Local

This campaign money bill is nasty

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By Tim Redmond

Update on the :campaign-finance bill I mentioned a few days ago

This thing is pretty bad, and it’s winging its way through Sacramento with very little opposition. The bill number is AB 1430; it’s sponsored by Assemblymember Martin Garrick, a San Diego Republican who is mad that the San Diego Ethics Commission cracked down on unlimited GOP donations to local candidates.

The bill would limit the ability of local governments to control spending by political parties. Here’s an analysis by San Francisco Ethics Commission Director John St. Croix.

But the Democratic Party likes it, too, so the bill sailed through the state Assembly 77-0, and is headed for the floor of the state Senate. California Common Cause is against it, as is the League of Women Voters. The Ethics Commission has asked the San Francisco supervisors to oppose it, but nothing has happened yet.

The only member of the state Senate to come out against the bill is Carole Migden, who opposed it in committe and told us she will vote against it on the floor.

This one needs some attention, fast.

Migden: Clear Channel paid for the billboards

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By Tim Redmond

State Sen. Carole Migden just called me to answer the question I’ve been posing to her for a couple of weeks: Who paid for all those pro-Migden billboards?

Migden says it wasn’t a secret donor; as far as she knows, Clear Channel, which owns the billboards, donated them, through the efforts of Michael Colbruno, a local Clear Channel exec who is a former Migden aide and remains close to the senator.

“My campaign paid for the printing,” she said. “The money for the boards came from some sort of internal fund available to Clear Channel to pay for these things when there are boards that aren’t sold. It’s all perfectly legal.”

That isn’t exactly what Colbruno had told me, which was that this was entirely independent of the Migden campaign.

Migden agreed that the ads were “helpful to me,” but she also insisted that they were aimed in part at promoting her anti-war efforts, which will include a February state ballot measure calling for an end to the war.

Bottom line, though, these are billboards that promote Migden’s campaign, and if we hadn’t made a fuss about this, nobody would ever have known that they were, in effect, a gift from Clear Channel, one of the nation’s biggest (and some would say, most evil) media conglomerates.

An attempt to wipe out local clean-money laws?

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By Tim Redmond

Calitics has this interesting report on a state bill (backed by both political parties) that could eviscertate loical campaign-finance laws.

Award tour

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› superego@sfbg.com

SUPER EGO I’m not one to get jealous when people I know get famous. Never. As Shakespeare once wrote, "You want fame? Well, fame costs. And right here is where you start paying … in sweat." Alas, I’m flat broke — and haven’t perspired a drop since I gave up Dexatrim in ’03. But my pores are flawless, like tiny alien baby mouths. So I can only grin demurely while my Page Six homeys flash their hairless beavers from rehab. Shakespeare again: "If you shoot an arrow and it goes real high, hooray for you."

Hooray, especially, for Kiki and Herb, the blowsy, boozy, tune-slinging duo who exploded into Broadway history last year with their Tony-nominated extravaganza Kiki and Herb: Alive on Broadway. (They narrowly lost in the Best Theatrical Event category to a multipuppet tearjerker about a ventriloquist.) Tipsy yet full-throated chanteuse Kiki (Justin Bond) and her nimble-fingered pianist Herb (Kenny Mellman) are local club kids made good, proving that a lot of talent and a steady Scotch diet can launch a drag queen and her "gay Jew ‘tard" accompanist into the big leagues. Lemme tell ya, you haven’t heard the Wu-Tang Clan or the Cure until you’ve heard these two dust ’em up onstage.

Now, as part of their Year of Magical Drinking Tour, Kiki and Herb are bringing their big show to the American Conservatory Theater. Posh! I leaped on the opportunity to dish with them long-distance from their New York City home base.

SFBG I can barely recall, back in the blurred mid-’90s, both of you appearing at the legendary Josie’s Juice Joint and Cabaret in the Castro. But I was on a lot of crystal then and probably shouldn’t have been in the light booth …

HERB We were recently watching old videos of us and stumbled upon one of a show we did at Josie’s called Not Without My Napalm. This was pre–Kiki and Herb — Justin led me in on a leash, and I was wearing lederhosen! Jesus, we were young. Gay Pride of that year, we were booked at Cafe du Nord and knew we were going to be exhausted. Justin had been doing Kiki at parties, so we decided we’d just perform our material as Kiki and Herb. We got a standing ovation. We began performing every weekend at Eichelberger’s, across from Theater Artaud, and it all developed there.

KIKI The funny thing about us performing at the gorgeous ACT is that when I lived in San Francisco I never got to go there. For one, I couldn’t afford it, and then the ’89 earthquake knocked the whole thing down! So our show will be the first one I’ve ever seen there.

SFBG And now you’re Broadway luminaries. What are some of the things you miss about San Francisco and the life you led before the slavering tumult of paparazzi overtook you?

HERB San Francisco burritos. And Cafe Flore. And the Hole in the Wall. I remember spending a Thanksgiving there, and they had a suckling pig on the pool table. At some point an older leather daddy ripped the ear off and just started gnawing on it. That’s what I miss.

KIKI I miss my friends there terribly — the creative excitement and community. I can’t wait to get back, and I hope all you queens can forgive a drunk who can’t remember anyone’s name.

SFBG I wept when the dummy won the Tony. Yet both of you seemed so gracious when the camera zoomed in on you immediately after the award was announced. What were your thoughts at that moment?

KIKI I told myself beforehand, "Whatever happens, just look happy to be there." So my thought right then was "Hold face." But being there was so amazing, I just left my body through the whole thing.

HERB My thoughts were that we really needed to get out of there and get a drink! Which we did!

SFBG What’s next?

KIKI After this tour, we’re off to perform at the Sydney Opera House for three weeks. Then a Christmas concert at Carnegie Hall, and then we’ll be putting on a show in Shepherd’s Bush, London, called — this is so stupid, but it makes me hysterical — Kiki and Herb Put the Yule Log in Shepherd’s Bush. Next year I’m doing a Carpenters tribute — but without any anorexia jokes.

HERB My other show, At Least It’s Pink, which I wrote the music and lyrics to, will be getting an off-Broadway run this fall. Also, my friend Neal Medlyn and I are going to resurrect our show Kenny Mellman Plus Neal Medlyn Equals R. Kelly. Busy, busy …

BONUS KIKI Join immortal club kids Javier Natureboy and DJ Junkyard and the gang from ’90s rock ‘n’ roll queer club Litterbox for a special Kiki and Herb look-alike contest, judged by Justin Bond himself, at the fab new monthly Glitterbox on July 20. It’s a reunion, baby! Go to www.myspace.com/glitterboxtheparty for the low lowdown. *

KIKI AND HERB: ALIVE FROM BROADWAY

July 18–29 (previews Fri/13–Tues/17), $20–$60

See Web site for times

American Conservatory Theater

415 Geary, SF

(415) 749-2ACT

www.act-sf.org

www.kikiandherb.com

Tweeking the tidelands

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› sarah@sfbg.com

With the furor over her erratic driving incident still lingering and a primary challenge from Assemblymember Mark Leno starting to get nasty, state senator Carole Migden is now wading into another potentially pungent political pool.

This time around, the battle involves the state’s laws governing coastal land use, the Port of San Francisco’s revenue needs, and the competing interests of folks who live along, work near, or simply like to relax and recreate along the city’s bayside waterfront.

Migden’s Senate Bill 815 would make three major changes to the ancient and arcane laws that govern the use of the state’s tidelands. It would allow the port to rent out 11 seawall-protected properties, currently used for surface parking lots, for development over 75 years, after which they would return to the public trust.

It would also permit the port to sell off "paper streets" — lots that serve as view corridors, public rights-of-way, and connections between the city and its waterfront, including portions of Texas, Custer, Ingalls, and Davidson streets developed with warehouses, as well as the recently closed Hunters Point Power Plant.

Last, Migden’s bill would allow the transfer of the 36-acre, federally owned Jobs Corps parcel on Treasure Island to local control as part of an exchange of public trust and nontrust lands on Treasure and Yerba Buena islands.

Port special project manager Brad Benson told the Guardian that the local agency worked with the California State Lands Commission for two years on ways to help increase the port’s revenue-generating capabilities, and this bill was the result.

"We cc’d the neighborhood organizations on the amendments that we sent to Migden’s office on June 12, and we invited further discussion," Benson said of the proposal, which is intended to help cover the port’s estimated $1.4 billion cost for seismic retrofits and restorations, hazardous-material remediation, storm-water management, and improved waterfront access by relaxing the land-use restriction of the 1969 Burton Act.

The Burton Act gave the port control of San Francisco’s waterfront from Fisherman’s Wharf to Candlestick Point, including 39 historic finger piers between Fisherman’s Wharf and China Basin. But it also limited the port to leasing seawall lots for street purposes such as surface parking while giving it the financial responsibility of maintaining and restoring the historical waterfront.

Today just about everybody agrees that surface parking is a horrible use of the seawall lots — with the possible exception of the Giants, who want to retain 2,000 spaces on the 14-acre lot they lease next to Mission Creek. But in recent weeks disagreement has broken out over last-minute amendments that were added to Migden’s bill June 20 to impose height limits on four seawall lots in the Northeastern Waterfront Historic District and remove a fifth lot entirely.

Those amendments were added following input from neighborhood groups like the Telegraph Hill Dwellers, the Barbary Coast Neighborhood Association, and the Friends of the Golden Gate, a 1,400-member nonprofit whose stated goal is "to preserve open recreational space for the citizens of San Francisco."

In a June 20 letter to Migden, Telegraph Hill Dwellers president Vedica Puri argued for height limits on the basis of a "visual and historic connection between the waterfront and Telegraph Hill" created by "higher structures closer to the base of Telegraph Hill and lower buildings near the Embarcadero." Noting that three of the disputed lots are currently zoned for heights of 40 feet, with the fourth lot, closer to Telegraph Hill, zoned for 65 feet, Puri argued for respecting local height limits in place as of January.

Meanwhile, the Barbary Coast Neighborhood Association, the Telegraph Hill Dwellers, and the Friends of the Golden Gate asked that lot 351, which abuts the Golden Gate Tennis and Swim Club, be excluded from the deal.

"There is an ongoing struggle in the Barbary Coast neighborhood over an outsize condominium project usually known as the 8 Washington Project," Jonathan Middlebrook of the association’s Waterfront Action Group warned.

Friends of the Golden Gate chair Lee Radner, in a June 29 letter to Loni Hancock, chair of the Assembly’s Natural Resources Committee, argued for keeping lot 351 under the public trust because it "abuts the open recreational space, along the Embarcadero, Washington, and Drumm streets."

"Lot 351, if removed from the public trust," Radner wrote, "will give a developer the option to build high-rise, exclusive, and costly condominiums that would spill over into the recreational space and change the open view corridors to Telegraph Hill and Coit Tower forever, limit the light and views of many neighbors, and impact the traffic on an already congested Embarcadero."

But two local planning and land-use groups argue that Migden’s amended legislation would wrest control of height restrictions from the local planning process and benefit a well-heeled few at the expense of everyone else.

Tom Radulovich, executive director of Livable City, said he believes height limits and urban design should be decided at the local level. "The problem with stipuutf8g a 40-foot height limit is that you end up getting squashed retail space, creating a pokey, unpleasant atmosphere," said Radulovich, who’d rather see the lots taken out of the bill than included with those provisions. "To my mind the question is: how do builders create a great street? And what building controls help achieve that goal? We wanted to make these lots more walkable, bikeable, and accessible to contribute to the overall public good with the maximum opportunity for local control. The latest amendments tip the balance towards state interference, and that’s inappropriate."

Tim Colen of the Housing Action Coalition accuses the neighborhood associations of "not wanting any height increases or other uses to the extent that it might threaten their view." Colen said developer Simon Snellgrove of Pacific Waterfront Partners is interested in lot 351, which lies across from the Ferry Building, to create high-end condos, mixed-use residential units, and 34 below-market-rate units.

He acknowledges that the Golden Gate Tennis and Swim Club would lose three tennis courts under the legislation. "But this is a chance for 34 families to get housing and be able to stay in San Francisco," Colen said. "The Golden Gate Tennis and Swim Club is a really sweet facility, but it ain’t public recreation. Migden’s bill benefits some very well-heeled people when the interests of many are at stake."

Migden’s bill, which cleared the Senate but must return for final approval because of the amendments, is set to work its way through the Assembly by August. Benson said continued negotiations would be a good thing. "We appreciate Senator Migden’s work, but we believe height limits are a locals-only matter to be decided by the Board of Supervisors and the mayor."

But the Barbary Coast Neighborhood Association’s Diana Taylor said her group "spent hours getting the community informed, telling the port what we wanted, until eventually we came up with a bottom line, what our compromises were…. That’s where senator Carole Migden developed amendments, and this was the first time that we came to a coordinated agreement. But now we find out that the port isn’t happy with some of the amendments. What we’d like to see is a more clear-cut strategy to bring the port and the communities together. We’re adversaries right now, but we shouldn’t be."

With the port set to have a public discussion July 31 about lot 337 (the Giants’ parking lot next to Mission Creek), Jennifer Clary of San Francisco Tomorrow notes that Mission Creek is home to 60 species of birds. As she said, "Isn’t habitat preservation and restoration part of urban development? Is it really a choice between people and birds? Is that the decision?"<\!s>*

Problems with Peskin’s Muni plan

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OPINION Last week the Board of Supervisors received a proposed charter amendment that takes a misguided stab at the much-needed reform of the Municipal Transit Agency, which oversees Muni. In undertaking reforms we all agree are needed for the MTA to better serve our city, the supervisors should consider the Hippocratic oath required of doctors: “First, do no harm.”

Our union, Service Employees International Union Local 1021, which represents almost a thousand MTA workers, has enormous respect for the bill’s sponsor, board president Aaron Peskin. We know that Peskin strongly supports workers’ rights and has always stood for openness, transparency, and accountability in government. This initiative, however, undermines everything that he and his board colleagues stand for, and we urge progressives to oppose it.

Most important, the initiative is profoundly undemocratic and would transfer oversight from an elected body to an appointed one. An MTA that no longer had to answer to our elected representatives would be a less accountable and less transparent board.

Downgrading elected oversight into appointive power resting in the hands of one person — the mayor — is not reform but a political power grab. Commissioners would be well aware that they might not be reappointed if they voted too independently of the mayor’s preferences.

The initiative would present additional risks for the abuse of power in local government by allowing MTA to approve its own contracts. This is a dangerous conflict of interest that would create more opportunities for problems, not reform.

The amendment furthermore would undermine workplace protections by increasing the number of nonunion workers from the current 1.5 percent to a whopping 10 percent. Working people would serve at the pleasure of an unelected board and lose their right to collective bargaining. Seven years ago many members of the Board of Supervisors and progressives strongly opposed a nonunion special assistant position in Mayor Willie Brown’s office. The board converted this position to a civil service job because of the perception of patronage and corruption. The current charter amendment exhumes that political cadaver while hiding behind the fig leaf of flexibility — which in this case is a code word for the power to fire people without just cause or due process, or for political expediency.

On one point we agree with this charter amendment: it’s true that the MTA needs more money to serve our residents the way it should, and this amendment would take $26 million from the General Fund and transfer it to the MTA budget. But we do not believe we should be raiding the General Fund without carefully considering the possible impact.

This is a charter amendment and cannot be easily undone. If it turns out to be a disaster, as we believe it will, San Francisco will find itself in a very dire situation without a timely remedy.

SEIU Local 1021 strongly opposes this charter amendment unless it undergoes major revisions. Sup. Jake McGoldrick’s competing initiative, by contrast, offers us a path that is much more democratic, promotes accountability and transparency in government, and protects the rights of working families. We agree that reform is needed, but if passed, Peskin’s initiative will create many more problems than it purports to solve. *

Damita Davis-Howard and Robert Haaland

Damita Davis-Howard is president of SEIU Local 1021; Robert Haaland is San Francisco political coordinator for the union.

 

Hyphy and its discontents

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› a&eletters@sfbg.com

"Hyphy is here to stay because hyphy was created in the streets and the streets will be here forever."

E-40 in an e-mail, June 28

Send a 911 to the 415 and 510: does hyphy have a pulse? Several articles in recent months have suggested the answer is no. A May 13 San Jose Mercury News article, "What Happened to Hyphy?" by Marian Liu, for example, insists that a year ago, "the Bay Area seemed poised to become the center of the hip-hop universe," when, we are told, the genre "was ubiquitous at clubs, on the streets and on local radio stations." Now hyphy is "listless, with even local popularity beginning to dissipate."

This account of the rise and fall of hyphy is exaggerated to the point of fiction. Bay Area hip-hop has, of course, been cracking for at least two and a half years, following a long post-Tupac period of commercial decline now referred to as "the drought." But while the amount of local spins Bay Area music received increased, hyphy was never anything like ubiquitous on the radio. The small number of major-label signings never threatened to displace any presumed center of hip-hop’s stubbornly regional universe nor does such an image convey what’s been at stake in the Bay’s struggle for recognition.

According to the Arbitron radio ratings system, San Francisco is the fourth-largest market in the country, after New York City, Los Angeles, and Chicago. This figure includes Oakland but not Sacramento or San Jose, which are classed as separate markets but are considered by everyone from the rappers to the media and the listeners as part of the Bay Area in terms of hip-hop regions. All Bay Area artists want is to be treated like other rappers in similar areas of the country. Rappers from smaller markets like Houston (number six), Atlanta (number nine), Miami (number 12), and even St. Louis (number 20) routinely receive local airplay, major-label deals, and national exposure.

Only the Bay is denied such opportunities. While the publicity of E-40’s 2005 signing with BME/Warner Bros. scored hyphy coverage in national media like USA Today and secured the Bay its own episode of MTV’s region-oriented rap show, My Block, the music hasn’t had a chance to blow up. With the exception of E-40 — whose gold-selling 2006 album My Ghetto Report Card (BME/Warner Bros.) ensured a Warner Bros. release of his upcoming The Ball Street Journal — no Bay Area hip-hop artist has been permitted to drop a big-label full-length in the past two years. Albums by the Pack on Jive, Mistah FAB on Atlantic, Clyde Carson on Capitol, and the Federation on Warner Bros./Reprise have all experienced frustrating delays, fostering the notion that hyphy is foundering. But not everyone agrees with this impression.

DEAD OR ALIVE?


"How can hyphy be dead when the key players are still there?" 19-year-old producer extraordinaire and Sick Wid It Records president Droop-E asks. It’s a good question, for if the short history of the hyphy movement has proved anything, it’s that there’s no lack of hot Bay Area acts, from vets like Keak Da Sneak to new artists such as FAB to rappers who came up during the drought and didn’t get to shine, like Eddi Projex (formerly of Hittaz on Tha Payroll) and Big Rich (once of Fully Loaded). Carson, the Jacka, Beeda Weeda, J-Stalin, the Federation, Turf Talk, Kaz Kyzah, San Quinn, Messy Marv: the list of major-label-level talent only begins here, and the extent to which any of the above identify as hyphy hardly matters, inasmuch as for the rest of the country, hyphy stands for Bay Area hip-hop.

Many of these rappers predate hyphy, and while the word definitely has musical signification — it’s a fast, club-oriented sound inspired by crunk but transformed by electronica and techno flourishes — its most important function has been as a marketing tool to direct national attention back to the Bay. To write off hyphy as a passé trend is, in this sense, to write off the region, leaving the Bay back where it started.

Further complicating any so-called postmortem analysis of hyphy is the fact that the term also refers to the Bay Area culture of disaffected hood youths known for white Ts, dreadlocks, and ghost riding. "Hyphy is part of the street," Droop-E affirms, noting that the culture emerged before the name was attached or the music drew attention to it. The merging of this culture and a particular hip-hop sound in a single term is what makes hyphy so potent a concept, functioning in a manner akin to the word psychedelic in the late ’60s. This union between a lifestyle and an aesthetic is the chief justification for considering hyphy a movement, however vaguely articulated.

"The hyphy movement reflects what’s going on in the streets," Federation producer and national hitmaker Rick Rock says. "That will never die, as far as that goes. The kids are going to be hyphy. But the music — you don’t have to say ‘hyphy’ to do a hyphy song. If people are saying ‘go dumb’ on 10 different songs on the radio, then you’re shooting yourself in the foot."

Traxamillion — another architect of the hyphy sound and producer of Keak’s local number one hit "Super Hyphy" — agrees the music could be "losing its edge due to oversaturation of the same topics: scrapers, purp, pillz, shake ya dreads, and stunna shades," underscoring the tension between hyphy and a region whose rappers pride themselves on originality. Yet if hyphy’s lyrics often suffer from an overreliance on now-established slang, the limitations of its subject matter hardly seem greater than that of mainstream rap; the high-fashion emphasis of East Coast rap is infinitely more tedious.

In any case, Rock’s response has been to reinvigorate hyphy through the innovative impulse that led to its current form. "That hyphy sound I blueprinted, I don’t have to stay with it," Rock says. "Hopefully people will gravitate toward the new music, and that’ll be the new hyphy."

NEW SICK SOUNDS


Rock is leading the way with the Federation’s thrice-delayed It’s Whateva — finally to be released by Warner Bros. on Aug. 14 (see sidebar) — and his production on "I Got Chips," the guitar-driven first single off Turf Talk’s West Coast Vaccine (Sick Wid It), released in June. One of the year’s most anticipated Bay full-lengths, Vaccine more than fulfills its buzz. Besides the excellence of its composition as an album, it displays Turf Talk’s tremendous artistic growth in the number of flows he adds to his characteristic bark, from a whisper to a lazy drawl to a hyperactive bellow.

While Droop-E confirms that several major labels expressed interest in Vaccine, ultimately none pulled the trigger. Yet deals of various sorts keep trickling in, most recently for Keak, whose camp confirms his recent signing to national independent Koch. Tha Mekanix production squad is negotiating a rerelease of J-Stalin’s On Behalf of the Streets (Zoo Ent., 2006) through one of the biggest independent distributors in the States, Select-O-Hits. And more major-label ice has begun to thaw, as the Team member Carson reports that Capitol is leaning toward a mid-October release of his solo debut, Theatre Music.

"It’s going to be real good for the Bay," Carson says of his ambitious project, originally conceived as one continuous track, à la Prince’s Lovesexy (Warner Bros., 1988), though Capitol has nixed this risky idea. Yet Carson insists the album "will still be one body of music." Cobranded by the Game’s Black Wall Street Records and boasting appearances by the multiputf8um rapper, Theatre Music finds Carson busting over big-time beatmakers like Scott Storch and Wyclef Jean, and it’s hard to imagine Capitol squandering such resources.

SO HARD ON THE FUNKY RADIO


Another symptom of hyphy’s alleged demise, offered in the Merc and elsewhere, is its lack of current radio play. Yet if there’s been no recent hit on the level of Keak’s "Super Hyphy," it’s because KMEL and other hip-hop stations have withdrawn support for local music.

"The radio play on the hyphy movement has definitely slowed down," Traxamillion says. "They play a few Bay joints here and there, but overall I feel a lot of the radio play is coming to a halt."

Mistah FAB, for example, has a pair of new singles, "Goin’ Crazy," highlighting Too $hort and D4L of "Laffy Taffy" fame, and "Race 4 Ya Pink Slips," with Keak and Spice 1. But you’ll never hear these on KMEL, as the station has stopped playing FAB.

"It’s the politics of radio," says FAB, who claims that since he accepted his Friday-night radio gig at KYLD, he’s been subject to an unofficial ban at KMEL, courtesy of musical director Big Von Johnson — though both stations belong to Clear Channel. "As an artist, I find this hard to accept," FAB confesses. "As a businessman, I realize why." Nonetheless, FAB was surprised that ending his radio show had no effect on the ban.

"It hurts the movement," he says, and he’s right. His 2005 radio hit "Super Sic Wit It" was one of the catalysts of hyphy, bringing other local music in its wake. "If we can’t get the support here at home, how can we expect to break nationwide?"

FAB has a point: local rap needs radio to generate sales, which in turn generate label deals. At press time, Johnson hadn’t respond to several requests seeking his side of the story, yet the Arbitron ratings speak for themselves.

In summer 2006, when it was playing hyphy, KMEL was the number two station in the market, after KGO-AM talk radio. That winter, when it began slacking off, KMEL finished at number seven, tied with KYLD. (Spring ratings aren’t yet posted.) This is difficult to reconcile with the claim that hyphy’s popularity has dissipated. Yet while hyphy — and by extension, Bay Area rap — may never break nationally if KMEL doesn’t support it, even fewer people will tune in to KMEL if the station doesn’t play it.

Nearly every Bay Area rapper I’ve met seeks what Messy Marv once called "that major label shine." Yet the lack of hyphy-era major-label-deal flash — or rather follow-through — thus far may stem more from the general decline of the corporate music system than from the strength or weakness of local hip-hop. Fewer major-label albums are being released now compared with earlier periods of pop, and those imprints are generally taking fewer chances and are often unable to move fast enough for rap. Radio, moreover, has lost at least a portion of its audience to Internet alternatives like MySpace and YouTube, both of which FAB credits with mitigating the impact of absent radio play. Given the fact that a popular independent artist can potentially make more money — at the price of much glory, perhaps — than many bigger names, it’s hard not to wonder if the major labels do hip-hop more harm than good. It’s something to consider as we wait to see if the Federation’s new album, whateva its final form, keeps hyphy’s momentum alive.*

Whose Ethics?

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Part two in a Guardian series The read part one, click here.

› news@sfbg.com

The San Francisco Ethics Commission is at an important crossroads, facing decisions that could have a profound impact on the city’s political culture: should every violation be treated equally or should this agency focus on the most flagrant efforts to corrupt the political system?

The traditionally anemic agency that regulates campaign spending is just now starting to get the staff and resources it needs to fulfill its mandate. But its aggressive investigation of grassroots treasurer Carolyn Knee (see “The Ethics of Ethics,” 7/4/07) — which concluded July 9 with her being fined just $267 — is raising questions about its focus and mission.

“For the first time in our history, we’re having growing pains,” Ethics Commission executive director John St. Croix told the Guardian, noting that the agency’s 16 staffers (slated to increase to 19 next year) are double what he started with three years ago.

Reformers like Joe Lynn — a former Ethics staffer and later a commissioner — say the commission should do more to help small, all-volunteer campaigns negotiate the Byzantine campaign finance rules, be more forgiving when such campaigns make mistakes, and focus on more significant violations by campaigns that seek to deceive voters and swing elections.

“The traditional thinking is there’s no exception to the law, and that’s been my traditional thinking too,” Lynn said. “But it doesn’t cut the mustard when you see a Carolyn Knee say, ‘I’m not going to do that again.'<\!s>”

At Knee’s June 11 hearing, Doug Comstock — who often does political consulting for small organizations — urged commissioners to reevaluate their mission. “Why are you here?” he asked them. “You’re not here to pick on the little guys.”

Yet St. Croix told us, “That’s not really the way the law is written. Everybody is supposed to be treated the same…. The notion that the Ethics Commission was only created to nail the big guns is not correct.”

That said, St. Croix agrees that regulators should be tougher on willful violators and those who have lots of experience and familiarity with the rules they’re breaking. And he said they do that. But it’s the grassroots campaigns that tend to have the most violations.

“It’s frustrating because the people who make the most mistakes are the ones with the least experience,” St. Croix said, noting that the commission can’t simply ignore violations.

 

A MATTER OF PRIORITIES

But critics of the commission say the problem is one of priorities. Even if there were problems with Knee’s campaign, there was no reason the commission should have launched such an in-depth and expensive investigation four years after the fact. That decision was recently criticized in a resolution approved by the San Francisco Democratic County Central Committee, which argued that the approach discourages citizens from getting politically involved.

“[The] San Francisco Ethics Commission spends an inordinate amount of its meager resources in pursuing petty violations allegedly committed by grassroots campaigns; this disproportionate enforcement against grassroots campaigns is directly contrary to the goal of the Campaign Finance Reform Ordinance,” one “whereas” from the resolution read.

The resolution’s principal sponsor, Robert Haaland, is intimately familiar with the problem. When he ran for supervisor in District 5 two years ago, his treasurer had a doctorate from Stanford and still struggled to understand and comply with the law. But they made a good-faith effort, he said, and shouldn’t be targeted by Ethics.

“It’s sort of like the IRS going after the little guy,” Haaland told us. “The commissioners need to set the direction of the commission for where they’re spending their time and resources.”

Eileen Hansen is perhaps the only member of the five-person commission to really embrace the idea that its mission is to help citizen activists comply with the law and to go after well-funded professionals who seek to skirt it. To do otherwise is to harm San Francisco’s unique grassroots political system.

“It’s true, the law is the law,” Hansen told us. “But I do think the Ethics Commission needs to grapple with how to apply the law in a fair manner.”

Is it fair to apply the same standard to Knee and to the treasurer of the campaign on the other side of the public power measure she was pushing, veteran campaign attorney Jim Sutton, whose failure to report late contributions from Pacific Gas and Electric Co. later triggered a $240,000 fine by Ethics and the California Fair Political Practices Commission, while those contributions might have tipped the outcome of the election?

Sutton gets hired by most of the big-money campaigns in town, such as Mayor Gavin Newsom’s, and has a history of skirting the law, including a recent case of allegedly laundered public funds at City College; coordination of deceptive independent expenditures against Supervisors Chris Daly, Gerardo Sandoval, and Jake McGoldrick; District Attorney Kamala Harris’s violation of her spending-cap pledge in 2003; and an apparent attempt to launder inaugural-committee funds to pay Newsom’s outstanding campaign debts (see “Newsom’s Funny Money,” 2/11/04). Yet the practice of the commission is to ignore that history and treat Sutton, who did not return calls seeking comment, the same as everyone else.

“We all admire and want grassroots organizations to do what they need to do,” Commissioner Emi Gusukuma said. But, she said, “the laws are there for a reason…. We’re supposed to enforce and interpret the law. The law should only apply to big money? The law has to apply to everybody. We can’t pick or choose.”

David Looman, a campaign consultant and treasurer involved in dozens of past elections, put it wryly. “Some people talk as though the grassroots campaigns shouldn’t have to obey the law,” he said of some activists he’s worked for who consider themselves the good guys. He said he reminds them, “This is the act that you helped pass, and now you gotta abide by it.”

“But there ought to be some kind of business sense here. Most regulatory agencies have offenses which they regard as de minimis,” Looman said, meaning “you get a nasty letter that says, ‘Don’t make a habit of it,’ and when you do make a habit of it, stricter penalties come into play.”

His experience with the commission has led him to believe there’s no sense of priorities when it comes to what Ethics pursues. Many of the small campaign committees Looman represents have been audited to what he feels is a ridiculous extent.

In one case, he told us, he took over the management of the Bernal Heights Democratic Club and discovered that it hadn’t been filing certain documents for years. He ended up paying $10,000 out of his own pocket to cover Ethics fines just because his name was now on the dotted line.

“Yes, the Bernal Heights Democratic Club was in complete violation of the law. They deserved to pay a penalty, but it was so far out of proportion. It was two times our yearly income. I think that’s inappropriate,” Looman told us.

 

THE GRASSROOTS CULTURE

Some say the whole idea of local campaign reform is to nurture an important and unique aspect of San Francisco: its vibrant and diverse grassroots political culture. “For every two committees in LA, there are three in San Francisco,” Lynn said, adding that it used to be a more extreme, two-to-one ratio. Larger cities often have more professionals involved, he said. “San Francisco has a unique political culture, very heavy on the grass roots.”

Yet the Ethics Commission doesn’t see protection of the little person as part of its mission.

“The fundamental problem with Ethics is it is not staffed by people who have been advocates for good government reforms,” Lynn said. “The Ethics Commission needs to come to grips with the fact that they’re tampering with the grassroots political culture of San Francisco.”

Lynn would like the commission to direct some resources toward hiring assistants to staff the office during the two or three weeks prior to Election Day, a crew that would help prevent violations and inoculate campaigns against being fined for errors that do occur.

“If you looked at the money that the Ethics Commission is spending going after citizen filers and reallocated it toward a staff of clerks, the cost to the city would be minimal,” Lynn said, estimating it at about $100,000.

Calling it the “H&R Block Unit,” Lynn thinks a staff of 10 to 15 clerks could be trained to assist small campaigns, individuals, and first-time filers who would come in and be walked through the complex paperwork.

St. Croix said such services are available now to inexperienced treasurers and those who ask for help — although not nearly as extensive as Lynn envisions — and he’d like to expand them in the future. But he said there are legal and practical complications to giving campaigns formal advice in letters that they might later use in their defense.

“I think it’s a lofty goal to educate people,” commission chair Susan Harriman told us. “We have staff with the sole job to keep people educated.” She said she’s attended meetings at which outreach occurred between the commission and community, but only as an observer. She thinks it’s the job of the staff to take an active community role, although St. Croix said that’s a resource issue.

Commissioner Emi Gusukuma thinks the appointed commissioners should be more involved. “I would be happy to be part of that team,” she said of joining any Ethics community outreach. “Going to clubs — I would definitely be willing to do that.” She noted that she and her fellow commissioners are all very busy, but she still thinks the educational aspect of their role is important.

Hansen also noted that a commission filled with relatively new appointees needs to hear more about the real-world impacts of its policies. “The public can educate the commissioners, and right now the commissioners are not educated on these issues,” Hansen said.

She and other reformers would like to see St. Croix facilitate a discussion of what the commission’s enforcement history has been and where the focus should be going forward.

“The perception is all we ever do is go after the small guys, but I don’t know if that’s really true,” Gusukuma said. She’s pushing staff to do more research into past enforcement actions “so we can tell the staff … not who to prosecute but what kinds of cases are important. We haven’t been able to get that analysis yet.”

Lynn said another key component in the education campaign would be to televise Ethics Commission hearings, which would help people become more engaged with the agency’s work. Commissioners Hansen and Gusukuma agreed, endorsing the proposal in this year’s budget cycle and winning the support of Sup. Chris Daly before he was ousted as chair of the Budget and Finance Committee, after which the expenditure (estimated at about $30,000 per year) was removed from the budget.

Harriman is opposed to televising hearings and thinks the money should be spent elsewhere. “I don’t think it’s a good idea. I think interested people who are interested in items on the agenda will appear. I think it’s a waste of city funds to televise something.”

Lynn said that attitude is the problem.

“The Ethics Commission doesn’t want to be televised, which is the reason to televise them,” he said. “They don’t want it because they’re trained that they are quasi-judicial and you don’t have cameras in courtrooms. Right now Ethics is invisible. The only way it can build a constituency is if it’s visible.”

Bob Planthold, another former commissioner, agreed. “Ethics doesn’t make friends,” he said. “It doesn’t have a constituency of positive advocates, and you need that at City Hall to get money and resources.”<\!s>*

 

Needed: a campaign against privatization

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EDITORIAL Of all the cities in the United States, San Francisco ought to be most aware of the perils of privatization. Much of the city burned down in 1906 in part because the private Spring Valley Water Co. hadn’t kept up its lines and thus was unable to provide enough water for firefighting. A few years later, in one of the greatest privatization scandals in American history, Pacific Gas and Electric Co. stole what was supposed to be the city’s publicly owned electricity, costing the local coffers untold hundreds of millions over the past 80 years.

This is a city that votes 80 percent Democratic and has always opposed the Ronald Reagan–George H.W. Bush–George W. Bush agenda. A large part of the local economy depends on public employment (the city, the state, the federal government, and the University of California are by far the largest employers in town, dwarfing any of the biggest private-sector companies).

And yet Mayor Gavin Newsom, who likes to say he’s a progressive, is pushing an astonishing package of privatization measures that would shift public property, resources, and infrastructure into the hands of for-profit businesses. He’s talking about privatizing the golf courses, some city parks, and even Camp Mather. He’s promoting a tidal-energy deal that would give PG&E control of the power generated in a public waterway. He hasn’t lifted a finger to stop the ongoing PG&E–Raker Act scandal. And he’s determined to hand over a key part of the city’s future infrastructure to Google and EarthLink (see Editor’s Notes, p. 1).

This nonsense has to stop.

It’s hard to fight privatization battle by battle. Every single effort is a tough campaign in itself; the companies that want to make money off San Francisco’s public assets typically have plenty of cash to throw around. They’re slick and sophisticated, hire good lobbyists, and generally get excellent press from the local dailies. And it works: even board president Aaron Peskin, who generally knows better, is now talking about accepting the private wi-fi deal.

So what this city needs is a unified, organized campaign against privatization.

When Reagan arrived in the White House in 1981, the single biggest item on the agenda of his political backers was an attack on the public sector. The way the right-wingers saw it, government took money from the rich and gave it to the less well-off. Government regulated business activity, costing major corporations a lot of money. Government — "the beast," they called it — had to be beaten back, demonized, and starved.

So the Reaganites used their top-rate public relations machine to make the public sector appear riddled with waste and fraud. They cut taxes, ran up record (for the time) deficits, and forced Congress to eliminate a lot of social programs. More and more of what the government once did was turned over to the private sector — the way the radical right liked it.

That political agenda still rules Washington, D.C., where even a fair amount of the war in Iraq has been privatized, turned over to contractors who are making huge profits while Iraqi and American kids die.

The attack on government has worked so well that even a very modest plan by Bill Clinton to create a national health care system was killed by the insurance industry.

But privatization doesn’t work. Private-sector companies and even nonprofits don’t have to comply with open-records laws and can spend money (including taxpayers’) with only limited accountability. Most private companies are about making money first and serving the public second; that means when private operators take over public services, the prices go up, worker pay goes down (and unions are often booted out), and the quality of the delivery tanks. Look at the real estate development nightmare that has become the privatized Presidio. Look at the disgrace and disaster that the privatized Edison School brought to the San Francisco Unified School District. Look at the glitzy café and the pricey parking lot that have replaced good animal care at the privatized San Francisco Zoo. Look at what has happened around the world when Bechtel Corp. has taken over public water systems — rates have gone up so high that some people can’t afford this basic life necessity.

Look what’s happened to the American health system. Look what’s happened in Iraq.

Government isn’t perfect, and the public sector has lot of management, efficiency, and accountability issues. But at least the public has some hope of correcting those problems. San Francisco ought to be a place where a major movement to take back the public sector is born and thrives.

Almost everyone in town ought to have an interest. Labor, obviously, opposes privatization. So should neighborhood advocates (who care about public parks and open space), environmentalists (because the entire notion of environmentalism depends on a healthy public sector), progressive community groups, and politicians. Even more conservative groups like the cops and firefighters ought to see the need to prevent their jobs from being outsourced to a private vendor.

A campaign against privatization could link wi-fi, PG&E, tidal power, and the golf courses. The campaign could force anyone running for office to address a no-privatization pledge. It could appear any time one of these rotten schemes pops up in town — and send a message that San Francisco doesn’t accept the economic agenda of the radical right.

Who’s going to call the first meeting? 2

Who’s following the money?

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Part two in a Guardian series
Click here for part one

› gwschulz@sfbg.com

David Duer is proud of the volunteer work he’s done with the West Contra Costa Unified School District. He graduated from the area’s school system, as did his kids.

So despite what was sure to be a burdensome responsibility with no pay, Duer, a development director for the UC Berkeley Library, accepted the chance to serve on a committee formed under a state mandate to monitor how the district spent $850 million in bond money authorized by voters in three elections since 2000.

"There are schools all over the district that have been renovated," Duer beams today.

The committee initially proposed meeting every quarter but soon realized that wouldn’t be nearly enough to do the job right and chose to meet monthly instead. Since 2003 it has received full-blown management audits of the school system’s performance every year, with biannual updates from independent professionals not beholden to district bureaucrats.

The story of San Francisco’s Community College District could not be more different.

The oversight committee that’s charged with monitoring $560 million in bond spending has never seen an expansive performance audit, just basic financial reports that show community college officials here seem to be obeying their most fundamental fiduciary duties. The panel meets three times a year for more than an hour and a half each time, and for three years it didn’t even report to the public on City College’s handling of the money, which it’s required to do annually by the state’s Education Code.

The community college committee is hardly made of Rotary volunteers and bored retirees: the list includes San Francisco treasurer José Cisneros and former San Francisco Chronicle publisher Steve Falk, now head of the local Chamber of Commerce.

But even members say the panel has fallen down on the job — and that City College officials are freely shifting around the taxpayers’ cash with little or no accountability.

The mostly decipherable performance reports that West Contra Costa citizens receive, though lengthy, track all of that district’s bond expenditures and give the area’s oversight committee of taxpayers a vivid portrait of how well the school system and its administrators are managing hundreds of millions of dollars in building improvements. Any wonkish jargon in the reports that might mystify the committee is translated in "frank" terms by the outside inspectors, Duer says, without interference from school officials.

If a contractor were to double-bill the district or demand too much in change orders after promising completion within a set price range, Duer and his colleagues would know about it, and they could make suggestions on how to fix it. If the district was doing a stellar job, that would be clear too.

"I don’t see these performance audits as punitive," Duer said. "I see them as a confirmation that the process and systems in place are working."

MORE MONEY PROBLEMS


The Guardian reported last week ("The City College Shell Game," 7/4/07) that City College’s bond projects are running an astounding $225 million over budget. As a result, school officials have returned to the Board of Trustees five times in recent years to request that a total of $130 million be reallocated from one project to another to cover the overruns, leaving some projects promised to voters with little or no funding at all. We reported on a number of examples last week, but there are plenty more:

<\!s> The construction of a new Mission campus was supposed to begin in 2002 but didn’t get under way until well into 2005. The project is now $30 million over budget, an increase of 50 percent, and the school recently requested another $6 million diversion from other bond projects. City College originally planned to build the campus where a shuttered theater currently stands on Mission Street but later moved the site to avoid a showdown with preservationists.

<\!s> Since 1997, City College has asked voters for a total of $61 million to renovate and remodel existing buildings and meet Americans with Disabilities Act requirements. In November 2005 it asked voters for $35 million to perform such work, but just weeks after the election, $20 million of the money was reallocated to a planned Chinatown–<\d>North Beach campus that’s now running $50 million over budget, an increase of 60 percent. That project’s ever-changing design has been heatedly challenged by everyone from the Chronicle‘s editorial board to Sup. Aaron Peskin to state senator Leland Yee.

<\!s> Two projects for which voters authorized a combined $71 million won’t see the light of day unless the college returns to the ballot a fourth time, which school officials have discussed. The projects — a biotech learning center and a one-stop administrative shop for new students — have been drained of $42 million to save the Mission campus and an overdue Performing Arts Center, which will cost $75 million more than expected, an increase of 152 percent.

HUNTING AND PECKING


All of this irks Mara Kopp, who was appointed to City College’s oversight committee in late 2005 as a representative of the San Francisco Taxpayers Association. She’s complained openly that the school long ago should have hired auditors for the kind of far-reaching work West Contra Costa gets.

"If we received ongoing management reports, then we’d have something of substance," Kopp said. "We wouldn’t have to hunt and peck in a kind of naive, elementary way."

She is all but alone in her criticism, however, save for a small group of allies including former committee member John Rizzo and Milton Marks, one of the few voices on the independently elected Board of Trustees willing to apply tough scrutiny to Chancellor Phil Day’s office at board meetings. Green Party pol Rizzo recently became a trustee after closely beating longtime incumbent Johnnie Carter in the November 2006 board race.

Day has long argued that the school’s attorneys don’t believe such audits are required under Proposition 39, a 2000 state ballot measure that lowered the threshold for passing local school bonds. Prop. 39 required the formation of local citizens’ bond oversight committees.

Marks has questioned the strength of City College’s oversight committee and the lack of performance audits since at least 2005, but not until earlier this year were he and Rizzo able to force a resolution demanding the inspections, and now Day claims to welcome a management review. The school will bid out its first audit soon.

"The bottom line is, a performance audit as opposed to a financial audit would determine whether or not funds are being expended in the most efficient, effective, and economical manner instead of just adding up these funds and saying, ‘Here’s how much we expended and for what,’<\!s>" said Harvey Rose, a respected local auditor who’s reviewed city agencies and analyzed San Francisco’s annual budget for 35 years.

West Contra Costa concluded that Prop. 39 does require extensive managements audits. The committee even decided to include a $150 million bond election in 2000 in the scope of its work, although that wasn’t required, to ensure all the money was still being spent efficiently.

Duer said it doesn’t matter to him what the letter of the law requires. "It was always assumed with our work that this is something we had to have," he said.

The Los Angeles Community College District made the same assumption. Other districts statewide, however, appear to have interpreted Prop. 39 the same way City College has. And the Attorney General’s Office has never issued an opinion clarifying the matter.

Meanwhile, City College officials blame the millions of dollars in outsize project costs on inflation, a globally increased demand for steel and concrete, and slow-moving state regulators who must approve architectural designs.

"I understand both the college as well as the community would like to see us complete every single project we’ve proposed," Vice Chancellor Peter Goldstein told us recently. "We absolutely share that desire. The reality of cost increases has forced us to go back and look at our resources and reallocate in order to keep major projects going forward."

But Kopp and company argue that much earlier performance inspections would have revealed to the oversight committee and trustees where the increase in expenses came from with absolute certainty. That way, no one would have to rely exclusively on the glitzy project presentations made by Day and Goldstein that are often little more than slide shows with quotes from prominent business journals decrying the rising cost of construction materials. Trustee Marks has moaned repeatedly at board meetings that he doesn’t feel informed enough to vote on major reallocations, and his constant questions haven’t always made him popular.

"I think there’s this feeling that the board should not be adversarial," Marks said. "But I think by the nature of how things are set up, we have to be…. We have to look out for the best interests of the public at large."

Not everything’s rosy in West Contra Costa, of course. Anton Jungherr, a former San Francisco Unified School District official, sat on the West Contra Costa oversight committee for four years and fumed in an interview that the district didn’t take seriously the committee’s regular recommendations. He wants to form a statewide association of oversight committees to arm citizens with the information they need to track bond expenditures.

"There are legitimate reasons for change orders, but you have to analyze them and understand what the reasons are and then take the appropriate oversight action," Jungherr said.

But cost overruns in West Contra Costa still pale when compared with those at City College. Jungherr said that district has experienced about $100 million in unexpected costs on $850 million in projects undertaken since 2000, substantially less than what City College faces despite hundreds of millions of dollars more in bond projects.

Kopp still hopes City College’s oversight committee will build more muscle.

"If they were to show us documents they used themselves in monitoring all these things, that could substitute as long as the information was relevant and honest," Kopp said. "But it’s really been quite shallow all along."<\!s>*

We built this city?

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› kimberly@sfbg.com

SONIC REDUCER Can the Big Apple rightfully claim the cheese without "New York State of Mind" or even "New York City Cops"? How can we motor through Mobile without an anthemic blast of "Sweet Home Alabama"? Even boosters would have a tough time mustering a jones for El Lay if not for "I Love LA." Hometown pride is a construct, built on ballpark anthems, puny hot dogs, and bizarre caps with too many buttons. But even as we cringed at the Live Earth lineup, the idea of Antarctica musical antics intrigued. How to map the mysterious interchange, linked by a network of highways and folkways, between geography and music? I always associated indie rock’s connection to place with the fragmentation of the pop marketplace and the rise of regional powerhouses like ’80s college radio; if you knew where a band was from — be it Athens, Ga.; Chicago; Olympia, Wash.; Minneapolis; Boston; or Seattle — you could, at times, make a blurry mental chart of their sound, as if the brute soil, air, and water added up to a kind of aural terroir.

So when music fans with movie cameras attempt to encapsulate a town and its music scene, I usually unplug the ears and peel the film off the eyeballs. The Burn to Shine series, produced and curated by Fugazi drummer Brendan Canty, does it particularly well, with an unassuming eloquence infused with natural light and a poetic approach; in each, a series of local groups is captured playing one song, in sequence, in an abandoned house before it is burned to the ground. The first of the series was shot in Washington, D.C., on Jan. 14, 2004, and it’s steeped in fiery performances by Ted Leo, Q and Not U, the Evens, and Bob Mould, as well as a bittersweet, archetypally punky melancholia — as if to say these glorious seconds will never quite come again.

Likewise, I was hankering to view Rural Rock and Roll, Jensen Rule’s grainy snapshot of the Humboldt music scene, which will be screened as part of the Frozen Film Festival on July 14. The 60-minute doc revolves around Eureka and Arcata bands playing in the area in the summer of 2005. Rule’s technique is rougher than that of the Burn to Shine project, the narration tends toward the hyperbolic, and the music is rawer (and context free; forebears like Comets on Fire, Dieselhed, and Mr. Bungle are never mentioned), but the video is still worth taking a peek, especially for the grindingly heavy Lift, with an all-contractor lineup. "I believe we’re the only band in the country that can build you an entire home," one member deadpans.

The 34-year-old director moved from Humboldt in 2001 to work as an editor on what he calls "bad reality-TV shows" like The Simple Life, but he remained fascinated by Humboldt’s eclecticism — influenced by the college, the Twin Peaks–ish witchiness of the redwoood curtain, the cultural collision between hippies and loggers, and the many local pot farms round the birthplace of Big Foot. "It’s so far away from the big city, so to speak, there are no expectations of what each of the bands up there is supposed to sound like," he says from Los Angeles. "Isolation is a blessing."

PANACHE TO GO And even so-called big cities like San Francisco can’t hold Humboldt hellions like Michelle Cable, who is all over Rural Rock and Roll, started her Panache zine in Eureka, and later fostered Panache Booking in SF. She’ll be moving to Brooklyn on Aug. 1 after her July 21 farewell show at 12 Galaxies with Black Fiction, Aa, the Husbands, Sword and Sandals, and Health. Recovered from a broken back suffered in a tragic van accident with DMBQ, Cable plans to expand her booking agency on the East Coast, and in January 2008 she’ll relaunch the zine as an SF- and NYC-focused online publication. Why the move? "The Mall moved there this summer, and they’re good friends of mine," she tells me. "I thought it would be fun to all congregate there. It’s a change of scenery and pace. I love San Francisco, and I’m gonna miss it a lot. It’s a big move for me." But not too giant a step — Cable is originally from D.C. Burn and shine. *

RURAL ROCK AND ROLL

Sat/14, 7 p.m., $8.50–$9.50

Roxie Film Center

3117 16th St., SF

www.roxie.com

After-party with the Ian Fays, the Lowlights, and others

9 p.m., $8

Hotel Utah Saloon

500 Fourth St., SF

www.thehotelutahsaloon.com

MICHELLE CABLE’S FAREWELL PARTY

July 21, 9:30 p.m., $5

12 Galaxies

2565 Mission, SF

www.12galaxies.com

GO HEAR

PATRICK WOLFF TRIO


Inspired far and wide, these NYC jazz swells swing through on their way to the Stanford Jazz Workshop. Wed/11, 7 p.m., free. Shanghai 1930, 133 Steuart, SF. www.shanghai1930.com; Thurs/12, 8 p.m., free. Bistro Yoffi, 2231 Chestnut, SF. www.bistroyoffi.com; Mon/16, 7:30 p.m., $10–$20. Braun Music Center, Campbell Recital Hall, 541 Lasuen Mall, Stanford University, Palo Alto. www.stanfordjazz.org/index.html

KARPOV


Now firmly transplanted in SF and wafting between Greenwich Village folk songs, hillbilly picking, and Eastern Euro gypsy brass. With Parasol and This Frontier Needs Heroes. Fri/13, 9 p.m., $12. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com.

BAD TRIPS


Names like Monoshock and Liquorball get thrown around deliriously when Grady Runyan’s growling psych–navel gaze stumbles into the room. With Mammatus and Tryptophan. Sat/14, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

BENNI HEMM HEMM


Whimsy’s just another word for an ambitious 11-piece Morr Music combo from Iceland — in the States for the first time. With the Otherside and Radius. Mon/16, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

ADAM FRANKLIN


"Countrygrass"? The Swervedriver mood-music maker rhapsodizes Cannery Row and other shadowy byways. Mon/16, 9 p.m., $10–$12. Cafe du Nord, 2170 Market, SF. www.cafedunord.com

POLYPHONIC SPREE


We want those stinkin’ uniforms. With Jesca Hoop. Tues/17, 8 p.m., $22. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

Missing persons find an advocate in local musician Saul Kaye

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East Bay’s Saul Kaye has found his mission – each CD-release show he’s doing for his latest, A Taste of Paradise (by the way, who came up with the subgenius idea of doing multiple CD-release shows – when does it all end!?) is going to be focused on raising awareness of missing people of the Bay Area.

connes small.JPG
Lynn Ruth Connes.

His upcoming show at La Pena will spotlight Lynn Ruth Connes, who disappeared in 1976 in Berkeley.

Kaye, meanwhile, can be found on Sat., Aug. 4, at La Pena Cultural Center, 3105 Shattuck, Berk. (510) 849-2568.
$10-$15 sliding scale.

Tune in, turn on, “Psych-Out”

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CULT FILM Some movies define a generation. Some distort a generation. Very special ones manage both. Welcome to the genius of Psych-Out, a 1968 American International Pictures epic (produced by none other than squeaky-clean American Bandstand icon Dick Clark) that remains perhaps the all-time high-water mark in cinematic hippiesploitation.

Oh, Psych-Out, Psych-Out, Psych-Out! How many times have I loved your psychedelic excesses since that fateful first viewing in the 1980s at Boston’s annual Schlock-around-the-Clock marathon? Not even my housemate’s desperate need to exchange MDA-driven warm fuzzies in the lobby could tear me from such enchantment. (She did succeed in wrangling me away that night from such additional gems as The Thing with Two Heads. A small resentment lingers.)

Psych-Out, which plays as part of the Red Vic’s commemoration of the Summer of Love’s 40th anniversary, is the least heralded of an unofficial AIP trilogy from that year, alongside The Trip (Peter Fonda drops lysergic under the tutelage of ever-levelheaded Bruce Dern) and Wild in the Streets (the US voting age is lowered to 14, resulting in Shelley Winters being sent to a concentration camp for too-old people). Those films were actual hits. Psych-Out ran through the drive-in mill and was quickly forgotten.

Stupid humans!! How could they resist a film advertised thus: "These are the PLEASURE LOVERS! They’ll ask for a dime with hungry eyes. But they’ll give you love — for NOTHING! Have you ever TASTED FEAR or SMELLED MADNESS? LISTEN to the sound of PURPLE!" Nearly 30 Susan Strasberg plays Jenny, an underage runaway searching for her brother (Dern as "the Seeker," a sort of Crazy Acid Jesus). Escaping their abusive mother — glimpsed in one genuinely disturbing flashback — the mute Audrey Hepburn–goes–mod gamine arrives in San Francisco, center of the known counterculture universe, where she’s taken in by the hipsters who constitute rock group Mumblin’ Jim: a ponytailed Jack Nicholson, barely bothering to finger-mime rip-off Hendrix riffs as guitarist Stoney; jive-talking drummer Elwood (Max Julien); keyboardist Ben (biker-flick staple Adam Roarke); bassist Wesley (Tommy Flanders); and Wesley’s shareable wife, Lynn (Linda Gaye Scott), who can’t hit a tambourine on tempo to save her life. Then there’s Dean Stockwell as Dave, the serenely weird ex-bandmate turned fountain of guru wisdom. He lives in a rooftop cardboard box.

All help Jenny look for that elusive messianic bro, at least when not introducing her to the joys of thrift shop fashion montages and Golden Gate Park Be-Ins (at which garage greats the Seeds play). Befitting this turbulent generation, distracting crises occur. Some are peacenik-versus-redneck stuff requiring hippies to kick local junkyard greaser ass. Others are drug related, as when future bad director Henry Jaglom hallucinates that his limbs need cutting off. This occasions the immortal line "C’mon man! Warren’s freaking out at the gallery!"

Psych-Out has everything: kaleidoscope visuals, STP dosing, horror-movie hallucinations, and dialogue like "It’s all one big plastic hassle." The Strawberry Alarm Clock contribute not just their signature "Incense and Peppermints" but also a theme ("The Pretty Song from Psych-Out") whose lyrics and melody encapsulate the entire plotline with a dreamy be-there-or-be-square vibe and the song "Rainy Day Mushroom Pillow," which soundtracks a particularly senseless sequence involving the soft-focus stringing of beads around a communal household. More bent yet is the scene in which Nicholson and Julien sit in a van, their nutty bloodshot eyes suggesting major real-world fry-dom.

Psych-Out was largely filmed in the Haight-Ashbury of fall 1967, lending some aspects an authenticity that concurrent Hollywood hippiesploitation flicks lacked. Yet locals reportedly greeted the crew with such hostility that they had to hire Hells Angels as guards. The end-product melodramatic hash must have induced much derisive stoner laughter among subsequent longhaired viewers.

Director Richard Rush had an odd, thwarted career that peaked with one genuinely admired film (1980’s The Stunt Man), then after a long layoff crashed fatally against the 1994 erotic thriller absurdity Color of Night (Bruce Willis as a psychiatrist stalked by a transsexual patient). On the other hand, the richly colorful Psych-Out‘s Hungarian émigré cinematographer, Laszlo Kovacs, went on to shoot all of Peter Bogdanovich’s, Bob Rafelson’s, and Dennis Hopper’s major films — plus Shampoo, Ghostbusters, and less prestigious but popular recent vehicles for Sandra Bullock and Julia Roberts.

Psych-Out is a camp classic that nonetheless makes you desperately wish you were there then. It’s a "bad" movie, yet wonderful in ways that aren’t silly or dated at all. Its freak flag is on.

PSYCH-OUT

Fri/6–Sat/7, 7:15 and 9:25 p.m. (also Sat/7, 2 and 4:15 p.m.), $5–$8.50

Red Vic

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

What comes around

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› a&eletters@sfbg.com

PREVIEW Until stumbling on The Wishing Bone Cycle some years back, I hadn’t wondered why owls die with wings outspread or how a man wearing antlers on his head can be tricked into thinking that real moose are after him. Yet Howard Norman’s eye-opening transcription-translations of Swampy Cree narrative poems are so arresting that I still find new questions in my life just to bring them to the stories. The tales invariably answer with bigger inquiries of their own. In the transformations they detail, animals — moose, lynx, frogs, bears — are adept shape-shifters, this being their key to survival, while humans change forms clumsily, afraid to be themselves.

When Theatre of Yugen presents The Cycle Plays in a daylong, one-time-only performance on 7/7/07, those present for the free event will be entranced by the resonant questing onstage. Our minds might even grow new antlers and roots at the same time. The Cycle Plays, connected to The Wishing Bone Cycle only in my head, was written by the hugely imaginative local playwright Erik Ehn, dean of theater at the California Institute of the Arts and an artistic associate with Yugen.

The Cycle Plays‘ five plays and opening dance have been in collaborative development for more than two years. They are an offering on a large scale, channeling the smaller, focused gestures of cleansing and growing closer that make up the company’s rich repertoire of movement. "Like many of Erik’s ideas, we just couldn’t bear to see a world without it," explained Lluis Valls, one of the three co–<\d>artistic directors who received the torch from founder Yuriko Doi in 2001.

A ritual dance play created with Doi, 10,000, opens the cycle. It features Doi, who is now in her 60s, alongside two of the company’s founding members, Brenda Wong Aoki and Helen Morgenrath. Based around a pulsating triangulation of three older women, it is an adaptation of the traditional Okina opening form. The plays that follow, interspersed with performances by guest comedy artists, represent the five traditional categories of Noh plays: Deity, Warrior, Woman, Madness, and Demon. They include Winterland, in which two teenage girls venture to see the Sex Pistols at the title club in San Francisco, and Long Day’s Journey into Night, a refiguring of Eugene O’Neill’s intense masterpiece. The company describes its Long Day’s Journey as "a ghost within a ghost within a variation of O’Neill’s fourth act."

Theatre of Yugen thrives on discipline and openness. Founded in 1978, the devoted troupe combines classical Japanese forms such as Noh theater and Kyogen comedy with cross-genre soundscapes and a willingness to reach into the heart of stories. Penetrating the psychology at the root of human actions, actors play ghosts and demons who are the embodiment of destructive attachments. The resulting unrest of the haunted characters stems from their not knowing whether they or the illusions are meant to disappear.

Lead composers and musicians Allen Whitman and Suki O’Kane help manifest this sense of being on the edge of great loss. Joined by the Yugen Orchestra on common and obscure instruments, they make music that is by turns postmodern and incantatory and harmonizes well with co–<\d>artistic director Jubilith Moore’s stunning performance in Winterland. Moore plays a leper, a beekeeper, and a milkman, all the ghosts of John Lydon (a.k.a. Johnny Rotten), who appears to the overwhelmed girls as they try to reach the concert that turned out to be the Sex Pistols’ final show. Who hasn’t had a night like that in San Francisco? And who doesn’t replay it endlessly, searching for the point of no return?<\!s>*

THE CYCLE PLAYS

Sat/7, first sitting 9 a.m., free (reservations are full; call to be put on waiting list)

Project Artaud Theater

450 Florida, SF

(415) 621-7978

www.theatreofyugen.org

Midnight Specialists: Midnites For Maniacs

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› cheryl@sfbg.com

Ask Jesse Hawthorne Ficks what his favorite movie is, and he won’t hesitate: it’s Ski School. Ficks, who programs and hosts the Castro Theatre’s monthly Midnites for Maniacs triple feature, interprets "favorite" literally: the 1991 raunch-com might not surface on any highbrow top-10 lists, but it’s likely no scholar loves Citizen Kane (1941) as much as Ficks loves Ski School.

"I’ve always been upset with people who talk about guilty pleasures," Ficks explained when I paid him a visit at the Ninth Street Film Center. As the Frameline31 box office manager, he was overseeing ticket sales from a room decorated with posters from past Maniacs selections The Legend of Billie Jean (1985) and Joysticks (1983). "There is no such thing as a guilty pleasure. If you love something, you should genuinely love it. You can have some of that campiness — ‘Oh my god, Nicolas Cage’s acting in The Wicker Man [2006] is so bad, it’s hilarious’ — but you’re not cooler than the films that you’re watching. You’re actually in love with the movies that you’re watching. And you can maybe laugh at the movie, but ultimately there should be no mean-spiritedness in it."

Anyone who’s checked out a Midnites for Maniacs event knows the depths of Ficks’s cinemania. But even if you’ve never seen the gleeful host in action (typically he’ll toss out trivia questions and reward winners with prizes like out-of-print soundtracks, sometimes in cassette form), you need only peruse a list of Midnites past to get a sense of his passion — the "Aerobicize Triple Feature" (Staying Alive [1983], Flashdance [1983], and Heavenly Bodies [1984]); a 3-D night that included the third Jaws and Friday the 13th films as well as the Molly Ringwald sci-fi nugget Spacehunter: Adventures in the Forbidden Zone (1983); tributes to latchkey kids, punk girls, Dolly Parton, and the underage Jodie Foster; and May’s "Vertically Challenged Monsters" night, which I can safely say will be the only time in recorded history that Gremlins (1984), Howard the Duck (1986), and Troll 2 (presented in rare 35mm prints) share a bill at the Castro. Or anyplace.

Troll 2, a horror comedy that was barely released in 1990, is a prime example of Ficks’s programming technique. He doesn’t pluck flicks from obscurity to amuse snarky audiences; he’s hoping to entertain on a more meaningful level. "I was really concerned that people were going to come out purely to destroy the film as opposed to embracing it for all of its faults," he said. "No one can define that style of acting in Troll 2. It’s not even bad acting. It’s a different style. But I think it had more to do with people being embarrassed of loving something and being so guilty. Their film professors don’t let them love Top Gun [1986]. Midnites for Maniacs is not just [about watching] films that we forgot, but also embracing them and loving them and rooting for them. Not beating up on them."

Ficks’s personal tastes expand beyond underdog obscurities. When he’s not overseeing box offices on the local festival circuit, he teaches film history at the Academy of Art College ("We have a nice exploitation chapter that’s not in the [text]book"). He grew up obsessed with Freddy Krueger in Salt Lake City, where he started coprogramming a midnight series at 16. He also exploited the serendipity of geography to soak up as much Park City as he could. "I grew up at [the] Sundance [Film Festival]. I went to Slacker [1991], and that totally changed my life," he said. "I worked at Sundance from 1994 through 2002. Every year, wherever I was, I’d go back to Sundance and work in different areas of the festival."

A self-taught cinephile, Ficks dropped a film history course at Portland State University after a professor misidentified The Untouchables (1987) as a Martin Scorsese film. After graduation he moved to San Francisco and began working at the 4 Star Movie Theatre, where he learned to be a projectionist and launched Midnites for Maniacs in 2002. At first the series chiefly drew from owner Frank Lee’s impressive stash of martial arts films — until a certain masterwork known as The Garbage Pail Kids Movie (1987) came along.

"I had been looking for 35mm prints at the time, and I ran into this Garbage Pail Kids print," Ficks remembered. "Frank let me play it, but he had no clue what it was. This very first screening of Garbage Pail Kids, we had 250 people — and the theater only holds 198. It blew his mind! Garbage Pail did so well that he just started giving me free rein."

Ficks’s cardinal rule for his screenings — which actually start early in the evening, with the final film unspooling at midnight — is that every film must be shown on 35mm. "You can have a billion ideas of ‘I think we should do summer camp movies.’ But the director of Sleepaway Camp [1983] cannot be found, and he has the only print. So until I can track him down, there’s no way to screen Sleepaway Camp. I know that you could screen it on video or DVD, but I think it makes it part of the challenge and the excitement that everyone’s coming out to see an antique. You’re part of the history."

Midnites for Maniacs made its Castro debut in January 2006, when a packed house cheered Ficks’s triple bill of roller-skating movies: Roller Boogie (1979), Xanadu (1980), and Skatetown, USA (1979). "It was unbelievable, and I was thinking, ‘Maybe only in San Francisco.’ "

Ficks sees the city as big enough — and full of enough diverse film fans — to support all of its various midnight gatherings. He has only praise for Midnight Mass’s Peaches Christ, though on occasion their events have fallen on the same night.

"Peaches is amazing at her performances," he said. "You can get caught up with a reenactment of the swimming pool [scene] in Showgirls [1995]. And it’s unbelievable." He views San Francisco as "a true midnight culture. There are so many films in San Francisco at midnight. I think it’s totally reinventing the culture."

And, for the record, what is it about Ski School that makes it this ultimate film fan’s ultimate favorite? Talking about the movie — which he’ll probably never get to show at Midnites, since it’s only available on video — makes Ficks reflective. "I think I’m always interested in that movie you were obsessed with as a kid. We’re the video generation. We have access to so many more films than anyone else before us. We create these weird personal theaters in our house, with these videos we can rewind and watch over and over again. So Ski School, and movies like it, I go to those movies when times are rough. They’re just like a record, or like a song. And it’s an hour-and-a-half song."

Ficks — who said he’s only walked out of one film in his life, As Good as It Gets (1997), for being "so middle of the road it didn’t matter if I watched it or not" — is determined to carry his Ski School philosophy over to his film series.

"I think when people come out to Midnites for Maniacs, it’s way more important that they have a personal relationship with the movie. It really doesn’t matter what I think about the movie — it’s most important that someone’s coming to a film, [maybe even a film] that they’ve never heard of, and they’re finding something really special." *

MIDNITES FOR MANIACS

"SUMMER CAMPy Triple Feature": Little Darlings (1980), Meatballs (1979), and Revenge of the Cheerleaders (1976)

July 20, 7:30 p.m., 9:45 p.m., midnight, $10 (all three)

Castro Theatre

429 Castro, SF

www.midnitesformaniacs.com

Toolin’ around the Bay

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› a&eletters@sfbg.com

Nothing’s ever straightforward for Bay Area hip-hop. After the hyphy-fueled buzz of the past three years, the road to major-label glory remains beset by difficulties. The unexpected delay of Mistah FAB’s Atlantic project, the loss of the Federation’s lead single for their Warner/Reprise album due to sample-clearance issues, the lack of a firm date for Clyde Carson’s Capitol disc — all have fostered a certain amount of frustration as the Bay waits for a new artist to shine on the national level alongside Too $hort and E-40.

While Bay Area acts try to jump into the majors, however, a major-label act has suddenly jumped into the Bay, as crunk pioneer Pastor Troy has released his new album, Tool Muziq, through local powerhouse SMC Recordings. Departing from Universal after three albums followed by a flurry of underground releases over the past two years, the Atlanta resident has chosen the independent route despite the interest of imprints like Interscope and Cash Money in his continued viability as a hitmaker.

"It’s a fool," Troy says by phone. "I like to say what I want to say without worrying if it’s going to be cut off by the bosses. On an independent label, you’re really at your own discretion."

Well, almost. While SMC allows Troy the creative freedom he lacked on his heavily A&R–<\d>ed Universal full-lengths, the rapper narrowly averted a showdown with several retail chains that threatened not to carry the album under its original title, Saddam Hussein.

"I came up with the name because I felt like I’m comin’ back into the game," Troy explains. "I keep that military edge to my music. And Saddam, everything he was going through, as much controversy as his name was sparking at the time — I was, like, ‘I’m gonna call my album Saddam Hussein!’ He’d just been executed and everything."

I confess I’ve always been a fan of rappers using the names of dictators notable for their defiance of the United States. In gangsta rap, names like Noreaga and our own J-Stalin are a positive advance in political consciousness compared to the glorification of Italian American mobsters. While Troy insists the title wasn’t politically motivated, the threat of retail censorship raises First Amendment issues not unlike those faced by Paris when he was forced to conceal the provocative cover of Sonic Jihad (2003) — portraying a jet on a collision course with the White House — under a plain black sleeve.

"It’s no big deal," Troy says. "We just switched the title before we ran into a brick wall." Despite the brouhaha, however, "Saddam," produced by Young Jeezy hitmaker Shawty Redd, remains the lead single. "Who am I?" Troy screams over the intro. "I’m the motherfuckin’ president! And I … will live!" The recentness of Saddam’s execution, combined with the Pastor’s army-of-one style of crunk, lends an undeniable potency to this invocation. Yet it’s also hilarious — Saddam as Skeletor — and essentially devoid of political content: like many raps, "Saddam" is primarily about its rapper, though it’s amusing to imagine Saddam shouting, "I don’t want your bitch, nigga!" as Troy does here. But instead of a rock opera devoted to the late Sunni strongman, Tool Muziq is an extraordinarily well-rounded hip-hop album, and Troy’s ability to flow over a wide variety of tracks — from the gangsta R&B of "Wanting You" to the conscious-thug, letter-from-jail-themed "Hey Mama" — demonstrates a technical virtuosity well beyond that of your average crunk MC.

"Everybody knows crunk is my specialty," Troy says. "But you just can’t crunk ’em to death. You got to give them good listening. I had a 50-year-old woman tell me she’s waiting on the album to drop. Goodness gracious! I gotta cater to a lot of people."

The addition of Pastor Troy to SMC’s roster is an unexpected but welcome event for Bay Area hip-hop, insofar as he lends a national profile to the local label’s increasing reputation. Evolving out of RT Entertainment, which helped Moedoe move 36,000 units of Keak Da Sneak’s Copium (2003), and then Sumday Entertainment, responsible for Messy Marv’s 28,000-selling Disobayish (2004), SMC concentrates on Bay Area acts, even as it looks strategically to other regions. In 2005 the label dropped its first official releases, Block Movement, by B-Legit, and Speaking Tongues, a solo album by Bizzy Bone of Los Angeles’ Bone Thugs-n-Harmony, which sold 40,000 copies. SMC’s connection to Troy goes back to last year, when it served as third-party distributor for his 40,000-seller Stay Tru (845 Ent.). The rapper was so pleased with the label’s performance, he decided to cut to the chase for Tool Muziq.

"We’re going to keep having a relationship together," Troy confirms, as he and SMC are working out the details for a new release by Troy’s group D.S.G.B. "They needed a guy like Pastor Troy to shake it up for real."

And while Troy has no intention of leaving the Dirty South, his new connection to the Bay offers the tantalizing prospect of further collaboration between the regions’ related genres.

"Hyphy and crunk — it’s the same kind of music to me," Troy says. "I’m sure SMC will have me get down with Messy Marv. I want to go out there and go dumb!"

www.myspace.com/pastortroy

Kabul City

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› paulr@sfbg.com

War, although unfortunate in almost every way, can pay some ex post facto dividends in foodland. (Emphasis on post.) Would we have the Slanted Door today if misguided policies founded on ignorance and false premises a half century ago had not led us into Vietnam? War creates refugees, and if the war is an imperial one, the refugees allied with the imperial power tend to seek refuge in the home territory of that empire — homeland is the homey term we use today — often bringing with them little besides culinary knowledge. Of course, the moral equation here is absurd; who would not vote to give up the Slanted Door, and all the rest of the excellent Vietnamese restaurants that have opened here in the past generation, if by doing so we could undo the Vietnam War? But we can’t. The most we can do is look for some sort of redemption in food we might well never have heard of, let alone tried, but for the warmongering of fools in positions of power.

Fisherman’s Wharf — I speak of the neighborhood, not the pier proper — is a curious place for an Afghan restaurant, but that is where we find Kabul City, which opened in May across the street from a large open space at Beach and Taylor that should be a public square but is instead a parking lot filled with Hummers. The area is the Vatican City of local tourism; it is in but not of the city and so different from it, physically and metaphysically, as to constitute nearly a separate jurisdiction. The restaurant’s windows do afford an appealing view, from an unusual, backside angle, of Russian Hill. Better to keep one’s gaze fixed there than on the spectacle nearer at hand, with its general sense and look of cheerful vulgarity. Would these rushing tourists, I wondered, be interested in Afghan food? Afghanistan has been an unhappy place for a long time, and a great deal of travel has to do with escape from reality.

As for the locals: experience suggests that they — or we — go to considerable pains to avoid the neighborhood. Yet Kabul City is worth braving the knickknack shops and Hummers for. The restaurant’s food is distinctive, well prepared, and fairly priced, and the setting (at least once you’re safely inside) is neither grubby nor overwrought. It’s far too early to say whether Afghan cooking will find the same vogue Vietnamese cuisine has attained in this country, but it’s not too early to say that if Kabul City is a glimpse of tomorrow, tomorrow isn’t looking hopeless. (I should also note here that for the moment, Kabul City is also the only Afghan restaurant in town, since the Helmand, on Broadway at the foot of Telegraph Hill, remains closed after a February landslide. The Bay Area’s biggest Afghan community, meanwhile, is in Fremont.)

Although much of Afghan cuisine, as presented by Kabul City, turns on familiar Middle Eastern cues, there are also dishes you aren’t as likely to have seen before. In the former category are kabobs — grilled meat in various guises. Tekka kabob ($12.99; $6.99 at lunch) consists of charbroiled lamb chunks served with salad and basmati rice, while shami kabob (same prices) looks like a pair of skinless, seasoned-ground-beef sausages. The rice is good, but the Afghan flat bread (called naan but baked in square rather than round loaves) is better, especially when dipped in the accompanying yogurt-cucumber sauce.

Yogurt, in fact, is put to all sorts of clever uses. It turns up pureed with cilantro as a sauce for pakowra ($4.99), deep-fried, peppery slices of potato that look like the soles of pink bedroom slippers. It is folded into badinjon burani ($4.99 as a starter), a baba ghanoush–<\d>like mash of panfried eggplant. And it appears mixed with garlic and mint as a topping for kadu burani ($7.99), chunks of panfried pumpkin. The squash here really did seem to be pumpkin, so points for complete disclosure, but the dish would have been better — less stringy, more intensely tasty — if another orange-flesh squash, like butternut, had been used.

One of the most striking preparations on the menu is mantu ($12.99), a plateful of steamed dough pillows stuffed with seasoned ground beef and onions and presented under a blanket of yogurt sauce flecked with green peas and diced carrots. The pillows reminded me of ravioli, of course, but also — because of the their pleated tops — of shu mai, the little Chinese dumplings that so often figure in dim sum services. Afghanistan shares a border with China, so the similarity probably isn’t coincidental. It’s also landlocked, which goes some way toward explaining the lack of seafood on the menu.

The restaurant’s owner, Syed Ahmadi, presides over the front of the house with mystical grace. In theory he could have plenty to do, since Kabul City isn’t small. An entire corner of the space, in fact, is given over to a slightly elevated platform laid with beautiful rugs and pillows and set with low tables you recline rather than sit at. The Last Supper was enjoyed in this fashion, as was the infamous banquet in Kandahar in October 2001 presided over by Osama bin Laden and captured on video for a still-stunned world. Afghanistan was a battlefield then and still is today, but tomorrow, as Scarlett O’Hara once told us from the midst of our own traumatic war, is another day.*

KABUL CITY

Daily, 11:30 a.m.–9:30 p.m.

380 Beach, SF

(415) 359-1400

www.kabulcitysf.com

Beer and wine

MC/V

Pleasant noise level

Wheelchair accessible

The truth about housing money

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OPINION Just as in war, in 2007 San Francisco budget politics, truth is the first casualty.

Nowhere is this more obvious than in the assertions by Gavin Newsom’s campaign minions that the mayor’s current budget proposal contains a $217.5 million city investment in affordable housing.

The purpose of these claims is to imply that Newsom has voluntarily allocated local tax dollars for this critical need — and that no more should be spent on affordable housing, especially some $10 million for lower-income rental housing production for families with children proposed by Supervisor Chris Daly and the Board of Supervisors.

The facts tell a different story.

First, the impression that this $217.5 million is all local tax money the mayor has voluntarily invested in affordable housing is false. Some $20 million is federal and state money that can be spent only on affordable housing. Another $25 million comes from local sources and also must be used for affordable housing. And $48 million comes from tax-increment funds mandated by a 2005 supervisors policy to go solely toward affordable-housing development.

So about 40 percent ($93 million) of the affordable-housing funding that the Mayor’s Office talks about was money that by law had to go to affordable housing. It wasn’t Newsom’s choice.

Nearly a third of the mayor’s budget for creating affordable housing — some $60 million — is in fact allocated to fund his Care Not Cash program, which was supposed to pay for itself. Indeed, more than twice as much money, $31 million, is earmarked to pay for privately owned, leased residential hotel rooms for temporary housing of the homeless (not producing one new affordable home) as is budgeted for the production of new, permanently affordable lower-income family rental housing ($15 million). The fact is, the 2007–08 Newsom budget cuts $24 million in funds earmarked for new affordable-housing production for families and seniors.

What is most distressing about the half-truths and nontruths in the affordable-housing budget battle of recent days is that the unity between the mayor and the Board of Supervisors — crucial to the expansion of affordable-housing opportunities for San Franciscans and which has characterized the city since the George Moscone administration (some 25,000 permanently affordable homes have been produced in the past 20 years, a figure unmatched in any other mayor American city) — has been placed in peril for short-term political advantage.

But cooler heads have prevailed inside and outside City Hall. Sometimes it is better to shut up and do what needs doing and let the credit fall where it may.

Which is why, when the dust settled last week, no one shouted about the $10 million that was quietly added back into the budget for permanently affordable family-housing production.

But we should all be clear: if we want San Francisco to be as economically diverse as we all claim, then we have only just begun to find the funds needed for more affordable housing. While it may or may not be true that you can never be too rich or too thin, it is most certainly true that San Francisco never allocates enough for affordable housing. *

Calvin Welch is an affordable-housing advocate who lives in San Francisco.

The City College shell game

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Part one in a Guardian series

› gwschulz@sfbg.com

The motto of San Francisco’s community college is "The truth will set you free."

For taxpayers, that’s a painful irony. Since 1997, the district has moved around $130 million in bond money in a fiscal shell game, taking funds that the voters were told would go to one set of projects and spending the money on others.

The half-billion-dollar bond program is now at least $225 million over budget, in part because of what the school admits was shoddy planning, and City College is considering asking voters to approve yet another set of bonds to catch up.

And all of this happened without a detailed performance audit.

Among the transfers and overruns we’ve discovered in a review of the bond program:

<\!s>City College made up for a planned gym’s mammoth budget shortfalls by transferring more than $53 million from other projects, like the new Performing Arts Center, improvements to the Balboa Reservoir (that massive, sunken eyesore of a parking lot west of the Ocean Avenue Campus), and an academic partnership with San Francisco State University.

<\!s>Construction on the Performing Arts Center was supposed to begin in 2004, but it’s gone nowhere. According to the school’s most recent estimates, the center now will cost $125.8 million, an increase of 152 percent from the original $50 million.

<\!s>Two new campuses planned for the Mission and Chinatown neighborhoods are now running a combined $78 million over budget. School administrators this May requested an additional $6 million to complete the Mission campus. Plans for the Chinatown facilities were originally unveiled in 1997 to voters, who were later told construction would begin in 2006. Today the designs are mired in a political battle with neighborhood residents, and City College hasn’t broken ground on the project.

In at least one case, the school has acknowledged that a $1.3 million reallocation took place without prior authorization from its independently elected overseers, the Board of Trustees. Administrators later asked the board to consent to the transfer retroactively.

"We’re always asked to take this money and move it from here to here," complained trustee Milton Marks III, one of the few consistent critics on the board who in the past voted against such reallocations. "It may be justified…. But when I ask if there are programmatic changes, nobody can answer me."

The school calls the transfers "reallocations," and as of May the administration and the board had agreed to shift the bond money five times.

In one case, administrators asked for $70 million in transfers mere weeks after the 2005 election in which voters authorized the school to sell $246.3 million in bonds.

That January 2006 reallocation strongly suggests the office of Chancellor Phil Day knew the school wouldn’t be able to complete the projects described to voters but never corrected the ballot handbook or told the media and the public the truth.

Day agreed to a Guardian interview, then canceled it, citing a schedule conflict. But in board meetings he and his staff have insisted that the transfers were perfectly legal.

The school’s lawyers say reallocations are acceptable under Proposition 39, a state ballot measure passed by voters in 2000 that lowered the threshold in California for passing school and community college bonds.

Other districts have also relied on reallocations as the cost of construction materials has increased globally in recent years due to Hurricane Katrina and the ongoing expansion of China’s economy.

But the San Francisco school has argued the logical extreme — that it can transform voter-approved projects in virtually any way it deems necessary.

"What obligation do we have in our reallocation considerations about making sure that those things get delivered — all of those projects we listed in both [the 2001 and 2005] bond measures?" former trustee Johnnie Carter asked during a meeting Jan. 12, 2006.

"You have no obligation to complete any of those projects," Mona Patel, a bond advisor for the school, responded. "You can complete one of those projects. You can complete all of those projects or anything in between…. It’s solely within the board’s discretion."

Despite that explanation, City College’s woefully short budget projections mean the school might have to return to voters a fourth time to secure funding for two projects already promised the last time City College went to the ballot, in November 2005.

One of those planned facilities was supposed to house a stem-cell-technology training program lauded by Mayor Gavin Newsom in 2005 as a way to help locals compete for jobs in the Bay Area’s growing biotech and life-sciences research industries. The school stripped $25 million authorized by voters from that project and directed it mostly to two other projects running a combined $105 million over budget.

Marks and new board member John Rizzo have urged an expansive performance audit of the bond money, which they say is required under Prop. 39 but had never been completed.

Rizzo and Marks both told us that if unforeseen construction costs, a low number of project bidders, and the lethargy of state regulators are all problems contributing to unpredicted costs, school administrators need to come up with a plan to fix the situation. But the performance audit proposed by Rizzo and Marks would first identify which problems are most severe. Not having it, Rizzo said, "is like flying blindly. We’re just writing checks."

Peter Goldstein, vice chancellor for finance and administration, insisted to us that state law, as interpreted by the school, doesn’t require the type of audit called for by Rizzo and Marks. It simply requires that the school prove it isn’t spending money on projects not presented first to voters. He added that the reallocations weren’t simple but said he couldn’t answer from memory specific questions about the 2005 bond election, including why the school chose to pursue tens of millions of dollars in reallocations so soon afterward, in January 2006.

"They’ve been very difficult decisions for both the administration and the board," Goldstein said. "[This has] not been some kind of snap judgment. We’ve really had to search and try to make sure there wasn’t some way to contain costs otherwise."

The trustees often seem just as confused as the voters may be about the cost overruns. The trail is laid out in thousands of pages of bond proposals and ever-changing explanatory documents, all complete with glossy schematics and computer-generated students looking gleeful as they head off to class at one or another of the new facilities.

The section of City College’s Web site dedicated to its bond projects is difficult to follow. A brief summary of the projects appears in voter guides, but the full bond proposals are filed with the San Francisco Department of Elections, and you’d have to go there to copy or read the tomes, which contain a lot of qualifying paragraphs that look like this one, which refers to an academic building planned in conjunction with San Francisco State University:

"The college will aggressively pursue state and federal funding to support the ‘joint-use’ concept with San Francisco State University. If funds are not forthcoming, the ‘local’ funds will be utilized to support the construction of the new Child Care Center and the new Student Health Service Center."

Such fine-print disclaimers enabled Chancellor Day and Vice Chancellor Goldstein to later depict multimillion-dollar transfers away from academic construction as entirely legal, even though the Child Care Center and health clinic never appeared as official stand-alone projects in bond proposals presented to voters.

Between 2001 and 2005 the school asked for a total of $40 million to construct in tandem with SFSU the joint-use facility, which was slated to include new classrooms and laboratories where students could work toward bachelor’s degrees in education, health care, and child development. The project is now $26 million over budget and remains in the design phase. Since 2003 about $20 million that voters were told was going to the project has been reallocated to other projects facing increased costs.

A facilities manager at San Jose–Evergreen Community College District, Robert Dias, was incredulous when we presented our findings to him. He said he’d heard of cost overruns statewide but "not to this extent."

"We have experienced rising costs, but we planned for it," Dias said. "Construction costs were going through the roof, but we did creative things to manage it."

On the other hand, Fred Harris, vice chancellor of the California Community College System, based in Sacramento, said the figures didn’t necessarily surprise him and that the state as a result has adjusted its guidelines for what individual school districts can claim as costs.*

Who paid for Migden’s billboards?

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By Tim Redmond

There’s been a fair amount of flap over the big billboards featuring Carole Migden that appeared all over the Third Senate District around Pride weekend. The messages — describing Miden as a leader and thanking her for her work — don’t include any statements identifying the donor who paid for them. That’s led some to suggest that it’s a clandestine gift from Clear Channel, which owns the billboards.

But according to Michael Colbruno, a former Migden aide and close ally who now works for Clear Channel, there’s another explanation:

The billboards, he told me, are “issue advocacy” ads — which means they’re not regulated by campaign-finance disclosure laws. They were purchased, he said, by an individual or entity that is not a campaign committee — and Clear Channel won’t say who it is.

“It’s not a political sale,” he said. “It’s an independent advocacy ad, and the payment information doesn’t have to be disclosed.”

I asked him if Clear Channel charged the ad buyer full price or perhaps offered a discount. “We don’t disclose rates,” he said.

The ads sure look political to me: One of them thanks three local legislators for supporting the infrastructure bonds — Migden, Don Perata and Leland Yee — and pointedly leaves out another member of the local delegation, Mark Leno, who also supported the bonds, and who happens to be challenging Midgen in next year’s state Senate primary.

But what Colbruno is telling me is that an unknown donor has just done a huge favor for Migden, worth potentially tens of thousands of dollars — and the public will never know who it was.

Leno, not surprisingly, was furious to hear about this:

“The only way this situation can be considered legal is if the suggestion is that these billboards are issue-advocacy ads and not campaign related — but anyone who believes that is a fool,” Leno told me. “If anyone tried to thank me this way, I would tell them no and make them take it down.”

I’m pretty dubious, too — I’m sure Migden knows who paid for the ads, and she ought to tell the rest of us.

Black planet

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Heralded as one of the most important reissues of this year, the two-disc Music of Idris Ackamoor on the Em label shines a light on Ackamoor’s long-neglected Bay Area contributions to free jazz. But Water’s appreciation of local improvisation predates Em’s work: in 2003, the imprint put out CD versions of Eddie Gale’s Ghetto Music and Black Rhythm Happening, a pair of standout 1969 recordings by San Jose’s Gale and his Noble Gale musicians and singers. Both might be described as sprawling if their vast reach weren’t so dramatically composed. On Ghetto Music, which includes a track called "Fulton Street," 16 people come together to form one ebbing, flowing, raging, soul-stirring musical entity.

As Gale whipped up gale-force storms on the West Coast, on the East Coast the lovably hulking Sonny Sharrock performed an even more extraordinary feat in giving birth to Black Woman, a recording so radically fierce that the world still hasn’t caught up with it — though Water has done its part by reissuing it. The duets between Sharrock’s guitar and his wife Linda’s voice have to be heard to be believed. She’s as octave-hopping wild as Yoko Ono with melodicism and Yma Sumac without the kitsch, and he’s the Jimi Hendrix and Robert Johnson whom no one knows about, patenting a skronk that’s never been bettered. Sharrock once lived across the street from Sun Ra, yet he and his wife discovered their own feminist black planet. The US space program reached the moon in 1969, but in my mind, the Sharrocks’ trip was — and is — greater. (Johnny Ray Huston)

Turning the tides

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› amanda@sfbg.com

On June 19 the Board of Supervisors cast its final ayes in favor of San Francisco’s new plan for public power, Community Choice Aggregation, which allows the city to own or purchase as much as 51 percent of the electricity for its residents and businesses from renewable sources. The plan’s goal is to meet or beat the rates of the city’s current provider, Pacific Gas and Electric Co., which draws 13 percent of its power from renewable sources. CCA has become the popular choice for public power fans, who have long pushed the city to get a divorce from PG&E’s monopoly.

But across town the same day, it looked as if Mayor Gavin Newsom was renewing nuptial vows with the $12 billion utility. In front of the charming backdrop of the Golden Gate Bridge, Newsom announced a partnership between the city and PG&E to look into tidal power. He promised "the most comprehensive study yet undertaken to assess the possibilities for harnessing the tides in San Francisco Bay."

PG&E committed as much as $1.5 million, which will bolster $146,000 from the city and a $200,000 grant from the Sidney E. Frank Foundation.

The news conference had public-power advocates wondering about Newsom’s real commitment to renewable, locally owned power. "I’ve asked all the members of the Board of Supervisors," Sup. Ross Mirkarimi told the Guardian. "That press conference — nobody knew it was taking place." He said a mayoral aide later apologized that his office hadn’t been informed, but he added, "I don’t think it was a mistake that it occurred on the same day as the vote for CCA."

The Mayor’s Office said the scheduling was purely coincidental and had been on the books for at least three weeks, but it did not issue a news release about the news conference, and no media advisory was sent to us.

Parties involved in the deal say it will bring more money to researching a shaky, untested technology — even if it means that the power any project generates could be controlled by PG&E. "We’re always going to have that issue of ownership later, and I’d rather get the research data into the public domain," said Jared Blumenfeld, director of the city’s Department of the Environment (SFE).

Blumenfeld insisted that the deal would give the public direct oversight of all research, including work done by the private utility. The memorandum of understanding between San Francisco, PG&E, and Golden Gate Energy, which holds the permit license for tidal energy in the bay, makes it clear that all information will be shared by all parties and open to public scrutiny.

Newsom made a similar announcement in September 2006, when he called for the creation of a Tidal Power Advisory Group and allocated $150,000 for a feasibility study through the San Francisco Public Utilities Commission and the SFE. But that program hasn’t gone far — and the little that has happened is secret.

A review of the agendas and minutes of SFPUC and SFE commission meetings shows only scant and passing mention of tidal power. The Tidal Power Advisory Group eventually came to fruition as one of five subcommittees of the Clean Tech Advisory Council, a 16-member board of local "green" business executives, entrepreneurs, and environmental experts that was formed at the call of the mayor in November 2005. Chaired by William K. Reilly, an Environmental Protection Agency administrator under George H.W. Bush, the council neither announces meetings or agendas nor makes public its minutes.

A special subcommittee devoted to tidal and wave energy has worked closely with the SFPUC to advance a feasibility study. The contract for that study went without bid to URS Corp. and will continue in conjunction with the new PG&E partnership.

URS, an international engineering, design, and construction firm based in San Francisco and formerly run by Sen. Dianne Feinstein’s husband, Richard Blum, has a long history with the city. The tidal power study was not subject to competitive bids and was awarded to URS because the company had undertaken significant computer models of the entire Bay Area for a past proposal to fill in part of the waterway to extend runways at San Francisco International Airport, Blumenfeld said. That plan was shot down, but the environmental impact report it spawned contains information relevant to studying tidal power.

Additionally, URS has an as-needed work agreement with San Francisco, Blumenfeld said, "and everything moves glacially" in regard to contracting with the city.

The kind of tidal power being considered — called "in-stream" and analogous to a wind farm of water-pushed turbines — is such a new technology that there is only one deployment in the world that’s generating more than one megawatt of energy. One megawatt is enough to power about 1,000 average homes. The Electric Power Research Institute released a study in 2006 concluding that the Golden Gate has the potential to generate 237 megawatts but suggesting that only 15 percent of that — about 35 megawatts — would be available without negative environmental impact.

"I think that number’s made up, personally," said Mike Hoover, a partner at Golden Gate Energy. "We know the energy that’s coming in and out of the bay is more than that."

URS, which has conducted no other tidal power studies in the United States, may support those findings, but the outlook at this point doesn’t bode well. "It appears EPRI used optimistic assumptions on water velocities," the SFPUC’s Power Enterprise director, Barbara Hale, wrote to officials in the Mayor’s Office and at the SFPUC and the SFE. "Our feasibility study estimates around 10 MW extractable power, peak, and five MW on average with a commercial plant." Additionally, Hale wrote, the cost per kilowatt-hour could be closer to 20 cents than the 5.5 cents the EPRI predicted.

Hale told us it’s difficult to say how much power would make dropping a pilot project into the bay feasible, and the best-case scenario has a pilot project four or five years away. An actual grid connection of any significance would be several years in the future.

Then there’s the huge issue of who would own the power. San Francisco Bay is considered a public trust — and under any reasonable policy scenario, the power generated by its tides should belong to the public.

After hearing about the mayor’s handshake with PG&E, Mirkarimi introduced legislation at the June 19 board meeting that would require any power harnessed in the bay to be publicly owned. He said tidal technology is still at an "embryonic stage," but the memorandum of understanding "that was unilaterally devised by the mayor and the PUC at the exclusion of the Board of Supervisors demonstrates an early intention to give the new technology to the profiteers, and that alarms me."*

Crazy

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› news@sfbg.com

Shortly before midnight on April 21, 2001, Jason Grant Garza walked into the psychiatric wing of San Francisco General’s emergency room and said he was having a mental health crisis. A staffer there refused to admit him. When Garza insisted on seeing a doctor, he wound up strip-searched and thrown into jail. Now, after six years of legal wrangling and bureaucratic buck-passing, SF General has officially conceded that Garza was denied proper service. But Garza says he is still waiting for the help he needs and the justice he demands.

As I sat across from Garza on a recent afternoon, it wasn’t hard to imagine a busy hospital worker or government official blowing him off rather than dealing with his frenetic energy. Diagnosed with a so-called "adjustment disorder," Garza was intense, to say the least. Running his hands through his wiry, gray-streaked hair and leaning over the table as he spoke, the 47-year-old Panhandle-area resident railed against "the system" for well over an hour. At one point, he likened his suffering to that of "a starving kid in Africa … [except] the starving kid in Africa still has hope. I have none of that."

Garza’s ire and his penchant for hyperbole might be exasperating at times, but his behavior also seems to bolster his main contention — that he needs help with his mental health, help that he claims a flawed public health care apparatus has failed to provide. He says his attempts to receive care and support have only exacerbated his condition, increasing his isolation and his sense of persecution. "I’m dead right," he said repeatedly. "And yet I’ve gotten nothing for it."

Garza declined to recount specific details of his story or be photographed. Instead, he referred the Guardian to a 2003 deposition he gave to deputy city attorney Scott Burrell. According to the deposition, his ordeal began shortly after his lover and "soulmate" killed himself in January 2001. That April, Garza became despondent over his loss and called a suicide hotline. The phone counselor directed him to visit SF General’s Psychiatric Emergency Services.

Garza took a cab to SF General and told PES charge nurse Paul Lewis that he was "wigging out" and badly needed to see a doctor. According to Garza’s deposition and other court documents obtained by the Guardian, Lewis asked him if he was suicidal. Garza is quoted in his deposition as responding, "If I was crossing the street and fell, I don’t know if I’d get up." Lewis determined that this answer meant Garza was not suicidal and thus not in need of emergency care. He asked Garza to leave. When Garza refused, the hospital’s institutional police escorted him out.

Garza did eventually get into the hospital that night, but not in the way he was hoping. After he was ejected from the premises, he stole back into the main lobby and called city police to help him receive treatment. But hospital cops returned instead and stuck him in a holding room. Sheriff’s deputies arrived four hours later, early in the morning of April 22. They arrested Garza for trespassing and possession of marijuana, even though he had a prescription for medical cannabis in his wallet.

At the city jail, Garza finally got someone to acknowledge that he was experiencing a psychiatric emergency. He says he told jail staffers that he "didn’t care if he lived or if he died," and as a result, he was stripped of his clothes and placed naked in a cell for his own safety. "That nurse [at the jail] classified me as an emergency," Garza told us. "So one says I’m in an emergency, and the other [at SF General] says I’m not…. At what point am I going to get any help?"

To recap: When Garza voluntarily tried to find care, he was told he was not sufficiently distressed. Only when he was arrested and thrown into jail for demanding help was he declared a danger to himself. His "treatment" consisted of a strip search and a jail cell.

But that’s only the beginning of the insanity.

The Emergency Medical Treatment and Active Labor Act was passed in 1986 to prevent hospitals from triaging out, or dumping, difficult or impoverished emergency room patients like Garza, a former business owner, cabdriver, and bookkeeper who has been on Social Security disability since 1995. EMTALA mandates that any patient who goes to an ER must be given an "appropriate medical screening examination." After he got out of jail, Garza sued the city, SF General, Lewis, and other city employees, contending they violated his rights under the act. He could not afford a lawyer, so he represented himself.

In one of the strangest twists of this twisted tale, Garza finally made it into the inner sanctum of SF General’s PES as a result of his suit against the city. But as with his night in jail, the circumstances of his psychiatric care were not what he was expecting.

While Garza was giving a deposition at the City Attorney’s Office in March 2003, his behavior prompted staffers to call in the authorities. According to an official report of the incident, Garza made suicidal remarks like "I have no desire to live." He also allegedly said that he "needed/wanted bullets and a gun." These statements are not present in the 168-page deposition. Garza did acknowledge to the Guardian that he became upset that day, especially when questioned about his experiences at SF General and the suicide of his lover, but he claimed that deputy city attorney Burrell "set him up" and that the calls to the mobile crisis unit and police were part of "an attempt at witness intimidation." Whatever the reason for the calls, Garza was detained for a 5150, a procedure under which subjects are involuntarily committed for up to 72 hours. The City Attorney’s Office had no comment on the issue.

Amazingly, police took Garza to the same PES department at SF General where the saga began. This time, though, he made it past the lobby and received a medical screening exam, marked by a report and other SF General paperwork. The mere fact of this report’s existence, Garza claims, proves that he did not receive proper care when he went to the hospital voluntarily in 2001. Deputy city attorney Burrell informed Garza by letter that the only record the hospital could produce from his 2001 visit was a triage report filled out by Lewis, the nurse. EMTALA does not permit triage of a patient without a subsequent medical screening examination.

However, in pretrial motions, the city argued that Lewis treated Garza like any other would-be patient and thus complied with the law: "EMTALA requires hospitals to provide a screening examination that is comparable to that offered to other patients with similar symptoms." In other words, Garza’s treatment may have been poor, but so was everyone else’s, so he had no case, the city contended. Judge Phyllis J. Hamilton agreed and tossed out the suit.

Perhaps the strongest proof of Garza’s "adjustment disorder" and need for psychiatric care, ironically, is the fact that he continued to press his case even after his lawsuit was tossed out, taking on a health care system that could make anyone feel unhinged. For the past six years, he says, he has badgered "10 to 15" local, state, and federal agencies, as well as government officials like Sup. Bevan Dufty and aides to House Speaker Nancy Pelosi (D–San Francisco). In the process, he has compiled an encyclopedic collection of letters, petitions, records, and even audiotapes of phone conversations.

"There isn’t a single agency that’s in charge of anything," Garza said of his dealings with the health care bureaucracy. "You’re parsed. You’re sliced and diced and parsed as a medical patient … and it’s designed to fail."

Not surprisingly, Garza’s efforts to find accountability have irked some officials and members of the bureaucratic corps. When he requested a copy of his arrest report from the Sheriff’s Department, he received a mocking denial letter signed "R.N. Ratched," a reference to the asylum nurse in Ken Kesey’s novel One Flew over the Cuckoo’s Nest. As the Guardian reported in 2002, Sheriff’s Department legal counsel Jim Harrigan eventually confessed to penning the letter, but only after Garza raised a fuss before the Sunshine Ordinance Task Force.

At Garza’s urging, the Centers for Medicare and Medicaid Services (CMS) asked the California Department of Health Services to investigate his treatment at SF General. In a letter dated Nov. 13, 2006, CMS official Steven Chickering informed Garza that the DHS "found no violation of statue [sic] or regulations." Chickering concluded his letter to Garza by warning him to back off. "Your frequent communications have become disruptive, distracting, and nonproductive. Therefore I have instructed CMS Regional Office staff not to accept telephone calls from you in this matter."

Despite his setbacks with the CMS and other agencies, Garza pressed on. He contacted the Office of Inspector General at the federal Department of Health and Human Services and asked it for help. OIG spokesperson Donald White declined to discuss specific details of Garza’s case, but he did tell the Guardian that "Mr. Garza came to [the OIG] directly, and we contacted CMS, and they conducted another investigation."

That second investigation found an EMTALA violation after all.

On April 19, Garza’s relentless — some might say quixotic or even crazy — pursuit of what he calls the truth finally produced some results. Nearly six years to the day after his 2001 visit to SF General’s PES, hospital officials inked a settlement agreement with the OIG in which SF General conceded that Garza had not been examined properly, a violation of section 1867(e)(1) of EMTALA. Section 6 of the settlement states plainly that the hospital "did not provide [Garza] with an appropriate medical screening examination on April 22, 2001."

The hospital agreed to pay a fine of $5,000. But Garza, as White told us, "is not a party to the settlement." In other words, he got nothing.

"That’s the way EMTALA works," White said, meaning that hospitals found in violation of the law pay restitution to the government, not to the victim. "We took the steps required under the law."

Reached by phone, Iman Nazeeri-Simmons, SF General’s director of administrative operations, acknowledged that hospital officials signed the settlement agreement but noted that in the course of the investigation leading up to it, "the state did give us a very thorough EMTALA survey and came out with no problems."

"It has been made clear to Mr. Garza that he is more than welcome to come back and access services here," she added.

Garza denied that he had received any follow-up calls from SF General offering services, and he balked at the idea of returning there: "That’s like sending someone back to the priest that molested them." He told us he would like to pursue further legal action against the hospital and the city but still has not found a lawyer. After the settlement was signed, he claimed, he asked officials at the OIG "where I could go now for legal and medical help, and they told me, ‘That’s not our jurisdiction.’ "

"So even though I’m dead right, I’m still without help because everybody’s pointing fingers … as opposed to getting me the help I need, because they don’t care, they’re unaccountable," Garza said. "Ten different agencies told me I was wrong, and now [with the settlement] I’m right?"

He threw up his hands. "Does that make sense to you?" *

Court smacks SF Planning Dept.

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By Tim Redmond

The Chron buried the news deep in the local section, but a June 22 state Court of Appeal decision on the validity of the Housing Element of the city’s General Plan was a huge slap in the face to the mayor and the planning director.

In essence, the court ruled that the city can’t adopt the new Housing Element without doing an environmental impact report. You can read the decision here.

I’ll admit: The folks who sued, a group of West side homeowners who don’t want more density in their neighborhoods, are not my favorite activists. I’ve never thought it was fair that all the density had to go on the East side of town, and that nobody West of 19th Ave. even had to think about it.

That’s the essence of the suit: The Housing Element might encourage more housing on the West side of town, and might allow housing without a lot of parking, and that might lead to congestion and traffic issues. As my old friend Ron Curran used to say, Boo Fucking Hoo: The rest of us in town have lived with those issues for years, and anyone with any sense knows that new housing in this overdeveloped town will need to be transit-oriented and not car-oriented.

Still, the plaintiffs made an excellent point: The Planning Department should have done an EIR on the Housing Element. IN fact, the Planning Department should do a lot better in the environmental review department generally. You just go forawrd with these big projects and zoning changes and refuse to acknowledge the impacts, and you’re eventually going to get smacked.