Local

Live 105’s BFD

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

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

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

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

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

Lennar spending records sums on Prop. G

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Tonight’s election results will demonstrate how much money matters in local politics, and whether megadeveloper Lennar is able to essentially buy exclusive development rights for southeast San Francisco. That’s because the $3.9 million and counting that Lennar has spent to approve Prop. G and kill Prop. F could be the most expensive local measure campaign in California history, according to former Common Cause of SF head Charles Marsteller.
To confirm that, I called Bob Stern at the Center for Governmental Studies — the guru of California electoral reform — who had a more qualified answer. Campaign finance records show PG&E spent almost $10 million last year to defeat a package of four public power measures in Yolo and Sacramento counties. PG&E also spent more than $3 million to defeat the Prop. D, the 2002 public power measure in San Francisco. And Stern was trying to get final figures for an expensive 2006 ballot fight in Sacramento over a new stadium. Yet he said Lennar is way up there, well beyond anything he’s seen in his native Southern California.
“It is clearly one of the most expensive,” Stern said. “It’s an enormous amount of money for a local race.”

Election night parties

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Here’s a roundup of the main local election night parties:
Yes on A – Great American Music Hall, O’Farrell and Polk streets

Yes on F, No on G – Grace Tabernacle Church, 1121 Oakdale

Yes on G, No on F – Javalencia Café, 3900 3rd Street

Mark Leno – Campaign HQ, 1344 Fourth Street (at “D” Street)
San Rafael, CA 94901 (he might also stop by Lime, 2247 Market Street, where some DCCC candidates – including Laura Spanjian and David Campos – are having a party)

Carole Migden – Campaign HQ, 121 9th St., near Minna

Joe Nation – Wipeout Bar and Grill, 302 BonAir Center, Greenbrae

Fiona Ma for Assembly – Soluna, 272 McAllister

No on 98/Yes on 99 – 1601 Telegraph Avenue, Oakland

League of Young Voters, Sandoval for Judge, progressive DCCC candidates and some Yes on F and No on Prop. 98 supporters – El Rio, 3158 Mission Street

And then there’s the Bay Guardian’s “Don’t Dodge the Drafts” election night party, 7-9 p.m. at Kilowatt, 3160 16th Street btw Valencia/Guerrero. Bring your voting stub for drink specials.

Mayor’s plan for changing homeless shelters

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At today’s Local Homeless Coordinating Board meeting, Mayor Gavin Newsom’s homelessness “czar,” Dariush Kayhan, briefed the group on new ideas for improving city-funded shelters that he and the mayor have been hashing over.

There were just a few, and most of them seem like they need coordination more than cash, but they all answer, to some extent, some of the calls for help that have been coming from the city’s homeless shelter system.

All of this comes from a Feb. 14 announcement by Mayor Newsom that he’d like to redesign the city’s shelters, (the day after SFBG published an expose on conditions inside.) At the announcement, Newsom discussed possibly consolidating shelters into larger facilities, offering more medical respite care, and bringing Project Homeless Connect into the shelters. Ultimately, he called on the people working in San Francisco’s homeless services industry to come up with for how to make shelters better.

Since then, a series of long, comprehensive meetings have been held to gather ideas from homeless people, shelter clients and employees, non-profit groups, medical and mental services providers, and advocates. Meetings were held at shelters and other places convenient to the homeless population (though at all the meetings I attended there was a lot of criticism that the forums weren’t drawing in enough actual homeless people.) Topics tackled included problems accessing the shelters and the quality of medical and other support services — and suggestions were plenty. The Local Board pulled together a report, outlining the most frequent, concrete, and consensual, the most repeated being: don’t reduce the number of beds. (Too bad: The Human Services Agency cut the shelter at Ella Hill Hutch from their budget, which means, as of June 30, 100 fewer mats will be available every night unless advocates rally the Board of Supervisors to put the funding back.) The other biggest cry was for more services in general, made more easily accessible, and a number of really smart ideas came out for how to do that and are included in the report [PDF].

Kayhan said he and the Mayor would be putting together an official response to the report with more concrete details of their vision. In the meantime, he threw a few ideas to the meeting.

They include:

Pelosi talks hunger

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Nancy Pelosi with Paul Ash, executive director of the San Francisco Food Bank. Photo by Steven T. Jones

Speaker of the House Nancy Pelosi toured the San Francisco Food Bank today to highlight her concern with rising food costs and the need for a reordering of national priorities to address poverty. But she also showed how her party’s cautious approach to the issue has contributed to the grim reality that one in four San Francisco children are at risk of hunger.
“It’s an unthinkable notion that any child in the U.S. can go hungry,” Pelosi told the crowd of volunteers, care providers, politicos and journalists. She also stressed, “It’s important that we think of it one person at a time, or as I think of it as one child at a time,” peppering her address regularly with Biblical calls to feed the hungry. Personally, I would have rather heard an admission of how Congress helped oversee an unconscionable consolidation of wealth and how she plans to redistribute it to the families of these poor hungry kids.
Pelosi touted this year’s omnibus farm bill for new spending on nutrition and ethanol production, food safety improvements, and reductions in subsidies to corporate agri-business, a bipartisan bill that overcame a Bush veto. But many in the Bay Area’s growing food movement criticized the bill as basically business as usual, ignoring evidence that demonstrates the importance of moving from our heavily subsidized, industrial food production system to more local and sustainable models, criticism that I asked her about at the event.
Pelosi responded that, “I associate myself with the concerns that you represented,” noting that she signaled to Washington DC power brokers that this is the last farm bill that will so heavily subsidize big business. She would have hoped to do so this year — rather than three years from now when this bill expires — but that, “It was harder than I had hoped to go cold turkey.”
Similarly, she blasted President Bush with both barrels, particularly for the Iraq War and tax cuts on the wealthy, saying “The last eight years of the Bush Administration have done great harm to this country.”
Yet despite acknowledging this “grotesque mistake” of an Iraq War was sold with lies, and that top officials have violated the constitution, Pelosi has been unwilling to pursue impeachment or anything substantial to hold those officials accountable. But she is willing to intervene in the current presidential race to end the fight by next week and avoid letting it be worked out in August at the convention.
“I think if we take this to the convention, it will harm our chances in November,” Pelosi said, drawing her biggest applause of the morning.

Beers With Violet Blue

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While we’re on the subject of Violet Blue, we figured it’s time to post Justin Juul’s recent interview with the sexy local celeb. Read on!

Violet Blue is one of those people who builds robots, dreams about cupcakes, and has twelve phones. You know the type. They usually write about porn and sex on their award-winning blogs and you can pretty much count on them to release about three books a year. They often pose semi-nude for well-known photographers, write columns for daily newspapers, and make appearances on national television shows. Wait. I don’t know anyone that cool, or at least I didn’t until I met Violet. The Guardian recently had a few beers with Ms. Blue to try to learn the secret to her seemingly impossible career and life.

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SFBG: So whatcha been up to lately?
Violet Blue: Well, one new thing I’m working on is a series of interviews for Kink. They’ve really been stepping up their production lately so there are more big-name porn stars coming through. I’ve been interviewing all of them.

SFBG: Who have you interviewed?
Blue: Oh, I’ve done tons. I’ve been gathering them for weeks and I’m just writing them up now. I’ve got Ariel X, Flower Tucci, and a bunch of other famous people. I like doing the interviews because I’m kind of outside the porn industry. So instead of asking them how big their boobs are, I’ll maybe ask them if they have names for their boobs, which I actually did ask a couple girls.

SF Weekly sneers at sex work

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

Mixed doubles

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› a&eletters@sfbg.com

A new work by Robert Lepage is always a major event. In theater, the Quebecois director, actor, and filmmaker stands with the likes of Robert Wilson or Peter Sellars at the pinnacle of theatrical invention and global acclaim. Little wonder that, like Wilson and Sellars, Lepage has found opera a logical outlet for his extraordinary capacities and grand, all-encompassing visions. (His last Bay Area bow was in November 2007 at the San Francisco Opera, where he staged Stravinsky’s 1951 opera The Rake’s Progress.) But while he is a truly international force wielding the largest of canvases, there’s an intimate and personal side running through much of his work, perhaps nowhere more poignantly than in his stunningly staged solo plays The Far Side of the Moon (2003) and The Andersen Project (2005). The latter, which slyly folds layers of personal and cultural doubt (as well as biting cultural satire) into a glancing exploration of Danish storyteller Hans Christian Andersen’s troubled psyche, makes its local debut courtesy of Cal Performances.

As with Far Side, Andersen was developed with Lepage playing dual roles that together define a kind of split personality and serve as starting point for a series of thematic dyads. In this case, the main characters are a corrupt French opera director and a French Canadian musician-songwriter named Frédéric Lapointe, who arrives in Paris on a commission to write an opera based on an Andersen story. Also as with Far Side, Lepage eventually handed off the roles to Yves Jacques. An extremely gifted theater and film actor in his own right (probably best known to Americans through several Denys Arcand films), Jacques shares a history and affinity with Lepage (they’ve known each other since their twenties) that make him the best, and perhaps the only, person capable of stepping into these demanding, idiosyncratic solo shows, with their half-hidden strands of autobiography and fraught national identity. I recently spoke with Jacques by phone from Montreal.

SFBG Before Andersen, you took over another Lepage solo play.

YVES JACQUES It started with Far Side because it was a story very close to him. So he wanted someone with the same sensibility. I was able to understand his feelings about [the subject matter]. So afterward he said, ‘Why not continue with The Andersen Project?’

SFBG Was it at all intimidating to take over these plays from their originator?

YJ Oh, yes. I felt a big responsibility to be at least equivalent to Robert — just to reach the level of the acting he puts into the show. But he liked [what I was doing] and was very happy because for once he could see his own work. When you play in a solo show you don’t always understand what you’re doing. Now he could see himself, or himself through me.

SFBG How did you approach the part?

YJ I never feel I’m doing a one-man show; I’m doing a play. I’m doing the yin and the yang of the same character, in a way. Far Side was the story of two brothers, and this is quite the same. You have the director of the Paris Opera and then you have Lapointe. They’re very different but they’re played by the same actor. In a way, it’s the yin and the yang of the same personality, which is Hans Christian Andersen. Lepage is using two different characters to describe [the complexity of] Andersen. It’s very clever. You see Andersen only twice in the show but he’s not talking; he’s just a silhouette. The only way to know him is to understand the other two.

SFBG The assertion of a Quebecois identity against the dominant Anglo culture of Canada is a theme in much of Lepage’s work.

YJ Lapointe comes to Paris because he wants to be approved of by Parisians — [but] he says at the end, I came here for the wrong reasons. I came here for approval, and we shouldn’t do that. We should be proud of what we are. And Andersen had the same problem in his own country. People in Denmark loved his fairy tales but they didn’t take him seriously as a writer because he was writing for children. So he needed to come to Paris as well, and be approved of by Balzac or George Sand or Victor Hugo — just as we need to be approved of by the old country. It’s like being in a colony sometimes [laughs]. That’s why I’m very proud of working with Lepage, because he [raises] Quebec to another standard. His work is totally amazing. *

THE ANDERSEN PROJECT

Wed/28–Sat/31, 8 p.m.; Sun/1, 3 p.m., $62

Zellerbach Playhouse

Bancroft at Dana, UC Berkeley, Berk

(510) 642-9988

www.calperfs.berkeley.edu

Tataki

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› paulr@sfbg.com

Earlier this spring, a young colleague wrote to ask if I knew of seafood restaurants in the city that emphasize sustainability. While I could recall plenty of sightings of sustainable seafood items on various menus in recent years, I could only think of two seafood restaurants that answered to his description — places, in other words, where sustainability is central to the restaurant’s consciousness and is a basic element of menu composition. One is the Hayes Street Grill, whose menu card gives detailed information about where and how particular fish have been taken. The other is a small sushi spot named Tataki that opened about three months ago in an old Subway space at the southern foot of Pacific Heights.

Tataki does and doesn’t look like a typical sushi spot. It does have a small bar in a far corner of the snug dining room where you can sit on ergonomically peculiar stools of black plastic and watch the chefs deftly go about their business, and the bamboo tables were handmade by owners Raymond Ho and Kin Lui. But the pumpkin-colored walls are unusual, and the slate floor, while handsome, does contribute to a noise level that can be surprisingly high for such tight quarters. Of course, nowhere is it written that sushi bars and other Japanese restaurants must be quiet and serene; here it is merely written that, so far as this writer is concerned, it’s nice when they are.

Still, as holes-in-the-wall go, Tataki isn’t bad looking. The real interest lies in the menu. To a glance, this document resembles many others around town: there are selections of nigiri, rolls, tataki, soups, salads, and starters from the grill. But, as at HSG, each menu entry includes information on how the fish were obtained. Many are farmed, and while aquaculture raises all kinds of uncomfortable issues about pollution, antibiotics, and food-chain inefficiency, it does offer one inarguable virtue: aquaculture helps protect wild fish populations from collapse.

Since salmon, whether farmed or wild, is problematic now, Tataki uses a close relation, farmed arctic char, instead. The fish, with its delicate rose-peach flesh, makes a handsome nigiri ($4.50); it also turns up in one of the rolls and as carpaccio. Other nigiri might feature hiramasa ($4.50), also known as kingfish (a yellowfin relative, farmed in Australasia), and California striped bass ($4.50), whose flesh is like a disk of translucent ivory someone spilled Grenache on.

No sushi joint in San Francisco would be complete without a clutch of wittily named rolls to call its own, and Tataki is no exception. The best name probably belongs to the Divisaderoli ($6), chunks of avocado bundled with either tuna or kampachi (a Hawaiian member of the jack family) and scattered with glistening orange grains of tobiko. Tastier, if bearing a less-fun-to-pronounce name, is the Mix It Up roll ($11), a blend of spicy tuna and crab meat that achieves an almost sausage-like intensity of flavor and texture.

But the king of Tataki’s rolls is surely the Extinguisher ($13), which offers not only a serious spice kick but a moment of real visual spectacle. If you like saganaki (the flaming cheese of Greece), you’ll love this scene. But first, the roll itself: flaps of kampachi marinated with chiles, packed in rice, topped with chunks of avocado, squirts of what the menu calls "hot sauce" (chipotle mayonnaise?), and heavy sprinklings of habañero tobiko, fire-alarm red rather than the usual orange. The redness of the tobiko should be enough to caution anyone who’s remotely paying attention, but just to make sure, the chef sprinkles the side of the platter with rock salt, sloshes some rum over the crystals, and lights the whole thing on fire with a blowtorch. This might make an interesting DIY project for the patronage, assuming no licensure issues — probably a large assumption.

The flame, which is mostly blue and not at all raging (its more like something you’d see under a chafing dish), burns down quickly, and you might not even notice it expire, since eating the actual roll is a memorable experience of fire and spice. I love spicy food and I responded to the clever combinations here, but at the same time it did seem to me that the subtleties of the fish were all but irrelevant. Nuance can get lost in firestorms.

A nice chaser to the Extinguisher would be the cold spinach ($4), with the greens "boiled … in soy broth," as the menu grimly explains. The dish sounded almost Dickensian in its bleakness, but it turned out to be four compressed-spinach cylinders cut on the bias and arrayed upright on a plate, like a little diorama of some ancient temple. (Minor complaint: the tightly packed leaves were tricky to hack through.) A more easygoing cold dish — the Sancho Panza of such dishes in Japanese restaurants — is the seaweed salad ($4), which Tataki, in a nice twist, presents in a large porcelain ladle.

Despite mounting evidence that fisheries are collapsing from human exploitation throughout the world — the plight of the king salmon is a recent, local, and particularly disturbing example; see also the death of the Grand Banks off Newfoundland — we seem to have a vestigial confidence that the oceans are too vast to suffer real harm at our hands. If we don’t see it happening, then it can’t be quite real. But it is happening and it is real, and if there is going to be any kind of future for sushi and other seafood restaurants, it will be because Tataki, in its eco-prescience, turned out to be the dawn of a new day. *

TATAKI

Dinner: Mon.–Thurs., 5:30–10:30 p.m.; Fri.–Sat., 5:30–11:30 p.m.

Lunch: Mon.–Fri., 11:30 a.m.–2 p.m.

2815 California, SF

(415) 931-1182

www.tatakisushibar.com

Beer, wine, sake

MC/V

Surprisingly noisy

Wheelchair accessible

Hellarity burns

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› news@sfbg.com

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

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

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

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

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

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

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

WELCOME TO HELLARITY


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

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

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

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

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

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

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

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

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

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

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

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

FOR SALE


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

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

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

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

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

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

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

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

OWNERSHIP VS. CONTROL


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

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

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

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

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

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

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

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

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

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

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

ENDGAME


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE


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

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

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

Scraper success

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› a&eletters@sfbg.com

"This is what happens when Bay Area gas goes to 4 bucks!! We cant even afford to rap about cars..lol [sic]."

So reads one YouTube viewer comment for "Scraper Bike," a music video by local rap group the Trunk Boiz. Rather uncharacteristically for hip-hop, the clip includes a crew of hoodie-wearing, dreadlock-shaking young guys pedaling through the Oakland streets on their tricked-out bicycles. With zero support from radio, "Scraper Bike" became an underground hit last year, making alternative transporation cool for Escalade-obsessed East Bay youth.

"My scraper bike go hard, I don’t need no car," intones Trunk Boi B-Janky in the chorus of a song that’s so catchy it’s viral. Through Web word-of-mouth alone, "Scraper Bike" became one of the 20 most-watched YouTube videos of 2007. In March of 2008, the video was nominated for a YouTube Award, putting the Trunk Boiz in such illustrious company as Obama Girl.

With 2.5 million views and counting, "Scraper Bike" spurred a local trend now gone global, with folks from as far away as Turkey and Bavaria petitioning the Trunk Boiz to come pimp their rides. Yet scraper bikes are pure East Oakland, an homage to their four-wheel counterparts: long a fixture of East Bay car culture, "scrapers" are hoopty rides — usually ’80s-era Buicks or Oldsmobiles — made ghetto-fabulous with candy paint, huge rims, tinted windows, and booming speakers in the trunk.

Trunk Boi Baby Champ, inventor of the scraper bike, recalls his initital inspiration. "At that time I was real young and didn’t have no license or nothing," he says. "So I just wanted to take the pieces of the car and put it on a bike and mold it and shape it like that. I just took it and ran with it." In transutf8g the scraper aesthetic, not only does Champ outfit the bikes with neon colors and decorative spokes, he even wires up stereos to the handlebars and loads speakers on the rear. "That’s one of our promotional schemes," B-Janky informs me during a group interview at their West Oakland studio. "We ride around on scraper bikes eight deep, with speakers slappin’ our music."

Hustlers and entrepreneurs, the Trunk Boiz bring a whole new meaning to the Bay-slang term "out the trunk." The phrase refers to the marketing strategy immortalized by Too $hort, who early in his career famously sold music out of his car. Yet when the Trunk Boiz slang CDs "out the trunk," that trunk is less likely part of a Cutlass Supreme than a double-axle three-wheel cruiser — essentially, a tricycle on the back of which is a wooden cart painted in Oakland A’s colors with the words "That Go!"

A rather endearing sense of juvenalia surrounds the Trunk Boiz mystique. After all, their average age is about 19. As one might expect of a group of more-or-less teenage boys, songs tend to focus on adolescent preoccupations such as partying, looking fly, and getting girls. But unlike blunt rappers like Lil’ Weezy — who endlessly employs stale metaphors to describe their male members — the Trunk Boiz make sex romps sound clever. In the track "Cupcake No Fillin’," MCs Filthy Fam and NB drop double entendres, extending the concept of "cupcaking" — Oakland slang for flirting — into a confectionary ode to casual, no-strings-attached hookups (i.e., with "no feeling").

It may not be a message mothers want their daughters to hear, but the kids love it. The video for "Cupcake No Fillin’" has nearly 100,000 YouTube views, and helped expand the group’s female fanbase by casting the rappers in a loverboy light.

Given the group’s penchant for high-energy antics, the Trunk Boiz were happy to ride the hyphy train while it lasted. They even got scraper bikes into videos for the Federation’s "18 Dummy" and Kafani’s "Fast (Like NASCAR)." None other than Too $hort called Champ the day of the Kafani shoot, urging the scraper bike crew to roll through and bring some local flavor. They continue to glean game from the legendary rapper through their involvement with East Oakland nonprofit Youth UpRising, where Too $hort volunteers.

Inspired by such mentors, the Trunk Boiz have become more civic minded than one might expect of a group that raps about going "SSI" ("Socially Stupid Insane") — a track off their sophomore album, due out this summer. Not only are they involved with Youth UpRising and Silence the Violence but also with the "Ban the Box" reentry-reform efforts in Oakland as well as Bikes for Life, an antiviolence campaign launching July 13 with a ride around Lake Merritt. In August, they’ll attend the National Hip-Hop Political Convention in Las Vegas, where they’ll roll down the Strip on their scraper bikes.

Fortunately, when it comes to homegrown innovation, what happens in Oakland doesn’t always stay in Oakland. *

For more on Bikes for Life, call (510) 238-8080, ext. 310.

www.scraperbikes.net

Nuclear fusings

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› a&eletters@sfbg.com

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

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

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

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

SONG CYCLES


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

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

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

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

FRESH FLAVORS


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

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

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

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

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

"MILES FROM INDIA"

Sat/31, 8 p.m., $25–$56

Palace of Fine Arts Theatre

3301 Lyon, SF

www.sfjazz.org

CHARLES LLOYD QUARTET AND LLOYD’S SANGAM TRIO

Sat/31, 7:30 p.m., $45–<\d>$70

Jackson Theater

Sonoma Country Day School, Santa Rosa

www.healdsburgjazzfestival.org

MARC CARY’S FOCUS TRIO

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

Barndiva

231 Center, Healdsburg

www.healdsburgjazzfestival.org

EDWARD SIMON AND THE ENSEMBLE VENEZUELA

With Aquiles Báez Ensemble and VNote Ensemble

June 8, 7 p.m., $25–$56

Herbst Theatre

401 Van Ness, SF

www.sfjazz.org

ESPERANZA SPALDING

June 12, 8 and 10 p.m., $10–$16

Yoshi’s

510 Embarcadero West, Oakl

www.yoshis.com

DAVID SANCHEZ SEXTET

June 13, 8 p.m., $25–$56

Herbst Theatre

401 Van Ness, SF

www.sfjazz.org

Bullet time

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› cheryl@sfbg.com

An utterly complete retrospective of Johnnie To’s films would be too much to ask, really. To’s résumé to date involves nearly 50 features, with at least one release nearly every year since 1986. His work also spans such a gobsmacking array of genres that even an audience of dedicated fans might experience exploding-head syndrome. And genre is the key word here; the man’s a master at it, a trait that has earned him admiration if not fame stateside — probably a good thing, given the cautionary tale of the Hollywoodized John Woo. Though even his most bizarre Chinese New Year farces occasionally pop up at the 4-Star Theatre (and probably nowhere else in the Bay), To’s most internationally acclaimed entries are his action flicks, filled with blazing guns, taciturn antiheroes, and, inevitably, at least one scene in which several characters pause their killin’ to enjoy a hearty meal.

So, sorry, completists — To’s exercises in romance (including 2001’s gloriously offensive Love on a Diet, which makes Eddie Murphy’s fat-suit adventures look subtle), his 1993 supernatural tough-chick classic The Heroic Trio, and his goofy comedies (like 2003’s young-doctor yukfest Help!!!) are not repped in the Pacific Film Archive’s "Hong Kong Nocturne: The Films of Johnnie To." Even the PFA admits, in their notes on the series, this is a "small sampling" of To’s output. But if I had to pick nine To films — culled, as the PFA’s are, from To’s output under his own Milkyway Image banner, created in 1997 — my sampling would likely resemble what’s on tap through June.

The essential To screens first: 1999’s The Mission, as close to perfection as he’s ever come. Spare, gritty, and obsessed with the business of male bonding (a To leitmotif), The Mission is about five gunslingers (all character types: a hairdresser, a barkeep, a pimp, etc.) who come together to protect a mob boss, then close ranks when they’re ordered to off one of their own. To regular Anthony Wong plays the hairdresser — a guy so grim he’s known as "The Ice" — so you know this shit is serious.

The theme of loyalty among assassins who’ve become friends despite themselves is echoed in 2006’s Exiled, which brings back much of the Mission cast. In this modern-day spaghetti western, the gang is charged with killing a former comrade who’s left the organization and settled down with wife and baby. A straightforward execution is discarded in favor of an endlessly complicated scheme that involves a gold heist, double-crossing mob heavies, seedy operating rooms, and more; naturally, slow-motion bullet ballets punctuate every act with gory grace. Wong, as a sad-faced killer caught between doing the right thing for his boss and the right thing for his conscience, is typically top notch.

The more overtly linked Election (2005) and Triad Election (2006) also address the gangster code, taking a darkly realistic look at how Hong Kong gangsters select their leadership — honor takes a back seat to power, and money, of course, means everything. Breaking News (2004) adds eager TV crews to To’s usual cops-‘n’-robbers stew. There’s a lesson learned about not turning police business into a media circus, and yes, it’s a lesson tattooed into Hong Kong streets with many, many bullets.

"Hong Kong Nocturne" may be the PFA’s program title, but not every selection is a dark tale. Throw Down (2004) is a judo comedy. The amusing if overlong Fulltime Killer (2001, codirected with frequent collaborator Wai Ka-fai) follows dueling hired guns O (Takashi Sorimachi, stone-faced but Snoopy-obsessed) and Tok (a particularly smirky Andy Lau). To’s meta-intentions are signaled at the start, when Tok voiceovers, "I like watching movies, especially action movies." My general feeling on Fulltime Killer, from a later Tok observation: "Not the best movie, but I like the style." For an even more bizarre Lau performance, 2003’s Running on Karma is recommended; the star plays a psychic bodybuilder turned stripper. A muscle suit that eclipses even Love on a Diet‘s stunt-costume gimmickry is prominently featured.

The series’ local premiere, 2007’s Mad Detective, is unfortunately non-noteworthy. The rubber-faced Lau Ching-wan, a To favorite, stars as the titular detective. He hears voices! The voices are embodied by actors who follow him around! The conceit gets old fast. For a better Lau-To pairing, pick up 1999’s Running Out of Time — not part of "Hong Kong Nocturne" but worthy enough to be. *


"HONG KONG NOCTURNE: THE FILMS OF JOHNNIE TO"

May 29–June 27, check Web site for schedule, $9.50– $13.50

Pacific Film Archive

2575 Bancroft, UC Berkeley, Berk

(510) 642-1412, www.bampfa.berkeley.edu

Assessing the deal

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› sarah@sfbg.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Is growth good?

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› tredmond@sfbg.com

I heard one of the greatest environmental writers in San Francisco history speak last week, and his message was a bit different from what environmentalists are taught to believe today.

Harold Gilliam was born almost 90 years ago, and was writing influential articles and books about the Bay Area — and the urban environment — long before most of today’s activists were born. He was an opponent of nuclear energy in the 1950s when most of California, including his employer, the San Francisco Chronicle, thought this wonder of postwar technology would provide power that was "dependable, safe, and too cheap to meter." He was against developers filling in the Bay in the early 1960s. He was writing about the problems with freeways when that was heresy. When I first arrived in San Francisco in 1982, I was amazed that the Chronicle would print some of the stuff he was saying. The guy is a genius and a local treasure.

And at the annual San Francisco Tomorrow dinner, where he was honored with the Jack Morrison Career Achievement Award, he had a few things to say.

After a brief talk about his early career (and giving thanks to his editors for allowing him to infuriate Chronicle publishers), he told us he wanted to challenge conventional wisdom for a moment.

He talked a bit about the Transbay Terminal project, which he said would be a wonderful, crucial part of the city, a transportation hub for the future and maybe someday the home of a fast train to Los Angeles. Then he asked if the price was worth it.

Since nobody in California wants to pay taxes, the only way to fund this kind of grand civic project these days is to sell off the skyline, to let developers build giant high-rise towers that make the city more congested, more rich, and less pleasant. A lot of people think tall buildings mean progress; even a lot of environmentalists think building up is good. "And I remember," Gilliam said, "when everyone thought filling in the Bay was the way to grow."

Actually, Gilliam said, we all ought to question for a second whether growth is always good, or if it’s worth the cost.

Something to think about.

Lennar coverage wins awards

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Just as San Francisco voters prepare to cast ballots that will determine whether controversial megdeveloper Lennar covers Candlestick and Hunter’s points in 10,000 new homes, the Guardian is being honored for stories that exposed the company’s local misdeeds. A series of stories by Sarah Phelan showed how Lennar (with the support of Mayor Gavin Newsom and other high-profile political allies) failed to monitor or control toxic dust at its Parcel A site on Hunter’s Point, allegedly retaliated against whistleblowers, and bought off allies in its campaign to avoid accountability for its actions. Phelan’s stories are being honored in the Association of Alternative Newsweeklies’ prestigious “Investigation Reporting” category, while Guardian coverage of the MediaNews merger and its facilitation by Hearst Corporation (owner of the Chronicle) is a finalist for AAN’s first-ever Public Service Award. The project was led by staff writer GW Schulz and was supported by a Guardian lawsuit that made public previously secret corporate documents.
Phelan’s stories are also being honored by the San Francisco Peninsula Press Club (at whose June 5 awards banquet finalists will learn whether they won first place or were a runner up), along with stories by three other Guardian writers and editors: Tim Redmond, Steven T. Jones, and Diana Scott.

Awesome T-Shirts for Cinephiles

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By Justin Juul

Have you been to Lost Weekend Video lately? If not, you better run soon. It’s the only place in the city where you can score one of these limited edition t-shirts by local Bay Area artist, Maria Forde. The Herzog/Kinski and Roman Polanski shirts are almost gone, but rumor has it there’s a Sam Peckinpah line coming soon and she may even do a run of Don Siegel prints. Rad!

Lost Weekend Video
1034 Valencia. SF
(415) 643-3373

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Memorial Day in Rock Rapids, Iowa, circa 1940s-50s

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By Bruce B. Brugmann

When I was growing up in my hometown of Rock Rapids, Iowa,
a farming community of 2,800 in the northwest corner of the state, Memorial Day was the official start of summer.
We headed off to YMCA camp at Camp Foster on West Okiboji Lake and Boy Scout camp at Lake Shetek in southwestern Minnesota. The less fortunate were trundled off to Bible School at the Methodist Church.

As I remember it, Memorial Day always seemed to be a glorious sunny day and full of action for Rock Rapids. The high school band in black and white uniform would march down Main Street under the baton of the local high school band teacher (in my day, Jim White.) A parade would feature floats carrying our town’s veterans of the First and Second World wars, young men I knew who suddenly were wearing their old uniforms. And there was for many years a veteran of the Spanish American War named Jess Callahan prominently displayed in a convertible. Lots of flags would be flying and the Rex Strait American Legion Post and Veterans of Foreign Wars would be out in force. We never really knew who Rex Strait was, except that he was said to be the first Rock Rapids boy to die in World War I and the post was named after him.

After the parade, we would make our way to our picture post card cemetery, atop a knoll just south of town overlooking the lush green of the trees and the fields along the lazy Rock River.
A local dignitary would give a blazing patriotic speech. A color guard of veterans would move the flags into position and then at the command fire their rifles off toward the river. I remember this was the first time I ever saw a color guard in action, with a sergeant who moved his men with rifles into position with strange “hut, hut, hut” commands.

After the ceremony, everyone would go to the graves of their family and friends and people they knew and look at the flowers that would be sitting in bouquets and little pots by the headstones. The cemetery was and is a beautiful spot and many of us who are natives have parents, friends, and relatives buried here. It is one of the wonderful things that connects us to the town, no matter where we end up.

And so this year I got my annual telephone call from the Flower Village florist in Rock Rapids, reminding me two weeks ahead of Memorial Day about the flowers I always place on the graves of my relatives in the Brugmann plot. I always get a kick out of doing business with Flower Village, because it once was in the Brugmann Drugstore building on Main Street that had housed our family store since l902. It later moved across the street to the building that once housed the Bernstein Department store.

I always ask for the most colorful flowers of the moment and the Flower Village people always put them out on the headstones in the Brugmann plot a couple of days ahead of Memorial Day. Then I call Janice Olsen Friedrichsen in Rock Rapids, a second cousin and my date to the junior high school prom, to remind her to pick them up later and use them at her home.

Ours is an unusual plot, because it holds the graves of my four grandparents, my parents, my aunt and uncle and someday my wife and I.

My grandfather C. C.Brugmann and my father C.B.Brugmann spent their entire working lives in Brugmann’s drugstore, which my grandfather started in l902. My father (and my mother Bonnie) came into the store shortly after the depression. My grandfather A. R. Rice (and his wife Allie) was an eloquent Congregational minister who had parishes throughout Iowa in Waverly, Eldora, Parkersburg (just in the news with a terrible tornado), and Rowan. He retired in Clarion. My aunt Mary was my father’s sister and her husband was her Rock Rapids high school classmate, Clarence Schmidt. He was a veterinarian and a reserve army officer who was called up immediately after Pearl Harbor and ordered to report to Camp Dodge in Des Moines within 48 hours. He did and served in Calcutta, India, as an inspector of meat that was flown over the hump to supply the Chinese forces under Generalissimo Chiang Kai-Shek.

Through the years, Elmer “Shinny” Sheneberger, the police chief when I was in school, would say to me, “Well, Bruce, you and I have to get along. We’ll be spending lots of time together someday.” I never knew what he meant until one day, visiting the Brugmann plot, I noticed that the Sheneberger family plot was next to ours. Every Memorial Day, Shinny takes pictures in color of the flowers on the Brugmann and Sheneberger family graves and sends them to me. I send them on to my sister Brenda in Phoenix and the families of the three Schmidt boys John in Cedar Falls, Iowa, and Conrad and Robert in Worthington, Minnesota.

Every year the rep from our American Legion Post puts a small American flag on the grave of every person buried in the cemetery who served in the Armed Forces. Chip Berg, who was three years ahead of me in school, performs this chore every year.

My uncle gets one. And, Chip assures me, I will get one someday. I earned it, I am happy to report, as a cold war veteran in l959-60, an advanced infantryman at Ft. Carson, Colorado, a survivor of two weeks of winter bivouac in the foothills of the Rockies, and a reporter in the Korea Bureau of Stars and Stripes, dateline Yongdongpo. I am proud of the flag already. B3, who never forgets how lucky he is to come from the best little town in the country

P.S. As the years went by, I became more curious about how my uncle Schmitty, as he was known, could leave his three young boys and his veterinary practice in nearby Worthington and get to Fort Dodge so fast and serve throughout the entire war. I asked him lots of questions. How, for example, did he handle his veterinary practice? Simple, he said, “my partner just said let’s split our salaries. You give me half of what you make in the Army and I’ll give you half of what I make in veterinary practice.” And that’s what they did and that’s how the veterinary practice kept going throughout the war. Schmitty returned to a healthy practice, retired in the l960s, and turned it over to his second son Conrad.

P.S. l: Confession: I was not drafted. I enlisted in the federal reserve in the summer of l958, which amounted to the sme thing, two years of active duty, two years of active reserve, and two years of inactive reserve. I did this maneuver so that I could formally say that I beat Elmer Wohlers. Elmer was the local draft board chief who had spent a little time in World War I, “the big one,” as he would say. He had a bit of black humor about his job and we had a running skirmish for years.

Whenever he would see me on the street in Rock Rapids, he would say, ” Bruce, I’m going to get you, I’m going to get you.” And I would reply, “No, no, Elmer, not yet, not yet.” I think he was particularly annoyed when I went off to graduate school at the Columbia University Graduate School of Journalism in New York City. I would send him cards through the years, from a fraternity party at the University of Nebraska, or from a bar in New York City, saying in effect, but with elegant variations, “Elmer, having a wonderful time. Wish you were here.” And so I ended up with an FR for federal reserve starting the number on my dog tags, not a U.S. I still feel good about beating Elmer at his own game.

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

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

Driving to death

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With all the understandable concern about global warming lately, we tend to forget that our over-reliance on automobiles also has a more immediate impact: death, lots and lots of death.
Research from the National Highway Traffic Safety Administration already shows that traffic accidents are the leading cause of death for people ages 3-6 and 8-34, and is the third leading cause of death for all Americans after cancer and heart disease, some of which can also be traced back to the automobile.
Today’s Chronicle reports on new research showing that particulate matter, much of it from automobiles, causes far more premature death than previously thought, up to 24,000 annual deaths in California alone. In another piece, the Chron speculates that people might be driving less on Memorial Day weekend, the mother of all road trip holidays, but I still know lots of people who drove down to Lightning in the Bottle and other spots without pausing to consider the externalities.
Yet even after cutting more than $1 billion in transit funding last year, Gov. Arnold Schwarzenegger turned around and did the same thing this year, cuts that would cost the San Francisco Municipal Transportation Agency $37 million in the coming fiscal year. This isn’t just stupid and short-sighted: it’s deadly.
But there are countervailing forces fighting back, from a strong local bicycle movement to this fall’s high-speed rail bond measure to the international car-free movement, whose biggest annual event, the International Carfree Conference, will be held in Portland next month, the first time it has been in the U.S. And the Guardian will be there (arriving by train) with live daily coverage and interviews with leading thinkers and activists. Stay tuned.

Dancers without borders

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› a&eletters@sfbg.com

What do you need to create a first-rate hot product that is of value to others besides yourself? A great idea, a support structure, and money are good places to start. But what if you had no support structure and no money? If you believe in your idea, you’d plow ahead anyway — just like Andrew Wood, executive director of the San Francisco International Arts Festival.

In 2002, Wood began to think about something he felt this city full of artists and tourists needed: an arts festival that would bring the two together. The event would also focus local attention on a large, vibrant arts community that thrives in the shadow of the three big ones — the San Francisco Ballet, the San Francisco Symphony, and the San Francisco Opera.

"Lots of artists here are bursting with ideas," Wood explained during a recent interview. "We need an entity that supports them because they need more opportunities to show their work."

That a similarly ambitious undertaking called Festival 2000 went belly-up in 1990 didn’t deter the string bean–thin Brit, who talks faster than a cattle auctioneer. But Wood wasn’t about to let the fate of another festival stop him. Soon he was everywhere, talking to anyone who was willing to listen — and even to some who weren’t.

Mostly he encountered closed doors. The city had no extra cash. Foundations were already overcommitted. Wood — onetime director of ODC Theater — had no track record when it came to producing a such a large-scale event. Artists were suspicious that already-scarce funds would be siphoned off for a project that might have no room for their work. And another thing: did Wood know how to balance a budget?

He remained undeterred, largely because he had seen something happening in the Bay Area that others had noted as well, even if they hadn’t yet connected the dots. The community was supportive of young artists who were willing to put up with just about anything to get their work out — but once they got to the level where they needed decent rehearsal spaces, performers they could pay, and offices beyond their bedroom floors, the going got tough. Traditionally, local artists at this stage either called it quits or moved away. No longer.

HAVE ART, WILL TRAVEL


In scouring the local arts scene, Wood noticed what he calls the advent of "journeymen" artists. He named them after the century-old tradition of skilled professionals who traveled long distances and practiced their craft wherever they were hired. Propelled by a desire for adventure and professional improvement, they also managed to support themselves, often handsomely, whether they were roofers, storytellers, or healers.

"Dancers like Janice Garrett, Kim Epifano, Scott Wells, Jess Curtis, Shinichi Iova-Koga, and Stephen Pelton work part-time in Berlin, or London, or Tokyo, or Mexico City. They create work where they are supported and bring it back," Wood explained. In addition, these artists return home with news from abroad about who is doing what, and where.

Despite his admiration for the vitality of the Bay Area arts scene, Wood recognized that "not a lot of artists come through here [on their own]. This place is insular in many ways." As one working artist told him, "You don’t need to see Merce Cunningham for the umpteenth time. You want to see something that resonates within you."

There is a huge pool of artists all over the world whose work has simply not yet hit the radar screens of local presenters. When the San Francisco International Arts Festival launched in September 2003, Wood presented the astounding Quasar Dance Company from Brazil; Indian British dancer Akram Khan (now a megastar); and Compagnie Salia nï Seydou, the first in a succession of contemporary African dance companies that have been seen here since. In 2005 (there was no 2004 festival), the festival showcased extraordinary performances from the AKHE Group (Russia); Fabrik Companie (Germany); Manasku no Kai (Japan); and — one of the wildest of them all — the Moe!kestra, from Manteca.

A focus of SFIAF has become fostering international collaborations that make local artists into journeymen citizens of the world. "We need to support artists here but they also need to realize that there are opportunities somewhere else," Wood said.

This process of cross-fertilization started in 2006 and continued in 2007, when the festival highlighted art from Latin America and the African diaspora. Since the city has yet to commit to any direct funding — Wood called local arts leadership "miserable and petty" — he has become a wizard at patching his budget together, creating cosponsorships, acting as an umbrella organization, and linking artists with individual funding sources. He also has become adept at handling the Department of Homeland Security’s onerous (and expensive) visa process for performers. "They all have visas!" he exclaimed.

A monthlong visual arts exhibit loaned SFIAF 2008 its name: "What Goes Around … The Truth in Knowing/Now." This year’s fest kicks off Wednesday, May 21, and runs until June 8, when it will be capped with a free Yerba Buena Gardens concert by the Omar Sosa Afreecanos Quartet, with local Latin percussionist John Santos.

DANCE PLUS


The festival also includes operatic and theater pieces, as well as choreographers whose work might not be seen locally if not for SFIAF. For example, SFIAF enabled Idris Ackamoor, co-artistic director of Cultural Odyssey, to bring Brazilian dancer-choreographer Cristina Moura to San Francisco. "I was struck by her innovative movements," said Ackamoor, who encountered Moura while scouting for the National Performance Network’s Performing Americas Project, which he co-curated. "She moves like no one else, with a pedestrian and a highly physical vocabulary. She also has a unique way about storytelling." Moura’s solo like an idiot (2007) also resonated with him, as did the title. "Isn’t that the way we all sometimes feel?" he said, speaking of the work, which holds its California premiere at SFIAF.

Wood caught Shlomit Fundaminsky’s emblematic SkidMarks at the 2006 Dublin Fringe Festival and this year SFIAF is copresenting it with SF’s Israel Center. Speaking from Tel Aviv, Fundaminsky describes the work, a duet for herself and Gyula Csakvari, as inspired by "the home life of a man and a woman who live so close to each other — really as one person — that they lost their ability to communicate. They are creating this box for themselves and are unable to break out of it."

The Kate Foley Dance Ensemble may be familiar to Bay Area audiences because of Foley’s 10-year local performance history. In 1998 she moved to Croatia, where she is in residence at a newly constructed arts center. When Wood sent out a call for SFIAF participant proposals, John Daly of the Croatian American Cultural Center suggested her. Yet the Oakland-born Foley’s homecoming has not been without pain. "I have been so ashamed of what I have had to put my dancers through for the visa process," she said on the phone from Rijeka, Croatia. Her US premiere, Angels of Suderac, is a dance theater work using modern dance and what she calls "reconceived" folkloric material. The piece is based on her research into shamanistic practices that connect fairies and herbal medicine women.

By contrast, new to the Bay Area is the young AscenDance Project, which formed in 2006. German-born director Isabel von Rittberg joined Dancers’ Group when she moved to San Francisco, where she heard about SFIAF. The world premiere of Levitate, which combines rock climbing with dance, will be shown as part of "Jewels in the Square," a festival-spanning series of free performances in Union Square. *

SAN FRANCISCO INTERNATIONAL ARTS FESTIVAL

May 21–June 8, various venues, most shows $20

For complete schedule, visit www.sfaif.org

Ongoing threat

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› amanda@sfbg.com

The debate over city plans to build and own two combustion turbine power plants, a project Mayor Gavin Newsom has made a last minute effort to alter, shows that public power — and Pacific Gas & Electric Co.’s fear of it — is still a significant issue at City Hall.

Newsom, a past advocate of the project, pulled the plug on its progress May 13. The proposal for the natural gas–fired power plants to handle peak energy demand (called "peakers") was up for approval at the Board of Supervisors until Newsom requested a one-week continuance.

Christine DeBerry, the mayor’s liaison to the board, told supervisors the mayor would use the time to aggressively pursue better options than the peakers, even though it’s an item that spent eight years on the planning block and was approved by the Newsom-appointed San Francisco Public Utilities Commission.

"What can be aggressively pursued in the next week that hasn’t been aggressively pursued in the last few years?" asked Sup. Chris Daly, one of the four supervisors publicly opposed to the plan, questioning DeBerry on why the mayor and his SFPUC hadn’t put forth the best energy project.

"The mayor engaged in a full exploration of the options over the last several years," DeBerry said, but wants to ensure the city is considering all options.

"Are you anticipating there’s going to be a new technological breakthrough in the next several days?" Daly asked before casting the lone vote against granting the continuance. As of the Guardian‘s press time, the plan’s hearing was scheduled for May 20, but sources said June 3 would be more likely. Newsom Press Secretary Nathan Ballard would not confirm whether another continuance would be requested or discuss what alternatives the mayor’s office is pursuing.

But it appears that the new technological breakthrough being pursued by the mayor’s office is actually a retrofit of an older, existing power plant in Potrero Hill, owned by Mirant Corp.

Sam Lauter, representing Mirant on the issue, said the company has been answering questions about a retrofit from diesel to natural gas for its three turbines. Mirant already agreed to close the older natural gas units at its Potrero plant once the $15 million contract, which requires the plant to maintain the reliability of the power grid, is pulled by California Independent System Operator (Cal-ISO). Lauter also said Mirant’s redevelopment of the site for commercial use would still happen if the board decides a retrofit of Mirant is a better deal than building city-owned power plants.

As of the Guardian‘s deadline, no sources could provide any solid numbers on what a retrofit would cost and if pollution would be more, less, or equal to what the city anticipates from the peakers. But, Lauter told us, "The cost is considerably less than the cost of the peakers."

The contract with Cal-ISO could mean that the costs of retrofitting the diesels would be passed on to ratepayers. As for the pollution, Lauter said it’s not an easy answer and depends on how often the units have to run: "It’s not exactly correct to say they’d be less polluting, and it’s not exactly correct to say they’d be more polluting."

Barbara Hale, SFPUC’s assistant general manager of power, agreed there are still many uncertainties about retrofitting Mirant, including permits for the plant, restraints on how much it could operate, exactly how much it would pollute, and if it would even meet Cal-ISO’s demand for 150 megawatts of in-city generation. "I’m told by engineers that when generators go through a retrofit, often their megawatt capacity goes down," Hale told us. Each Mirant diesel unit currently puts out 52 megawatts.

As for other options Newsom requested from the agency, Hale said they’re exploring how to get more demand response and efficiency from the existing grid.

That suggestion comes from Pacific Gas and Electric Co., which actively opposes the city’s peaker plan and sent representatives to meet with Newsom’s staff May 5 (while Newsom was in Israel with Lauter, who said the two did not discuss Mirant or the peakers while overseas), shortly before he sought the delay.

PG&E spokesperson Darlene Chiu confirmed the contents of the proposal as presented to the mayor’s staff, which includes ways to eke more from the grid as well as a new transmission line between two substations.

Tony Winnicker, spokesperson from the PUC, said of PG&E’s plan: "We absolutely support each of these projects, think they’re long overdue improvements to the city’s transmission reliability, and hope they are committing the necessary funding to begin and complete them."

He added that there is little in the plan that differs from a past PG&E proposal that Cal-ISO rejected — except the new transmission line. But, he said, its target completion date of 2012-13 was "very ambitious, given that they haven’t even started the permitting."

PG&E’s Chiu, a former spokesperson for Mayor Newsom, didn’t respond to a question about the time frame for such a project, nor did she comment on whether PG&E considers the city’s ownership of the peakers a threat to its jurisdiction.

She didn’t have to. While City Hall scrambled to come up with an alternative that hasn’t been vetted during the last eight years of community meetings, city studies, and negotiations, PG&E was telling its shareholders that the threat of public power is alive and well.

At the May 14 annual meeting of PG&E investors, held at the San Ramon Conference Center, CEO Peter Darbee assured the assembled, "I, too, am concerned about municipalization and community choice aggregation."

He was responding to a criticism from an employee and member of Engineers and Scientists of California Local 20, who said PG&E shouldn’t be contracting outside the company because it created an experienced proxy workforce ripe for employment by another entity, like a municipality, that would be a threat to PG&E’s jurisdiction.

In responding, Darbee recalled the recent efforts in Yolo County, where the county attempted to defect from PG&E and join the Sacramento Municipal Utility District. "Peter, it’s half-time, your team is down, you better get directly involved with this," he said of the potential loss of 70,000 customers. The company mustered 1,000 employees to volunteer their time, walking from house to house and knocking on doors, prior to the November 2006 vote. "I was one of them," he said. "That vote went overwhelmingly in favor of PG&E."

Beyond knocking on doors, PG&E dropped $11 million on the campaign, outspending the competition 10 to 1.

But Darbee said it was a real victory in a state like California. "There’s always been in the water a desire for public power," he said, adding that 30 percent to 40 percent of the population approves of municipally-owned utilities.

Customer service, Darbee went on to say, is the best defense against threats to PG&E. And for the past two years, PG&E’s corporate strategy has been focused on that. To that end, its ranking in an annual JD Power customer satisfaction survey rose from 51 to 43 last year for the residential sector, and from 46 to a lofty second place for business customers.

But the JD Power survey also ranks municipal utilities, and 2007 results show PG&E was outpaced by three municipalities — the Salt River Project, the Los Angeles Department of Water and Power, and the Sacramento Municipal Utility District, which also took the highest ranking in the nation. *

Disclosure: Amanda Witherell owns 14 shares of PG&E Co. common stock.

The threat of Proposition 98

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OPINION Just as the California Supreme Court finally recognizes queers as full and equal citizens by ruling in favor of gay marriage, a June 3 ballot measure threatens to kill anti-discrimination protections for queers. But that’s not the half of it: Proposition 98 is in fact a savage attack on protections of all kinds for all Californians.

A fraud wrapped within a fraud, Prop. 98 masquerades as eminent domain reform while only semi-covertly legisutf8g the death of rent control. But just as rent control is about far more than price alone, Prop. 98 is about far more than only ending rent control.

All Californians, not only the 14 million who rent, will be trampled under the iron hooves of this Trojan horse. In a detailed analysis, the Western Center on Law and Poverty concludes: "There is nothing in the text that prevents Prop. 98 from being used to prohibit or limit land use decisions, zoning, work place laws, or environmental protections."

Prop. 98 not only bans all state and local residential and mobile-home rent control laws, now and forever, it kills inclusionary housing requirements and ends tenant protections in the Ellis Act. But wait, there’s more! As assessed by the Western Center, other "likely" applications of Prop 98 include the end of just-cause protections for eviction, and the end of most regulation of residential rental property.

The center also rates it "possible" that Prop. 98 will invalidate all anti-discrimination protections below the federal level — including California’s LGBT fair-housing protections.

Given the potential outcome, the nearly $2 million that more than 100 apartment building and mobile home park owners spent to put Prop. 98 on the ballot, and the subsequent $291,000 that the Apartment Owners Association political action committee gave the Yes on 98 campaign represent a shrewd investment.

It would be a bargain for them at twice the price. Being able to charge unlimited amounts for renter screening and credit checks, for instance, and no longer having to provide deadbolt locks, a usable telephone jack, and working wiring means a nice chunk of change for landlords and speculators. But that’s nothing compared to the larger gains to be exploited: a landlord would be free to have you sign a lease without being obligated to disclose that he or she already applied for a demolition permit on the property. Serious defects in the unit? Too bad, the prohibition on landlords collecting rent while substandard conditions exist would fly out the (broken) window.

Unlike the tenant-backed Prop. 99, which truly prevents eminent domain abuse on behalf of renters and owners alike, Prop. 98 only guarantees the domain of the wealthiest over the rest of us. If we let this Trojan horse in, whether actively — by voting for it — or passively — by not voting — June 3 (and that’s a real danger since too many San Francisco voters assume the measure will fail anyway), all Californians will pay the price. *

Mara Math is a writer and tenant organizer.

We do

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› steve@sfbg.com

Less than two hours after the California Supreme Court announced its 4–3 decision legalizing same-sex marriage, San Francisco City Hall filled with smiling couples and local politicians of various ideological stripes to celebrate the city’s central role in achieving the most significant civil rights advance in a generation.

The case began four years ago in San Francisco when Mayor Gavin Newsom decided to have the city issue marriage licenses to gay and lesbian couples. City Attorney Dennis Herrera and his legal team built the voluminous legal case that won an improbable victory in a court dominated 6 to 1 by Republican appointees.

"In light of the fundamental nature of the substantive rights embodied in the right to marry — and the central importance to an individual’s opportunity to live a happy, meaningful, and satisfying life as a full member of society — the California Constitution properly must be interpreted to guarantee this basic civil right to all individuals and couples, without regard to their sexual orientation," Chief Justice Ronald George wrote in the majority opinion.

Newsom cut short a trip to Chicago to return home and make calls to the national media and join Herrera’s press conference, where hundreds of couples who got married in San Francisco City Hall were assembled on the City Hall staircase as a backdrop to the jubilant parade of speakers that took the podium.

"What a wonderful, wonderful day," a beaming Herrera told the assembled crowd, adding, "California has taken a tremendous leap forward."

Some speakers (as well as the next day’s coverage in the San Francisco Chronicle) emphasized the potential of the issue to embolden conservatives and the possibility that a November ballot measure could nullify the decision by, as a prepared statement by Rep. Nancy Pelosi put it, "writing discrimination into the state constitution."

But for most San Franciscans, it was a day to celebrate a significant victory. Herrera praised "the courageousness of the California Supreme Court." He also commended Deputy City Attorney Terry Stewart, who argued the case, legal partners such as the National Center for Lesbian Rights, the eight other California cities that supported San Francisco’s position with amicus briefs — and Newsom, who clearly soaked up the adulation and gave a fiery speech that could easily become a campaign commercial in his expected run for governor.

"I can’t express enough how proud I am to be a San Franciscan," Newsom said, later saying of the decision, "It’s about human dignity. It’s about human rights. It’s about time."

Newsom also emphasized that "this day is about real people and their lives."

Among those people, standing on the stairs of City Hall, was Emily Drennen, a current candidate for the Democratic County Central Committee and the District 11 seat on the Board of Supervisors, who was the 326th couple to get married in San Francisco, taking her vows with partner Linda Susan Ulrich.

"When it got nullified, something was taken away from us. It really felt like that," Drennen told the Guardian, adding that she was thrilled and relieved by the ruling. "I was just holding my breath this whole time, expecting the worst but hoping for the best."

Herrera spokesperson Matt Dorsey, who is gay, was similarly tense before the ruling, knowing how much work had gone into it but worried the court might not overcome its ideological predisposition to oppose gay marriage.

"For everyone who worked on this, it was the case of their lives," Dorsey told us. "Politically and legally, there was so much work that this office did that I’m so proud of, and I hope people understand that." *