblog.leedphilly.com

[20] www.energy.ca.gov/2005publications/CEC-700-2005-011/CEC-700-2005-011-SF.PDF

Ricky Angel and Katie Baker assisted with research.

Cut half the general fund?

6

by Tim Redmond

I’m not kidding. That’s what the numbers right now suggest. San Francisco over the next year could face a budget deficit of $576 million — almost half of the entire discretionary money that the city has to spend.

Mayor Gavin Newsom, frankly, is entirely missing in action on this one. He’s been hiding out, doing his budget discussions in secret, playing Where’s Waldo (even showing up that the board meeting without a budget plan) and leaving City Hall and thousands of city workers, nonprofits and activists wondering what the hell is going on. The lack of leadership is mind boggling.

In the vacuum, the Coalition to Save Public Health has proposed a series of alternative cuts, and Sup. Aaron Peskin, writing in tomorrow’s Bay Guardian, suggests that the board consider them. The proposals include eliminating unnecessary jobs that pay more than $100,000 a year, cutting back the mayor’s seven-person PR staff, cutting the money the city gives to the Opera and Symphony and re-opening the police and fire contracts. These are all good ideas — and they might, in the best of all circumstances, add up to ten or 20 percent of the deficit.

The reality is that the mayor is going to be making some brutal cuts now — and it will be much worse in a few months, when the supervisors have to deal with the next fiscal year’s budget. You can’t cut half a billion dollars out of San Francisco city government without eliminating a lot of essential programs. Public health? Decimated. Parks and Rec? A wreck. Muni? Service will get way worse, fares may go up, and the city’s commitment to public transit will be at risk. What’s the city do for you? Get ready to give it up.

And you think the job market is bad now and the recession starting to hit the city hard? Imagine when a few thousand city employees join the unemployment lines.

So what are we supposed to do? Let me make a suggestion.

The worst thing a government agency can do in a recession is cut spending. The feds can borrow money and keep spending, but the city can’t. So we simply need to face the fact that this is an emergency, a crisis, the worst situation since the 1930s – and we need to look for new revenue.

We can’t mess around with half steps, either. We need big money, right now – and the best, most fair and progressive way to get that is with an income tax.

Now, the city can’t just impose an income tax on residents, the way New York City and Philadelphia do. The California Constitution pre-empts that. But the city CAN levy a tax on all income earned within the city. So the commuters pay, too (although residents who live here and work somewhere else don’t; it’s an imperfect world). Oakland passed a tax on income earned in the city in the 1970s, and the issue went all the way to the state Supreme Court, which ruled in Weekes v. City of Oakland that the tax was perfectly legal (the City Council dropped the tax anyway). Here’s an opinion on it.

The nice thing about income taxes is that they hit the rich harder than the poor. In fact, San Francisco could exempt, say, the first $100.000 of income, then use a progressive scale to make sure that only well-off people paid anything, and the richest paid the most. Even in a recession, there are rich people in this town, people who have done very well under the Bush tax cuts – and shifting money from the rich to the poor during a recession is excellent economics.

And an income tax could actually bring in enough cash to make a real difference.

Of course, the rich people who pay it can deduct the local tax from their state and federal returns – so a lot of the money actually comes to SF from Washington and Sacramento.

Passing something like this would be a huge political challenge – it would have to go on the ballot, and nobody wants new taxes, and the Chamber of Commerce types would howl and raise huge sums to defeat it. It could only work if the entire City Hall establishment, starting with the mayor, was willing to go out and campaign, hard, for the measure. Make it temporary – the tax would expire in two years. Make it progressive – nobody who is hurting financially would pay a heavy burden. And tell the voters: We tax the rich, or we close libraries, and eliminate Muni lines, and take cops off the streets, and close fire stations, and let sick people die because they can’t see doctors – and watch the local economy fall even deeper into recession as city spending plummets.

Because that’s what we’re talking about here. These are the choices.

There’s a good chance the state will have a special election in the spring – a tax measure could go on the ballot then. Or the city could hold its own special election. And if the city income tax doesn’t fly, I’m open to something – anything – else. But is has to be big, and we have to move on it now.

Any takers?

Super Ego: Work that Lazer Sword

0

By Marke B.

I would seriously follow local turbocrunk duo Lazer Sword to the ends of the earth — and I just might have to, once they embark on their European Tour in February (come back, come back …). One of the last times to see them rock the little electronic boxes live will be this Thursday at the fun-filled monthly Work party at UndergroundSF, hosted by the Unicrons crew.

lazerswordwork1208b.jpg

I’ve had a few small reservations about the Work parties — they’ve been popular, and I dig all the local music-making talent they’ve brought in. Particularly, I’m partial lately to Unicrons members Futuristic Prince, whose jam “Amok Time” has lodged itself in my ears. But the party seemed to follow a kind of tired banger party template, and the promotion has at times seemed a tad desperate. Once they even claimed to be celebrating the release of the new G4 iPhone and The Dark Knight Returns! I hope that was in jest, and I certainly understand that you gotta do what you gotta do to build a party. Twenty Myspace bulletins an hour, though, usually only serves to turn me off. (Can we make that a rule for all club promoters at this late point in the MySpace thingie?)

HOWEVER!

Hank Plante busts the mayor!

3

Why did Mayor Newsom buy a $51,000 Chevy car in Colma when the only Chevy dealership in San Francisco is going out of business? Scroll down for the KPIX video showing how Hank Plante busts the mayor.

By Bruce B. Brugmann

10.jpg
Photo by Paula Connelly

Newsom’s driver and new Chevy Hybrid Tahoe SUV vehicle, parked in front of the Ark toy store on 24th Street, during a press conference launching the Shop Local–Get More campaign. The city bought the car from a dealership in Colma for $51,000.

It was marvelous. Simply marvelous. Hank Plante busts the mayor.

Let me set the scene: The reporters and small business leaders on Wednesday (Dec. 5) were packed in the Ark, a toyshop on 24th Street, for a press conference to launch formally the “Shop Local–Get More” campaign aimed at getting San Franciscans and everyone else to shop local in San Francisco this holiday season.

Steve Falk, president of the San Francisco Chamber of Commerce, laid out the chamber’s extensive program for its members to give substantial discounts to customers. Gerald Johnson, owner of the Ark, explained how his store would give 10 per cent off your next purchase with a purchase of more than $100. Mayor Newsom, who rolled in late in his city car, gave a zippy little talk about the values of shopping local and helping out the merchants and business community during tough times.

Newsom is at his best at these informal occasions, a little pep talk here, a genial smile and gesture there, lots of jutting jaw, no tough questions please. Then came time for questions and Newsom visibly relaxed for what he hoped would be some Noe Valley soft balls.

Hank Plante, the savvy political editor of KPIX Television (Channel 5), was positioned in the front of the crowd with his television cameraman and his camera was whirring away. He led off with a timely question.

“Mr. Mayor, you want people to shop in San Francisco. You know the car dealerships are in trouble. Can you tell us why you didn’t buy your new official city car here in the city?”

Newsom replied testily, “Uh, I have no idea. Thanks for the Gotcha question and I don’t have a clue. I didn’t have anything to do with the purchase of that car.” He said he would find out what happened and get back with the answer.

Plante reported the exchange in the KPIX newscast that night. He said, “We’re losing our last Chevy dealership” in San Francisco. He said that the new car was a Chevy Tahoe Hybrid SUV that cost $51,000 at a dealership in Colma. He pointed out that the Chevy was one of the “most visible purchases the mayor made this year.” Marie Brooks, from Ellis Brooks Chevy dealership on Van Ness Avenue, told Plante, “I think it’s wrong for one of our city officials to buy anything outside the city.” Ellis Brooks is a family-owned car dealership and one of the oldest and most famous local names in selling cars in Northern California.

Plante reported that Newsom kept ducking the question and later refused to allow the press corps to take a picture of him leaving the press conference in his gleaming black hybrid car parked in front of the toy store (see pic above.) KPIX showed video footage of Newsom not getting into the car and walking down 24th street.

Plante had nailed a point that has been agitating the small (and big) business community for years. Scott Hauge, a prominent small business leader and founder and president of Small Business California, was at the press conference and picked up on the point immediately. In his followup email to small business people in the city, Hauge noted he had attended the press conference “where the mayor was promoting a shop SF campaign.

“I applaud the mayor and others like the SF Chamber, Bay Guardian, Small Business Commission and Hotel Council for their efforts. What I didn’t hear was anything the city will do to require SF City agencies to buy from SF companies located in SF.”

Then Hauge zeroed in. “SF government does not have a very good track record in this area. In fact the mayor was asked why he did not purchase his hybrid vehicle in SF and he said he didn’t know why. Now is the time to push this issue. SF businesses have a higher cost of doing business because of mandates imposed on us. It seems to me that the least the city can do is buy from SF businesses.” I think he’s spot on.

And so Plante, Hauge, the Guardian, and small (and big) business in San Francisco are waiting anxiously for Newsom’s explanation why he bought a $51,000 city Chevy vehicle in Colma and not in San Francisco where our last Chevy dealership is on hard times and going out of business. And we are all waiting even more anxiously to hear what the mayor plans to do to correct this Shop- outside -San Francisco-syndrome and get the city working to spend its tens of millions of dollars of city tax dollars on businesses and services in San Francisco.

P.S. Full disclosure: the Guardian is a sponsor of the Shop Local campaign. And we sent a delegation to the press conference: Sales and Marketing Director Jennifer Lachman, Vice President of Operations Daniel B. Brugmann, Online and Print Advertising Coordinator Rebecca Frank, Assistant to the Publisher Paula Connelly who took the press conference photos, and myself. We are happy to pitch in on this critical and timely endeavor to put as much instant cash as possible into our local businesses and our community.

Our contribution, as a locally owned, independent newsweekly, is our own Shop Local campaign featuring a key marketing line derived from an analysis provided by the Business Alliance of Local Living Economies (BALLE), using a formula created by the consulting firm Civic Economics. This data is dramatic. It shows that if our 600,000 or so Guardian readers would spend $l00 with locally owned, independent businesses in San Francisco during the holiday season, that would inject $99 million into the San Francisco economy. Immediately.

That’s nearly $15 million more dollars than the city would see if that money were spent on chain stores that send their revenues back to headquarters. That’s because money spent at local businesses tends to stay and circulate in the community and create more local jobs and economic activity and of course more tax dollars for the city. The Guardian is also leading a national Shop Local campaign among alternative papers that would put several billion dollars in total into local economies all over the country. As Guardian Executive editor Tim Redmond puts it, “A sustainable community needs a sustainable economy, and that starts with locally owned, independent businesses.”

Unsolicited advice for the mayor and anybody else at City Hall who keeps sending our money outside of town: check the policy of the San Francisco International Airport that mandates locally owned small businesses get most of the juicy airport franchises. That policy works and works well. When I go through the airport, I always stop to get something to eat at Klein’s Deli. Klein’s was named after Deborah Klein, a Guardian circulation manager in the mid- 1970s who became a restaurant entrepreneur in San Francisco. For many years, she ran Klein’s Deli on 20th Street atop Potrero Hill. B3

Click here to watch yesterday’s KPIX newscast.

Click here to see Guardian photo coverage of the press conference.

Shop Local, get more

1

By Paula Connelly

Today Mayor Newsom held a press conference to announce the ‘Shop SF. Get More’, an economic promotion campaign for December / January. This promotion is a collaboration between SF Economic & Workforce Development, SF Office of Small Business, SF Convention and Visitor Bureau, SF Chamber of Commerce, Hotel Council, MTA, MUNI, DPT, BART, Chronicle, Examiner, Business Times and Bay Guardian to encourage people throughout the nine county Bay Area to shop in San Francisco. The Bay Guardian has been promoting small business and sustainable economic programs for years and this holiday season is urging its readers to spend $100 of their holiday money at locally owned, independent businesses – a move that would pump nearly $100 million into the city’s recession-plagued economy.

The press conference was held Wednesday, December 3, 11:45am, at the Ark Toy Store, which is located at 3845 24th St (near Sanchez), in Noe Valley San Francisco.

Visit the San Francisco Visitor and Conventions Bureau’s website: www.onlyinsanfrancisco.com to lean about Shop Local offers from participating businesses or visit www.sfbg.com/local to find out how to win $500 in the Guardian’s Shop Local Reader’s Contest.

2.jpg
Ark Toy Storefront in Noe Valley

5.jpg
Gavin Newsom kicks off the Shop Local campaign
http://cbs5.com/video/?id=42754@kpix.dayport.com

Boys to men

0

› a&eletters@sfbg.com

Longevity in rap is the exception, not the rule, but those exceptions are glorious: witness E-40, who dates his career from his 1988 self-released 12-inch as a member of MVP. After 11 years with Jive Records, 40 signed to Lil Jon’s Warner Bros.-distributed BME for his 2006 Gold-certified album, My Ghetto Report Card. Now the 41-year-old Vallejo veteran has returned with The Ball Street Journal, which dropped Nov. 24, a Monday, to increase first week sales.

The same day, San Francisco independent SMC released From a Boy to a Man, the long-awaited seventh solo album by Fillmore legend San Quinn, who began recording in 1991 at age 14. "My competition was Kriss Kross," he told me in a phone interview several days earlier, neatly putting his endurance in perspective.

Though Quinn, now 31, released a handful of discs in his late teens on JT the Bigga Figga’s then-Priority-distributed Get Low Records, his success has always depended on his loyal local fanbase. Fueled by his regional radio hit, "Hell Yeah," his last disc, The Rock (SMC, 2005), is his biggest seller yet, moving more than 20,000 copies.

Yet despite good independent numbers and 17 years in the game, the powerfully deep-voiced Quinn is still hungry. "I’ve yet to blow all the way up," he said. "I want to be known worldwide, and I’m still slowly climbing that mountain."

THE BALLITICS OF RAPPIN’


Quinn makes a good point: if your audience keeps expanding, you can’t be said to have fallen off. A major label rapper like Yung Joc may have debuted with a triple-putf8um single — "It’s Goin Down" — in 2006, but where is he now, let alone 17 years from now? The overinflated major label economy of scale means Joc could sell 200,000 and still be a failure, whereas Quinn’s independent grinding has kept him viable with only a tenth of that figure. I somehow suspect Joc’s artistic legacy won’t compare with Quinn’s in terms of length or depth, regardless of sales.

"Lotta these new dudes is ringtone rappers," E-40 remarks on BSJ‘s "Tell It Like It Is." After 15 years of major-label activity, 40 knows whereof he speaks. He pioneered the "rapper as independent label head" model with his Sick Wid It Records, forcing the industry to take notice when his 1993 EP, The Mailman (Sick Wid It), debuted at no. 13 on Billboard‘s R&B chart with no major-label distribution deal.

While signed to Jive, 40 frequently complained the imprint never gave him that superstar push. He knew he could be bigger, and in an era of shrinking album sales, the fact that the well-promoted Ghetto Report Card scored 40 his first Gold since 1998’s The Element of Surprise (Sick Wid It/Jive) proved him right. (His 1995 Gold album for Jive, In a Major Way, went Putf8um in 2002, showing more artistic longevity than many an instant Putf8um disc.)

The push is not without its price, however. Don’t get me wrong: BSJ, to me, is clearly the best major-label rap disc of the year. Like every such recording, it’s too longand where Jive gave 40 free rein, the corporate hand of Warner Bros. is evident. For example, the Akon collection, "Wake It Up," is an admittedly catchy pop single though it sounds more like an Akon song showcasing 40. Similarly, the marquee power of Snoop Dogg can’t disguise the fact that his verse on "Pain No More" sucks, which is a shame, since 40’s verse rocks.

But overall, BSJ is a more distinctively E-40 disc than Ghetto, inasmuch as its tempo and feel varies more than the hyphy-fueled onslaught of its predecessor. (BSJ had 12 producers, where Ghetto had five.) "Earl," an atypical slice of moody mob music from Lil Jon, is the most classic-sounding E-40 track in years, while the more spiritual "Pray for Me," produced by longtime 40-collaborator Bosko, is a close second.

"It’s got an old-school, 1989/1990-kinda feel," said 40 by phone a month ago. "But I mixed it all up for the new generation." The new generation, to be sure, is much in evidence: in the strong contributions from 40’s producer/son Droop-E and rapper/protégé Turf Talk, especially the hyphied-out mob banger "Got Rich Twice." Rick Rock’s three spacious, sample-laden beats are, as usual, way ahead of their time. The rapper’s collaboration with Too $hort, "Sliding Down the Pole," might sound like old times, but the whistling Willy Will beat is as fresh a post-hyphy groove as anything on BSJ.

GROWING PAINS


Where BSJ is like a big-budget cinematic thriller, Quinn’s From a Boy is more like an autobiographical novel, with an emphasis on storytelling and a socially responsible undercurrent.

"If you want to know how a young black man feels in San Francisco, you can tap into this record," said Quinn. Yet his disc belies this everyman characterization. It’s saturated with Quinn’s personal history, from his mother’s struggles as a single parent on the title track, to his relationship with his sibling, Fillmore rapper Bailey, on "My Brother," to his advice to his 11-year-old son, Lil’ Quinn, who raps alongside his dad on "Billionaire." "Billionaire" displays a very different conception of the uses of wealth than most street rap: "College education for your children," Quinn raps. "That’s what we call livin’."

The extraordinary thing about From a Boy is how Quinn holds its various themes together, sounding neither preachy nor hypocritical. While nominally a gangsta rapper, Quinn is much more a "kill you if you fuck with me" than a "kill you because I enjoy it" MC. His crack-dealing persona is there — as on the infectious single "Rockin’ Up Work" — but the overwhelming impression the full-length leaves is cautionary. Opening with actual KTVU sound clips about a deadly Fillmore shooting, "They’re All Waitin’ on Me" reminds me of Paris in its depiction of the urban war zone and is much more typical of the album’s vibe.

Quinn admits he’s not the best beat-picker, and given how incendiary the Traxamillion-produced bonus track, "Do Ya Thizzle," is, I wish there were a couple of more A-list collaborations. Quinn’s protégé, Filipino producer Dexbeats, is a great find, and the songs are so well-written, they render such second-guessing moot.

All told, both 40 and Quinn have reaffirmed their OG status in Bay Area rap. It’ll be interesting to see whether BSJ will equal the success of 40’s first Warner Bros. disc and whether the increasingly national visibility of SMC will get Quinn any extra regional play.

In the American tree

0

› a&eletters@sfbg.com

REVIEW I’ll remain calm while reviewing Bernadette Mayer’s new collection of poems, Poetry State Forest (New Directions, 128 pages, $17.95). It’s sort of a B-sides-and-rarities collection. I first heard "Easy Puddings" through a recording of a reading-interview Mayer gave with Susan Howe on KPFA-FM in the 1970s. While not all of the poems are new, all of them might be new to you.

This dense forest is, first and foremost, public property. Although Mayer’s poetry looks and often is intimidating, it also offers warm welcome: it comes straight out of the ground ("mud’s an introduction to thinking," she writes), and its loaded with good humor ("mother give me five I know not what I do"). Add to this the fact that Mayer has always been fiercely and unapologetically political:

I only have faith in writers

One painted on a barn "FUCK BUSH!"

This gives a bad name to fucking

Like Catullus, whose work she’s translated, local news and the people and places of her life (in upstate New York) flash in and out of the poems, creating a choppy river of narrative. These flashes of local news suffuse their subjects with a mythical quality. They come with creation myths: "& when phil first met max, born in henniker, new hampshire, he was jumping on the top of our yellow couch, saying, ‘i’m high!’." Mayer’s neighbor Helen Green ("i buy brown / beige & white eggs / from the greens"), who grew up in the upstate New York town of Troy, becomes "Helen of Troy."

Poetry State Forest is packed with weird trees and you may need snowshoes. But the experimental nature of the writing is born of necessity, not art: it charts a mind too complex, too humanly thoughtful and restless to be encapsulated into neat syntax. Line by line, ideas bump into one another in explosions of beautifully torqued grammar: a series of sonnets gives way to a long section of notebook fragments, or a dialogue between Mayer and her house.

Over the course of her long and awesome career, Mayer’s reverently studied and mastered one poetic form after another (the sonnet, epigram, and sestina, among others), and then gleefully watched each implode. She’s really the direct heir to Gertrude Stein. And if William Burroughs was right that "intellectuals are deviants in the U.S.," Mayer is living proof by the sheer force of her intellect, and the capable way it undoes syntax, form, and orthodoxy at every turn.

The first poem in Poetry State Forest, "Chocolate Poetry Sonnet," ends with the couplet "poetry is as good as chocolate / chocolate’s as good as poetry." I want to know where Bernadette Mayer gets her chocolate.

Stop PG&E’s corporate welfare

0

EDITORIAL Just in time for the holiday season — and the colder weather — Pacific Gas and Electric Co. wants to shift millions of dollars in fees off big industrial customers and force residential consumers to pay more for natural gas.

The move would set a terrible precedent, and San Francisco officials should join the consumer groups that are calling on the California Public Utilities Commission to reject the plan.

At issue is California Alternative Rates for Energy (CARE), a state-mandated program that helps low-income consumers pay for basic gas service — enough to heat their homes and cook their food. CARE costs PG&E nothing; the entire subsidy system is paid for by modest surcharges on every utility bill in the state. But now the biggest gas users — giant corporations like Exxon Mobil and Chevron — want to stop paying the surcharge, and PG&E, along with San Diego Gas and Electric and Southern California Edison, is taking up their cause. The three giant utilities have asked the CPUC to reduce their subsidy contribution by $90 million. Residential customers would pick up the slack. Why? Jeff Smith, a PG&E spokesman, told Los Angeles Times columnist David Lazarus that "We’ve got to try to help make it more attractive for businesses to do business in California."

But Chevron and Exxon Mobil aren’t suffering from a hostile business climate in this state. Both have reported record profits in the past year. The CEO of Exxon Mobil, Rex Tillerson, was paid $16.7 million; Chevron’s CEO, David O’Reilly, made $15.74 million. The fee shift wouldn’t help small businesses much; it’s based on how much energy a customer uses, so the big energy-intensive industries pay the most.

The best way to boost the business climate in this recession era is to promote consumer spending — which means putting more money in the pockets of residents. Raising the gas bills of people who are already hurting will have the opposite effect.

"It’s an absolute outrage that the biggest companies would be given a discount on the backs of ratepayers," Mindy Spatt, media advocacy director at The Utility Reform Network (TURN), told us. "Everyone’s so worried about making the climate good for businesses, but what about the climate for people?"

A CPUC administrative law judge ruled against the utilities in November, but the case will go to the full commission, possibly as soon as Dec. 18. (Details are online at the Bruce Blog at sfbg.com.)

San Francisco has an interest in the outcome, since the city’s economy will take another hit if PG&E gets away with this. And, of course, it’s ironic that the utility would take this step just after it spent $10 million to defeat a local public-power measure (which would have lowered electric rates and helped both small and large businesses, as well as consumers).

The supervisors ought to pass a resolution opposing the plan and City Attorney Dennis Herrera should file a formal statement of opposition on behalf of the city.

In another front on another battleground, state assemblymember Tom Ammiano and state senator Mark Leno are introducing a joint resolution that would put the Legislature on record as supporting the legal challenge to the same-sex marriage ban, Proposition 8, and as raising concerns that the measure violates the equal protection and separation of powers safeguarded in the state constitution (see "Tyranny of the majority," 11/26/08).

Leno told us that the intent isn’t to put pressure on the California Supreme Court, which will begin considering the case in January, but to make clear the Legislature’s intent that substantial changes to the constitution such as this should go through the more cumbersome revision process.

Joining Leno and Ammiano in sponsoring the bill are Assembly Speaker Karen Bass and Assemblymember John Perez, and state senate president Darrell Steinberg and state senator Christine Kehoe. Leno said he expects others to sign on as well. It’s a solid idea, and the Legislature should approve it.

Editor’s Notes

0

› tredmond@sfbg.com

I was out of town the day Tom Ammiano appeared at his final meeting as a San Francisco supervisor. Too bad; I would have gone, no matter how busy I was, just to be a part of history.

I know that sounds silly. The Barack Obama inauguration will be part of history. The election of Harvey Milk was part of history. Ammiano’s last day? Hey, the guy’s moving on to Sacramento. Take a bow, everyone says thanks, and another local politician takes another political job. History?

Well, yeah, actually. Because when the history of progressive politics is written in this town (and I hope some other poor sucker takes on that job so I don’t have to) Tom Ammiano will go down as a central figure in the movement that turned San Francisco around.

It’s worth noting that the movie Milk, celebrating the life of the gay pioneer, opened around the same time Ammiano was clearing out his City Hall office. The connection goes deeper than the fact that they were both queer men fighting for basic human rights and dignity at a time when that was a huge uphill struggle.

Milk was part of an urban movement that came out of the 1960s and came of age in the 1970s that sought to wrest control of San Francisco from a cadre of military and big business leaders who had been running it since World War II. The agenda of the crew that we collectively refer to as "downtown" was turning the sleepy port city of the 1930s into the financial headquarters for Pacific Rim trade. They wanted San Francisco to be another Manhattan; they laid plans, they put the machinery in place — and they never asked the people who lived here whether that was the future we wanted.

Because all that downtown development meant higher rents, more evictions, gentrification, budget deficits, too many cars, the death of small businesses … and by the mid-1970s, the activists had figured out how to fight back. It started with electing supervisors by district so that big money didn’t always carry the day.

Milk was elected supervisor as part of the progressive push that put George Moscone in the Mayor’s Office. And if Moscone and Milk had lived, it’s possible that the tide could have turned right then. But the assassinations derailed district elections, turned the city back over to downtown, and sentenced the San Francisco left to more than 20 years of tough political dark ages.

Ammiano got elected in that era, when the developers called all the shots, when tenants and environmentalists and neighborhood people were lucky to get two or three votes on the Board of Supervisors. His pro-tenant and anti-development proposals never even reached the desks of mayors who would have vetoed them anyway.

But he didn’t give up, and in 1999, in the bleak days of the dot-com boom, he took on a long-shot campaign for mayor that, in one six-week period, reenergized the San Francisco left. With his help, district elections came back; and with his leadership, a decidedly progressive board took office in 2001. Living wage, sick pay, universal health care, bike plans, real estate transfer taxes, tenant protections … these are all products of that change.

Ammiano was an odd sort of leader, someone with a sense of humor who didn’t take himself anywhere near seriously enough. He would be the first to credit the movement, not the man — and he’d be right. But when we needed him, he was there.

Decongest me

0

› sarah@sfbg.com

San Francisco could raise $35 million to $65 million for public transit improvements annually by charging drivers $3 to cross specific downtown zones during peak travel hours, according to a San Francisco County Transportation Authority congestion pricing study.

The aim of those fees, SFCTA staffers say, is to reduce congestion, making trips faster and more reliable, neighborhoods cleaner, and vehicle emissions lower, all while raising money to improve local and regional public transit and make the city more livable and walkable — improvements they hope will get even more folks out of their cars.

London, Rome, and Stockholm already have congestion pricing schemes, but plans to charge congestion fees in New York got shelved this July, reportedly in large part because of New Jersey officials’ fears that low-income suburban commuters would end up carrying a disproportionate burden of these fees.

As a result of New York’s unanticipated pressing of the pause button, San Francisco now stands poised to become the first city in the United States to introduce congestion pricing. But the plan requires approval from both local officials as well and the state legislature.

As SFCTA executive director Jose Luis Moscovich told the Guardian last week, "The state has control over passage of goods and people. Therefore, if we want to restrict that in any way, e.g. charging a congestion fee, [we] have to get the state’s permission."

If a congestion pricing plan is to go forward, it will need the support of Mayor Gavin Newsom. Wade Crowfoot, the mayor’s climate change advisor, told us, "It’s obvious that the mayor embraces the concept, as he laid out in his 2008 inaugural address."

But Newsom isn’t signing the dotted line just yet. "The mayor wants to make sure that there are no negative impacts that would make people not want to come to San Francisco, or would harm low-income people who live in areas that are not served by public transit and have no other choice but to drive," Crowfoot said.

"We are encouraging the [Transportation Authority] to do vigorous public outreach so that no one feels blindsided," Crowfoot added.

But as SFCTA executive director Jose Luis Moscovich explained Nov. 25 to the supervisors, who also constitute the transportation authority board, even if San Francisco gets the legislative green light, it could take two to three years to implement a congestion pricing plan.

"We’re not making a proposal," Moscovich said. "We’re just showing the initial results of our analysis."

That said, it’s clear Moscovich believes congestion pricing is feasible and would contribute to local, regional, and statewide transit goals.

TOO MANY PEOPLE


With San Francisco planning to accommodate 150,000 new residents and 230,000 new jobs over the next 25 years, Moscovich’s principal transportation planner, Zabe Bent, outlined four scenarios last week that would mitigate impacts in already congested areas.

These scenarios involve a small downtown cordon, a gateway fee with increased parking pricing downtown, a double ring that combines gateway crossings with additional fees downtown, and a cordon that imposes fees on crossings into the city’s northeast corner. (See www.sfmobility.org for details, including maps of the four possible zone scenarios.)

It seems likely the SFCTA will pursue the double ring or northeast cordon option.

As Bent told the board, "If the zone is too small, people will drive around it. And drivers within the zone could end up driving more, thereby eroding anticipated congestion benefits."

But all four scenarios aim to alleviate an additional 382,000 daily trips and 30 percent extra time lost to traffic congestion that would otherwise occur by 2030, according to SFCTA studies.

"We won’t reach environmental goals through clean technology alone," Bent explained. "Even if everyone converted to a Prius, the roads would still be congested."

Observing that it already costs at least $4 to get into the city by car — on top of $2 per gallon for gas and high parking fees — Bent argued that congestion, which cost the city $2 billion in 2005, reduces San Francisco’s competitiveness and quality of life.

Stockholm raised $50 million a year and reduced congestion by 22 percent with congestion fees, while London raised $200 million a year and reduced congestion by 30 percent.

In San Francisco, the SFCTA used computer models to determine that by charging $3 per trip at peak hours, the region would get maximum benefits and minimum impacts.

Discounts would be available for commercial fleets, rentals, car shares, and zone residents, Bent said, with toll payers getting a $1 "fee-bate" and taxis completely exempt.

As Moscovich noted, "Taxis are viewed as an extension of the public transit system."

BIG BUSINESS GRUMBLES


With concerted public outreach scheduled for the next two months, and business groups already grumbling about even talking about any increases to the cost of shopping and commuting with the economy in meltdown, Moscovich warned the supervisors not to wait until after the next economic boom hits, before planning to deal with congestion.

"Now is the right time to study it, but not implement it yet," Moscovich said.

Kathryn Phillips of the Sacramento-based Environmental Defense Fund told the Board that in Stockholm, public support grew to 67 percent once a congestion fee was in place.

"People saw that it reduced congestion, provided more public transit services, and made the city more livable and walkable," Phillips said.

BART director and Livable City executive director Tom Radulovich believes that free downtown transit would make the fees more palatable. "Fares could be collected when you get off the train if you travel outside of the zone," Radulovich said.

Noting that BART is approaching its limits, Muni Metro needs investments, and parking fees are an effective tool for managing congestion, Radulovich added. "Congestion pricing’s main criteria should not be to make traffic move faster. I don’t want to create more dangerous streets, but generally speaking, I think that plan is on the right track."

As for fears that San Francisco’s plans could tank at the state level because of concerns about working-class drivers being unfairly burdened, Radulovich noted that SFCTA studies at Doyle Drive determined that only 6 percent of peak hour drivers are low-income.

"The vast majority are earning more than $50,000 a year," Radulovich said. "And since the number of low-income drivers is very small, they could be given discounts. The real environmental justice issue here is what current congestion levels are doing to people living downtown, who are mostly low-income. They put up with inhumane levels of traffic and congestion, which affects the health and livability of their neighborhoods."

Dave Synder, transportation policy director for SPUR (San Francisco Planning and Urban Research Association), said he believes the regressive tax argument is a misleading attack.

"The truth is, that without the revenues this program will bring, the MTA will have to cut service for poor people, not increase service to meet increased demand for people who can no longer afford to drive," Synder told us.

But several local business groups are claiming that San Francisco doesn’t have a congestion problem compared to European cities.

Ken Cleveland of San Francisco’s Building Owners and Managers Association, said he believes that reports of congestion in San Francisco "are more hype than reality.

"We have no problem compared to London, Rome, and Stockholm," Cleveland said. "Congestion fees may work when you have a huge city with millions of people crammed in, like in London, Manhattan, Rome, but not in San Francisco."

Cleveland urged a hard look at what this increase means for people who drive now. " Fees of $160 a month would be "a real hit" on the middle and working classes, he said.

Jim Lazarus of the San Francisco Chamber of Commerce said he opposed a local cordon, but supports a regional congestion pricing program. "Look out the window at 10.45 a.m., and you’ll see that there is no congestion on Montgomery and Pine," Lazarus told us, noting that unlike London, which covers 600 square miles, San Francisco only has a 49-square-mile footprint.

"If you decide not to go into downtown London, the odds are your taxes, jobs, and revenues will still go into London’s coffers," he said. "That’s not the case in San Francisco. So from a small business point of view, it doesn’t make sense."

Bent says the SFCTA’s study provides numbers that are irrefutable, in terms of showing how travel times are impacted by congestion, during peak hours. "We’re talking about modest improvements in speed, but significant improvements in travel time," Bent said.

The proposed fees won’t affect shoppers, museum-goers, or those going out at night, but would benefit all users of the public transit system, Moscovich said.

"We’re not designing for London, we’re designing for San Francisco," Moscovich told the Guardian. "And this is not an anti-automobile program. This is an effort to achieve a balanced transportation system."

With the congestion fee revenue reinvested in transportation infrastructure, Moscovich adds, public transit will be less crowded, and provide more frequent, faster service.

"It all makes perfect internal sense: folks with the least resources are likely to benefit the most," said Moscovich, who predicts that San Francisco will agree on some form of congestion pricing.

"The mayor wants to be seen as a leader in initiating climate change commitment, and transportation is one of the first ways to achieve this," he said. "Especially since 50 percent of San Francisco’s greenhouse emissions occur during peak hour travel."

"We’re trying to change behavior, not just engineering. We don’t want people in cars. … For every pollution-free Prius, you have diesel buses and older cars sitting in traffic idling, essentially eroding any benefits. The best way to optimize results is to get some cars out of the peak hour."

Sup. Jake McGoldrick, who is president of the SFCTA board and has supported the congestion fee-pricing system since it was implemented in London, said that "business will have to step up [and] make a willing suspension of disbelief to see that enhanced mobility will enhance business opportunities.

"There will be no need to get mauled at the mall," McGoldrick predicts. "San Francisco has wonderful things to offer, not just a sterile, homogenous, single-purpose environment. You can’t match museums and cultural amenities out at the malls. San Francisco is a cultural center, not just a strip mall."

McGoldrick, who is termed out in January, said that the new Board "will lean very positively toward doing this." He added that state representatives, including Sens. Leland Yee and Mark Leno and Assembly Members Fiona Ma and Tom Ammiano "will see the benefits.

"They should be willing to carry the banner because of the long term benefits for their grandchildren," McGoldrick said.

(The Board will consider the congestion pricing scenarios and impacts Dec. 16. See www.sfmobility.org for details of public workshops and meetings.)

Cue the clowns

0

› steve@sfbg.com

The circus doesn’t come to San Francisco, but its performers do, sexy and talented dreamers who bring a creative energy that has transformed the city’s nightlife and counterculture. Spinning aerialists and dancing clowns now proliferate at clubs and parties, and their number has more than doubled in recent years.

They come from towns across the country — often via Burning Man, where they discover their inner performers, dying to burst out, and other kindred spirits — to a city with a rich circus tradition, which they tweak and twist into something new, a hybrid of the arts and punk sideshow weirdness. It’s the ever-evolving world of Indie Circus.

One of the biggest banners these performers now dance and play under is Bohemian Carnival, which draws together some of the city’s best indie circus acts, including Vau de Vire Society, the clown band Gooferman, and Fou Fou Ha, acts that fluidly mix with one another and the audience.

Last Saturday, as families across the country shopped and shared Thanksgiving leftovers, this extended family of performers rehearsed for that night’s Bohemian Carnival. Fou Fou Ha was in the Garage, a SoMa performance space, working on a new number celebrating beer with founder/choreographer Maya Culbertson, a.k.a. MamaFou, pushing for eight-count precision.

"Do it again," she tells her eight high-energy charges, who look alternatively sexy and zany even without the colorful and slightly grotesque clown costumes they don for shows. I watch from the wings as they drill through the number again and again, struck by how the improvised comedy at the song’s end changes every time, someone’s new shtick catching my eye and making me smile.

"That’s what we love the most, the improv element to it," Culbertson tells me. "We see how far you can take it and not break character."

As Fou Fou Ha wrapped up and headed home to get ready for the show, Gooferman and Vau de Vire were just starting to rehearse and set up over at the party venue, DNA Lounge. Reggie Ballard was up a tall ladder setting the rigging, the dancers stretched, Vau de Vire co-founder Mike Gaines attended to a multitude of details, and Gooferman frontmen Vegas and Boenobo the Klown played the fools.

"I feel like I’m on acid," Vegas said evenly, his long Mohawk standing tall.

"Are you?" Boenobo said, perhaps a little jealous.

"No, I wish," Vegas replied. "But that’s why it’s weird."

"Huh," Boenobo deadpanned. "Weird."

Fucking clowns. I decide to chat up a dancer, Rachel Strickland, the newest member of Vau de Vire, who stretched and unabashedly changed into her rehearsal clothes as she told me about why she moved here from North Carolina in July 2007.

"I waited a long time for this. I always knew I wanted to come to San Francisco and work on the stage, doing something in the line of Moulin Rouge, with the costumes and that kind of decadence and debauchery," Strickland said, oozing passion for her craft and the life she’s chosen, one she said has met her expectations. "I danced as much as I could my whole life and I have an overactive imagination, so it’s hard to shock me."

Not that Vau de Vire hasn’t tried. Shocking people out of their workaday selves is what the performers try to do, whether through vaudeville acts, dance routines, feats of skill, or just sheer sensual outlandishness. Vau de Vire choreographer Shannon Gaines (Mike’s wife of 19 years) also teaches at the local indie circus school Acrosports and, with beatboxer and performance artist Tim Barsky, directs its City Circus youth program, which combines hip hop and other urban art forms with circus.

Gaines has been a gymnast and dancer all her life, skills that she’s honed into circus performances she does through five different agencies, often doing corporate events "that involve wearing a few more clothes" and other more conventional performances.

"The other seems like work to me. But this," she said, a wry smile coming to her lips, "is like dessert. This is what excites me."

She’s not the only one. With their growing popularity, San Francisco’s indie circus freaks are juggling an increasingly busy schedule and developing even bigger plans for the new year, including a national tour and an extravaganza called Metropolus that would reinforce San Francisco’s reputation as the best Big Top in the country.

As Boenobo told me, "It’s a moment in time when there’s something big developing in San Francisco."

MIMES AND PICKLES


The circus arts are ancient, but San Francisco’s unique role in morphing and perpetuating them trace back to the 1970s when Make-a-Circus arrived here from Europe — where circus traditions are strong — and the local, organic Pickle Family Circus was born.

Wendy Parkman, now a board member at San Francisco Circus Center, the circus school she helped develop in conjunction with the Pickles and legendary performer Judy Finelli, worked for both circuses and described how they derived from San Francisco’s vibrant arts scene and its history of grassroots activism.

"It was just a wonderful, spontaneous bubble, a renaissance of circus activity," Parkman told the Guardian. "It was an outgrowth of the fabulous ’60s and the involvement of people with community and politics and art."

Parkman and many others trace the local lineage of a renaissance that came to be known as New Circus back to the San Francisco Mime Troupe, which in 1959 started doing political theater that incorporated comedy (or more specifically, Commedia dell’Arte), music, farce, melodrama, and other aspects of clowning.

"It really started with the San Francisco Mime Troupe, and it flourishes here because of the rich arts culture that we’ve always had here," Jeff Raz, a longtime performer with both original SF troupes who started the San Francisco Clown Conservatory and recently had the title role in Cirque du Soleil’s Corteo, told the Guardian.

"San Francisco felt like a place where things could happen that were socially and politically relevant," Parkman said. "Circus has always been a people’s art form. It’s a great way of getting a lot of people involved because it takes a lot of people to put on a show."

Perhaps even more relevant to the current indie circus resurgence, both Make-a-Circus and the Pickle Family Circus reached out to working class neighborhoods in San Francisco, where they would do parades and other events to entertain the people and generate interest in the circus.

"It was happy, healthy, and accessible to people of all ages, classes, and backgrounds," said Parkman said, who noted that things began to change in the 1980s as funding for the arts dried up and Pickle hit hard times.

"The Pickle Family Circus was a grassroots circus that was part of a real renaissance. Unfortunately, it didn’t go very far," Dominique Jando, a noted circus historian who has written five books on the circus and whose wife teaches trapeze at the Circus Center, told the Guardian.

Still, the Pickle legacy lives on in the Circus Center and Acrosports, making San Francisco and Montreal (birthplace of Cirque du Soleil, whose influence has also propelled the indie circus movement) the two major hubs of circus in North America. Unlike Europe, Russia, and China, where circus training is deeply rooted and often a family affair passed from generation to generation, Jando said, Americans don’t have a strong circus tradition.

"We are really the poor children of the circus world. There is not the same tradition of circus here that there is in Europe," said Jando, a native to France who now lives in San Francisco. "Learning circus is like ballet, and it’s not really in the American psyche to work and train for seven years for a job that offers modest pay."

Homegrown spectacles like Ringling Brothers and Barnum & Bailey Circus commercialized the circus and transformed it into the three-ring form that sacrificed intimacy and the emphasis on artistry and narrative flow. Traditionally in Europe, the clowns and music structured a circus performance, with the punctuation and interludes provided by the acrobats and other performers of the circus arts.

"It’s the superhuman and the supremely human, who are the clowns," is how Raz defines circus. "Clowns are becoming more central to the circus, the supremely human part, and that has a lot to do with our times."

Raz, Jando, and Parkman all pointed to the sterile excesses of the televised, digitized, Twittering, 24/7 world we live in as feeding the resurgence of circus. "It points to a demand by the audience to see something more down to earth and real," Jando said. "There is a need to go back to basics."

"It’s a response to the overly technological world we’re living in. People want to go back to what the human body can do and be in the same place as the performers," Parkman said. "One of the concepts of the Pickles was that it was drawing on the European model. I’d say what’s going on now in San Francisco is an offshoot of what the Pickles did."

Raz said the rise of Indie Circus and its influence on the local arts scene is consistent with his own experiences as an actor and clown. He used to keep two resumes, but performers today are often expected to be steeped in both disciplines, letting one inform the other and opening up new forms of creative expression.

"That melding that you’re looking at, from the club scene to Burning Man, is seeping into a lot of the world," Raz said. "Circus is very much a living art form."

Somehow," Jando said, "it has become a sort of counterculture on the West Coast."

INDIE, THE NEW NEW CIRCUS


Boenobo and Vegas haven’t done any real training to become clowns. They’re performers who use the clown shtick to build a fun and fantastical world off their solid musical base.

"There has to be whimsy. People take themselves so seriously," Boenobo said, noting that it was in response to the serious-minded Winter Music Conference in 2001 where he had the idea of having the members of his new band, Gooferman, dress as clowns. It was a lark, but it was fun and it stuck, and they’ve been clowns ever since.

"The clown thing floats my boat. It is a persona I really dig. And the band kicks ass. We’re all just super tight. The Bohemian Carnival is just a bunch of friends, like a family ejected out of different wombs," he said.

The band does kick ass. Setting aside the clown thing, their tunes are original and fun, evoking Oingo Boingo at its early best, particularly since the summer, when Boenobo and Vegas brought in a strong new rhythm section. But it’s the collaboration with Vau de Vire and the other groups that round out Bohemian Carnival and really bring it to life.

"People say it just blew my mind, and that is the immortality of it," Boenobo said. "It’s super-fucking gratifying, really. It’s just stupid."

They performed last month at the Hillbilly Hoedown inside a giant maze made of hay bales in Half Moon Bay, with the clowns and circus performers creating a fantastical new world for the partygoers. As Gooferman played, Shannon broke the rules and danced atop a hay bale wall behind the band, conveying pure danger and backwoods sex appeal.

"The Gooferman character is called Bruiser or Shenanigans," Shannon said of her performer alter egos. "She does the things that you’d get kicked out of a party for, but I can get away with it."

She considers herself more of a "fluffer" than a dancer, and while Gooferman plays, she gets the band and crowd charged up by pushing the limits of silliness and composure herself and seeing if they’ll follow. "So they’re thinking, wow, if she can do that, I can do all kinds of things."

Their world not only includes practitioners of circus arts (contortionists, aerialists, trapeze artists, clowns, and the like), but also the fashion scene (including outlandish local designers such as Anastasia), painters, sculptors, dancers, actors, fire artists, and DJs like Smoove who bring a certain zany flair to the dance parties.

"It’s hybridized. So it’s not just circus arts with some musical backing," Boenobo said. Instead, it creates a fun and whimsical scene that makes attendees feel like they’re part of something unusual, fun, and liberating. "Immersion is very important."

That’s why the Bohemian Carnival and its many offshoots try to break down the wall between the performers and the audience, who often show up in circus or Burning Man styles, further blurring the borders.

"When you break down that big third wall, there’s no pretense," Mike Gaines said. "It’s really about the party and the community."

Clowns circulate in the crowd, interacting with the audience while aerialists suddenly start performing on ropes or rings suspended over the dance floor. It draws the audience in, opens them up, makes them feel like they’re part of something.

"All of the sudden, people get to realize the dream of running away with the circus, but they get to leave it at the end of the night," Boenobo said with a wink, "which they generally like."

"The line of where circus starts and ends has been blurred," said kSea Flux (a.k.a. Kasey Porter), an indie circus performer who earlier this year started Big Top Magazine (www.bigtopmagazine.com) to chronicle the growing culture. "I love the old-school circus, but as with everything, it needs to be able to evolve to continue to grow."

When he joined the indie circus movement five years ago, performing with the Dresden Dolls, Flux said it transformed his life. He quit his corporate job and started developing his art and trying to make a living in the circus arts, including promoting the culture through the magazine.

"I found the circus and was completely filled with a new life," Flux said, noting that it was through his long involvement with Burning Man that he was exposed to the circus scene. "I think Burning Man gives a platform for it. People get stuck in their jobs and there’s this great week when you can let go and be what you want to be."

That’s also how the talented aerialist and hooper who calls herself Shredder got into this world, which she’s now explored in both the traditional circus and the indie variety, preferring the latter.

"I didn’t even know it was possible, but I just love it," said Shredder, who worked as a firefighter, EMT, and environmental educator before getting into performing through Burning Man, where Boenobo set up the Red Nose District in 2006 for all the many offshoots of the indie circus world that attend the event.

Shredder developed hula hoop and aerial routines, training hard to improve her skills and eventually was hired by the Cole Brothers Circus in 2006 to do aerial acrobatics and hooping. Founded in 1882, Cole is a full-blown circus in the Ringling Bros. tradition, with a ringleader, animals, and trained acrobats. Shredder toured 92 cities in 10 months until she felt the creativity and joy being snuffed out by the rote repetition of the performances.

"We did the exact same show everyday. It was like Groundhog Day but worse; same show, different parking lot," said Shredder, who later that Saturday night did a performance with more than a dozen hula hoops at once. "Then I heard about Vau de Vire through some fellow performers and I just heard they were doing really well and I wanted to be with a group like that … I was just so happy that they were willing to help me design my vision as an artist."

COMING TOGETHER


The Bohemian Carnival name and concept was actually an import from Fort Collins, Colo., where Mike and Shannon Gaines created the Vau de Vire Society as part of the performance and party space they operated there in a 100-year-old church that they purchased.

Mike’s background was in film; Shannon was a dancer; and the world they created for themselves was decidedly counterculture. So was their space, the Rose Window Experimental Theater and Art House, which they operated from 1997 to 2001 and lived in with 20 of their bohemian friends.

"It allowed us to really get to know ourselves. We had all day to just rig up any kind of performance we could imagine," she said. "If you had a crazy idea, you could just come on over at 3 a.m. and do it."

Their signature events were themed parties that would open with performances of about 30 minutes, usually combining music, dance, and performance art, followed by a dance party that was essentially an all-night rave. Initially the performances just drew off of the creativity of their friends, including those Shannon danced with. The themes were often risqué and sometimes included nudity.

The performances evolved over time, bringing in talent such as Angelo Moore of the band Fishbone, who is still a regular part of their crew. They were all attracted to the freaky side of performance art, which drew them toward sideshow, vaudeville, and circus themes and expanding what was technically possible. "We ended up getting a rigger in and just flying around the theater," Mike said.

In 2000, they did their first Bohemian Carnival event. "That’s when we started dabbling in the circus," Mike said.

While the events gained regional acclaim in newspapers and were supported by notables figures, including the town’s mayor, there was a backlash among local conservatives, including some who objected to how a traditional church was being used for raves by these bohemian freaks.

In 2001 they decided to search for a new home. "We looked around for the place that would be most accepting of what we were doing," Mike said.

San Francisco was known to be accepting of their kind, and there were groups here that were edging toward similar kinds of parties, including Infinite Kaos and Xeno (and its predecessor, Awd), as well as the band Idiot Flesh, not to mention the more serious circus being done at the Circus Center and Teatro Zinzanni.

"San Francisco, in this country, is a real hotbed for circus. So we were like, ‘Now we can bring in legitimate circus performers," Mike said. Shannon got a job teaching at Acrosports, allowing her to be immersed full-time in her art and to help grow her community.

Serendipitously, in August 2001, indie rocker Boenobo of the band Chub — a funky ska outfit whose members would wear different costumes to each of their performances — formed Gooferman, which wasn’t originally the clown band it is today: "The idea was you had to be in a costume and you had to be stoned." They morphed into a full-blown clown band, and began collaborating with circus performers.

"But it never coalesced until recently," Boenobo says.

That process probably began around Halloween 2004 at the Vegoose Festival in Las Vegas, when Vau de Vire Society was asked to fill eight hours’ worth of programming and turned to their San Francisco brethren for help, Mike said. They drove or flew about 100 people to the event.

It was also the year Boenobo staged the GoofBall in San Francisco, drawing together a variety of entertainment that helped change the nature of the traditional dance party. Perhaps not coincidentally, it was also the year that reviled President George W. Bush won a second term and when longtime Burning Man artists staged their ill-fated revolt against the event (see "State of the art," 12/10/04).

"When people get too serious, they need this shit even more," Boenobo said of the increasingly irreverent, naughty, and participatory parties he was throwing.

Meanwhile Fou Fou Ha was developing its act. Culbertson and Raymond Meyer were waiting tables at Rose Pistola in 2000 and decided to put their big personalities to work for them, bringing in other performers such as Slim Avocado and setting up routines to perform at CellSpace and other venues.

"We’re sort of like the children of Cirque du Soleil in a way, but we wanted to give it an edge," Culbertson said. "It’s sort of like the second wave vaudeville … now with more of a rock edge."

Fou Fou Ha’s shows play off the dark and surreal kind of performance that is more European than American, a style Culbertson was exposed to while studying choreography during her Fulbright scholarship in Holland in the late 1990s. When she returned to the United States in 2000, "I wanted to form a [dance] company." But she wanted it to be fun. "People really like the idea of serious dance combined with comedy, where you can fall out of your pirouette," she said.

"We’re kind of like guerilla circus," Slim, a trained ballerina, said. "It’s a whole new movement. It’s like ’30s cabaret, but edgier."

Boenobo started the Red Nose District on the playa at Burning Man in 2006, drawing together his Bohemian Carnival friends, a local group of stilt- walkers known as Enhightned Beings of Leisure, installation artist Michael Christian’s crew from the East Bay, the Cirque Berserk folks from Los Angeles, and others from the growing circus world.

"It’s a safe environment to be and do what you want," Gaines said of Burning Man, noting how those breakthroughs on the playa then come back home to the city. And that ethos carries into Vau de Vire, which is truly a collective of like-minded friends, one that eschews hiring outside performers for their shows. "They’re all just part of it," he said.

What they’re all part of — Vau de Vire, Gooferman, Fou Fou Ha, and the rest of the Indie Circus folk — has begun to make a strong imprint on San Francisco nightlife and counterculture. From a performer’s perspective, Boenobo said, it feels good. "Our local family is super comfortable with one another," he said, something he’s never felt before after 25 years as a indie rocker. "It’s rare to not have a lot of ego to deal with, and it’s super rare with this kind of high-quality performance."

But they want more. As Flux said, "We want to take over the world."

WHAT’S NEXT


Slowly, the circus collective members are moving toward becoming full-time freaks. Already, Mike Gaines said most of the 12 to 15 regular Vau de Vire performers practice their art full-time, subsidizing their performances by being instructors in dance or the circus arts.

That’s not to say the parties, with their large number of performers, are lucrative. "With circus, you get a million more people on your guest list, so circus is complicated from a promoter’s perspective," Joegh Bullock of Anon Salon, which incorporates circus acts into its parties, including the upcoming Sea of Dream party New Year’s Eve. "But we love it and wouldn’t do a show without it."

To pay the bills, "we also do a lot of corporate gigs," Gaines says, not proudly. Fou Fou Ha does as well, including performing at the Westfield San Francisco Centre this holiday season. They’re all dying to take their show on the road, but that, too, takes money. "Sponsorship is the key if we’re going to tour with 60 people," said Mike, who’s been working hard on a deal and said he feels close.

Boenobo’s latest plan is Metropolus, a circus-style extravaganza he’s planning (along with Bullogh and Gaines) for next Halloween, hoping to ferry guests (using buses or perhaps even art cars from Burning Man) among several venues in town (such as Mighty, 1015, Temple, and DNA Lounge) and a huge circus tent he wants to erect in Golden Gate Park.

In addition to circus-style entertainment drawn from across the country, he wants to precede the Saturday night finale with three days and nights of workshops and smaller-scale performances. His goal is for Metropolus to because a signature event for San Francisco and the indie circus scene, the equivalent of the South by Southwest Festival in Austin, Texas; the Winter Music Festival in Miami; or the Sundance Film Festival in Park City, Utah.

The time seems right, with the current financial meltdown creating opportunities even as it makes funding their world domination plans difficult. "Each time you have a crisis like we’re having now, it’s a ripe time for circus," Jando said, noting that circus boomed during the Great Depression and after each of the two World Wars.

And after going through years of pure absurdity in Washington, DC, and on Wall Street, Raz said the clowns of the world — from Stephen Colbert’s conservative television character (who Raz says employs clown techniques in his comedy) to a singer named Boenobo — now have a special resonance with people. As he said, "One of the things clowns do is they live the folly large."

———–

CLOWN’S EYE VIEW

I’ve been following Indie Circus for years, intending to add it to the profiles of various Burning Man subcultures (see www.steventjones.com/burningman.html) that I’ve written for the Guardian, but my reporting on this story began in May. And at the suggestion of Gooferman frontman Boenobo the Klown, I decided to start from the inside and let him turn me into a clown.

As makeup artist Sharon Rose transformed me into a happy clown backstage at DNA Lounge, I asked Boenobo what I should do (besides interview people). We just needed to clown around, keep the drunks from crowding the performers, help clear the stage between acts — whatever needed doing. "We’re the scrubs," he told me, clown-to-clown.

As we spoke, the acrobats stretched, a corpse bride goofed off as she prepared for her aria, members of the Extra Action Marching Band started to slink in, clowns applied their makeup, and female performers occasionally came back from the stage and whipped off their tops.

When Gooferman went on, I still didn’t know what I was supposed to be doing, so I stood next to the stage, watched, and awkwardly tried to be a little goofy in my dancing. A tall, beautiful blond woman stood next to me, catching my eye. She was apparently alone, so after a couple songs, during a lull, I asked her, "So, do you like clowns?"

"I am a clown," she said with a grin.

"Really?" I said. "You don’t look like a clown."

"But I am," she said. "I even do clown porn."

She turned out to be 27-year-old porn star Hollie Stevens, who told me she "grew up as a clown" in the Midwest before moving to California and getting into porn seven years ago. She even starred in the film Clown Porn and still sometimes dons the red nose and face paint for her public appearances, usually just for her own amusement. Stevens once appeared on the Jerry Springer Show as a clown, even getting into the requisite fight on stage with a friend.

"Clowns, you either love them or you hate them," she said, and she loves them.

I asked why she was there and she said that she’d come to see Boenobo. They had talked but never met, and shared a sort of mutual admiration. It was a clown thing. Clowns … they get all the hot chicks.

While we talked, an acrobat worked the pole on the stage, followed by an aerialist performing above the dance floor, one scene woven seamlessly into the other. The clowns of Gooferman puttered around the stage, removing equipment to get ready for the next act, flirting with the girls, trying to scam more drink tickets, or simply entertaining others and themselves.

The life of a clown is rarely dull.

————

UPCOMING INDIE CIRCUS EVENTS

DEC. 5–6


Acrosports Winter Cabaret

639 Frederick, SF

8 p.m., $5–$15

www.citycircus.org

DEC. 12


Auditions for Acrosports’ City Circus

Call (415) 665-2276, ext. 103 for appointment

DEC. 12-14


Frolic: CircusDragBurlesque Festival

Featuring Fou Fou Ha, Anna Conda, and more

CounterPULSE

1310 Mission, SF

8 p.m., $100

www.counterpulse.org

1-800-838-3006

DEC. 20


Open House and Holiday Carnival

San Francisco Circus Center

755 Frederick, SF

10 a.m.–4 p.m., free

Pratfalls and Rising Stars

7 p.m., $12 adults, $8 children

San Francisco Circus Center

Tickets and info at www.circuscenter.org

DEC. 20


Storytime Festival, featuring Vau de Vire Society

4–7 p.m., "Tales of Enchantment," (G-rated show) 8–11 p.m., "Storytime for the Inner Child," (R-rated show)

$30–$50

Palace of Fine Arts

3301 Lyon, SF

www.storytimefestival.org

————

>>More: Read Marke B.’s club review of Bohemian Carnival

Gift List: Where to shop for the holidays

0

To help with the holiday hullaballoo, the SFBG staff is revealing — at last! — its secret shopping secrets, to perhaps give you some gift inspiration. Our first installment: Senior Culture and Web Editor Marke B.‘s giving pleasures. Check out more suggestions in our ginormous 2008 Holiday Guide — and enter our contest to win $500 in gift certificates if you spend $100 locally. Wowza.

fionasgiftlist08a.jpg
The fabulous Fiona’s Sweet Shoppe

Green Apple Books & Music
The absolute, ultimate one-stop for everyone on my list. I snag some snazzy calendars for the in-laws I know so little about, and some books and CDs (and occasionally vinyl) for the immediate fam. Plus, it’s a great excuse to lose myself for a day among cozy dead-tree media. Could it get any better? Only if they served hot chocolate.
506 Clement, SF. (415) 387-2272, www.greenapplebooks.com

Kayo Books
Yep, another bookstore, but one that simply screams “creative stocking stuffers!” Kayo specializes in rare and vintage pulp paperbacks from sometime last century. (The last window display, focusing on “Naughty Nurse” novelettes, had me transfixed for hours.) If you want to watch a beloved hipster’s eyes light up in lurid, bemused wonderment, Kayo ’em.
814 Post, SF. (415) 749-0554, www.kayobooks.com

Nancy Boy
“Strong enough for a woman, but made for a man” could be the motto of this cute little Hayes Valley store and local manufacturer of all-natural beauty products. Check off all the males on your list (and some females as well) with impeccably packaged skin lotions, shaving accoutrements, hair products, and more. And don’t forget a little something for yourself.
347 Hayes, SF. (415) 552-3636, www.nancyboy.com

Fiona’s Sweet Shoppe
More delectable stocking stuffers and treats for those you’re not on intimate terms with (or those you are — hello, Scotch Whiskey Fudge). Fiona’s, just off Union Square, proffers lovely little old-fashioned candies selectively imported from Britain and Europe, with totally adorable packaging to boot.
214 Sutter. (415) 399-9992, www.fionassweetshoppe.com

Upper Playground
Forget those San Francisco tourist traps when shopping for unique mementos of the City for those back home (or here, for that matter). This cooler-than-thou boutique features men’s and women’s apparel and accessories designed by the creme de la creme of local grafitti artists. Make the unbuyable-for teen in your life very happy with one of UP’s indelible designs.
220 Fillmore. (415) 861-1960, www.upperplayground.com

Let the rhythm hit ’em

0

> a&eletters@sfbg.com

REVIEW The exuberance bouncing off the walls of the Palace of Fine Arts at the Nov. 22 opening of the 10th annual San Francisco Hip Hop DanceFest probably kept the audience in a buoyant mood well beyond the theater. These young dancers — and hip-hop is still primarily a young person’s art — presented a show that was sassy, skilled, and a hoot to boot.

Artistic director Micaya has developed a dual approach to programming, and it works. She showcases local hip-hop schools that are worthy of exposure and that bring in audiences, and features them with professionals who, increasingly, may come from abroad. This year, in its infinite wisdom, the US Department of Homeland Security denied visas to dancers from Russia and the Netherlands.

Still, the DanceFest carried on. By their very nature, the school performances are ensemble-oriented. To watch these dancers is to be drawn into the sheer joy of what they are doing. Split-second timing and constantly shifting relationships within the group compensate for the relative simplicity of the individual steps. The whole, with its sense of interlocking gears, is held together by a sometimes almost militaristic discipline. Yet the format is flexible enough to showcase individual talent.

The DanceFest also gauges hip-hop’s ongoing evolution. Having started in the ’70s as a popular expression — urban folk dancing rooted in African and African American practices — hip-hop has been moving from the streets to the theater, from the community center to the concert hall. Whether that means that hip-hop will lose its grounding in pop culture remains to be seen. It probably has already. But there are gains.

Returning to this year’s festival with their mesmerizing HipHop/Beebop was the first-rate MopTop Music and Movement from Philadelphia. Two years ago they took on the founding fathers. Last year it was The Wizard of Oz. This time they brought a fabulously slinky vision of a hot night on the town. With Buddha Stretch and Mr. Valentine in zoot suits and rakishly tilted hats, and Uko Snowbunny and B-girl Bounce in flouncing minis, they were a marvel of strutting control, flashing showmanship, and barely contained heat. Flawless’ Manipulation was indeed flawless in the way its two ingenious dancers — dressed in metallic hats and jackets under black lights — sent currents of energy into each other’s bodies, both to support and to control. It’s no surprise that they were the UK’s World Hip Hop Dance Champions in 2006. Another champion was one-man wonder, veteran hip-hopper Popin Pete from Electric Boogaloos. With appropriate wigs on hand, he unfolded popping’s history in one smooth take — from a vibrating ’70s style, to raucous ’80s moves, to today’s elegant, dinner-jacket-clad incarnation.

Breaksk8 Dance Crew from Indiana, on rollerblades, disappointed. While somewhat impressive for their technical skills, they performed This Is How We Roll with a studied nonchalance that was off-putting. Also new to the festival was the all-male Formality group from San Diego. Their well-performed Players Club had the energy of a traffic jam and stood out in its fresh use of arm gestures. SoulSector turned out to be the only company interested in exploring hip-hop’s capacity to delve into deep issues: their Reinvention: Headhunters was a tough examination of militarism and war.

There was much to enjoy in the studio-based ensembles — the clean and swift U.F.O. Movement among them. Sunset’s smartly staged and hilarious Toonz dressed its dancers as Looney Tunes characters. Its smallest elementary-school-age dancers, of course, got the biggest applause. If this year’s DanceFest proves one thing, it’s that the artists have barely begun to scratch the surface of the genre’s potential for entertaining and thought-provoking dance. Now if we can just get Homeland Security off their backs …

Still fighting

0

› news@sfbg.com

The workers at the Woodfin Suites Hotel in Emeryville have had to fight hard for their rights against an intractable employer — one with a history of harassment and denying them proper pay — but the workers could be on the verge of yet another small victory.

The Emeryville City Council could decide Monday, Dec. 1 whether to award about $200,000 in back wages owed to the workers, thus potentially touching off yet another chapter in a long legal battle pitting local workers and voters against a conservative, out-of-town hotel owner.

This case stems from Measure C, a living wage ordinance passed by city voters in November 2005 that was aimed at hotel housecleaners. The measure requires that hotels pay all employees a minimum wage of $9 per hour and overtime pay for workers who clean more than 5,000 square feet of floor space.

Brooke Anderson, executive director of the East Bay Alliance for a Sustainable Economy (EBASE), said the measure came about after talking to housekeepers who complained about the long hours and stressful workloads. EBASE, an Oakland community-organizing nonprofit, ran the campaign to pass Measure C along with UNITE-HERE Local 2850 and the Alameda Central Labor Council.

Rosa, a Woodfin employee who asked not to be identified, has cleaned the hotel’s luxurious suites for three years. She said that prior to Measure C’s implementation, she struggled to complete her daily workload. "It was an excessive amount of work. If we didn’t finish, we had to clock out and work without pay."

Through communication with the workers after the measure went into effect Dec. 5, 2005, EBASE found that Woodfin and the Marriott Courtyard Hotel were not in compliance. "We had workers start taking journals down saying, ‘I cleaned this many rooms today, what I should have been paid was X, what I did get paid was Y’," Anderson said.

By fall 2006, Woodfin and Marriott workers went public with their complaints, "essentially blowing the whistle on their hotels’ not complying with the law," Anderson said.

Both groups of workers testified before the City Council. Marriot quickly came into compliance, raising wages across the board and paying back wages for the year spent out of compliance. Woodfin slowly came into compliance, dropping the room load from about 17 to around 9 over the next three months.

Yet in June 2007, city officials found that Woodfin owed about $250,000 in back wages. The hotel appealed the ruling, arguing that Measure C was unconstitutional. In April, the Alameda Superior Court ruled that the law is constitutional and that the city of Emeryville has the right to demand back wages, but it took issue with the methodology used to calculate the owed amount. The judge ordered the city to revise its back wage order and hold another hearing.

The city reissued its order in August, calling for around $200,000 in back wages. Woodfin appealed the ruling; a first hearing was held Nov. 17, and a final decision is expected Dec. 1.

Woodfin’s argument this round, according to spokesperson Tim Rosales, is that Emeryville did not clarify its requirements until 2007 so the company cannot be held accountable for regulations it believed it was complying with. Rosales said the city passed "implementing regulations" in 2007 and "tried to retroactively apply those 2007 rules to 2006."

"It would be as if the IRS applied this year’s tax increases to last year’s taxes and asked you to pay the difference," he said. Additionally, Woodfin cleans each large suite with a team of housekeepers, making it difficult to calculate individual square footage.

EBASE counters that Woodfin purposely ignored Measure C’s regulations, which it vehemently opposed during the election. Anderson also said the hotel has a long history of using intimidation tactics throughout the two-year struggle.

The Guardian broke the story last year ("Calling in the feds," 6/13/07) that the owner of Woodfin Suites, Sam Hardage, used connections with US Rep. Brian Bilbray (R-San Diego) to have the Immigrations and Customs Enforcement officials audit his own hotel, which he then used as a pretext for trying to fire some of his workers.

"The real question," Emeryville City Council Member John Fricke told the Guardian, "is why has the Woodfin hotel chosen to invest so much money fighting Measure C.

"It’s pretty clear that the Woodfin has spent many times the back wage it owes and paid that to lawyers," he said.

Rosales said that the hotel was battling on a matter of principle. "One could argue that were going to be doing business in Emeryville for a very long time," he said. "We want to find some clarity on the issue so the city can’t adopt measures and apply them retroactively."

Both sides hope for a favorable outcome Dec. 1, but remain entrenched and ready to defend their positions.

"We are confident that a favorable decision will be made and we hope that the hotel will pay," Rosa said. "[The dispute] has made me stronger both as a person, and as a member of the working class."

Woodfin is confident but prepared to continue fighting.

"Really what we want to do is find some good resolution between ourselves and the city," Rosales said. If they don’t, he said, "I think we could find ourselves back in court." *