Mission

Clean and saber

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› kimberly@sfbg.com

SONIC REDUCER All allusions to Guns ‘N Roses much-contemplated, way-overthought, über-delayed ejaculation Chinese Democracy (Interscope) aside — is there such a thing as being too brainy or geeky to rock? Some might have pegged the cerebral, multi-syllable-slinging Decemberists as such: with its Brit-wave and Elephant 6 pop-literati influences, the band seemed to herald an aughtsy-totsy wave of archly smart indie pop (e.g., Arcade Fire) that drew from both stage-y American standards and college-radio playlists — theirs was less college rock than a college-educated rock. Add in the renown surrounding Decemberists’ 2005 San Francisco show, which cut "Chimbley Sweep" with a light saber duel, and eventually touched off playful competition with Stephen Colbert, and you’ve gotta wonder, how nerdy can one band get?

Well, attribute it to roving minds and too much drink, according to ever-cogitating, multi-tasking band leader Colin Meloy, 34. "I try not to be totally static onstage," drawls the songwriter by phone from his Portland, Ore., home as his 2-year-old son freaks out. "Typically if I go see a rock show, I just want to see a rock show and have the songs speak for themselves. But we’ll do gags, audience participation. Stuff born out of boredom and drunkenness."

Meloy and company’s restive imaginations most recently spawned a series of three singles titled Always the Bridesmaid, composed of tunes recorded last March but which weren’t quite right for the group’s March 2009 Capitol album, The Hazards of Love. The first 12-inch included "Valerie Plame," a jubilant shout-out, bustling with feisty accordion and brass, to the all-too-exposed CIA operative. "I would be listing to the radio and making dinner and hearing about Valerie Plame and what struck me was how perfectly the cadence of her name was for a pop song," Meloy explains. "’Valerie’ has been used in a lot of pop songs — there’s something about the first stressed syllable in a three-syllable name and the cadence onward, and the beautiful punctuation of the last name. It was just screaming to have a pop song written around it."

The last single — with the prettily melancholic, banjo-bedecked "Record Year" and the wistful, acoustic guitar-glittered "Raincoat Song" — comes next month. "I think it might be the only thing we ever released in December," quips Meloy.

As for the long-awaited LP, which the combo will likely play in its entirety on tour next spring, Meloy describes it as an "experimental narrative" forged after listening to a lot of old folk songs as filtered through ’60s-era British revivalists. "I noticed common elements were popping up and I thought it would be interesting to take those individual elements and throw them together in an extended song and see what sort of narrative it would create," he says.

"These days, to be a musician and to be constantly immersed in music, your outlook on music changes drastically," continues Meloy. "I find I rarely get the spine-tingling moments from music anymore. I think I’m jaded and immersed — you know how you work in a pizza place and get sick of pizza — and the spine-tingling moments are few and far between, but I find I’m rediscovering those moments in old folk songs. I find it in songs that make me weepy but have been around for centuries." *

THE DECEMBERISTS

Tues/25, 8 p.m., $30

Warfield

982 Market, SF

www.goldenvoice.com

BACK FROM THE JOINT: CHEECH AND CHONG

The comedy duo didn’t go entirely up in smoke with the ’80s: so-called "grumpy old stoners" Cheech and Chong return to the Bay for their first show in SF in, like, forever (Chong said manager Lou Adler’s feud with Bill Graham led to their blackballing), with a concert film in the works. How has the gray matter been, retaining the routines? "It’s all body memory," says the personable Chong, 70, from his Arizona stop. He attributes his skills and timing to writing and playing music. "I got my early comedy training with black jazz musicians. They are, without a doubt, the funniest people on the planet." Meanwhile the pair doesn’t pull any punches when it comes to each other. According to Chong, Marin initially pulled out of their act because "he wanted to play golf and get fat and get invited to parties," whereas Marin, 62, says he visited Chong once in the pen, but never got close to incarceration himself: "I’m smarter than that." So Martha Stewart is paying tribute to the twosome at their forthcoming roast? "She’s an ex-con," Marin wisecracks. "She relates to Tommy because she was in the joint."

Sun/23, 8 p.m., $39.50–$59.50. Nob Hill Masonic Auditorium, 1111 California, SF. www.livenation.com

BEAR WITH ME

MINUS THE BEAR


I like their math, class. Wed/19, 8 p.m., $20–$22. Bimbo’s 365 Club, 1025 Columbus, SF. www.bimbos365club.com

MISHAP SCIENCE FAIR


The Dead Hensons, TopR, the Missing Teens, and others make the chemistry happen. Sat/22, 8 p.m., $12 (free with project). Mighty, 119 Utah, SF. mighty119.com

YOUTUBE LIVE


You like to watch — and watch you will: the only way to catch Akon, Soulja Boy Tell ‘Em, Spinto Band, and other YouTube stars at Fort Mason is online. Sat/22, 5 p.m., free. www.youtube.com/live

BIZARRE BAZAAR


This burner-centric booty-shaker raises moolah for the Hookahdome camp. With Cheb i Sabbah and others. Sun/23, 2 p.m., $20–$30. Kelly’s Mission Rock, 817 China Basin, SF. www.kellysmissionrock.com

EARL GREYHOUND


"S.O.S." — NYC hard rocker alert. Mon/24, 8 p.m., $13–$15. Slim’s, 333 11th St., SF. www.slims-sf.com

THE ROSEBUDS


Dig the moody Life Like (Merge). Mon/24, 8 p.m., $12–$14. Independent, 628 Divisadero, SF. (415) 771-1422. www.theindependentsf.com

Sleaze, if you please

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Thanksgiving is a time for wholesome family togetherness. All the more reason, then, to get your sex on "Holiday Heat," a pre-Turkey Day celebration of retro sleaze. First up is freshly deceased Gerard Damiano’s 1972 Devil in Miss Jones, which followed his prior year’s Deep Throat as the second biggest porn movie ever. (Or at least before celebutantes like Paris Hilton and John Wayne Bobbitt crashed the market.) Throat is historic but amateur; Devil is actually kinda good. An impressively berserk Georgia Spelvin plays the suicidal spinster virgin alllowed to experience all the sin she missed out on before goin’ to hell. "I love you! I’ve waited so long for you!" she says to erotic "teacher" Harry Reems — well, actually directly to his cock. Moments later, Miss Jones is doing double penetration, other chicks, butt plugs, bananas, enemas, snakes (actual ones, not "trouser snakes"), et al. What other porn movie ends like Sartre’s No Exit?

The action goes softcore via 1975’s Teenage Hitchhikers, sole feature for director Gerry Sidley and scenarist Rod Whipple. Bird (Sandra Cassel) and Mouse (Chris Jordan) are two awfully mature "teenagers" traveling "the highway of life seeking truth and beauty" — though they’re blithely OK with sex for money, robbery, commune orgies, and numerous other deliberately over-the-top episodes. The endlessly quotable dialogue and full-frontal frolicking make this drive-in obscurity a find. Last, there’s an evening of "Sexy Trailer Trash" from Yerba Buena Center for the Arts film and video curator Joel Shepard’s personal collection. It dangles previews for such tasty vintage R and XXX treats as Hot T-Shirts, Swinging Stewardesses, Rhinestone Cowgirls, and California Gigolo (trailers span 1968-82). Never mind the tofurkey — get your stuffing early here.

"HOLIDAY HEAT"

Devil in Miss Jones, Thurs/20, 7:30 p.m.

Teenage Hitchhikers, Fri/21, 7:30 p.m.

"Sexy Trailer Trash," Sat/22, 7:30 p.m.

All shows $6–$8

Yerba Buena Center for the Arts, 701 Mission, SF

www.ybca.org

“Bill Jenkins”

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REVIEW The fewer direct descriptions of Bill Jenkins’ show at Jancar Jones Gallery the better. I went into the secret small space having liked Jenkins’ contribution to last year’s University of California MFA exhibition at Berkeley Art Museum. Jenkins’ meditative approach to objects seemed to journey through a door of perception that was opened by Alicia McCarthy in the same show — a door that called lazy voyeurism into question. Yet even with that experience in mind, Jenkins’ first solo show in SF pulled the floor out from under me. After entering the gallery, I spent my first moments realizing the limits of my expectations, in particular that mind-controlled urge to immediately be visually wowed by goodies. It isn’t that the objects Jenkins finds and recreates aren’t attractive, but that the depth of their presence isn’t obvious. The longer you look, the more you’re rewarded. The minimalism and austerity of Jenkins’ practice is uncharacteristically warm. He has somewhat of a kinship with McCarthy and the Bay Area painter Todd Bura in his understatement and his creative explorations of absence, of the relationships between things, and of how time creates objects as it erodes or destroys them. One Jenkins work that isn’t part of this show is a mirror covered in spray paint. Move from that spot of obscured reflection to areas of gray and off-white and you’re almost there, at the door of the room where these works reside.

BILL JENKINS Through Dec. 13. Thurs.–Sat., noon–6 p.m. Jancar Jones Gallery, 965 Mission, SF. (415) 281-3770, www.jancarjones.com

Holiday Guide 2008: Pumpkin and pie

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› culture@sfbg.com

For most of us, pumpkin pie is as much an integral part of Thanksgiving as turkey and stuffing. It’s been that way since the beginning, when pilgrims included pumpkin-based delights in their harvest meal.

But early versions of the dessert were much harder to come by than our canned-puree (or Marie Callender’s) variety. The original New Englanders used pumpkins from the American Indians’ harvest, of which they received a large share after arriving in Plymouth, Mass., in 1620. They filled pumpkin shells with a mixture of pumpkin, milk, honey, and spices, and baked them in hot ashes to get that puddinglike, orange deliciousness that so many of us crave by mid-November.

Back then, every part of the pumpkin was used. Pumpkin seeds were medicine. Mats were made from flattened, dried strips of shell. It even came in handy if you didn’t like your freckles or wanted to get rid of a nasty snakebite, or so the pilgrims believed. The early Americans were so infatuated with the fruit (then known as pompion) that they even wrote songs about it: "We have pumpkin at morning and pumpkin at noon / If it were not for pumpkins, we would be undone."

These days, it’s hard to find anyone who uses a pumpkin for anything more than a table decoration or a Jack-o’-lantern. But it’s just as hard to find someone who’d say that the orange-colored custard tart doesn’t belong on the Thanksgiving table. So why argue with tradition? At the very least, you’ll be serving up some good, old-fashioned nutrition to your guests, in the form of vitamin A, potassium, and fiber.

Here are some ideas for pumpkin treats, whether they’re traditional pies or modern alternatives, store bought or homemade.

MISSION PIE


From the outside, this Mission Street den doesn’t look like a place where you’d want to buy a pet mouse, let alone a dessert to feed your loved ones. But stepping inside the café is like opening the door to Oz: bright colors and friendliness offset the tattered exterior. The staff suggests preordering from the rotating menu of five popular holiday pies ($18) if you want a whole one in time for Turkey Day. And believe me, you will. Try a slice ($3.85, or $3.50 to go) with a dollop of chilled whipped cream and a cup of one of three house-blend coffees. You’ll find the pie’s as traditional as anything Grandma’s ever made for you.

2901 Mission, SF. (415) 282-1500, www.missionpie.com

MIETTE PATISSERIE AND CONFISERIE


It’s nutty. It’s succulent. And according to my findings, one person can devour the whole thing in a day. Beautifully wrapped in plastic and a pink bow, Miette’s pumpkin walnut cake ($14) is a staple dessert for anyone headed to Mom and Dad’s for Thanksgiving — but only if you can make it there with some still left on the platter. Not dressed to impress? Oh please, this cake is class-y. It will make up for a tattered sweater or a stained pant leg.

Ferry Building Marketplace, Embarcadero and Market, SF. (415) 837-0300, www.miettecakes.com

CRAVE BAKERY


This avant-garde brand makes completely organic pies from rice milk, free-range eggs, and palm fruit oil — which all taste better than they sound. Plus, everything is wheat free, gluten free, and casein free, so dessert lovers who are allergic to wheat and dairy can pig out without losing sleep. Pick up an eight-inch pumpkin tart at Whole Foods, Rincon Market, RJ’s Market, Rainbow Grocery, Mollie Stones, Le Beau Nob Hill Market, or Andronico’s.

(415) 826-7187, www.cravebakery.org

ZANZE’S CHEESECAKE


It’s always fun to mix things up. It’s even more fun when there’s pumpkin cheesecake involved. In my opinion, the cheesecake is a close second to its time-honored counterpart, the pie. And unlike most cheesecakes, Zanze’s (6-inch pie, $14; 8-inch, $22; 10-inch, $28) won’t weigh you down like a pile of bricks — you’ll have a turkey to do that. It’s light and carefully whipped, so there will be no need to embarrass yourself by unfastening your pant button and unleashing your belly bulge. It’ll all fit this year.

2405 Ocean, SF. (415) 334-2264

PEASANT PIES


With its top layer of apricot jelly and delicate homemade crust, Peasant’s pumpkin pecan pie ($15.75, one-day advance notice necessary for ordering) will have you wishing Thanksgiving were a weeklong celebration. Peasant Pies’ menu was inspired by the savory tarts found in Sète, France, and was designed with health-savvy pie eaters (is there such a thing?) in mind. Bon appétit!

1039 Irving, SF. (415) 731-1978, www.peasantpies.com

FAT APPLES


With its oh-so-desirable pumpkin pies available only through New Year’s, the bakery recommends placing an advance order to get your paws on one. It also offers pecan pie and harvest pie (with apples, cranberries, and caramel strudel) during the holiday season (pumpkin and pecan, $17; harvest, $20). Now we really have something to be thankful for.

1346 Martin Luther King Jr., Berk. (510) 526-2260

BEARD PAPA’S SWEETS CAFE


Maybe you’re the unpatriotic Scrooge who doesn’t serve pie on Thanksgiving. Fair enough. But this year, dish up a few pumpkin-flavored cream puffs ($2.25 for one, $11 for six) to give off that I’m-a-reformer-who-still-has-a-little-spirit vibe. They’re flaky on the outside, creamy on the inside, and lightly sprinkled with powdered sugar that will undoubtedly end up all over the place. It could be a fun new tradition.

845 Market, SF. (415) 978-9975, www.beardpapasf.com

YOUR KITCHEN


If you’re really brave and have some time on your hands, be bold and bake a pie from real pumpkin, not the canned-puree stuff. To make the filling, follow this recipe from www.vitalitymagazine.com:

Cut the pumpkin in half with a French knife or cleaver.

Scoop out the seeds. (Set them aside for roasting or use them in another recipe.)

Brush the cut sides with 2 tablespoons of olive oil.

Place the pumpkin halves on a baking sheet, cut side down. Bake them in a 375-degree oven for about one hour, or until a knife pierces the skin and flesh easily.

Remove them from the oven and let them cool.

Scrape the flesh from the skin and puree it in a blender or a food processor. Use it immediately or freeze it in one-cup portions.

A three-pound pumpkin yields three cups of puree.

Click here for more Holiday Guide 2008.

Holiday Guide 2008: Creative giving

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› culture@sfbg.com

Barack Obama may have won the election and things may be looking up, but now, in post–Election Day reality, certain things are still true: we’re stuck with George W. Bush until January. Proposition 8 passed in California. And the economy still sucks. Not to rain on anyone’s parade — or water down your big steaming cup of holiday cheer — but things aren’t all better yet. Which means that on an economic level, at least, the prospect of gift giving this season remains daunting — if not impossible — for most of us.

But there’s no need to fear. Obama may be our hope for changing the country, but we’re hoping this guide to affordable gifts (most $10 and under!) might give you a little hope for Christmas morning or the Hanukkah gift exchange — one that doesn’t involve guilt trips (your friends’ and families’) or credit card debt (yours).

THINKING OF YOU


All great gifts involve a certain ratio of money, time, and thoughtfulness. The more thoughtful the gift, the less money you need to spend on it. A great example? My cash-strapped friend once got his girlfriend a concert poster for Christmas. Expensive? Hardly. But the poster was from the first concert the two ever attended together. Similarly, spending a lot of time or effort on a gift can mean as much — if not more — than spending a lot of scrill. I doubt the secondhand corset my sister got me last year cost much up front, but I know that personalizing it with leopard-print fabric, feathers, and red lace took a bunch of work and thought. If you adjust your ratio according to your budget, you just might be able to ride the Obama high through New Year’s.

For those who are crafty, now’s the time to use the skills you’ve got. Photoshop wizards might consider making a personalized magazine or concert-style poster for loved ones. Those who sew can get bags, clothes, and even shoes from thrift stores and jazz them up with fabric, beads, and iron-on images. If you’re more paint- than needle-friendly, find a funky box, vase, or even lampshade and re-imagine it for your giftee’s tastes. In addition to secondhand stores like Thrift Town (2101 Mission, SF. 415-861-1132, www.thrifttown.com) and Out of the Closet (1600 University, Berk.; 100 Church, SF; 1295 Folsom, SF; 1498 Polk, SF. www.outofthecloset.org), consider stopping by SCRAP (801 Toland, SF. 415-647-1746, www.scrap-sf.org) for ideas and supplies.

STEP-BY-STEP


Determined to make something, but don’t know how? For Jews and Judeophiles, try making an incredible edible dreidel. All you need are Hershey’s chocolate kisses, marshmallows, thin pretzel sticks, and peanut butter.

Step 1: Spread a generous amount of peanut butter on the end of a marshmallow. This peanut butter will act as a glue for the next step.

Step 2: Unwrap a kiss and attach it to the peanut butter–glazed side of the marshmallow. This will create the bottom of the dreidel — the part that allows it to spin.

Step 3: On the side of the marshmallow that has thus far remained untouched, take a pretzel stick and press it into the center of the top of the marshmallow. This will create the top handle of the dreidel.

It may not spin very well, but it’ll sure be cute!

Another idea is a real cork board. Just collect about 30 corks from wine bottles and hot-glue them to any wooden frame. Voilà! Instant wino-chic. Or turn a cheap wooden frame into an earring holder. Simply adorn the frame with paint, beads, stickers, glitter or feathers; staple netting to the back of the frame (an old window screen works great!); and attach a picture-hanger to the back for easy wall application. All your giftee need do is attach earrings — both dangly and post styles — to the net, and they’re on display for all to see.

SHOP SMART


If you like a crafty feel but don’t have the creative touch yourself, there are plenty of local artisans ready to sell you their wares — for much lower prices and with much more flair than you might find at big corporate stores. Some of the best gifts are available over at Etsy (www.etsy.com), where you can search for nearby vendors. Our favorites include SquishySushi pendants made from recycled Scrabble pieces, TalkingHands jewelry in the shape of sign language letters, rings from contraptions that are made to look like they’ve been scarred in battle, and bottlecap necklaces by recaps.

If you’re shopping for a crafter, a great idea is a gift certificate to Noe Knit Flicks at NoeKnit (3957 24th St., SF.), which treats him or her to a night of movie-watching and needle-clicking. Other affordable local stops? Stylish marshmallows from Coco-luxe (1673 Haight, SF. 415-367-4012, www.coco-luxe.com), Little Mismatched socks from Sock Heaven (2801 Leavenworth, SF. 415-563-7327, www.sockheavensf.com), or funky zines from Needle and Pens (3253 16th St., SF. 415-255-1534, www.needles-pens.com).

We also love the papers, pens, and tchotchkes at Kinokuniya Bookstore (1581 Webster, SF. 415-567-7625, www.kinokuniya.com). You can find all kinds of vintage clothes, jewelry, and other delights at Alemany Flea Market (100 Alemany, SF. 415-647-2043), Sundays from 8 a.m. to 3 p.m. And you can get all kinds of kitchenware goodies — at wholesale prices! — at Economy Restaurant Fixtures (1200 Seventh St., SF. 415-626-5611, www.bigtray.com).

Of course, there are tons more places to get cheap gifts in town. This is just a starting point. Neighborhood boutiques, crafts fairs, and art shows are great places to find one-of-a-kind objects that’ll not only delight those on your list, but also support our local economy. Used books and CDs are always good for media types. A collection of magazines — perhaps foreign ones from Fog City that might be hard to find otherwise — can be beautiful and cost-effective.

The most important thing to remember is that when trying to give a gift with minimal cash, you should think about the message you want to send. Showing someone they’re important to you, important enough to pay attention to, can mean just as much as getting them the Guitar Hero for MacBook game they know you’ve been wanting (hint hint, Mom). And who knows? Maybe next year, Obama will give us a better economy for Christmas. *

More Holiday Guide 2008.

Harding theater: the show goes on

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HARDING THEATER — LIGHTS UP ON NEXT ACT
Richard Reineccius

The SF Planning Commission came through 7-0 for a full Environmental Impact Review on the Harding Theater on Thursday 11/13!

Commissioners almost universally criticized the staff recommendation for a “negative declaration” for the need for environmental review, and agreed with neighbors of the Divisadero building that there had been almost no public input.

No date was set for the beginning of hearings on the Harding, and staff said it would likely involve a hired consultant.

Community leaders who spoke included Joe Landini, Jim Bracken, Sheila Devitt, David Tornheim and more than a dozen others from the Western Addition/Panhandle/Haight neighborhoods, arguing that The Harding as a functioning arts venue will greatly enliven the Divisadero business strip, as the renovated Brava Theater Center has done for The Mission’s 24th Street.

Attorney Arthur Levy as the pro bono attorney for Friends of 1800, a non-profit preservation organization, had made the effective formal appeal on the basis that historic buildings being considered for major alterations must receive a full EIR under California law.

Prominent theater professionals and historic preservationists voiced concerns at the two hour hearing – including directors and advocates from Theater Bay Area, Lorraine Hansberry Theatre, Brava Theater, Magic Theater, Metro Theatre Center Foundation, the Garage Theater and The Independent nightclub.


Richard Reineccius was a founder of the SF Neighborhood Arts Program, and a long time advocate for arts facilities in communities. He, his ex-wife Brenda Berlin, and Doug Giebel founded the progressive Julian Theatre, performing in The Mission District and Potrero Hill from the 1960s to mid-90s.

Pics: The dead walk among us

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Ed Note — OK, OK, we’re a tad late posting these wonderful pics by Ariel Soto of the annual Day of the Dead procession — at which we actually sensed a greater Latino presence than at years previous. But we got a little caught up in the whole election kerfuffle. Enjoy.

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The group of skeletons that congregated at 24th and Bryant on the night of November 2nd, seemed excited and ready to embark on the procession lit by candles and redolent of incense, to honor friends and family who have passed on, perhaps to bigger and better places. The procession, accompanied by drummers and dancers, made its way through the Mission, ending in Garfield Park where spectators respectfully looked at dozens of altars constructed by different artists and family members.

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Food + bikes = fun

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by Amanda Witherell

Are you in search of good food? Are you on your bike when you’re looking for it? Do you want to join a bunch of other people on bikes chasing down good food? Food justice activist Antonio Roman-Alcala will be leading a bike tour this Sunday, Nov. 9, that sounds like part food education, part snacking, and a limited amount of pedal power (through the Mission and southeast parts of the city, which are blessedly flat.) The four-hour tour will feature guest speakers from Mission Pie, the Free Farm Stand, Veritable Vegetable, People’s Food System warehouse, and Community Alliance with Family Farms.

Space is limited to 40, with proceeds benefiting the “In Search of Good Food” movie project, a very cute pilot of which is posted above and features an inquiry into the origins of the vegetables in tacos served by El Toyanese truck on Harrison Street. A must, must see.

Meet up is at 16th and Mission BART station, 11 am on Sunday. Get your tickets here.

Obama 4th, 2008: Where were you?

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By Molly Freedenberg

Some moments we don’t recognize as historic until they’ve passed. Others are so monumental, we feel their future importance even as we experience them in the present. The bombing of Pearl Harbor, Kennedy’s assassination, and 9/11 all were such moments – those old enough to be cognizant all remember where they were the first moment they heard the news.

Our newest such moment is, of course, election night 2008.

And so we’d like to ask, as your history books and children and relatives surely will ask you for years to come: Where were you when you heard the news of Obama’s election? How did you feel? And how did you celebrate? Leave your answer in the comments below. Also, if you have photos or video of election night, we’d like to see them! Please send links or files with subject line “Obama 4th” to art.guardian@gmail.com.

I’ll kick things off:

When I first heard the news, I was at Inner Mission Tavern, watching CNN with a room packed full of strangers. As they hugged and cheered and drank, I stood still and cried. I stayed to watch the speeches, struck by several things …

Margaret Tedesco

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Walking down the street the other day, Margaret Tedesco was struck by an oddly inspiring slogan on a slick poster for a Las Vegas spa: Live vicariously through no one.

"I saw that and thought, ‘This is me,’" she says enthusiastically. "I have my own agenda, and the biggest thrill of all is the surprise I find living it myself."

The indie spirit of that comment may sound a bit self-centered, but Tedesco’s approach to that agenda always includes inviting others into the fold. Whatever she puts her mind to, be it performance (often involving film and a persona-altering blonde wig), choreography, photographic works, publications, or, most recently, the cozy, artist-run [ 2nd Floor Projects ] gallery in the Mission, it invariably brings people together in dialogue and shared experience.

Tedesco’s performance and wall-based art are in public circulation — she was included in "Bay Area Now 4" at Yerba Buena Center for the Arts, is contributing a live piece to a program at Slaughterhouse Space in Healdsburg this month, and is currently part of a group show of artist-gallerists at Blankspace in Oakland. There, she has raided her archives to present images of her history, including her participation in political activism in the late 1960s.

But it’s [ 2nd Floor Projects ], which Tedesco debuted in April 2007, which has garnered the most consistent attention, both locally and in the international art press. The gallery is very much her space, and it functions as a Sunday afternoon salon, a place where you can count on finding interesting art and conversation. Chances are, Tedesco will tell you about another event that evening — a notable writer, perhaps, giving a reading in a similarly salon-like setting — or she’ll introduce you to another artist who just came in to see the show. She’s lived here two decades, time enough to know hundreds of creative souls, and she’s worked for years as a graphic designer at the San Francisco Art Institute, where she is as much a mentor to students as a support to faculty.

Tedesco, it seems, knows just about everyone, and not only within a single genre box. Her community is truly multimedia. It includes writers, artists, filmmakers, thinkers, activists, eccentrics, and adventurers of all stripes. And she actively brings people together as a component of her work. Combining her keen interests in art and writing, she produces a limited-edition publication for each of the exhibitions in her space, pairing a writer with an artist. For a randy show of rarely seen drawings and paintings by twin brothers and legendary filmmakers George and Mike Kuchar, poet Eileen Myles created a broadside. Novelist Dodie Bellamy wrote an appreciation of British artist Tariq Alvi for his exhibit at the gallery. For an upcoming show of works by the late filmmaker Curt McDowell, Tedesco has tapped filmmaker/writer William E. Jones, who, she learned, is planning a McDowell biography. I know from experience — Tedesco invited me to write for a show by Nao Bustamante — that the goal is to generate writing that exists outside the standard art magazine form.

This type of matchmaking is one example of the kind of vicarious thrill Tedesco thrives on. "The joy of any exchange is watching it perform before my eyes. I get to be surprised," she says. And so do we.

projects2ndfloor.blogspot.com

Jonas Reinhardt

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He doesn’t seem like someone who’d perform at an arena, but Jesse Reiner’s aural ambitions as a contemporary Krautrocker are Wembley-sized. "I would love it if we were playing in stadiums," he says of his solo synthesizer project, Jonas Reinhardt, citing no interest in celebrity but expressing a deep amazement at the apparent scale of Tangerine Dream’s gigs in the ’70s. "They were a big band! It amazes me that people had that much patience for that."

This amazement folds neatly into Reiner’s shimmery present-day endeavor, which only recently, with the advent of Norwegian space-disco and the West Coast’s various strands of tripped ambient, did he feel might draw any audience at all. It’s clearly a liberating undertaking for the Berlin School enthusiast: much of our conversation at a bar in the Mission is gladly given over to his influences, ranging from Klaus Dinger’s caveman-like "motorik" drum sound in Neu! to the heavenly, droning thrum of White Rainbow up in Portland, Ore. Many may know Reiner for his synth and guitar contributions to Ascended Master, Crime in Choir, and Citay, which he left earlier this year. While his first record for Kranky as Jonas Reinhardt is deeply influenced by German electronic sounds, the project in no way sounds like a non sequitur alongside his other bands.

It was some time ago — the mid-’90s — when Reiner was won over by analog synths as a college student, discovering such electronic/ambient innovators as Michael Garrison, Klaus Schulze, and Manuel Göttsching. He and a friend entertained the idea of making a record they could pass off as a lost recording by two imaginary Düsseldorf academics: "Wilhelm Freuder" and "Jonas Reinhardt."

The moniker has become useful again as a vaguely defined face for the launch of this new project. As Reiner describes it, Reinhardt is a "suave European guy who makes very continental, European-type electronic music and lives in Monaco." Goofy as the premise is, placing the project’s image at a remove from the actual musicians behind it has proven appropriate, as Jonas Reinhardt is a solo endeavor in the loosest sense of the word: performances have happened as a trio with Damon Palermo of Mi Ami on drums and Kenny Hopper, also of Crime in Choir, on bass. Just recently, the band took on a fourth member in guitarist Phil Manley of Trans Am and the Fucking Champs, who provided tape treatments for the project’s debut, which Reiner recorded himself.

The full-length, Reinhardt’s second release after this summer’s Modern by Nature’s Reward EP on iTunes, is a shiny, cerebral pleasure where the synths hiss and gleam through a set of tunes that often feels as improbably bubbly and vintage as Matmos’ recent all-synth undertaking, Supreme Balloon (Matador). There is grit to the Reinhardt beat, however, and its sound takes on a more danceable form live, as could be seen at its YouTube-d Big Sur appearances, the first of which was an after-party gig for Kraut legends Cluster. Basic tracks have begun for the next record, which Reiner predicts will be more beat-driven. For a fictional character, Reinhardt is quite eager to collaborate, too: Reiner hopes to record various "Jonas Reinhardt and So ‘n’ So" discs in the coming months and years.
www.jonasreinhardt.com

Dancing in the streets

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By Steven T. Jones

The Mission District was jubilant tonight, with champagne-wielding, Obama-cheering groups of celebrants roaming the streets and woo-hooing at the constantly honking cars and jingling bikes, and then finally gathering by the hundreds at the intersection of 19th and Valencia shortly after 10 p.m., where they remained for at least an hour, dancing, soaking in the moment, unmolested by police that were nowhere to be found. It was a spontaneous celebration of a historic moment by citizens of the country’s most progressive city.
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“We have change,” was the chant that a young boy standing atop a van started, animating the crowd.

“Relay”

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REVIEW Those of you who can remember them know that cassette tapes aren’t exactly sturdy. Forever getting tangled in car stereos or being left to bake on dashboards, during their commercial heyday they practically advertised their obsolescence — Maxell ads be damned. But anyone who has managed to wrest the audio from within a warped plastic shell knows that the metamorphosed sound can be strangely beautiful. Composer Daniel Basinkski has made a second career out of looping the death rattles from his magnetic tape archive, and Kevin Shields nearly bankrupted Creation Records while trying to make his guitars sound like so many corroded C-90 tapes.

Dan Nelson invokes the cassette’s history of planned obsolescence in "140 Ways to Make a Cassette Tape Unlistenable," his contribution to "Relay," a modest group show of sound-related art at the LAB. Nelson is no stranger to lists, as attested to by his handsome grimoire All Known Metal Bands (McSweeney’s, 300 pages, $22). Here, though, he catalogs his repeated and sometimes frustrated attempts at destruction rather than posterity. Lining the walls are vitrines and photographs displaying the remains of cassettes: encased in cement, mobster-style; wrapped in electrical tape; atomized from hammer blows; power-sawed in two. There are letters documenting Nelson’s attempts to send tapes over Niagara Falls and into outer space on a NASA rocket. Most hilariously, a missive to the Gagosian Gallery pleads for one of Nelson’s cassettes to be interred with Ed Ruscha when Ruscha passes on.

Nelson’s installation mines its laughs and its conceptual heft from a self-deprecatory stance: cassettes have long been declared a dead medium, despite whatever nostalgic eternal return may be planned by the Urban Outfitters cultural industrial complex. The ridiculous length to which Nelson is willing to pursue his mission only further underscores this fact. The flogging of a dead horse is rarely so much fun to watch.

RELAY Through Nov. 15. Wed.–Sat., 1–6 p.m. The LAB, 2948 16th St., SF. (415) 864-8855. www.thelab.org

Safai will sleep well tonight

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By Molly Freedenberg

It was a very different scene at Pissed Off Pete’s, the headquarters for District 11 Board of Supervisors candidtate Ahsha Safai, than it was at Inner Mission Bar. Where Sheehan’s party was filled with mostly 30-something white hipsters, former punks, and scruffy activist-types, Safai’s was a mix of older voters from diverse backrounds and grown-up types in suits. Safai himself looked calm and casual, if sophisticated, in grey slacks and a black fleece zip-up jacket. Though cars honked and people yelled along most of Mission Street, things seemed to be winding down at Pete’s by 10pm, when Safai took the stage. He acknowledged results for his race probably wouldn’t be in for a day or two, but thanked his volunteers and campaign managers for their “bottoms-up, grassroots” campaign – with special thanks for his wife, and childhood friend Sammy B., and Summer Branch. “Everything changes tomorrow,” he told the crowd. As he finished his brief speech, the crowd cheered “Ahsha, Ahsha, Ahsha!” before filtering out into the night. As for Safai, he admitted to the Guardian that it’s a difficult process to campaign, and especially not to know the results yet. But he was uplifted by Obama’s win. “It lifts you,” he said, adding that he’s “the other skinny guy with the funny name.” As for how Safai will sleep tonight with so much of San Francisco politics up in the air, he didn’t hesitate: “I’m exhausted. I’ll probably sleep like a baby.” It probably doesn’t hurt that as soon as he rejoined the crowd, his advisors said his numbers looked good.

Obama wins, but no SF results yet

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by Amanda Witherell

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Soon to be Assemblymember Tom Ammiano greeted by supporters at Campos for Supervisor headquarters

Up and down Valencia Street you could hear cheers echoing from bars and balconies when Florida flipped for Barack Obama. We have a new president.

But here in San Francisco, the new slate of supervisors is still pending. Outgoing supervisor Tom Ammiano just stopped by the David Campos headquarters at 24th and Mission Streets. He said the word from City Hall is “There’s a long line at SFSU still waiting to vote and they’re not releasing any results until everyone has voted.” He’s predicting no results on local races until 9:45.

In the meantime, a crowd of Campos supporters just took in Sen. John McCain’s brief concession speech. “Good-bye,” several waved to the campaigner’s departing figure shown by projection on a blank wall in the back of the campaign office.

Rockin’ at Roccapulco for Quezada

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Meghan McCloskey reports from the Eric Quezada party at Roccapulco:

Only a couple people sat in this beautifully appointed Mission Street club at 7:59 pm when we learned that Obama had enough electoral votes to become the President of the USA. Applause erupted as if the place were packed.

At 8:45, Quezada, candidate for D9 supe, walked in the door and headed straight for the front of the room. “We’ve already won” he said, looking up at Obama on the big screen. “So have some drinks and let’s celebrate the change we want!”

Rosalba Navarro, who works with Quezada 17 years ago in East Palo Alto in a parent organization that aided bilingual education in schools, says there’s no better perspon for the job. “He’s always been a fighter for the underdog,” she sais. “It’s great to have him support our community.”

Supporters wore bright yellow t-shirts with Quezada’s name on them to show their enthusiasm. Campaign volunteer Yeseenia Ruiz said, “The Guardian’s endorsement definitely helped Eric’s campaign, because people got to know him a little better. Just seeing his name you don’t know where he’s from. But articles in the paper help get people out there.”

Ove 100 volunterers have worked on his campaign Ruiz sasy volunteering ius what his ccampaign is all about.”

Tears, cheers, and bubbly for Obama … and Sheehan?

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By Molly Freedenberg

There’s no sign at Inner Mission Tavern that this is a Cindy Sheehan party, but it’s most certainly one for Obama. When Virginia was announced for the Democratic nominee, the bar erupted in cheers – a sound dwarfed only by the joyous explosion when CNN predicted him the winner of the 2008 presidential election several minutes later. The night’s two bartenders (also the owners), both in Obama T-shirts, popped bottles of champagne for those lucky enough to be seated at the bar in the packed-beyond-belief room. The cheers, congratulations, and happy hugs stopped for Senator McCain’s speech, which was met first with a combination of boos and cheers, and then with appreciation for his surprisingly gracious concession speech. “This is my favorite McCain speech,” said one party attendee. As everyone waited for President-elect Obama to appear on CNN, the bar had to ask for patrons to pass their empty glasses to the front, as they’d run out of everything. “Obama’s so awesome he sold the bar out of beer!” someone exclaimed. And then Obama took the (TV) stage. Everyone in the room listened attentively. Some shed tears. Some of the biggest responses were to Obama’s acknowledgement of the millenial generation’s refusal to accept their reputation for apathy, and Obama’s mention that this is also a victory for those who are gay. Then, just like the live audience in Chicago, bar patrons chanted “Yes We Can” along with Obama’s pulpit-style closig. With the speech over and the bar starting to empty, there’s still no mention of Sheehan (nor any results available). But somehow, I imagine no matter the results of local elections tonight, most of these people will go home happy.

Election-night bashes off the grid

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OK, we all know about the free election-daze bevvies at Starbuck’s and gratis donuts at Krispy Kreme (if you’re so hot for free caff, why not get your fix at a local kawfee-seller like Farley’s on Potrero Hill instead?) – but what about all those other parties out there for you freedom-lovin’ America-for-Americans? Tonight it’s time to celebrate (and toast the outgoing, seemingly never-ending campaign cycle). Say “s’long” to those perpetually looping, loopy infomercials… here, there, everywhere:

PARTY LIKE AN ART STAR
Free pizza when the polls close! And an opportunity to write on the walls, think historical thoughts, and live it up at Yerba Buena Center for the Arts. YBCA put a call out to makers to help them dream up a got-out-the-vote getdown. And boy did they respond: participants include Hella Hella Acapella with Lara Maykovich, Maya Dorm, Nichole Rodriguez, Marissa Greene and Madeleina Bolduc; Sri Satya Ritual Movement with Micah Allison, Isis, Indriya and Nikilah Badua; Anahata Sound; Derick Ion and the Satya Yuga Collective; Dancing the Dead Dharma (Sara Shelton Mann and Dance Brigade); Alleluia Panis and Dwayne Calizo; Anna Halprin; DJ Wey South; DJ Aztec Parrot with YBCA Young Artists at Work; rigzen; Maji; Sara Shelton Mann; Dance Brigade; Bruce Ghent; Rajendra Serber; Sonya Smith; Kira Maria Kirsch; Folawole Oyinlola; Lena Gatchalian; Sarah Bush; Hana Erdman; Karen Elliot; Richelle Donigan; Kimberly Valmore; Krissy Keefer, and Guardna contributor D. Scot Miller. Whew. Pass the Joe Six-Pack. 6–11 p.m., free with cash bar. YBCA, 701 Mission, SF.

CHICK-CHICK-CHICK THAT BOX
For finger-licking good times after licking the GOP? Free chicken if Obama wins from 9-10 p.m. at Farmer Brown, 25 Mason, SF. (415) 409-FARM.

SAN FRANCISCO’S OBAMA VICTORY PARTY

Oh, why not just call it now. Drink specials, guest speakers, and live election coverage. First 100 attendees get a free Shephard Fairy “Hope” poster. Doors 6 p.m., free. Mezzanine, 444 Jessie, SF. (415) 625-8880.

DON’T DODGE THE DRAFTS
Drafts – that’s our cue to drink up! The Guardian bash boasts a free beer special (while it lasts) when you present a voter receipt or sticker. Win prizes like Beach Blanket Babylon tickets at an election trivia challenge. 7-9 p.m., free. Kilowatt, 3160 16th St., SF. (415) 861-2595.

Tom Ammiano and the Greens

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By Tim Redmond

I respect the Green Party. We’ve endorsed a lot of Greens, from Matt Gonzalez to Ross Mirkarimi to Medea Bejamin. We even endorsed Nader the first time around. In San Francisco, the Greens are doing the right thing — they’re running local candidates for local office and building a base that way before they get all agitated about statewide and national races.

And if the Green Party wants to take the position that it endorses only Greens and not Democrats in partisan races, that’s fine, too.

This fall, though, the Greens endorsed Mark Leno for state Senate, saying that

We are pleased that Mark Leno has represented our Key Values well in the State Assembly, and therefore we endorse him for a promotion to the State Senate.

Again, that’s fine — we endorsed Leno, too, and he’ll be a great state Senator and will do his best to promote the progressive values that the Greens and I share.

So why did the party decline to endorse Tom Ammiano for state Assembly?

I mean, with all due respect to Leno (and I mean that, sincerely), Ammiano has always been more a leftist than Leno, and closer to the Greens core values. Leno endorsed Gavin Newsom for mayor. He’s supported more moderate Democrats in a lot of races. That’s not to say he isn’t a good legislator and shouldn’t get the Green nod — but if he’s good enough for the Greens, then Ammiano sure ought to be.

The party’s take on Tom?

We are disappointed that Ammiano has not followed Supervisor Mirkarimi’s lead in pushing for a Green approach to improving law enforcement, particularly as Mission residents feel that City officials have overlooked growing concerns about crime and public safety. Ammiano has also taken an increasingly partisan tone in recent years, and may as a result be ineffective in passing progressive legislation in Sacramento.

Gimme a Green Fucking Break, folks. Ammiano has been right there with Mirkarimi on foot patrols, against the ICE crackdown on immigrants, for progressive approaches to crime — certainly as much as Leno has. And “too partisan?” I’ve never, ever heard the Greens argue that one before.

No, I think this is simple: Leno endorsed Mark Sanchez, a Green, for supervisor. Ammiano endorsed a Sanchez rival, David Campos. Both are qualified candidates for supervisor; it would be entirely appropriate and reasonable for any progressive to support either of them. Penalizing Ammiano for not supporting Sanchez makes no political sense.

It’s a silly thing to fight about because both Leno and Ammiano are going to win overwhelmingly anyway, and I have no right to tell the Greens what to do with their endorsements — but this just looks awful. It looks petty and yes, partisan, and frankly, drives a wedge between the Greens and the left wing of the local Democratic Party, which is the last thing we need.

Grow up, Greens.

No-brainer

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REVIEW The title of David Szlasa’s peculiar, compact, and appealing new work suggests one ready avenue of flight from a world gone mad, but in fact fantasies of escape take more than one form in My Hot Lobotomy, now up at CounterPULSE. And while escapism is exactly what the piece concerns itself with, the import is anything but apathetic or disengaged. A cheerfully quirky, Beckett-like duet wrapped in luxurious silences, snatches of recorded dialogue, short blasts of song and free-style dance, and a dreamy videoscape of environmental disintegration, My Hot Lobotomy is full of restive thought.

Like Szlasa’s installation-performance work on the atomic bomb, 2004’s GADGET, My Hot Lobotomy pokes at that psychic terrain joining the human capacity for denial with man-made catastrophe. In this case, the catastrophe is the rapid warming of the planet, which remains stubbornly just beyond the necessary concerted and rational response. But Lobotomy‘s approach is both more traditional and more oblique than the environmental strategy employed in GADGET, which had audiences wandering around a noisy club-like atmosphere enveloped by video projections and spotted with localized audio segments.

Quietly trained on the internal and external minutiae of its main character — a mute and semi-vegetative post-op named Joey (Erin Mei-Ling Stuart) — the play never feels crudely weighty or political, let alone like a piece of agitprop. Instead, it unfolds like a loopy, semi-looping trance, a restless and sardonic ditty, or a closet poem stashed away in Pee-wee’s Playhouse. Lobotomy‘s low-key faux naiveté bristling with caged energies and subversive instincts — much as Joey’s shiny turquoise sneaks, popping out from under a bland ensemble of sports coat and chinos, hints at dormant life beneath a numbed surface.

The play acts to slow us down almost immediately — almost as much as Joey, who does nothing for the first several minutes but stare back at us blankly from a chair in the center of the stage. This mirror effect, uncomfortably amusing, grows in significance when we learn that Joey — in shades of the Ramones — has given himself a homemade lobotomy. Well, you might ask, who hasn’t? Szlasa gives us plenty of space to ponder the question, gradually unfolding the method and motive behind Joey’s condition as we share in the meditative, vaguely bemused mood he projects.

It’s a knock at the door that disturbs this waking slumber. A guy (Spencer Evans) enters delivering a pizza, a slice of which Joey chews with silent satisfaction. The man then returns with a boombox and a cassette tape, careful to demonstrate to Joey how they go together. On the tape, Joey speaks to himself with prerecorded words of instruction, clarification, and encouragement. The delivery guy, we learn, has been paid in advance to bring all Joey will need in his new, streamlined life. Returning to the stage with a guitar, he also delivers something to the audience, at odd moments and even odd angles: a series of witty songs — variously contributed by Carrie Baum, Cody James Bentley, Sean Hayes, and Joshua Lowe — telling the story of Joey in terms that slyly critique what they describe.

The limited world Joey has structured for his new self — with its prerecorded, too certain insistence that everything is "gonna be really, really great" — eventually unravels among a clutter of pizza boxes and, more alarmingly, a series of fraught dreams, as the unstructured world outside, which appears as a video montage of global warming over a gentle cloudscape at the back of the stage, slips in with growing insistence. The increasing dissonance provokes another transformation in Joey, and another attempt to scurry for cover. It’s a rush of new life whose meaning may be ambiguous, but hardly empty-headed.

MY HOT LOBOTOMY

Through Nov. 2

Thurs.–Sat. and Nov. 2, 8 p.m., $25

CounterPULSE

1310 Mission, SF

1-800-838-3006

Yaelisa and Caminos Flamencos

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PREVIEW How many outside the flamenco family — a sizable one in the Bay Area — realize just how special an artist Yaelisa is? In a less ghettoized genre, this Emmy-winning and always expanding and deepening performer and choreographer would be considered a superstar. Yaelisa foregoes some of the showbiz antics of her colleagues for performances that are no less captivating and, frequently, more intelligently planned and presented. Her monthly Café Flamenco sessions — every third Sunday of the month and currently at Theater Artaud — have become a Bay Area staple.

The Yaelisa and Caminos Flamenco ensemble includes Melissa Cruz, Christina Hall, Mariana Elana, and Fanny Ara. Each of these women is a soloist in her own right. For the company’s new program, Canciones, Yaelisa and her dancers are stepping beyond their comfort level into non-flamenco music — not exactly a new idea, but one that apparently Yaelisa has wanted to explore for a long time. The impetus came from a 2006 collaboration with tap virtuoso Savion Glover that involved Brazilian funk, Miles Davis, and Dave Brubeck. Canciones — with guest dancer Timo Nuñez — includes music by Iron and Wine and the Spanish pop group Ketama and live sounds by Sonikéte, as well as more traditional compositions by Isaac Albéniz. Latin percussionist Michael Spiro and vocalists Felix de Lola and Miguel Rosendo join music director and master flamenco artist Jason McGuire.

YAELISA AND CAMINOS FLAMENCOS Sat/1, 8 p.m., and Sun/2, 7 p.m., $15–$60. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-ARTS, www.ybca.org>.

The stealth candidate

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Ahsha Safai is hoping to be elected to the Board of Supervisors without answering questions about his padded political resume of short-lived patronage jobs, greatly exaggerated claims of his accomplishments, history as a predatory real estate speculator, connections to and coordination with downtown power brokers, shifting and contradictory policy positions, or the many other distortions this political neophyte is offering up to voters in District 11, a crucial swing district that could decide the balance of power in city government.

Safai has refused numerous requests for interviews with the Guardian over the last two months. We’ve even left messages with specific concerns about his record and positions. But our investigation reveals his close political ties to the downtown interest groups that have spent close to $100,000 on his behalf and shows him to be a shameless opportunist who is apparently willing to say anything to achieve power.

There’s much we don’t know about Ahsha Safai, but there’s enough we do know for a consistent yet troubling portrait to emerge.

Safai moved to San Francisco from Washington, DC with his lawyer wife in 2000, and immediately began to ingratiate himself into the mainstream Democratic Party power structure, starting as a legislative liaison with the corruption-plagued San Francisco Housing Authority and joining Gavin Newsom’s mayoral campaign in 2003.

Safai became a protégé of Newsom’s field director Alex Tourk, who was a top Newsom strategist for several years until he abruptly resigned after learning that Newsom had an affair with his wife. With support from Tourk (who didn’t respond to our calls about Safai) and Newsom, Safai held a string of city jobs over the next three years, moving from the Mayor’s Office of Community Development to the Mayor’s Office of Neighborhood Services to the Department of Public Works, all of which he touts on his Web ite, greatly exaggerating (and in some cases, outright misrepresenting) his accomplishments in each, according to those who worked with him. (Few sources who worked with Safai would speak on the record, fearing repercussions from Newsom).

THE CONNECT DISASTER


One project Safai doesn’t mention on his Web site is his work spearheading Community Connect, the most disastrous of Newsom’s SF Connect programs. "It’s the one Connect that the mayor will never talk about," said Quentin Mecke, who participated in the effort, on behalf of nonprofit groups, to create a community policing system. "The whole thing just devolved into chaos and there weren’t any more meetings."

In 2005, Safai and Tourk convened meetings in each of the city’s police precincts to take testimony on rising violence and the failure of the San Francisco Police Department to deal with it. Ultimately Newsom decided to reject a community-policing plan developed through the process by the African-American Police Community Relations Board. That set up the Board of Supervisors to successfully override a mayoral veto of police foot patrols.

"Ahsha’s approach was consistent with the Newsom administration, with folks that talk a good game but there’s no substance behind it," said Mecke, who ran for mayor last year, placing second.

Another realm in which Safai has claimed undeserved credit is on his efforts to save St. Luke’s Hospital from attempts by the California Pacific Medical Center (and CPMC’s parent company, Sutter Health) to close it or scale back its role as an acute care provider for low income San Franciscans.

"When I looked at his campaign material and he says he was a leader who saved St. Luke’s, I thought, ‘Am I missing something here?," Roma Guy, a 12-year member of the city’s Health Commission and leader in the effort to save St. Luke’s, told the Guardian. "Nobody thinks Ahsha has taken a leadership role on this. This is a significant exaggeration from where I sit."

Nato Green, who represents nurses at St. Luke’s within the California Nurses Association, went even further than Guy, saying he was worried about Safai’s late arrival to the issue (Safai wasn’t part of the group that protested, organized, and urged CPMC to agree to rebuild the hospital) and the fact that CPMC appointed Safai to its Community Outreach Task Force as the representative from Distrist 11.

"From our point of view, he is the CPMC’s AstroTurf program, simuutf8g community participation," Green told us. "It’s critical to us that we end up with a supervisor who is independent of CPMC and will go to the mat for what the community needs."

CNA has endorsed Avalos in the District 11 race.

"John was the only candidate in District 11 who came out and spoke at the hearings, attended the vigils, and walked the picket line during the strikes," Green said.


REAL ESTATE SPECULATION


Beyond his association with downtown power brokers and endorsement by Newsom, there are other indicators that Safai is hostile to progressive values. He said in a recent televised forum that he would work most closely with supervisors Carmen Chu, Sean Elsbernd, and Michela Alioto-Pier, the three most conservative members of the Board of Supervisors.

During an Oct. 14 Avalos fundraiser hosted by sustainable transportation advocates Dave Snyder, Tom Radulovich, and Leah Shahum, attendees expressed frustration at Safai’s tendency to pander to groups like the San Francisco Bicycle Coalition, taking whatever position he thinks they want to hear without considering their implications or consistency with his other stands.

"It was a no-brainer for the Bike Coalition to endorse John," Shahum, SFBC’s executive director, said at the event, noting Avalos’ long history of support for alternatives to the automobile.

Avalos, who had been hammered all week by mailers and robocalls from downtown groups supporting Safai, said he was frustrated by the barrage but that "we can fight the money with people.

"Ahsha has done everything he can to blur the lines about what he stands for," Avalos said. "Whoever he’s talking to, that’s who he’s going to be. But we need principled leadership in San Francisco."

One area where Safai doesn’t appear to be proud of his work is in real estate, opting to be identified on voting materials as a "nonprofit education advisor." One of his opponents, Julio Ramos, formally challenged the designation, writing to the Election Department that the label "would mislead voters and is not factually accurate, the term ‘businessman’ or ‘investor’ denotes the true livelihood of candidate Safai."

Safai responded by defending the title and writing, "My dates of employment at Mission Language Vocational School were from August 2007 through February 2008." So, because of his seven-month stint at this nonprofit, voters will see Safai as someone who works in education, even though his financial disclosure forms show that most of his six-figure income comes from Blankshore LLC, a Los Altos-based developer currently building a large condo project at 2189 Bayshore Blvd. that is worth more than $1 million. (That’s the top value bracket listed on the form, so we don’t know how many millions the project is actually worth or how much more than $100,000 Safai earned this year).

But we do know from city records that Safai has personally bought at least three properties during his short stint in San Francisco, including one at 78 Latona Street that he flipped for a huge profit after buying it from a woman facing foreclosure, who then sued Safai for fraud.

The woman, Mary McDowell, alleged in court documents that real estate broker Harold Smith, "unsolicited, came to plaintiff’s residence and offered assistance to her because her homes were in foreclosure … [and said] she would receive sufficient money after sales commissions to reinstate the loans on the four other properties."

The legal complaint said Smith then modified those terms to pay McDowell less than promised and arranged to sell the home to Safai and his brother, Reza. "Plaintiff is informed and believes and thereon alleges that defendants did not promptly list her residence on the multiple listing service to avoid larger offers on the home and conspired with the other defendants to purchase the home at a far less than market price," reads the complaint.

The case was originally set for jury trial, indicating it had some merit. But after numerous pleadings and procedural actions that resulted in the plaintiff’s attorney being sanctioned for failing to meet certain court deadlines and demands, the case was dismissed.
But whatever the merit to the case, records on file with the county assessor and recorder show that Safai and his brother flipped the property for a tidy profit. They paid $365,500 for the place in December 2003 — and sold it two year later, in December 2005, for $800,000.
Labor activist Robert Haaland told us that Safai can’t be trusted to support rent control or the rights of workers or tenants: "At the end of the day, he’s a real estate speculator."

It’s on: Bernal Hill soapbox derby drowns out Red Bull hangover

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sbdbernalbannera.jpg
The real thing!

By Deborah Giattina

Hey, it was oppressive seeing all those Red Bull banners waving from electric poles and street lights around the Mission Dolores corridors. Soon after Red Bull umbrellas started popping up at cafes with outdoor seating. Great. An energy drink is taking over the Mission.

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The banners were announcing the Oct 18 Red Bull Soap Box Derby held off of Dolores Park, where an estimated 60,000 attendees gathered to watch the race rolling down Dolores between 21st and 18th Streets on huge “Big Brother is Watching You” screens erected around the park.

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You had to show up early to find a spot where you could actually see the soapbox cars cruise down the track using the power of nothing more than your own two eyes. No doubt, the vehicles were creative but not exactly built for speed.

Worst of all, I feared the corporate-sponsored spectacle, held in four cities across the lower 48 this year, might have co-opted the annual derby held by the San Francisco Illegal Soapbox Society, whose members have been swerving down Bernal Hill since 1993. Rest assured, it’s still happening, as evidenced by Telstar Logistics’s recent post on the Sunday after Halloween, as per usual.

Full disclosure

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"If you wouldn’t tell Stalin, don’t tell anyone." This billboard message casts us back to the New Mexico desert, where a mushroom cloud’s worth of paranoia ushered in the modern era of government secrecy. Harvard professors Peter Galison and Robb Moss base their guide to this dark world on interviews with former "secureaucrats" and watchdog lawyers, journalists and scholars. But even without a voice-over, Secrecy‘s editorial threads are clear. There is the B-roll of the pilot carrying that test atomic bomb, for example, fading to black for a muffled explosion before fading back in to a Google Earth image of Manhattan, stained with the debris of the 9/11 attacks. One clandestine mission gives way to another, and a new veil of secrecy spreads with the smoke.

Even as Secrecy‘s former operatives acknowledge the massive intelligence failures leading to 9/11, they’re ready to make the case for the increased need for government subterfuge in the War on Terror: what secrecy begets, only secrecy will solve, and every time the gloves come off, the blinders will go on. Against this tide of Cold War nostalgists, the doubters hardly need sound conspiratorial with 60 years of government abuses at their fingertips. Indeed, the legal precedent for the State Secrets Privilege itself hinges on a bogus case involving a mysterious B-29 accident — 50 years later, it was finally proven that the executive branch went to the Supreme Court not to protect military secrets, but to facilitate a cover-up of Air Force negligence.

Washington Post writer Barton Gellman rightly wonders whether anyone exclusively dedicated to maintaining secrecy is in a good position to judge what they’re defending. The Bush administration, of course, sacrificed this benefit of the doubt years ago. The State Secrets Privilege cannot be invoked as a cover for criminality, but with an executive branch that reserves the right to define the terms of criminality and confidentiality away from the prying eyes of Congress and the judiciary, there’s not much of a chance for checks, let alone balances. As Navy officer and Guantánamo lawyer Charles Swift puts it, "If I can execute you and don’t have to tell anyone why, what’s left?"

The NSA/CIA reps’ telescopic counterargument — that leaks disrupt the gathering of intelligence — hardly justifies these Constitutional affronts, but Galison and Moss still give the press too much of a free ride in Secrecy. Shit slides both ways in this Foucaultian tug of knowledge and power. Those Ari Fleischer press conference replays are only the tip of the iceberg of a culture of credulity and outright fabrication.

There are deeper problems still with Secrecy, starting with the lack of interviews with Pynchonian Web crawlers at the vanguard of the information liberation movement. The filmmakers refer to the paradoxical expansion of access and restriction with a few snippets of local maverick artist-muckraker Trevor Paglen’s work and a Google Earth shot of Guantánamo Bay, blacked out just like the sensitive documents of old, but one wants more on the subject. Perhaps more to the point, Moss and Galison do not always come up with satisfying solutions to the problem of how to visually represent a subject that is, by definition, obscure. The filler animations, X-Files-style soundtrack and surrealist cutaways to flurries of redacted documents in Secrecy are cold leftovers of the Errol Morris school of documentary.

If I’m being hard on Moss and Galison, it’s only because so much of the raw interview material is compelling on its own. The information-crusaders, in particular, are natural documentary heroes. Their quest for transparency dovetails perfectly with the moral imperative and epistemological pleasure of the best documentaries. See Secrecy for them — make it a double-feature with Burn After Reading, and you’ve got a swell kiss-off to the worst intelligence money can buy. *

SECRECY

Oct 24–30, check Web site for times, $11

Opera Plaza, Van Ness at Golden Gate, SF

www.sffs.org