Mission

Centiclubs

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› kimberly@sfbg.com

SONIC REDUCER "It’s like an old ship. Things break, things fall apart, and you just keep bailing water and hope you hit land someday!"

That’s Guy Carson, Café Du Nord owner and ex-Hotel Utah booker, on owning a 100-year-old club. Yes, there are the inevitable aches and pains attendant with a structure erected just two years after the great ‘quake, as well as eerie little trap doors and escape hatches from the Prohibition era. But, oh, the stories the Du Nord, House of Shields, and Hotel Utah — a troika of oases overflowing with libation and live music that have all hit the century mark in the past year — could tell. ‘Member the time PJ Harvey played a not-so-secret show at the Utah, triggering round-the-block queues? Or the first San Francisco show by rock legends the Zombies at the Du Nord? Or the rumored gunfight played out by Comstock Lode robber baron William Sharon in front of his then-men’s social club, now known as the House of Shields?

‘Course you don’t. So much has been lost in the mists of Bay Area mythology and Barbary Coast conjecture. But there’s always word of mouth — in full effect at the shambling, loving June 19 celebration of the Utah’s centennial, as Birdman Records’ David Katznelson presented witnesses like owner Damian Samuel, a ukulele sing-along by music writer Sylvie Simmons and Bart Davenport, and tributes by artists who have stomped Utah’s boards, including Paula Frazer and Greg Ashley.

Since its days as Al’s Transbay Tavern (name-checked in 1971’s Dirty Harry) through the years owned by screenwriter Paul Gaer (who brought in Robin Williams and puppet shows), the venue has not only been instrumental in establishing a beachhead for local bands — Cake was considered a resident outfit in the 1990s and Counting Crows, Jewel, and Tarnation were onetime regulars ("For a while I used to say that the Hotel Utah was Geffen’s A&R department," recalls Carson). Its communities include "open mic–ers, the regulars, and the people who live in the building," Samuel offers. "It’s a live amoeba of sorts that has its own direction." He says the UK’s Noisettes now call the Utah its home base, and past staffers include ex-booker Mike Taylor (Court and Spark), Cory McAbee (Billy Nayer Show), and Shannon Walter (16 Bitch Pile-Up). One of Samuel’s fave tell-alls: in 1997 he had to walk future Guns N’ Roses guitarist Buckethead around the block so he could make a dramatic entrance onstage. "Here I am walking him around in SoMa, a chicken bucket on his head," Samuel recalls. "He kept saying, ‘I didn’t realize this block was so long.’<0x2009>"

Uptown, a century ago, the House of Shields also threw open its doors — in a much more hush-hush way: the venue began life as a men’s social club, and the only women permitted in until the ’70s were, says owner Alexis Filipello, "working girls." These days, the venue that got its name from its ’30s owner Eddie Shields is more likely to see indie artists like Sean Smith and Beam than highly establishment swells sneaking a stiff drink, but the crowd remains raucous, gathered around the elegant bar originally meant for the Pied Piper watering hole in the Palace Hotel across New Montgomery. When artist Maxfield Parrish made his Pied Piper of Hamelin mural (1909) far too long for the piece, the bar was sent over to Palace cobuilder William Sharon’s other nightspot. After Filipello bought the watering hole in 2003, she restored the natural wood, refurbished the moldings, reupholstered the booths, and jettisoned the "funky" taxidermy. "It was just such a beautiful old location, a piece of San Francisco’s history," she recalls. "We did a lot of work to get it back up to its beauty." No plans, however, for the firmly closed underground passage that links House of Shields to the Palace. Persistent rumors have it that in 1923, President Warren Harding died, not in the Palace as officially reported, but in the Shields’ speakeasy, and was transported through the tunnel back to his suite to avoid Prohibition-period scandal.

The ground is still shaking, happily, around Café Du Nord, which hit its 100th in October. In the next year Carson hopes to create a coffeehouse/art space upstairs next to the club, where performers can show their work, then play a show upstairs at the Swedish American Hall — which has hosted performers ranging from Cat Power to Michael Hurley — or downstairs at the Du Nord. He also plans to install an elevator where the Du Nord women’s room now sits, renovating the space so he can do the unique, one-off shows he prefers.

Carson is striving to continue nurturing the creative spirit of the Utah. "The difference between then and now is that everything costs so much. Our overhead here is so high, you can’t fail," he says. Back in ’90 when Gaer hired him at the Utah, he adds, "it wasn’t a big financial nut to crack, and we ran it like a living art experiment. I really miss those days. It was fun!"

QUESTION AUTHORITY?

MEGAFAUN


Backwoods Table of the Elements crustastic jams? The Durham, N.C., trio also joins Akron/Family at the High Sierra fest for a Mega-Akron set. Wed/2, 8:30 p.m., pay what you can. 21 Grand, 416 25th St., Oakl. www.21grand.org. Also Thurs/3, 9 p.m., $8. 12 Galaxies, 2565 Mission, SF. www.12galaxies.com. Fri/4–Sat/5, check Web site for times, $30–<\d>$168. High Sierra, Quincy; www.highsierramusic.com

BATTLEHOOCH


Kooky, crunchy spazz-tastic moves for kids? The SF band dons Baagersox guise for the first anniversary Lazerdance dance-off Thursday, then goes into seven-piece mode Saturday. Thurs/3, 10 p.m., $5. Knockout, 3223 Mission, SF. www.theknockoutsf.com. Also Sat/5, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

RETRIBUTION GOSPEL CHOIR


All-boy rock testimonials from Low’s Alan Sparhawk? Tues/8, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Nine years of everything

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› annalee@techsploitation.com

TECHSPLOITATION I’ve been writing this column for nine years. I was here with you through the dot-com boom and the crash. I made fun of the rise of Web 2.0 when that was called for, and screamed about digital surveillance under the USA-PATRIOT Act when that was required (actually, that’s still required). I’ve ranted about everything from obscenity law to genetic engineering, and I’ve managed to stretch this column’s techie mandate to include meditations on electronic music and sexology. Every week I gave you my latest brain dump, even when I was visiting family in Saskatchewan or taking a year off from regular journalism work to study at MIT.

But now it’s time for me to move on. This is my last Techsploitation column, and I’m not going to pretend it’s not a sad time for me. Writing this column was the first awesome job I got after fleeing a life of adjunct professor hell at UC Berkeley. I was still trying to figure out what I would do with my brain when Dan Pulcrano of the Silicon Valley Metro invited me out for really strong martinis at Blondie’s Bar in the Mission District and offered me a job writing about tech workers in Silicon Valley. My reaction? I wrote a column about geeks doing drugs and building insanely cool shit at Burning Man. I felt like the hipster survivalist festival was the only event that truly captured the madness of the dot-com culture I saw blooming and dying all around me. I can’t believe Dan kept me on, but he did.

Since then, my column also found a home in the Guardian and online at Alternet.org, two of the best leftist publications I’ve ever had the honor to work with. I’ve always believed the left needed a strong technical wing, and I’ve tried to use Techsploitation to articulate what exactly it would mean to be a political radical who also wants to play with tons of techie consumerist crap.

There are plenty of libertarians among techie geeks and science nerds, but it remains my steadfast belief that a rational, sustainable future society must include a strong collectivist vision. We should strive to use technologies to form communities, to make it easier for people to help the most helpless members of society. A pure free-market ideology only leads to a kind of oblivious cruelty when it comes to social welfare. I don’t believe in big government, but I do believe in good government. And I still look forward to the day when capitalism is crushed by a smarter, better system where everyone can be useful and nobody dies on the street of a disease that could have been prevented by a decent socialized health care system.

So I’m not leaving Techsploitation behind because I’ve faltered in my faith that one day my socialist robot children will form baking cooperatives off the shoulder of Saturn. I’m just moving on to other mind-ensnaring projects. Some of you may know that I’ve become the editor of io9.com, a blog devoted to science fiction, science, and futurism. For the past six months I’ve been working like a maniac on io9, and I’ve also hired a kickass team of writers to work with me. So if you want a little Techsploitation feeling, be sure to stop by io9.com. We’re there changing the future, saving the world, and hanging out in spaceships right now.

I also have another book project cooking in the back of my brain, so when I’m not blogging about robots and post-human futures, I’m also writing a book-length narrative about, um, robots and post-human futures. Also pirates.

The past nine years of Techsploitation would have been nothing without my readers, and I hope you can picture me with tears in my eyes when I write that. I’ve gotten so many cool e-mails from you guys over the years that they’ve filled my heart forever with glorious, precise rants about free software, digital liberties, sex toys, genetic engineering, copyright, capitalism, art, video games, science fiction, the environment, and the future — and why I’m completely, totally wrong about all of them. I love you dorks! Don’t ever stop ruthlessly criticizing everything that exists. It is the only way we’ll survive.

Annalee Newitz (annalee@techsploitation.com) is a surly media nerd who is slowly working on fixing her broken WordPress install at www.techsploitation.com, so eventually you’ll be able to keep up with her there again.

Editor’s Notes

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› tredmond@sfbg.com

Look, I get the gun thing. I started shooting a .22 rifle in third grade, and by the time I was 11 I had a gold National Rifle Association Sharpshooter medal on my wall. Even in my advanced, protogeriatric condition, I can still pop the logo on a Budweiser can at 50 feet; I did it two months ago, in upstate New York, with my nephew and namesake, who is a proud teenage redneck. Tim lives in a small town, wears camo, smokes the adults at paintball, and loves his firearms.

My brother, his dad, goes along with this reluctantly — in his household, there are very strict rules about gun use. The .22 and the .177 have trigger locks, and my brother keeps the only key in his pocket. The ammunition is locked up separately. And he has informed his son that anything you kill, you eat — which discourages any potshots at squirrels and birds. I can live with that.

I also have a friend in San Francisco who hunts, and I’m more than happy to go to his annual pig roast and consume the sweet, juicy, wonderful wild boar he pegged in Sonoma County.

So I get it. There are people who love target shooting, and since I was one of them many years ago, I understand. There are people who think it’s cool to go shoot a pig or a turkey or a duck and take it home for supper: since I think it’s one of the world’s great experiences to catch a bass or a trout and do the same thing, it’s hard to be critical.

But the United State Supreme Court decision last week wasn’t about my nephew’s .22 or my friend Rich’s hunting rifle. It was about whether cities can do anything remotely at all meaningful to keep 14-year-olds from shooting each other on the streets.

It’s about whether kids in Hunters Point and the Western Addition will live to graduate from high school. It’s about whether the desperate young people who are doing robberies in the Mission District and Bernal Heights will wind up shooting someone and spending the rest of their lives in prison over a bag of groceries and a hundred bucks. It’s about whether someone the age of my kindergarten daughter will take a bullet in the head one night and die from the crossfire while she’s asleep in bed.

Let’s face it: this is about handguns and assault rifles, about weapons that have very little use in hunting, that are rarely part of any sporting tradition, and that exist almost entirely for the purpose of killing other human beings.

The unnamed man who is suing — with the NRA’s money — to win the right to own a handgun in San Francisco public housing claims he needs a weapon to defend himself. I’ve been studying self-defense for 17 years now, and let me tell you a not-so-secret fact: guns are a terrible method of protection. If you own a gun in a city, the odds are far better that it will kill you or a loved one than that it will save your life. Guns don’t deter crime; they encourage crime.

And for my dear friends on the left who say that the Second Amendment protects us all from government repression, let me politely suggest that if the Marines invade San Francisco, the pistol in your attic won’t be much help.

City Attorney Dennis Herrera is fighting back on the NRA lawsuit, aggressively. He has to keep it up; this is madness.

Bad grades

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› gwschulz@sfbg.com

A much-anticipated audit of City College of San Francisco’s spending of bond money finds that school officials promised voters more than they could possibly deliver and then didn’t allow proper oversight of hundreds of millions of dollars in public funds.

A minority faction on City College’s Board of Trustees has for years sought a performance audit of the school’s bond projects, which includes $441.3 million authorized by voters during elections in 2001 and 2005. The audit by Sacramento-based MGT of America was released June 4.

The faction, led in large part by longtime trustee Milton Marks, often publicly quarreled with former Chancellor Phil Day over the matter, arguing that Prop. 39, a state ballot measure that passed in 2000 and made it easier for school districts to get voter approval for bond financing, legally required full annual performance audits of its capital spending on new classrooms, laboratories, a gymnasium, and a performing arts center.

But school administrators denied they were necessary or claimed that the cursory, more limited financial audits done each year met the legal mandate. Pressure on Day’s administration finally became insurmountable last year as San Francisco’s District 12 state Assembly Member Fiona Ma began threatening to have the state conduct its own audit, offering deeper scrutiny and wider disclosure than City College officials were perhaps prepared to stomach.

"My overall feeling is that we appreciate their efforts, accept their findings, and will implement all of the recommendations," a conciliatory Vice Chancellor Peter Goldstein told the Guardian in response to the report.

While mostly mild in its language, the audit shows that the school may have violated state law by granting several small contracts to the same construction companies so City College could avoid the headache of competitive bidding.

The state’s Public Contract Code requires that projects costing more than $15,000 go to the lowest responsible bidder through a competitive process, a provision designed to save money for taxpayers. But between 2005 and 2006, the community college entered into seven separate no-bid contracts with one construction firm totaling $83,545 for work at its Cloud Hall facility on Ocean Avenue.

"It’s unfortunate that two of the project managers were not aware or did not appreciate the importance of that rule," Goldstein said. "They’ve been counseled and we don’t expect to have any more occurrences of that type."

The auditors found "similar multiple contracts" — totaling less than $100,000, Goldstein said — where the work should have been combined into one larger contract and approved by the school’s independently elected Board of Trustees.

The audit reserved special criticism for a bond oversight committee required by Prop. 39 to watchdog the school’s capital spending. The Guardian reported last year that such committees in other districts, for example, West Contra Costa County routinely received full performance audits and met more often than City College’s oversight committee (See "Who’s following the money?", 07/10/07).

But the group of citizens here, which includes San Francisco Treasurer José Cisneros and former San Francisco Chronicle publisher Steve Falk, who’s now head of the San Francisco Chamber of Commerce, has done far less than what the law asks it to do.

The report says that one oversight committee member, who goes unnamed, told the auditors that it wasn’t the committee’s responsibility to determine how City College actually spends the funds. The auditors also watched former Chancellor Day tell the committee at a January meeting that its reach was limited solely to ensuring that City College complied with certain provisions of the state’s Constitution.

That turned out to be totally untrue. "The intent of this law is to provide a broad oversight role for the committees, thereby encouraging cost-effective use of bond funds," the report states.

"Many of these things that are in the report are things that people on the board have been saying all along," Trustee Marks said. "We really shouldn’t have had to spend $250,000 for someone on the outside to tell us this."

The original estimate for all of City College’s ambitious bond projects amounted to about $539.7 million, and the school has offset many of those costs by securing tens of millions of dollars in matching funds from the state. But as of January, the total cost has ballooned to $968 million. Last year the Guardian reported that the school gutted several projects promised to voters by "reallocating" roughly $130 million from their budgets to save other projects suffering from skyrocketing cost overruns (See "The City College shell game," 07/03/07).

Trustee John Rizzo, who joined Marks in asking for an audit, said he wished the report had done more to explain why many of the projects were poorly planned, leading to millions of dollars in higher costs. He cited as examples the new Mission Campus and a health and wellness center for athletes.

Rizzo told us, "Just from what contractors say and what staff has been reporting, that still needs to be looked at."

Yum! Local food party!

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Munchies from Chez Panisse, Millenium, and Serpentine. Cubes of jack and cheddar from Spring Hill Cheese Company. Maybe a glass of sangiovese from Long Meadow Ranch or a rose from Berkeley’s Donkey and Goat winery. Cap it off with a slice of Mission Pie and scoops from Bi-Rite Creamery.

Damn. It would take all day to scoot around sampling all that, but they’ll be serving up together on Thursday down at Fort Mason, celebrating the annual release of the Bay Area Local Food Guide.

Coordinated by Community Alliance with Family Farmers (CAFF), the food guide is the primer of all things locally grown, grilled, and garnished. Listings include farms, wineries, markets, restaurants, caterers, bakers, and food artisans, and the implicit mission is to make more people travel less for sustenance.

CAFF’s raison d’etre is to link the people who grow the food with the people who cook it, sell it, and enjoy it. Skyrocketing food and fuel prices make the ideal of “buying local” even more of an imperative, so if you’ve been searching for the perfect CSA to deliver you a box of fresh veggies every week, or you’ve been meaning to somehow get more locally-grown food into your business’ bottom line…or you just like to eat lots of good food with fun people, maybe I’ll see you there.

The event is happening Thursday, June 26 from 4:30 to 8:30 pm.

Tickets are $30 and going fast at: www.BrownPaperTickets.com/event/34995

Check here for more details, a schedule of events, and a full list of foodies and drinkers.

Where there’s Will …

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› kimberly@sfbg.com

SONIC REDUCER The cormorants know, the red-winged blackbirds have heard, and the quail would wail: the Marin Headlands and surrounding environs are imbued with more than a little magic. You don’t need to spend much time there to know this, rolling through pebbly Rodeo Beach or tromping down Tennessee Valley Road, soaking up the sagey scents and painting the digits dark red with crushed blackberries, as little girls wander by talking on seagull-feather faux cellies.

They will testify, as will Will Oldham — a.k.a. Bonnie "Prince" Billy, a.k.a. ace Palace Brother, singer-songwriter, and star of Old Joy (2006) and Matewan (1987) — to the area’s healing properties and the way its fresh breezes, rippled clouds, and hills in every hue of green ignite the imagination. After all, until recently Oldham was squirreled away at the Headlands Center for the Arts as an artist in residence. In one of the few interviews he’s consented to lately, Oldham told me he ended up doing much songwriting, including a commissioned piece with his Superwolf partner Matt Sweeney intended for a new Wim Wenders film.

"I felt super-fortunate," said the jovial, easygoing Oldham from Louisville, Ky., where he’d driven to from the Bay Area only three days previous. No matter that tornado warnings were all over the local media as he cast his mind back. "It was kind of a dream situation, because out there in the Headlands, there’s no cell phone reception. And once you cross through that tunnel, you’re in something you can imagine as wilderness and by the sea, and there’s a fair amount of wildlife — snakes and skunks and turkeys and deer and coyotes and bobcats and seals, which, if you choose to, you can see more of than you see any human being on any given day."

He’ll be back in the Bay after touring Europe and playing a handful of US dates, ending in San Francisco. The occasion is Lie Down in the Light (Drag City), Oldham’s worthy, rootsier follow-up to the transcendent The Letting Go (Drag City, 2006). If the latter is colored by the otherworldly ambience of its Icelandic origins, then the new album is touched by the tender humidity of its Tennessee recording site, encompassing, according to Oldham, "a couple songs that sort of address — using terms of love, devotion, and even lust — songs themselves."

"I think," he offered, "at the end of the day, sometimes it can be the truest form of comfort, especially if you’re a singer. You can find in music just about any ideal emotional landscape you crave, whether it’s angst or rebellion or celebration or union or dissolution. It’s all there, and none of it’s going to call you back or text you at four o’clock in the morning or blame you for anything you did or didn’t do or slap you with a paternity suit."

Not that Oldham can speak on paternity suits. "My lawyer says I can’t answer questions like that," he demurred mirthfully. Meanwhile there’s some heavy weather to consider. "I do have a cellar," he said, not worried at all. "But I’m not the hiding kind. I want to see it if it comes. I think I can run faster than a tornado." *

KICKING, LICKING, GOOD

LOWER CLASS REVOLT


Kicking it blue-collar style, the comp celebration includes Rademacher, Tigers Can Bite You, and Light FM. Wed/25, 10 p.m., $4. Knockout, 3223 Mission, SF. www.theknockoutsf.com

JONAS REINHART


Kicking it Krautrock, the Citay collaborator’s Kranky release promises near-exotica grooves. Wed/25, 9:30 p.m., $5. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

DILATED PEOPLES


Kicking it old-school, the Los Angeles underground hip-hoppers unleash The Release Party DVD in July. Thurs/26, 9 p.m. doors, $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

GRAND ARCHIVES


Kicking it Vivaldi styley, if the composer wore Converse. The ethereal Sub Pop indie-rockers get with their folk label mate Sera Cahoone. Sat/28, 9 p.m., $13. Slim’s, 333 11th., SF. www.slims-sf.com

MUTE SOCIALITE


Kicking it free-noise mode — with such Oakland exploratory musical surgeons as Moe! Staiano, Ava Mendoza, and Liz Allbee. Sun/29, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

ALL THAT GLITTERS: LADY GAGA

It takes a lot of g-g-guts to name your act after the Queen tune "Radio Gaga," ‘fess up to the fact that you attended Catholic school alongside Nicky Hilton, and make it your personal mission to make pop cool once more. Lady Gaga, 22, has the moxie to undertake all of the above, having gone from setting hairspray afire on fringy NYC stages and attending Tisch School of the Arts at NYU to hammering out songs for Britney Spears, and making her own brazen dance-pop à la "Beautiful Dirty Rich." Why did she name her debut, The Fame (Streamline/Interscope)? "The concept is that it doesn’t matter who you are or where you come from or what you have, as long as you can embody a sense of inner fame and value of your own ideas, you can really be whoever you want," Lady Gaga opined huskily on her way to a Raging Waters gig in San Dimas. "I was nobody, and I’ve been jerking people for years into thinking I’m somebody I’m not. I used to get into clubs like when I was 16. I’d usually just walk right in because of the way I carried myself, the way I dressed, the way I spoke to people."

Sat/28, 8 p.m., $45. Temple, 540 Howard, SF; www.templesf.com. Sun/29, 6:10 p.m., Pride Festival, Civic Center, SF; www.sfpride.org

Welcome to the jungle

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› a&eletters@sfbg.com

THE QUEER ISSUE Mark Twain’s observation (cribbed from poet Thomas Campbell) that "distance lends enchantment to the view" could serve as a guiding axiom for the languorous, enchanting films of Apichatpong Weerasethakul. Apichatpong shows more than he tells, and his camera often obscures rather than explicates the minute, alchemical operations taking place before it.

Somnambulant features such as the day-tripping Blissfully Yours (2002), the shape-shifting gay fable Tropical Malady (2004), and the double-exposed parental portrait Syndromes and a Century (2006) have left many critics bewildered but entranced. Others just seem confused by the elliptical, dream-like logic of the films, in which local lore and landscape shape the narrative as much as characters’ peripherally observed actions. Viewers hoping for glints of elucidation in Apichatpong’s juvenilia and nonfeature projects will probably be disappointed by "Mysterious Objects," the Yerba Buena Center for the Arts’ latest program honoring the director, for as its title indicates, his short films may be his most enigmatic.

All of Apichatpong’s signature traits — a fascination with the local and mundane, an unabashed love of syrupy pop songs, and a flair for throwing curve balls — are present in this grab bag of films made between 1994 and 2007. In the gleeful Anthem (2006) three elderly women listen to a supposedly blessed techno-lite number. Inexplicably, they are dropped, table and all, into a busy gym (and into the dead center of a badminton match), around which the camera makes multiple 360-degree circuits. Other such narrative jumps merely frustrate. Malee and the Boy (1999) begins with the scrolling text of a transcribed comic book, then switches to footage of hospital visitors. Whereas Anthem suggests a leap of faith, Malee just feels indecisive.

The program’s heart is Worldly Desires (2005), a half-hour trek across the same superstition-laden terrain of Tropical Malady. Dedicated to his "memories of the jungle," Worldly Desires is Apichatpong’s most meta film yet: a music video, a romantic drama, and a composite document crafted from "behind the scenes" footage.

In the opening sequence, a forest’s nighttime choir of insects is interrupted by a bossa nova groove. Suddenly a spotlight washes out the middle ground, illuminating the camera and lighting rigs trained on a singer and her background dancers as she lip-synchs a love song with familial undercurrents. The next few shots follow a man and woman as they hurry through the brush. It takes a few seconds before one can disambiguate the crosshairs in the center of the frame from the dense foliage.

Apichatpong keeps us at the periphery. Each re-shoot of the video is from the same, distanced vantage point. The couple’s arduous journey to find an enchanted tree unfolds through playback monitors, the director’s instructions, and the grumblings and random musings of an exhausted crew. We’re never told if the lovers cross paths with the pop star, or whether what we’re watching is the staging of something staged or a video diary.

Though Tropical Malady‘s first half focuses on a gay love story, it feels somewhat disingenuous to pin a queer sensibility on Apichatpong, even if he is gay. However, with its humorous foregrounding of the labor-intensive means by which the pop culture industry packages "normal" heterosexual love, Worldly Desires certainly invites queer labeling — if not at least queer readings such as this critic’s.

MYSTERIOUS OBJECTS

Thurs, July 3, 7:30 p.m. (program 1) and Sun, July 6, 2 p.m. (program 2), $8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Cans and can’ts

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› le_chicken_farmer@yahoo.com

CHEAP EATS There’s a reason you don’t see electric can openers anymore. They’re completely idiotic. But maybe you have arthritis, or a wrist-related disability. With you (and lots and lots of money) in mind, some cat in Hong Kong invented the One-Touch can opener, which runs on batteries. I came across one in an able-bodied young friend’s kitchen drawer. To her credit, the battery was dead, or MIA. Ergo, I couldn’t figure out how to work it.

Which wasn’t, by the way (and speaking of idiocy), for lack of effort on my part. In fact, we got into a bit of a brawl, me and this nifty, innovative, as-seen-on-TV assemblage of plastic and metal parts. It won. After about an hour and a half — bloodied, bruised, and fuming — I swallowed my pride, along with four teeth, and asked my friend in different words how the goddamn fucking piece of shit bastard worked.

She was in the other room, nursing the baby. "Oh, that?" Someone had given it to her as a present, she said, as embarrassed as I was (to her credit). It needed a battery. There should be a "real" can opener somewhere in the same drawer, she said.

Oh.

I limped back to the kitchen, found the familiar, trusty, stalwart hand-crank Swing-A-Way, and the feel of it in my hands was like mother’s milk to the tongue. I was so soothed and content I fell asleep. On my feet. At the counter. On the clock. So to speak. Next to the refrigerator.

Through no fault of my own, dinner was late. Modern technology was to blame. Anyone who can’t see that is even dumber than me. Some things can’t be improved upon, and the classic model rotary can opener is one of them. Anyone who tries … I hate them.

I love cooking in other people’s kitchens, but I’m going to have to start traveling with my own can opener — ideally, for effect, in a holster. Just one week after being humiliated by a device designed for senior citizens, I was in another friend’s kitchen, helping out eatswise before a party, and I had another run-in with yet another kind of can opener that wasn’t your standard Swing-A-Way rotary opener, and therefore didn’t work.

Technically it wasn’t my run-in so much as my friend Kizzer’s. At least initially. We were working side-by-side, me chopping up stuff for the coleslaw, and she opening cans for the bean salad. Trying to open cans, I should say. But this particular new, improved, innovative state-of-the-art can opener had different ideas, which included Kizzer almost having to go to the emergency room and me pretty much smelling and feeling like bean juice for the rest of the day.

Ironically, the idea behind this alleged improvement on perfection is to cut the lid down below, on the can side of the seam, rather than the top, so that you don’t end up with that ragged and dangerous lid to dispose of. You end up with a ragged and dangerous can.

Not to mention it took three people with graduate degrees, a couple of knives (without), and about 15 minutes to finish the job that my old $2 opener would have finished in less than 10 seconds (I checked). And the mangled can, afterward, looked very much like a weapon.

So I verbally abused our lovely and gracious hostess for keeping such a thing in a house with small children, and she said it was the only kind they had at Rainbow Grocery.

Ah. Leave it to my favorite kind of people, vegetarian hippies, to turn can opening into a bloody, beany battlefield, and in the interest of what? Safety? Ergonomics? The environment?

Look, if they don’t have a $2 can opener down at your local thrift store, you can order one brand new online for $6. I’m sure of it. I really did check: eight wrist-twists and five seconds opens a standard-size can. And if that sounds too exhausting, too time-consuming, or somehow dangerous to you, get the hell out of the kitchen please. I’ll cook. *

My new favorite restaurant is Puerto Alegre. I was eating something brunchy there with Earl Butter, my brother, and my nephew when it occurred to me that I’ve been eating here pretty consistently for longer than I’ve been pretty consistently eating anywhere else around here. So it must be good. It’s not the best Mexican food in the Mission District, but I love the atmosphere. And if you show up right at 11 a.m., even on weekends, you can sit right down.

PUERTO ALEGRE

546 Valencia, SF

(415) 255-8201

Mon., 11 a.m.–10 p.m.; Tues.–Sun., 11 a.m.–11 p.m.

Full bar

MC/V

A different light

0

› johnny@sfbg.com

THE QUEER ISSUE It’s best to begin at the edge. Gay urban photography has a fleeting yet reliably revelatory home at those places where water laps up against land. On the East Coast, from 1975 through 1986, Alvin Baltrop explored the Hudson River side of Manhattan, capturing black-and-white visions of sex, murder, and architecture by cruising the piers as a peer rather than as an exploitative outsider. On the West Coast, during the ’50s and ’60s, Denny Denfield used Baker Beach and its nearby wooded areas to invent an Adam-only Eden best glimpsed solo through 3-D. And around the same time in Montreal, Alan B. Stone was hiding in a shed, looking through a shutter at the dock-working men and sunbathing boys who populated the city’s port. In the zone known as the city’s historical heart, his camera cautiously hinted at desires that could lead to prison time.

Curated by David Deitcher, the SF Camerawork exhibition "Alan B. Stone and the Senses of Place" proves Stone’s photographic versatility ranged from a low-key form of William Klein–like typographic artistry to extremely subversive pastoral romanticism — in commissioned Boy Scout photos — to the candid portraiture of the beefcake genre. Such a showcase isn’t Deitcher’s intent, though — he’s structured the show (and written about it, in an autobiographical essay) to foreground a specifically gay vision and experience of Montreal from a time when men were arrested and publicly vilified in newsprint for being homosexual. Stone provides the nuanced vision; Deitcher identifies its facets and identifies with it. His analysis of Montreal through Stone’s camera takes on special resonance when placed next to Douglas Crimp’s look at post-Stonewall New York through Baltrop’s camera in a February 2008 Artforum piece.

The difference between the liberated time of Baltrop and the closeted era of Stone is evident in their views of waterfront lazy sunbathers. Perhaps the brightest — in tone and in quality of light — of the Baltrop photos showcased in Artforum (also on view at www.baltrop.org) gazes from a few hundred feet away at a half-dozen naked men as they soak up the sun, converse, and dangle their feet off the edge of a pier. The gay-lib visibility inherent to the men’s affectionate nudity is doubly emphasized by Baltrop’s distanced yet full-frontal perspective. In contrast, Stone’s 1954 photo Untitled (Lachine Canal) glimpses the back of a boy in a swimsuit seated at the Port of Montreal’s shoreline — the identity of his solitary subject remains poignantly invisible to the photographer, who, as Deitcher notes, was stricken with arthritis at an early age.

There’s a similar echo to a pair of photos — one by Stone, one by Baltrop — that depict men standing at the sunlit thresholds of waterfront warehouses. Stone’s 1954 Untitled (Dock Workers, Port of Montreal) is a furtive from-behind vision of a shirtless, assumedly heterosexual dockworker. One image from Baltrop’s "Pier Photographs, 1975-1986" glances at a shirtless man, also from behind, but from a much nearer vantage point. Attired in tight jeans and black boots, he’s the painter Alva, at work on a large piece of sexually explicit graffiti. The picture’s dominant darkness and the roughness of its lit threshold — a window-size hole in a warehouse wall — suggest an edge of menace that Baltrop’s photos of body bags make plain. An unauthorized space for gay sexuality in a bombed-out urban zone, the piers were rife with dangers unknown.

Stone’s and Baltrop’s photographs could form chapters within an imagined monograph about the changing relationship between gay sex and the city. Such a book could venture into the garishly colorful Times Square seen in Gary Lee Boas’ 2003 book New York Sex, 1979-85 (Gallerie Kamel Mennour) — the title alone prompts comparisons to Baltrop’s equally unsentimental vision of a different space within pre-Giuliani, pre-Disney Manhattan. It could draw from David L. Chapman’s and Thomas Waugh’s recent San Francisco–set monograph Comin’ At Ya!: The Homoerotic 3-D Photographs of Denny Denfield (Arsenal Pulp), to show the California-dreaming answer to New York grime, and to further reveal — through the inherent solitude of the 3-D stereoview process — the inner recesses of a pre-gay lib experience far from Baltrop’s and Boas’ sights and sites of group sexuality.

Such a book could open into film as well, since movies such as João Pedro Rodrigues’ O Fantasma (2000), Jacques Nolot’s Porn Theatre (2002), Tsai Ming-liang’s The River (1997) and Goodbye Dragon Inn (2003), and William E. Jones’ V.O. (2007) foreground age-old connections between the edges of urban society and sexuality. The portrait of Montreal that emerges from "Alan B. Stone and the Senses of Place" hints at the possibilities of such a project — and leaves one wondering about the worlds of desire that can exist outside computer screens today.

ALAN B. STONE AND THE SENSES OF PLACE

Through Aug. 23

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org, www.baltrop.org

The commissioner’s conflicts

0

› gwschulz@sfbg.com

Before the June 5 special meeting of the San Francisco Planning Commission got underway, Michael Antonini had an announcement.

Dressed in a charcoal suit and red-checked tie, with his white hair combed back over his skull, the longtime commissioner disclosed that he was a part owner of a condominium in the eastern neighborhoods, where a years-long rezoning effort is nearly complete. That means Antonini is among the people who could benefit from increased land values due to zoning upgrades.

As a result, Antonini begrudgingly declared that he would have to recuse himself from hearings involving the eastern neighborhoods until the potential conflict is dealt with.

"Hopefully this can be resolved in the next few weeks and I’ll be able to participate at later hearings," Antonini said at the meeting.

But it was a bit late to be complying with the state’s conflict-of-interest laws: Antonini had already actively taken part in meetings in which the plan was discussed. And Antonini also neglected to mention that after he and his son purchased the condo, he voted on two other projects that appear to be within steps of it.

Public records show that Antonini bought the $515,000 condo at 200 Townsend Street in 2003 with his real estate agent son, John. Commissioner Antonini and his wife own a 25 percent stake in the property through a family trust the couple created in 1997. His son holds the majority interest.

Antonini worked hard to play down his stake in the condo at the June 5 meeting. It’s not an investment property, he made clear to the commissioners. There’s no rent generated from it. He’s a mere minority holder in a family trust that controls the condo, and it was purchased as a residence for his son and his wife.

"Because I did not believe our fractional interest in John’s condo represented a conflict, I did not consider reclusing [sic] myself from projects near the condo," Antonini wrote to the Guardian.

But the laws on this are pretty clear. The state’s Political Reform Act of 1974 prohibits public officials from participating in decisions that will have a "foreseeable material financial effect on one or more of his/her economic interests." It also states that any "direct or indirect interest" worth more than $2,000 poses a potential conflict, for which a 25 percent stake in a half-million dollar condo would seem to qualify.

RECUSE ME


Other public officials in similar situations have recused themselves long before the issue became a potential political liability.

Sup. Bevan Dufty bought into a three-unit residential property on Waller Street with two co-tenants in December 2006. He immediately sought advice from the city attorney, who told him he no longer could vote on the Market-Octavia Plan, a series of land-use changes in Hayes Valley, Duboce Triangle, and elsewhere that was similar in scope to the current rezoning efforts in the eastern neighborhoods. The supervisor also couldn’t vote on a major Laguna Street redevelopment project or on legislation making it easier for seniors to convert rental units to condos.

Antonini told us that "only in the last month" did the city attorney warn some officials involved with plans for the eastern neighborhoods that if they held property in the area, there could be a conflict of interest.

"We’ve been working on [the eastern neighborhoods] for the whole six years I’ve been on the planning commission," he said at the meeting. "It’s a little troubling that this issue of conflict is raised now rather than at the very beginning."

The law does make an exception when the economic interests of the "public generally" could also be enhanced by a government decision such as those that have an impact on a large section of the city like the eastern neighborhoods. But the city attorney’s office concluded for now that the condo indeed may pose a conflict. And in the meantime, Antonini told us that the Fair Political Practices Commission in Sacramento, which helps enforce the state’s Political Reform Act, is being consulted to determine "whether our fractional interest in the condo truly represents a conflict of interest."

The eastern neighborhoods planning process isn’t the only legislation that created a potential conflict for Antonini. The commissioner voted in January 2007 to approve construction of 26 new single-room occupancy units at 25 Lusk Alley, not far from his property at 200 Townsend. The project’s sponsor, Michael Yarne, is a land-use attorney who today works for the mayor’s economic development office. The project was approved, according to meeting minutes.

The project itself relied on a contentious legal loophole in which developers claim their units are "single-room occupancy," a necessity because the area permits residential efficiency hotels where the poor and working-class used to live. Allowing such SRO hotels in areas zoned for light industrial uses enabled the city to preserve some forms of affordable housing. But builders can turn around and lease the opulently large units such as the ones at 25 Lusk, which bear little resemblance to genuine SRO rooms, to well-heeled clients.

"They are allowed where normal residential units are not allowed, because historically SROs were always extremely affordable housing," community organizer Calvin Welch said. "The whole notion of market-rate SROs is a new invention, and that’s why they’re controversial. They’re basically the new version of live-work lofts."

In November 2006, Antonini also voted to approve a liquor license for a new full-service restaurant and wine bar at 216 Townsend, even closer to his son’s condo.

TOO CLOSE FOR COMFORT


State ethics laws say that a public official has a conflict if his or her property comes within 500 feet of a project the official will be scrutinizing and voting on.

Conservatively measuring from the furthest corners of each property, Google Earth puts both the proposed restaurant and SRO within 500 feet.

Bob Stern, president of the Los Angeles–based Center for Governmental Studies and co-author of the state’s Political Reform Act, said a public official could face $5,000 in civil penalties for each conflict-of-interest violation. But it’s not common for the chronically under-resourced FPPC to go after local officials, he said.

Mayoral spokesperson Nathan Ballard wrote in an e-mail that "we take any allegations of conflicts of interest seriously" but added there is a disagreement over whether the "public generally" exception applied to the eastern neighborhoods and that the City Attorney’s Office was seeking additional input from the FPPC.

As for the two projects he voted on near the condo, Antonini apparently told the mayor’s office he had looked into whether 25 Lusk fell inside 500 feet. "Based on his understanding at the time," Ballard wrote, "they didn’t."

That’s a stretch, at best. The projects are in the same block. We walked them off and found that Antonini would have to be splitting hairs to argue that they are outside the boundary — and even in that case, it would be only by a few feet. The rusty red paint job, black trim, and stylish, outsize windows of 200 Townsend are easily viewable from the backside of 25 Lusk.

"If there is a legitimate argument that they did fall within the 500-foot radius, this should be clarified," Ballard stated. "However, given the relative insignificance of the two projects cited in your e-mail and Antonini’s long-standing reputation as an ethical and hard-working commissioner, we don’t have any reason to believe that he would have knowingly and/or willingly violated the state’s Fair Political Practices Act."

But the Lusk Street project was by no means insignificant. "They are highly regulated," Welch said of SROs. "You cannot convert them to tourist hotels without going through a very long and cumbersome process. They are valued for affordable housing so highly that the city regulates their conversion to tourist uses." So instead, the "corporate suites," as Welch calls them, masquerade as SROs. The project was approved in the end, but two commissioners — Christina Olague and Sugaya Hisashi — voted against it.

Antonini told us that he believes 25 Lusk is more than 500 feet away, and as for the restaurant, planning staff recommended approval.

The commissioner told us, "I was the one who brought public attention to the issue of my possible conflict. I believe it is a small issue when compared to my body of work on behalf of San Francisco over the last six years."

The June 5 meeting where Antonini made the disclosure about his son’s condo was part of a long and detailed process that will determine the fate of vast sections of Potrero Hill, SoMa, the Mission District, and Dogpatch. The official planning process for the targeted 2,200-acre area began back in 2001, and the commissioners could approve new zoning plans next month before sending the proposal to the Board of Supervisors.

For much of San Francisco’s history, the city sections poised for rezoning have been home to light industry and blue-collar jobs. But housing has encroached over the last 15 years, and the planning commission is prepared to allow between 8,000 and 10,000 new units over the next 20 years. That will almost certainly increase the value of land in the area.

Residential developers built thousands of pricey condos in the SoMa District during the 1990s, exploiting another divisive zoning loophole that created waves of animosity across the city and aided in a takeover of the Board of Supervisors by a progressive bloc of candidates.

Live/work lofts, as developers called them, were built in areas zoned for light industrial commercial purposes. Wealthy buyers would ostensibly operate businesses out of their homes or live in them as working artists as the zoning required, but few have complied with the letter or — having found ways to narrowly abide by it — the spirit of the law.

"The city turned its head," housing attorney Sue Hestor said. "We have 3,000 units that are supposed to be occupied by artists and probably 90 percent of them are not occupied by artists at all. It’s blatantly illegal."

Antonini has managed to maintain friendships with local moderate Democrats over the years despite being an elected member of San Francisco’s Republican Party County Central Committee. Willie Brown first appointed him to the powerful planning commission in 2002, and he’s been a reliable vote for developers and other large business interests. Mayor Gavin Newsom reappointed him in 2004 and earlier this year tried to engineer Antonini’s election as president of the commission.

Beretta

0

› paulr@sfbg.com

Restaurant archaeologists might not have much occasion to use carbon dating, but we do have the space at 1199 Valencia Street as a window into the past, and therein hangs a tale of the city. A decade ago, the occupant was Radio Valencia, a cheerful boho cafe that served art displays, live music, and ecologically sensitive sandwiches. It was, in its faintly grubby coolness, the epitome of the 1990s Mission District. But it closed around the turn of the millennium, first giving way to a Thai restaurant (J.J. Thai Bistro) and then to the Last Supper Club — a nice place and cool in its way, but not at all grubby, just as Valencia Street itself lost much of its jagged urban edge on the way to being the flâneur-friendly promenade we know today.

The Last Supper Club changed hands in 2005, when the original owners, Joe Jack and A.J. Gilbert, bowed out to Ruggero Gadaldi, whose other concerns include Antica Trattoria and Pesce. There is some evidence Gadaldi didn’t like his new restaurant’s name, since earlier this spring he gave the place a makeover and a re-christening. It’s now called Beretta — a name perhaps too redolent of weaponry for some tastes, but less overripe than the other one — and its interior has been given a slick minimalist treatment. The Last Supper Club’s baroque cherubs and fountain are gone, replaced by SoMa-esque black-topped tables, including a large and rather Chaucerian community table in the middle of the dining room, where you might find yourself sitting next to complete strangers with whom you can build some spontaneous social capital.

The menu, meanwhile, is like the love child of SPQR and Pizzeria Delfina. In other words, it hosts a wealth of exquisite small plates — known here by their traditional name, antipasti, since traditionally they’re served before the pasta course — along with salads, risotti, and an impressive list of pizzas. There’s also (in an echo of Gialina) a main course that changes nightly. But for many — if not most — of the tables (not to mention the community table), a pizza is the main event, to judge by the pizzas that seem to come sailing out of the kitchen like Frisbees.

The antipasti divide into vegetable, fish, and meat sections, the last consisting of such usual cured-flesh suspects as prosciutto, mortadella, and soppressata. The vegetable choices are more varied and seasonal. We practically inhaled a plate of bruschetta ($6) — the correct pronunciation, by the way, is "bru-SKATE-ah," not "bru-SHETT-ah" — slathered with a spring-green puree of fresh fava beans and sprinkled with salty-sharp pecorino cheese. And while quarters of artichoke heart ($6), roasted alla romana, are commonly filled with seasoned bread crumbs, they are less commonly spiked, as they are here, with that dynamic duo of spicy Italian-style sausage, hot pepper and fennel seed.

And a tip of the locavore cap to the Monterey Bay sardines ($7), a set of luxuriously plump and oily fish, grilled and plated "en saör," a Venetian technique that combines slivers of white onion and red bell pepper, a generous splash of extra-virgin olive oil, and an equally generous blast of white vinegar.

If white rice strikes you as a little boring, you’ll probably approve of the squid-ink risotto with calamari rings ($13). The briny-sweet flavor is direct, in the best Italian tradition, and the rice grains themselves are cooked nicely al dente — as are the tentacles, for that matter. But it’s the color that commands attention: a purplish-black with a sheen of green, like summer thunderheads billowing over the Mississippi. The color is so profound and unusual as to become tastable.

While the pizzas aren’t precious, they do reflect a thoughtfulness about ingredients. Even more, they remind us that pizza-baking has its subtleties. I was especially pleased to find, when a prosciutto-arugula pie ($14) reached us on its little wire stand, that those two delicate ingredients had been added after the pizza had emerged from the oven, crust abubble with tomato and mozzarella. It would have been simpler to throw everything on at once, but that would have cost the prosciutto and arugula something of their distinctive characters.

Desserts tend heavily toward gelato, and, surprisingly for an Italian restaurant, there is no tiramisù. For those who can’t do without that deathless warhorse, the baba al rum ($8) might do; it consists of spongecake leaves soaked with rum and topped with a cap of simple cream gelato (not even vanilla added as a flavoring, just cream) and a pinch of orange zest looking like bright orange sawdust. Tasty, but plenty of fumes; you would not want to light a match until the bowl had been emptied and cleared and several minutes had passed.

For those who can’t do without chocolate, there’s a dish of chocolate gelato ($7), given textural interest by crumblings of amaretti (the famous almond biscuits) and few squirts of caramel sauce. The sauce cools and becomes chewy on the slopes of the gelato blob, like lava turning to rock on the side of a volcano.

The crowd: familiar-looking. It seemed to me that I’d seen the same group in recent visits to Spork, Dosa, and Range — all of which are within two or three blocks, as the flâneur strolls. Median age I would guess to be in the early 30s; median income, considerably higher. If, like me, you’ve noticed that traffic across the Mission has hugely thickened in the past 10 years and wondered who’s living in all those loft-style buildings that have sprung up as if by magic, the Beretta clientele suggests some answers. Now where did I put my Beretta?

BERETTA

Dinner: nightly, 5:30 p.m.–1 a.m.

Brunch: Sat.–Sun., 10 a.m.–3 p.m.

1199 Valencia, SF

(415) 695-1199

www.berettasf.com

Full bar

AE/DISC/MC/V

Noisy

Wheelchair accessible

Pride 2008 events

0

› culture@sfbg.com

ONGOING

Frameline Film Festival Various locations; see Web site for dates and times, www.frameline.org. The humongous citywide queer flick fest is still in full eye-popping effect.

Golden Girls Mama Calizo’s Voice Factory, 1519 Mission, SF; (415) 690-9410, www.voicefactorysf.org. 7 and 9pm, $20. Through Sat/28. Revisit all the "gay" episodes of this classic and tragic sitcom, as performed with panache and pratfalls by gender clowns Heklina, Pollo Del Mar, Cookie Dough, and Matthew Martin.

National Queer Arts Festival Various locations; see Web site for details, www.queerculturalcenter.org. Experience scandalously good spoken word, cabaret, art installations, and so much more as this powerhouse monthlong celebration of queer revelations continues.

THURSDAY 26

PERFORMANCES AND EVENTS

Marriage Is Not Enough: Radical Queers Take Back the Movement New Valencia Hall, 625 Larkin, SF; (415) 864-1278. 7pm, $7 donation. Spread-eagled with one foot in the past and the other in the future, Radical Women host a forum to honor the efforts of drag queens and queers of color in 1969’s Stonewall rebellion and to discuss the docile nature of LGBT leadership in the face of poor and working-class queer issues today.

"Our Message Is Music" First Unitarian Church and Center, 1187 Franklin, SF; (415) 865-2787, www.sfgmc.org. 8pm, $15-$35. The world’s first openly LGBT music ensemble will kick off Pride Week with a range of music from Broadway to light classical. Includes performances by the Lesbian/Gay Chorus of San Francisco, San Francisco Gay Men’s Chorus, and the San Francisco Lesbian/Gay Freedom Band.

Pansy Division Eagle Tavern, 398 12th St., SF; (415) 626-0880, www.pansydivision.com. 9pm, $7. Homoerockit band Pansy Division plays a live set with the handsome help of Glen Meadmore and Winsome Griffles following a screening of the film Pansy Division: Life in a Gay Rock Band.

CLUBS AND PARTIES

Body Rock Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Incredibly energetic tranny-about-town Monistat hosts a bangin’ electro night for queers and friends featuring San Francisco’s favorite crazy DJ Richie Panic. Expect wet panties.

Cockblock SF Pride Party Minna, 111 Minna, SF; www.cockblocksf.com. 9pm-2am, $5. DJs Nuxx and Zax spin homolicious tunes and put the haters on notice: no cock-blockin’ at this sweaty soiree.

Crib Gay Pride Party Crib, 715 Harrison, SF; (415) 749-2228, www.thecribsf.com. 9:30pm-3am, $10. The hopefully soothing Ms. Monistat (again!) and the irritating — in a fun way — Bobby Trendy set it off at this homolicious megaparty popular among the 18+ set, complete with a Naked Truth body-art fashion show and a T-shirt toss, in case you lose the one you came with in the melee.

The Cruise Pride Party Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 9pm-2am, free. Hey, dyke sailor! Hike up your naughty nauticals and wade into this ship of dreams (yes, it’s a theme party) with DJs Rapid Fire and Melissa at the lovely lesbian Lex. Land, ho.

The Tubesteak Connection Aunt Charlie’s, 133 Turk, SF; (415) 441-2922, www.auntcharlieslounge.com. A warm and bubbly tribute to early Italo house, wonderfully obscure disco tunes, and outfits Grace Jones would die for. With DJ Bus Station John.

FRIDAY 27

PERFORMANCES AND EVENTS

Same-Sex Salsa and Latin Ballroom Dance Festival and Competition Magnet, 4122 18th St., SF; (415) 581-1600. www.queerballroom.com. 7pm-12am, free. With $100 awarded to the winner of this fancy-footwork competition, the stakes for this event’s salsa-hot dancing surpass the single bills slipping into thong strings this week.

San Francisco Trans March Dolores Park, Dolores and 18th Sts; (415) 447-2774, www.transmarch.org. 3pm stage, 7pm march; free. Join the transgender community of San Francisco and beyond for a day of live performances, speeches, and not-so-military marching.

CLUBS AND PARTIES

Bibi: We Exist and We Thrive Pork Store Café, 3122 16th St., SF; (415) 626-5523, www.myspace.com/BibiSF. 9pm, $20. The Middle Eastern and North African LGBT community hosts a charitable happy hookah party to native tunes spun by DJs Masood, Josh Cheon, and more.

Bustin’ Out III Trans March Afterparty El Rio, 3158 Mission, SF; 282-3325. 9pm-2am, $5-$50, sliding scale. Strut your stuff at the Transgender Pride March’s official afterparty, featuring sets from DJs Durt, Lil Manila, and giveaways from Good Vibes, AK Press, and more. Proceeds benefit the Trans/Gender Variant in Prison Committee.

Charlie Horse: No Pride No Shame The Cinch, 1723 Polk, SF; (415) 776-4162, www.myspace.com/charliehorsecinch. 10pm, free. Drag disaster Anna Conda presents a bonkers night of rock ‘n’ roll trash drag numbers, plus Juanita Fajita’s iffy "gay food cart" and Portland, Ore.’s Gender Fluids performance troupe.

Cream DNA Lounge, 375 11th St., SF; (415) 626-1409, www.creamsf.com. Two levels of sexy girl energy and a catwalk to scratch your lipstick claws on, plus a Latin lounge with hip-grinding tunes from DJs Carlitos and Chili D.

GIRLPRIDE Faith, 715 Harrison, SF; (415) 647-8258. 8pm-4am, $20. About 2,500 women are expected to join host DJ Page Hodel to celebrate this year’s Pride Weekend, and that’s a whole lotta love.

Hot Pants Cat Club, 1190 Folsom, SF; (415) 703-8964, www.myspace.com/hotpantsclub. 10pm, $5. DJ Chelsea Starr and many others make this alternaqueer dance party a major destination for hot persons of all genders and little trousers.

Mr. Mighty, 119 Utah, SF; (415) 762-0151, wwww.mighty119.com. 10pm-6am, $20. Darling promoters Big Booty, FSLD, Beatboxevents, and Big Top join forces to produce the party premiere of Pride week with DJ Kidd Sysko and Lord Kook spinning alternative techno sounds, and a special deep and dirty set from soulful house god David Harness.

Sweet Beast Transfer, 198 Church, SF; www.myspace.com/beastparty. 10pm-2am, $10. Reanimate your fetish for leather and fur by dressing up as fiercely feral fauna for the petting-zoo of a party. This week, after all, is mating season.

Tranny Fierce Supperclub, 657 Harrison, SF; (415) 348-0900, www.supperclub.com. 8pm dinner, 10pm afterparty. $85 dinner, $15-$25 afterparty. Total ferosh! Project Runway winner Christian Siriano hosts a four-course meal of trash-talking and looking fierce. The afterparty serves up drag nasty from Holy MsGrail, Cassandra Cass, and more.

Uniform and Leather Ball Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.frantix.net. 8pm-midnight, $25 & $40. The men’s men of San Francisco’s Mr. Leather Committee want you to dress to the fetish nines for this huge gathering, featuring men, music, and more shiny boots than you can lick all year. Yes, sirs!

SATURDAY 28

PERFORMANCES AND EVENTS

Dykes on Bikes Fundraiser Eagle Tavern, 398 12th St., SF; (415) 626-0880, www.dykesonbikes.org. Noon. Dykes on Bikes can’t drink and drive: they need your help. A pint for you means a gallon of gas for them. Stop by before heading to the march.

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-6pm, free. Celebrate LGBT pride at this free outdoor event featuring DJs, speakers, and live music. This is the first half of the weekend-long celebration sponsored by SF Pride. Also Sun/29.

Pink Triangle Installation Twin Peaks Vista, Twin Peaks Blvd parking area, SF; (415) 247-1100, ext 142, www.thepinktriangle.com. 7-11am, free. Bring a hammer and your work boots and help install the giant pink triangle atop Twin Peaks for everyone to see this Pride Weekend. Stay for the commemoration ceremony at 10:30am to hear Mayor Gavin Newsom and Assemblymember Mark Leno speak.

Pride Brunch Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.positiveresource.org. 11am-2pm, $75-$100. Raise a mimosa toast to this year’s Pride Parade grand marshals with many of the community’s leading activists.

Same-Sex Country, Swing, and Standard Ballroom Dance Festival and Competition Hotel Whitcomb, 1231 Market, SF; (415) 626-8000, www.queerballroom.com. 6:30-8pm, free. The Queer Jitterbugs get reeling at this one-of-a-kind contest that’ll shine your spurs and get you swingin’ out of your seat.

San Francisco Dyke March Dolores Park, Dolores and 18th Sts, SF; www.dykemarch.org. 7pm, free. Featuring music from the Trykes, Papa Dino, Las Krudas, and more, plus a whole lot of wacky sapphic high jinks.

CLUBS AND PARTIES

Bearracuda Pride Deco, 510 Larkin, SF; (415) 346-2025, www.bearracuda.com/pride. 9pm-3am, $8 before 10pm, $10 after. Hot hairy homos generate serious body static on the dance floor at this big bear get-down.

Bootie Presents The Monster Show DNA Lounge, 375 11th St, SF; (415) 626-1409, www.bootiesf.com. The city’s giant mashup club hosts a drag queen bootleg mix extravaganza, as Cookie Dough and her wild Monster Show crash the Bootie stage.

Colossus 1015 Folsom, SF; (415) 431-1200, www.guspresents.com. 10pm-8am, $40. The beats of mainstream club favorite DJ Manny Lehman throb through the largest and longest, uh &ldots; dance party of Pride week.

Deaf Lesbian Festival Dyke Ball San Francisco LGBT Center, Rainbow Room, 1800 Market, SF; (415) 865-5555, www.dcara.org. 8pm, 440. Feel the music, close your eyes, and dance to the rhythm of your smokin’ partner at the Deaf Lesbian Festival’s first ever Dyke Ball.

Devotion EndUp, 401 Sixth St, SF; (415) 357-0827, www.theendup.com. 9pm, $15. This storied dance party is back with "A Classic Pride." DJs Ruben Mancias and Pete Avila spin all-classic soulful and stripped-down house anthems for a sweaty roomful of those who were there back when.

Dyke March After Affair Minna, 111 Minna, SF; www.diamonddaggers.com. 8pm-11pm, $12-$20 sliding scale. An early-ending party featuring drag queens, burlesque stars, and belly dancers ensures that beauty sleep comes to the next day’s easy riders whose love of bikes and beer rivals that of any Hell’s Angel or fratboy. Or, stick around for Minna’s ’80s night, Barracuda.

Manquake The Gangway, 841 Larkin, SF; (415) 776-6828. 10pm, $5. Disco rareties and bathhouse classics in a perfectly cruisy old-school dive environment with DJ Bus Station John.

PlayBoyz Club Eight, 1151 Folsom, SF; www.clubrimshot.com. 10pm-3am, $10. The stars of legalized gay marriage, Obama’s candidacy, Pride week, and Black Music Month all align for this hip-hop heavy celebration.

Queen Pier 27, SF; www.energy927fm.com. 8pm, $45. Energy 92.7 FM brings back the dynamism of the old-school San Francisco clubs for this Pride dance-off. Chris Cox and Chris Willis headline. Wear your best tear-away sweats and get ready to get down, Party Boy style.

Rebel Girl Rickshaw Stop, 155 Fell, SF; wwww.rebelgirlsf.com. 9pm-2am, $12. Rebel Girl brings the noise for this one with go-go dancers, Vixen Creations giveaways, drink specials, and, you know, rebel girls.

SUNDAY 29

PERFORMANCES AND EVENTS

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-7pm, free. The celebration hits full stride, with musical performances and more.

LGBT Pride Parade Market at Davis to Market and Eighth Sts, SF; (415) 864-3733, www.sfpride.org. 10:30am-noon, free. With 200-plus dykes on bikes in the lead, this 38th annual parade, with an expected draw of 500,000, is the highlight of the Pride Weekend in the city that defines LGBT culture.

True Colors Tour Greek Theatre, UC Berkeley Campus, Hearst and Gayley Streets, Berk; (510) 809-0100, www.apeconcerts.com. 5pm, $42.50-$125 Cyndi Lauper, The B-52s, Wanda Sykes, The Puppini Sisters, and queer-eyed host Carson Kressley bring it on for human rights and limp wrists.

CLUBS AND PARTIES

Big Top The Transfer, 198 Church, SF; (415) 861-7499, www.myspace.com/joshuajcook. A circus-themed hot mess, with DJs Ladymeat, Saratonin, and Chelsea Starr, plus Heklina’s "best butt munch" contest. Will she find the third ring?

Dykes on Bikes Afterparty Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 1pm, free. How do they find time to ride with all these parties?

Juanita More! Gay Pride ’08 Bambuddha Lounge, 601 Eddy, SF; (415) 864-3733, www.juanitamore.com. 3pm, $30. Juanita More! hosts this benefit for the Harvey Milk City Hall Memorial, with DJs Robot Hustle and James Glass, and performances by fancy-pants Harlem Shake Burlesque and the Diamond Daggers. Fill ‘er up, baby!

Starbox Harry Denton’s, 450 Powell, SF; (415) 395-8595, www.harrydenton.com. 6pm-midnight, $7 High atop the Sir Francisc Drake Hotel, the swank Harry Denton’s presents DJ Page Hodel’s patented brand of diverse and soulful bacchanalia.

Sundance Saloon Country Pride Hotel Whitcomb, 1231 Market, SF; (415) 626-8000, www.sundancesaloon.org. 6pm-11pm, $5. Hot hot bear husbands on the hoof, line-dancing for the pickin’ at this overalls-and-snakeskin-boots roundup.

Unity Temple, 540 Howard, SF; www.templesf.com. Legendary kiki-hurrah club Fag Fridays rises again with a sure-to-be-smokin’ DJ set from the one and only Frankie Knuckles, the goddess’s gift to deep house freaks and friends.

Jonathan Richman makes out on his multiple-night stand in the Mission

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richman.jpg
Baby, you’re a Richman: Jonathan Richman back in the ’70s.

By Laura Mojonnier

One gets the sense that Jonathan Richman spends a lot of time alone in his room – staring at that telephone that never rings, practicing his Angus Young-style leg kicks, and listening to French lessons on tape. When he does get out of the house, his favorite activity is touring with longtime drummer Tommy Larkins, with whom he’ll play the last shows of a four-night stint at the Make Out Room tonight through Thursday.

From his days as a teenage Velvet Underground fan-turned-Modern Lover to his middle-aged flirtations with Spanish guitar and Romance languages, Richman has been a hero to suburban loners for more than 30 years. He documents his chronically broken heart and his love of painters like Vermeer and Van Gogh with geeky charisma and rare candor, revealing a self-effacing wit that somehow remains totally unironic. This is the guy who once sang, “I go to bakeries all day long / There’s a lack of sweetness in my life,” after all.

Richman was in top form last night at the Make-Out Room. The venue’s intimate atmosphere paired with a stripped-down setup – just Richman on acoustic guitar and Larkins on drums, peppered by the occasional cowbell solo – played to the songwriter’s strengths as a performer. His always-amusing lyrics (did he really just encourage us to “behold the lilies of the field” three times?) and legendary stage banter were supremely audible, even when they weren’t in English.

Bag drag

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› kimberly@sfbg.com

SONIC REDUCER As a once-impressionable protein unit who wrapped my eyeballs around any and all TV comedy, I’m slightly abashed to say I haven’t caught Saturday Night Live regularly in many a year. So I was surprised to hear rumors a while back that the series was allegedly biting off one of the Bay Area underground music scene’s fave figures: Jibz Cameron — known and loved for her garage-rock spaz-outs with the Roofies and her pretension-leveling levity behind the counter at Lost Weekend Video. And then there’s her super-girl-group of sorts, Dynasty, with Numbers drummer Indra Dunis and Neung Phak vocalist Diana Hayes, and her solo spin-off project, Dynasty Handbag.

“I don’t watch it either,” Cameron says from Brooklyn, as pet Chihuahuas struggle over a chew toy in the background. “But I get a phone call every other Saturday, ‘Omigod, you won’t fucking believe it…’ and I say, ‘I already know.'” She’s talking about SNL‘s house DJ Dynasty Handbag, a character that first popped up on the show in 2005, hosting a faux-MTV talk show. The occasional Kenan Thompson character is a far cry from Cameron’s Dynasty Handbag, a crazed kitsch-waver — a kind of schizo Bride of Peaches and Krystle Carrington — that Cameron developed on petite SF music stages before moving east four years ago. The project started life as the portable version of Dynasty and turned into a multi-referent alter ego.

The SNL character hasn’t reappeared in the last year, but it still offends. “It’s still on their DVDs, and I do performance that’s comedy-related,” she says. “People research me on the Internet, and my site comes up first, but they’re there, though I’m the OG, the OD, the OGD.” She says she sent SNL a cease-and-desist letter and when “that didn’t go anywhere, I took it to Volunteer Lawyers for the Arts. I’m not in a full-blown lawsuit with them, but we’re sort of in discussion with them.” At press time, SNL representatives have not responded to requests for comment.

Cameron says she does have a new “plan of attack.” Her friend Dave Sitek of TV on the Radio will be producing a podcast radio show called Radio Woo Woo, which she will cohost. “My plan is to just keep talking about it on the air,” she says, adding that the podcast will premiere TV on the Radio’s new album this fall.

The low-broiling brouhaha hasn’t stopped Cameron from developing her Dynasty Handbag performances into narratives. This week she’ll unveil three short pieces at CounterPULSE. One, Bags, revolves around Cameron’s relationships with five empty shopping bags: “Each one sucks my soul in a different way, like bad relationships in my 20s. One is really needy; one’s really demanding; and one just wants to get fisted.” A work in progress, O Death, sees Cameron attempting to bury her own dead body.

Cameron has been far from dead and buried in New York: within months of moving to the Big Snapple she was crowned Miss Lower East Side in Murray Hill’s annual pageant, and she has presented solo shows at PS 122 and Galapagos Art Space. “Everybody works so hard here — it’s really influenced me to go ahead with my stuff. And there’s just the intensity of seeing so many insane people every day,” says Cameron, who was raised by hippie parents in Mendocino County (“My childhood was peppered by characters with beards and long, droopy fun bags”). “That’s really helpful, too.” *

DYNASTY HANDBAG: TALES FROM THE PURSE

Thurs/19 and Sat/21, 8 p.m., Fri/20 and Sun/22, 10 p.m., $20

CounterPULSE

1310 Mission, SF

www.directfromnyc.com

MAGIC NUMBERS, FLYING DRUMS: THESE NEW PURITANS

Southend-on-Sea, UK’s These New Puritans purvey an austere, twinkling breed of synthetic/organic art-pop — one that evokes both Wire and the Klaxons. Who suspected the murky mystical inclinations embedded in the band’s debut, Beat Pyramid (Domino)? “Pyramids are about secrets and chambers,” vocalist Jack Barnett, 20, offers from his band’s tour stop in Chicago. “Some of the songs have to do with magic.” He claims 16th-century occultist-mathematician John Dee plays into his searching New Puritans as much as the Wu-Tang Clan, which Barnett praises for the “eerie, tiny little sounds in the background” of their productions.

Now the combo is attempting to write music that marries “the round canons of Steve Reich” with the beats of dancehall — provided Barnett manages to dodge the projectiles heaved by his drummer twin, George. When making music with your twin, Jack says, “you’re honest to the point of getting completely out of hand. As in drums being thrown at me. On a regular basis.”

Thurs/19, 8 p.m., $12–$13. Popscene, 333 Ritch, SF. www.popscene-sf.com

THE HAPPENINGS?

 

100 YEARS AT THE HOTEL UTAH

The 1908 edifice where Robin Williams, Cake, Counting Crows, and countless others broke out brings back witnesses and whoops it up. With Penelope Houston, Paula Frazer, Jesse DeNatale, Colossal Yes, Greg Ashley, Blag Dahlia, and others. Thurs/19; reception 7 p.m., ceremony 7:30 p.m., music 9 p.m.; $8 show. Hotel Utah, 500 Fourth St., SF. (415) 546-6300

 

JAYMAY

The bookish Long Island chanteuse flirts with song stylings slouching betwixt Feist and Keren Ann. Thurs/19, 9 p.m., $12. Café Du Nord, 2170 Market, SF. (415) 861-5016

 

GEORGE MICHAEL

He’s never going to dance again through this sort of arena show, the UK pop star hinted recently. Thurs/19, 8 p.m., $56–<\d>$176. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-TIXS

 

DEATH CAB FOR CUTIE

Narrow Stairs finds the Seattle cabbies stretching into darker realms. With Rogue Wave. Sat/21, 8 p.m., $39.50. Greek Theatre, UC Berkeley, Berk. www.apeconcerts.com

 

Marc Bamuthi Joseph

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PREVIEW Marc Bamuthi Joseph is an artist who makes you want to bow down in admiration or curse the gods for bestowing him with so many talents. He’s a poet. He’s a singer. A dancer. An actor. An activist. And good-looking, to boot. It doesn’t seem fair that one human being should possess so many gifts, even when he uses them for the benefit of others by revealing truths about environmental destruction, human devastation, and the experience of fatherhood. Joseph draws connections between the global and the personal to express the idea that all politics is local. Although his reputation primarily is based on his solo choreo-poems — most prominently Word Becomes Flesh (2003) — with his 2005 hip-hop Scourge, he stepped outside his comfort zone into the arena of ensemble work. For that collage-meditation on being an American of Haitian descent, he brought in a combination of actors and dancers. Now with the break/s: a mixtape for stage, he returns to the solo form. Taking Jeff Chang’s tome Can’t Stop Won’t Stop: A History of the Hip-hop Generation (Macmillan, 2005) as a starting point, Joseph puts his own perspective on the phenomenon. He has called the work "a travel diary recorded as dream. It’s Lewis and Clark at hip-hop’s Mason-Dixon line. It’s one last look at Africa."

MARC BAMUTHI JOSEPH Thurs/19–Sat/21, 8 p.m. Yerba Buena Center for the Arts, 701 Mission, San Francisco. $23–$30. (415) 978-2787, www.ybca.org

Sonic Reducer Overage: RTX, RZA, Liz Phair, and more

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Imaad Wasif waxes “Oceanic.”

Oh, Ess-eff, as if you ever stop unfurling the good times. Here’s a few more worthy shows that didn’t make it into print.

RTX and Imaad Wasif
Rasp-rock pied piper Jennifer Herrema lopes into town with RaTX (Drag City), alongside Imaad Wasif and his new combo, Two Part Beast, who’ll doubtless charm with his excellent, self-released Strange Hexes. With Bridez. Fri/20, 9:30 p.m., $10. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923

Sir Lord Von Raven
Times Flys meets Gris Gris for off-the-cuff rock in this new combo. With Apache and Toko-Ri Get High. Fri/20, 9:30 p.m., call for price. Knockout, 3223 Mission, SF. (415) 550-6994.

RZA
Backed by a live band, Bobby Digital give us a taste of Digi Snacks (Koch). With Stone Mecca, Zeph and Azeem, and Ben Flowz. Sat/21, 8 p.m., $30. 1015, 1015 Folsom, SF. www.1015.com

Another shelter down

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› amanda@sfbg.com

Inside the front door of the Marian Residence for Women, a small handmade sign by a former resident advises newcomers, "Don’t compare this place to any others."

But I’ve stayed in the city-funded homeless shelters, and after a night at Marian, it’s hard not to rave about the differences. I’m given an actual bed to sleep on, with freshly laundered sheets, blankets, and a pillow. The bathrooms and showers are clean, and I’m offered every toiletry I could possibly need — as well as pajamas. Dinner is a wholesome meal of turkey, potatoes, and steamed greens — not the mystery meat on Wonder bread I received at the city’s MSC South shelter.

And unlike the tension I’ve witnessed at other shelters, the atmosphere inside Marian is close to pacific. After dinner, the 29 other women shower, read, rest on their beds, work on their laptops, or talk quietly while sitting at small tables in the common area. After my mandatory shower, I sit with an employee who explains the rules — be respectful of others, no drinking or drugs, and don’t forget to do my chore, which is assisting with dinner service. As long as I’m home by 7 p.m., I can have my bed as long as I need it.

That is, she clarifies, until the end of August — when they’re closing the shelter. For good.

Marian is a casualty of a plan by St. Anthony Foundation to cut $3 million from the foundation’s operating budget. In addition to closing the $1.2 million Marian facility, which houses 30 women in the emergency shelter and 27 in a transitional program, St. Anthony also will shutter its 315-acre organic dairy farm in Petaluma, currently used as a rehabilitation program for homeless addicts. Its Senior Outreach and Social Services [SOSS] is also losing staff and office space as it consolidates with the Social Work Center.

Five of the foundation’s 11 programs face cuts, the result of a two-year sustainability study that St. Anthony’s executive director, Father John Hardin, said will keep the charity out of a fiscal tailspin.

"We’re not in a financial crisis," he told the Guardian. "The reason we’re doing this is so we won’t be in a financial crisis."

He said the closures reflect the organization’s desire to get back to basics.

But, as one of the 40 soon-to-be-laid-off employees said, "They’ve said they want to refocus on basic services, but I see shelter as a basic service."

St. Anthony receives no city money for the work it does, but the closures are occurring in what’s already a war zone of budget cuts for social services in San Francisco. The loss of any of St. Anthony’s programs affects the city as a whole.

"Are we concerned? Yes," said Dave Knego of Curry Senior Services, which frequently refers seniors the group can’t help to St. Anthony’s SOSS program. "Unfortunately, we already have a waiting list, and the city’s cutting our funding back by 10 percent."

The closure of Marian is yet another sign of the slow erosion of shelter space in San Francisco. Since July 2004, 364 shelter spots have disappeared. By the end of August, Marian’s 57 beds and Ella Hill Hutch’s 100 mats will be gone as well. "You can’t afford to lose 57 beds, especially in a place where women are being treated like human beings," said Western Regional Advocacy Project’s Paul Boden, who’s worked with homeless services in the city since the 1980s. "What I thought was really ironic was there wasn’t any attempt to build a community effort to discuss how to save this facility. These beds are an incredibly important community resource."

Some of the women who live in the transitional program at Marian wanted to rally and save the shelter. "First and foremost was to try to save Marian Residence for Women," said Leticia Hernandez, a two-year resident of the transitional program who still hasn’t lined up a place to go when the shelter closes. "Even if we couldn’t save it, we thought it was still worth a try because any money that would come would go back to them." The women drafted a letter asking for help, which they’d hoped management would distribute to the press and public.

The foundation, Hernandez said, had a "thanks, but no thanks" response.

Hardin told us that St. Anthony’s wasn’t facing a financial crisis, so "we’re not going to get up and cry wolf. We want to go back to some of the basics. We’re turning people away from the clinic," he pointed out.

He agreed that shelter was a basic service, but said, "We can’t do it all."

The foundation wouldn’t detail its intentions for the building once it’s vacated Aug. 31, beyond affirming that it would be rented. "That’s going to be an income generator," said foundation spokesperson Francis Aviani. "We are hoping to get a social service agency to use the space in the way it’s designed for, helping folks."

Multiple St. Anthony employees said they were told the facility would be used for medical respite — beds set aside for people who aren’t in critical condition, but are too ill or fragile to mingle with the general population and have nowhere else to go — and a St. Anthony board member confirmed that was the only plan presented to the board.

Marc Trotz, director of the San Francisco Department of Public Health’s Housing and Urban Health division, which oversees its $2.5 million, 60-bed medical respite program currently housed in two facilities, told us the city is looking for a new respite site. He confirmed that the Marian building is a facility the agency has seriously considered. "We’re not looking to push one program out in favor of another or anything like that." But, he said, "It’s a potential site that would work well."

While St. Anthony is cutting $3 million in programs, foundation staffers have been working for several years on a $22 million capital campaign for a new administrative building at 150 Golden Gate Ave. The building will replace a facility at 121 Golden Gate, where offices, the clinic, an employment center, and a dining room are currently housed. The popular dining room — which serves 2,600 meals a day — will ultimately move back to 121 Golden Gate after the building is razed and rebuilt to meet modern earthquake safety standards. The project is part of another $20 million campaign that includes a partnership with Mercy Housing to build affordable rentals on the upper floors.

St. Anthony staffers say the types of donors who will contribute to a new building are very different from those who will fund ongoing programs.

Meanwhile, food costs in the dining room have increased 18 percent in the last three months, and St. Anthony staffers expect another 25 percent increase during the coming quarter. At the same time, other free food programs in the city have closed, which means St. Anthony is seeing new faces in the dining room.

Aviani confirmed that donations have increased 8 percent to 10 percent, but the group receives very few "unrestricted" funds. Most of the money is earmarked for the dining room. In a way, she said, "that’s the community deciding what they want."

A third of the organization’s $19.7 million budget comes from bequests — a form of donation that has waxed and waned in recent years. According to Aviani, the foundation has yet to receive a single bequest this year.

The group has increased grants and deployed new fundraising methods, but she said that "The amount of grants out there for shelters and women’s programs are few and far between." She acknowledged that shelters are needed, and said St. Anthony has been "pretty outspoken about that."

The foundation has kept a tight lid on talk about the closures. None of the employees contacted by the Guardian would speak on the record — for fear, they said, of losing their severance packages.

Aviani said severance packages — which include pay and personal job coaching — are not on the line. "We asked them not to create a gossip chain, to stay focused on their work, and when people have questions, direct them to me. We didn’t say they couldn’t talk to anyone at all. That wasn’t the message at all."

Whether or not the gag order was intentional, it has had an effect and created suspicion about the foundation’s true intentions.

Even the city deferred to the organization when questioned about the potential plan to rent the Marian building and use it as a medical respite facility. "We’re not going to talk about that," said DPH spokesperson Eileen Shields. "We’re going to let St. Anthony talk about that at this point because it’s St. Anthony’s call."

On Feb. 14, Newsom — who has said shelters don’t solve homelessness — announced he would like to redesign the city’s shelters and called on the community to come up with suggestions. One of his specific suggestions was to create more medical respite centers.

In May, the Local Homeless Coordinating Board, which is chaired by Hardin, released a report outlining a number of detailed suggestions for improving city-funded shelters and services. It specifically stated that shelter beds shouldn’t be sacrificed to make room for respite.

The Mayor’s Office has yet to formally respond to the report, but at the June 2 LHCB meeting, Kayhan said there were a few things he felt confident the mayor would endorse.

"We heard loud and clear: more senior beds," Kayhan said. "And I’ll add to that women’s beds." He said that respite care would be "moving and co-locating with another location. We think that could free up space at one of the shelters." And, he added, that space could be allocated to women or seniors.

Which makes it sound like more beds for women and seniors are in the works — but considering the elimination of Marian and a shelter at Ella Hill Hutch Community Center, the city is still looking at a net loss of places for the homeless to sleep at night.

Board member Laura Guzman, who runs the Mission Neighborhood Resource Center, said she heard Hardin announce the Marian closure at a May 5 meeting. "He said it was a very difficult decision. I believe he said we’re going to try to open some medical respite beds," Guzman said. "All along we’ve said we don’t want to replace shelter with medical respite beds, but that’s exactly what’s happening."

Shuttering Marian is just one more loss in an environment of dwindling resources for women. Buster’s Place, the only 24-hour drop-in center for men and women, closed in March, and was replaced by a smaller facility that only allows men.

Five of the city’s other shelters have sections for women, but one of them is slated to close as well and none can offer a women-only safe space like Marian. A Woman’s Place is the only other all-female facility, and its 15 mats on the floor are always full. "With Marian closing, there’s going to be more of a demand on the total system," said Janet Goy, executive director of Community Awareness and Training Services, which runs A Woman’s Place. "It’s a loss, no question."

Emily Murase of the Commission on the Status of Women said it’s difficult to accurately count homeless women because women tend to take more measures than men to stay off the streets, though they may not necessarily be safely housed. Women are more prone to couch-surf, stay in abusive relationships, or settle for some other kind of compromised situation.

Murase’s group now funds a special women-only program at Glide Memorial Church, whose director, Willa Seldon, said, "We’re certainly seeing an increase in volume of women in the city to our programs. In October, we were seeing 11 in our support groups. That increased to 18 by March. It could definitely be related to Buster’s Place closing."

Hardin acknowledged the need for women’s shelters but said the city ought to take on the burden. "Maybe closing the Marian is a tipping point," he said. "As I said in front of the Board of Supervisors, it’s the government’s responsibility to provide the safety net. We’re the hands beneath the safety net."

Sandy Van Dusen has been living in the transitional program for a year and a half since her husband was murdered. She’s been told that she is about to get a studio apartment. She’s visibly excited about the move, and grateful to the foundation. But, she says, she’s still been crying every day since she heard Marian is closing. "They saved my life," she says, crying a little now. "They’re doing what they told me to never do — throw in the towel."

*

A heart once nourished

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› gwschulz@sfbg.com

Community court, every second Thursday at 10 a.m. Narcotics Anonymous on Wednesday. Apprenticeships for construction workers, Monday, bright and early.

The ancient letter board just inside the entrance of the Ella Hill Hutch Community Center tells much of the story of this neighborhood institution. Since 1981 it’s been a crucial hub for the Western Addition, a mostly level stretch of terrain west of downtown that rivals the Mission District and Bayview–Hunters Point as the source of the most despair from senseless gun violence.

For decades Ella Hill was a safe haven, a place where kids and seniors felt comfortable, where people could learn and teach and talk and work together, a little oasis in the world of urban hurt.

A placard affixed to one wall of the entryway honors Thurgood Marshall, the nation’s first African American US Supreme Court justice. In a small office nearby, a tutor assists a young girl with the multiplication table. Elsewhere, a list of rules forbids profanity, play-fighting, and put-downs.

There’s also a poster of Ella Hill Hutch, the first black woman elected to San Francisco’s Board of Supervisors, where she served from 1978-81.

But in 2006, a man was murdered during daylight hours in the center’s gymnasium before dozens of witnesses. That slaying was one of at least five brutal incidents that took place in the shadow of Ella Hill between 2006 and 2007; three more murders occurred within blocks. Many remain open cases today.

And now the center is having serious problems — troubles that reflect those of the city’s African American population, which has been plagued by violence and socioeconomic changes that are closing opportunities and forcing longtime residents out the city.

Several census tracts in the neighborhood that at one time contained between 3,000 and 6,000 black residents are down to 1,000 or far less, according to a San Francisco State University study commissioned by the city last year. The report showed that between 1995 and 2000 San Francisco lost more of its black population than 18 other major US cities.

Ironically, the city is now preparing to close the final dark chapter on 50 years of federally subsidized redevelopment in the Western Addition. But the displacement that the bulldozers set off half a century ago continues today, unabated.

That exodus has compounded structural problems at the center just when its remaining clients need it most. The nonprofit late last year underwent an organizational shake up and brief takeover by the Mayor’s Office to save it from imminent financial collapse. The center’s executive director of two years, George Smith III, was fired with little public explanation last year, and a permanent head was named only recently.

As with many aspects of this troubled community, it was unaddressed violence that fed the fire. Simply subsisting in the heart of a violent neighborhood was strain enough for Ella Hill. But suffering an attack from within seemed too much to bear for an institution some call "San Francisco’s Black City Hall."

The 2006 killing took one man’s life, but Ella Hill itself — still facing an uncertain financial future — felt the searing rounds too. Now some wonder if the nonprofit can survive the very violence and poverty it was created to help end in a neighborhood that’s changing forever.

In Ella Hill’s noisy gymnasium at the building’s east end, two teams of middle schoolers practice basketball.

"My job is to be in the best position to box him out for a rebound," their coach says as they crowd around the free throw line.

The kids are radiant and attentive now. But from this same basketball court on April 27, 2006, the Western Addition briefly edged ahead of the rest of the city in extreme bloodshed.

Donte White, 22, was working part-time at the center. As he supervised a basketball game, two unidentified males entered Ella Hill. One brandished a firearm and shot White at least eight times in the face, neck, and chest as several kids looked on in utter horror. Among them was White’s young daughter.

Police arrested 25-year-old Esau Ferdinand for the attack five months after White’s murder. But within two weeks prosecutors decided they could no longer hold him and declined to press charges when a key witness disappeared on the eve of grand jury proceedings.

Even with other witnesses filling the gym, police gathered few additional leads, an all-too-common story in a neighborhood where residents often prefer to avoid both law enforcement and vengeful criminal suspects.

The center installed cameras and an alarm. A buzzer was placed on the front door. But the new security measures cut against Ella Hill’s image as a demilitarized zone, and the center remains shaken by White’s murder. Some parents began barring their children from going there.

"Can you imagine something like that, someone coming into a rec center in the middle of the day with a firearm and shooting and killing a guy?" asks Deven Richardson, who resigned from Ella Hill’s board in 2007 to focus on his real estate business. "That really set us back big time in terms of morale. It really was a dark moment for the center."

Sup. Ross Mirkarimi, whose district includes Ella Hill, says that after he took office in 2004, he learned that the police weren’t stationed at the center during prime hours and had never created a strategy for attaching themselves to the center the way they had at other safe-haven institutions in the city, like schools. He told us he’s had to "really work" to get the nearby Northern Station more integrated into Ella Hill.

"Before the murder of Donte White, there had also been a series of incidences inside Ella Hill Hutch," Mirkarimi said over drinks at a Hayes Valley bar. "Nothing that resulted in anybody getting killed, but certainly enough indicators that really should have been taken more seriously by the mayor."

In June 2006, shortly after White’s shooting, the San Francisco Police Commission and the Board of Supervisors held a tense public meeting at the center. Residents, enraged over the wave of violence that summer in the Western Addition, shouted down public officials, including Chief Heather Fong, who was forced to cut short a presentation on the city’s crime rate.

That same month, the supervisors put a measure on the ballot to allocate $30 million over three years for violence-prevention efforts like ex-offender services and witness relocation. But Mayor Gavin Newsom, following a policy of fortifying law enforcement over community-based alternatives, opposed the measure because it excluded the police department. Prop. A, designed to finance groups like Ella Hill with connections to the neighborhood that the police will never have, lost by less than a single percentage point.

Meanwhile, four homicides in the neighborhood that year joined frequent anarchic shootouts in the Western Addition, including many that never made headlines because no one was killed. The fatalities led to promises by City Hall that the area would be saturated with improved security, including additional security cameras that have mostly proved useless in helping the police solve violent crimes.

On June 3, 2006, 19-year-old Antoine Green was standing on McAllister Street near Ella Hill early in the morning when he was shot to death in the head and back. On Aug. 16, 38-year-old Johnny Jackson’s chest was filled with bullets as he sat in the front seat of a Honda Passport on Turk Street not far behind Ella Hill. A woman next to him in the car suffered a critical gunshot wound to the head.

Two more killings occurred further east at Larch Way, a popular location for murder in the neighborhood.

Burnett "Booski" Raven, a 32-year-old alleged member of the Eddy Rock street gang, was found bleeding at 618 Larch Way early Oct. 7, his body laying halfway in the street and containing at least 10 gunshot wounds. On July 22, police found 23-year-old John Brown, another purported Eddy Rock member, wedged under a Chevy pickup truck, dead from up to seven gunshots.

Brown had reportedly survived two prior shootings, but the Western Addition’s cultural condemnation of "snitching" to police has so infected the neighborhood that he allegedly told police not to bother investigating either of the attacks.

Loïc Wacquant, a sociology professor at the University of California, Berkeley, says neighborhoods like the Western Addition that once contained stable black institutions — schools, churches, and community centers that glued residents together — have been overwhelmed by the rise of a white-collar, service-based economy, the decline of unions, and the withdrawal of meaningful social safety nets.

Cities have responded to the resulting marginalization with more police officers, more courts, and more prisons. But the failure of those institutions to cure rising violence "serves as the justification for [their] continued expansion," Wacquant quoted Michel Foucault, the famous late UC Berkeley sociologist, in the academic journal Thesis Eleven earlier this year.

The roots of the Western Addition’s tragedy go back to the early post-World War II era. In 1949, Congress enacted laws giving cities extraordinary powers to clear out land defined as "blighted." In San Francisco, that meant neighborhoods where low income people of color lived.

The Western Addition was devastated. Huge blocks of houses were bulldozed. Clubs, stores, restaurants — the heart of the black neighborhood — were wiped out. Many residents were forced out of the neighborhood and sometimes the city forever; others lost their property and their livelihoods (see "A half-century of lies," 3/21/2007).

By the 1970s, neighborhood activists were hoping that at the very least the Redevelopment Agency would pay for a recreation facility for kids. But city officials wouldn’t put up the money, recalls the Rev. Arnold Townsend, a longtime political fixture in the city and associate pastor of the Rhema Word Christian Fellowship.

Townsend said activist Mary Rogers — whom he calls "the greatest champion kids ever had in this community" and a famous critic of redevelopment — gave up on City Hall and went to Washington DC, where she sat in at a meeting that happened to include Patricia Harris, Secretary of the Department of Housing and Urban Development under President Jimmy Carter. Rogers, joined by a group of colleagues from San Francisco, bumped into Harris afterward.

"[Harris] shook Mary’s hand like politicians do, and Mary wouldn’t let her hand go until she had a meeting," Townsend said. "They were having a tug-of-war over her hand."

Rogers’ determination paid off, and enough political channels opened up that money for the center became available. Then-Mayor Dianne Feinstein cut the ribbon for the $2.3 million Ella Hill Hutch Community Center four months after the supervisor’s death, complete with outdoor seating for seniors, a gymnasium, tennis courts, and child-care facilities.

A young counselor named Leonard "Lefty" Gordon who worked at the Booker T. Washington Community Service Center, one of the city’s oldest black institutions — it was founded in 1919 on Presidio Avenue, where it remains today — was named executive director of Ella Hill three years later and led the center to wide acclaim for 17 years.

A recreation coordinator at Ella Hill started a reading program for young athletes after discovering that a local high school football star wasn’t aware he’d been named the city’s player of the year: the teenaged boy couldn’t read the newspaper to find out. Other programs for tutoring and job training targeting young and old residents were likewise started under Gordon.

Many of the people we interviewed recalled the "kitchen cabinet" meetings convened by Lefty Gordon at Ella Hill as among their fondest memories. Everyone from the "gangbangers to police" attended Gordon’s meetings, Townsend said, and made them a repository of complaints about what was happening in the neighborhood.

Alphonso Pines, a former Ella Hill board member and organizer for the Unite Here! Local 2 union, eagerly showed up at the meetings for months after attending 1995’s Million Man March in Washington.

"I hate to see brothers die, regardless of whether it’s at Ella Hill," Pines said of Donte White’s 2006 killing. "But that was personal for me, because that was the place where I had sat on the board for years. That was real shocking."

Lefty’s son, Greg Gordon, said that his legendary father — who died of a heart attack in May of 2000 — worked so hard for the center that he allowed his own health to deteriorate.

Most beneficiaries of Ella Hill’s social services now live in the southeast section of the 94115 ZIP code, roughly bordered by McAllister and Geary streets to the south and north, and Divisadero and Laguna streets to the west and east.

The majority of Ella Hill’s approximately $1.4 million annual budget comes from government sources, either through grants or nonprofit contracts.

Newsom, through his community development and housing offices, has given $860,000 over the past three years to Ella Hill to help job-ready applicants obtain construction work and other general employment in the neighborhood. The center launched its JOBZ program in 2006, targeting formerly incarcerated young adults and others with a "hard-to-employ" status.

Caseworkers must convince some participants to leave gangs, deal with outstanding warrants, pay back child support, expunge criminal records, or eliminate new offenses, all of which can exacerbate a desire to give up. Sometimes the center has to buy people alarm clocks.

"None of these other programs that are being funded in this community want to deal with the kinds of kids or people who come to Ella Hill…. [It] is the last stop for everybody," said London Breed, head of the African American Art and Culture Complex on Fulton Street and a Western Addition native. "That’s where people go who have no place else to go, which is why it’s so important."

Most nonprofits working for the city must regularly report their operational costs or show how program funds are being spent on graduation ceremonies and trips to university campuses. The required forms are mind-numbingly bureaucratic and reveal little about what a place like Ella Hill might face on a practical level each day. But last year, former executive director George Smith betrayed a crack in Ella Hill’s veneer.

"Once again violence has impacted the community with three incidents in close proximity to the complex this month alone," he wrote to the San Francisco Department of Children, Youth and Their Families, which supports the center with college preparation grants. "One of the victims was a young man scheduled to graduate from high school in June."

On May 25, 2007, 19-year-old Jamar Lake was leaving a store on Laguna and Eddy streets, northeast of Ella Hill, when a teen suspect opened fire on him. Paramedics were so worried about security in the neighborhood that they fled before attempting resuscitation, according to a report from the San Francisco Medical Examiner. Lake died at General Hospital that day.

Weeks later, a manic 12-hour long feud erupted between several gunmen on McAllister Street. Seven people were wounded during two daytime shootings that took place in the Friendship Village Apartments, across the street from Ella Hill.

Then in July, a suspect randomly and fatally stabbed 54-year-old Kenneth Taylor in the neck as he sat on a park bench near sundown at Turk and Fillmore streets, within easy view of the SFPD’s Northern Station. Police didn’t respond until Taylor stumbled to the sidewalk and collapsed; a witness had to flag down a patrol car.

Following the Lake shooting, the mayor and police department promised, as they had the year before, that foot patrols would be increased in the 193-unit Plaza East Housing Development and other public housing projects in the Western Addition.

But the city’s most visible response has bypassed Ella Hill — which has some street credibility — altogether. Instead, City Attorney Dennis Herrera went to court to get injunctions against street gangs in June 2007.

Herrera’s initial filing came days after the wild shootout on McAllister Street, but the timing was coincidental. The city attorney also had been preparing injunctions against gangs in the Mission and Bayview-Hunter’s Point for months. For the Western Addition, the city attorney noted a "recent rise in violent crimes perpetrated by the defendants," and asked that the members of three gangs be banned from associating with one another inside two "safety zones" marked along the contours of their respective territories, a 14-square-block area that straddles Fillmore Street and rests just north of Ella Hill.

"The conditions within the two safety zones have become particularly intolerable in 2007 as the deadly rivalry between the Uptown alliance and defendant Eddy Rock has intensified," Herrera’s office told the court. "In 2007 alone, this rivalry is the suspected cause of at least three homicides and numerous shootings within the two safety zones."

Some critics viewed barring people from congregating with one another a civil rights violation. And worse, they feared it would merely shove more African Americans and Latinos out of the Western Addition, which would benefit the city’s wealthiest white residents.

"All of this stuff about gang injunctions is a bunch of malarkey," said Franzo King, archbishop of the Saint John Coltrane African Orthodox Church on Fillmore Street. "You don’t really have gangs here…. [In San Francisco] they’re a big club."

Herrera nonetheless convinced a Superior Court judge to issue the injunctions after filing 1,200 pages of evidence arguing that the three "clubs," which include only about 65 people named by the city, are endless public nuisances and force organizations like Ella Hill to battle with them for the affections of Western Addition youth.

Police admit that the injunctions since last year have, in fact, led people to simply leave the neighborhood. Still, they insist the injunctions have reduced trouble in the Western Addition. The Knock Out Posse, for instance, is evaporating, they say.

Paris Moffett, a 30-year-old alleged Eddy Rock leader, told the Guardian in a separate story on the gang injunctions last November that he and others were organizing to quell violence in the neighborhood and would do so in defiance of the gang injunctions (see "Defying the injunction," 11/28/07).

But on the day that story ran, Moffett hampered his new cause when, according to a March 27 federal indictment, police arrested him in Novato for possessing a large quantity of crack and MDMA, as well as a Colt .45 semiautomatic.

After Lefty Gordon died, the center went through a couple of directors in relatively short order. Robert Hector, a second-in-command to Lefty Gordon, helmed the center briefly; he was replaced with George Smith III, who left in 2007.

Meanwhile, problems at Ella Hill grew.

"The seniors just stopped their participation," Anita Grier, a former Ella Hill board member who first ran for the San Francisco City College Board of Trustees in 1998 at Gordon’s encouragement, told us. "Things were never excellent, but they just got much worse once [Gordon] was no longer director."

The center, a standalone nonprofit, had long struggled financially in part because it relied so much on contracts and grants from the city rather than pursuing funds from private donors. Mirkarimi says Ella Hill’s structure is unlike any other community center in the city. Many other centers are directly maintained by the San Francisco Recreation and Park Department.

Contract revenue from one Ella Hill program, such as providing emergency shelter to the homeless, was often diverted to keep another on life support or to simply cover the center’s utility bills.

By early 2007, the center faced a financial catastrophe. Donald Frazier joined Ella Hill’s board as president in January 2007 and embarked on a reform effort to turn the center around. He commissioned what came to be a blistering audit that revealed the nonprofit owed over $200,000 in state and federal payroll taxes. As a result, the center faced $63,000 more in penalties and accrued interest.

Mirkarimi blames community leaders in his district for refusing to acknowledge a crisis at the center and for not turning to City Hall for help when Ella Hill appeared to be slowly rotting from the inside out.

The mayor’s staff, he adds, wanted to believe Ella Hill was working on its own and should’ve continued to do so because, despite its financial reliance on the city, it was technically an independent nonprofit. In reality, Mirkarimi said, "They were afraid to piss off black people, is what it comes down to. They were afraid to tell it like it is — that things weren’t working."

Sending delinquent invoices to the city, failing to institute reasonable accounting standards, and falling far behind on its payroll taxes all threatened the government contracts and grants that kept San Francisco’s Black City Hall afloat. By extension, the audit concluded, that meant Western Addition residents who relied on Ella Hill were "victimized" by the center’s improper use of its limited resources.

Aside from the audit, which Ella Hill instigated itself, there’s no indication in the records of agencies funding the center that any problems were occurring, which implies the city wasn’t paying attention.

"As far as I’m concerned," Mirkarimi said, "we had a renegade institution, and the only reason it wasn’t renegade in an illegal sense was because the lease allowed them to have a parallel governance structure. But it was renegade in the sense that the city neglected to supervise properly."

In November 2007, just after residents hijacked a chaotic board meeting with an extended public comment period, Frazier told the directors in closed session that the Redevelopment Agency was planning to restrict future funding for the center due to its management problems.

One month later, the mayor dispatched an aide, Dwayne Jones, along with redevelopment agency director Fred Blackwell, to a meeting at Ella Hill with an ultimatum. Jones told the assembled that new interim appointees would be taking over the center’s bank books, recreating its bylaws, and electing a new board and executive director. The old board would essentially be dissolved. According to observers at the meeting, Jones told them that if they resisted the plan, funds received by Ella Hill from various city agencies would be jeopardized, as would its low-cost lease of city property.

Two defiant board members viewed the move as a "hostile takeover" of a private nonprofit organization by the mayor and voted against it, but the rest of the board agreed to the restructuring. Mirkarimi says there was simply no alternative.

"Right now it needs to be shrunk to what it can do really well, instead of doing what they had to do in the last five years, an incremental sloppy way of programming," he said.

The interim board in April named a former Ella Hill employee and Park and Rec administrator, Howard Smith — unrelated to George Smith — to be the center’s new executive director. But after all the changes Ella Hill made to fix its leadership problems, there are no assurances the city won’t leave Ella Hill without the money it needs to keep the doors open next year.

It’s noon on a recent Friday and Ella Hill’s new executive director is scrambling to keep things together. An employee wants him to glance at a form. Another man wants to come in and play basketball. Smith has a board meeting minutes from now, but he’s scheduled an interview with the Guardian at the same time.

Smith’s a well-built man dressed in a pressed suit, polished shoes, and a sharply-knotted tie. He’d mostly avoided our calls for weeks. Word spread in the neighborhood that the Guardian was planning some sort of hit piece on Ella Hill.

But it won’t be a newspaper that capsizes the center.

A significant portion of the center’s funding will be threatened over the next year. The redevelopment agency is scheduled to end its 45-year reign in the Western Addition by then, a blessing of sorts since so many people in the neighborhood feel it’s done nothing but upend the lives of black residents. But the end of the agency means that redevelopment funds for Ella Hill’s job placement programs, about $400,000 annually, will disappear.

In addition, about $300,000 more a year will dry up since the San Francisco Human Services Agency hasn’t renewed an emergency homeless shelter contract with the center. Mirkarimi believes the mayor, too, will try to stop providing Ella Hill with funding through his community development office next year.

If Newsom does back away, Mirkarimi warns, there will be "a very loud showdown."

"What I’m worried about is that the Newsom administration is basically cutting and running on this, and I’m not going to allow that to happen, at least not without a fight," he said.

The alternative is for Rec and Park to take over managing Ella Hill’s facilities with DCYF continuing to fund youth programs there while the Redevelopment Agency commits community benefits dollars from a legacy fund to the center — the least it can do after a half-century of transforming the neighborhood, locals be damned.

An interagency council made up of the center’s primary funders could collectively watchdog its performance, Mirkarimi says. Once Ella Hill’s leaders prove that the center has fully returned to its original mission, it can consider expanding to serve other populations in the neighborhood, or even seek a plan to detach further from the city.

The mayor’s spokesperson, Nathan Ballard, did not respond to an e-mail containing detailed questions, and his aide, Dwayne Jones, did not return several phone calls. But Smith said during a later lunch interview at the Fillmore Café that he agrees with Mirkarimi’s idea.

"There are so many programs out there that say they’re doing something on paper, but they’re really not doing it," Smith said. "They’re running ghost programs. So what I’ve been saying at Ella Hill since I got there is, ‘We will do exactly what we said we were going to do.’<0x2009>"

In the meantime, Smith is determined to prove that Ella Hill’s history has only just begun. The mural of Lefty Gordon outside the center received a fresh coat of paint recently, and the color pops. The sidewalk is being repaved and new handrails installed. The walls inside are clear of the aging posters and letter board that hung there a few months ago.

Before heading off to his board meeting, Smith teasingly asks an adolescent boy meandering in the center’s entryway for 75 cents. The boy’s always hitting him up for pocket change.

"I don’t got any," the boy responds.

"You don’t have any," Smith corrects.

Smith suddenly realizes what time it is.

"Hey, why isn’t this guy in school?" he wonders aloud.

At that moment, only the Ella Hill Hutch Community Center was asking the question. *

Sausage and the City

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By Justin Juul

Have you ever wondered what would happen if you ever actually pursued one of those weird ideas you get when you’re driving (or bussing or biking) home from work and your brain starts to wander? You know the shit I’m talking about. Something like this: Mmmm, I’m hungry — a hot dog would be nice – they always smell so good – but there’s bacon in them dogs – I wonder how much money those bacon-dog cart people in the Mission make – I wish they sold veggie dogs – I wish I had a hot dog cart – I bet I could find one on Ebay – I could start my own veggie-dog cart and get rich peddling my stuff in the park.

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Wonder no more!

Then someone cuts you off and you slam your brakes and forget about the whole thing. You start thinking about sex or iPhones or something important like that. We all have those ideas that we know would work, but that we don’t have the time, energy, or money to get around to. The truth is we’re just lazy. That idea –the one about the veggie dogs– would totally work. Just think about how much money you’d make at Dolores Park on a sunny Sunday afternoon. All those stoned hipsters! All the drunk vegetarians! Who knows, after a month or so maybe you could make enough money to buy a cute little French bulldog to tag along as your mascot. You should do it! But you can’t –not anymore—because Danielle and Kristine, better known around these parts as Sausage Party, have already done it. And their dogs are fantastic.

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Dog Eat Dog. Would the cute guy in this pic call Marke B. immediately.

Bring the Guard home

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Here’s a good idea to further localize the effort to stop the war in Iraq. See how the states of New Jersey, Pennsylvania, Rhode Island and Vermont are organizing efforts to pressure their state legislatures to stop the deployment of the National Guards, from their state to Iraq, on the orders of President Bush.

It is clear that the mission that Congress authorized no longer exists. The President has no current or permanent legal authority to keep Guard members in Iraq. The Governor as Commander-in-Chief of the Vermont National Guard should take necessary steps to bring them home.”
~ Rep. Michael Fisher, Vermont State House

Let’s get a movement going in California. Let’s start by asking rep. Nancy Pelosi, the Speaker of the House and our San Francisco representative, up for reelection this fall, if she would support the movement or lead the charge.

For more information go to www.BringtheGuardHome.org

What is carfree?

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Carfree – it’s a word that is not part of the American lexicon. Even breaking the word apart – car free – won’t much help the average automobile-dependent U.S. resident intuit its meaning. If the concept seems foreign, that’s because it is.

The World Carfree Network started in Europe more than 10 years ago to, according to its mission statement, “bring together organizations and individuals dedicated to promoting alternatives to car dependence and automobile-based planning at the international level and working to reduce the human impact on the natural environment while improving the quality of life for all.”

But just as Americans begin to seriously grapple with global warming, high gasoline prices, and hopelessly congested roadways, the carfree concept and its adherents are establishing a beachhead here. The group’s eighth annual conference, Towards Carfree Cities, begins Monday in Portland, Oregon, the first time it’s been in the U.S.

And San Francisco activists are hoping to use the occasion to firmly plant the “carfree” word and concept in the minds of local planners and politicians, a cause the Guardian will help promote with daily coverage from the week-long conference.

Scottish SF

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By Phil Eil

San Francisco may be a long way from Scotland, but the fingerprints of our kilt-wearing friends are all over the Bay Area. Between John Muir (of Muir Woods), and “Uncle John” Mclaren, the Golden Gate Park superintendent who vowed, “There will be no ‘Keep Off the Grass’ signs,” Scotsmen have San Francisco-area parks covered. And then there are the seven San Francisco public libraries—including my local branch in the Mission — financed by the Scottish-born steel baron Andrew Carnegie. If that’s not enough, consider each Scottish Terrier in Bernal Heights Park, all the Scotch Whisky in town, and every stitch of plaid clothing … ever. Now you’re on your way to giving the craggy country “North of the border” its proper due. Yes, Guy-Who’s-Seen-Trainspotting-Twenty-Four-Times, I’m talking to you.

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Facing the music

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Mini video-enhanced chamber operas seem to be the flavor of the month, at least in a certain stretch of the Mission District. Only three weeks ago, Bay Area composer Erling Wold’s solo opera Mordake began its world premiere run at Shotwell Studios (as part of the San Francisco International Arts Festival) with inimitable tenor John Duykers in the part of the titular medical mystery and suicide — a pampered Victorian gentleman with the seemingly sentient face of his sisterly "evil twin" pasted to the back of his head. Beautifully constructed throughout (beginning with Wold’s prerecorded but generally enthralling minimalist score and Dukyers’ expansively human turn as "the man who ate his family"), Mordake availed itself of an exquisite and all-encompassing video design that cunningly developed the opera’s themes while allowing traditional lighting, costumes, and sets to be kept to a select minimum.

Meanwhile, a few blocks away at the Lab on 16th Street, composer-librettist Lisa Scola Prosek’s Trap Door followed suit with a one-hour chamber work on the plight of a US soldier in Iraq accused of killing an unarmed civilian. Billed as a "video opera," Trap Door is in fact performed live by a cast of seven and another six musicians (including composer Prosek at the piano) but unfolds against a wall-projection (designed by filmmaker-videographer Jacob Kalousek) whose purpose is to open up and to some degree comment on action otherwise constrained by a physically tight, nontraditional stage with minimal scenic components.

Like Wold, Prosek is a gifted local composer happy to work at or near the Bay Area’s new-theater fringes, and is well versed in its multimedia possibilities. Her last chamber opera, Belfagor, based on Machiavelli’s satirical comedy and set to an Italian libretto, also incorporated an elaborate video-based design scheme as part of its impressive debut at the Thick House. But the results in Trap Door prove far less successful this time around.

Only part of the problem has to do with the multimedia dimension: missing Kalousek’s synched video contains some arresting images and evocatively incongruous backdrops (such as the negative image of a revolving Ferris wheel overlapping one particularly dramatic scene), but others feel either less inspired or arbitrary, simultaneously being difficult to read or fully take in against the multiple surfaces at the back of the stage.

Beyond these individual elements, it’s the underlying theme that proves problematic. Based on a dream of the composer’s, Trap Door uses music as both vehicle and metaphor for exploring the moral agency of a hapless soldier, Private Able (Clifton Romig), who is presented with an impossible situation in which his simple human wants and patriotic dreams run up hard against the chaos, hypocrisy, corporate double-dealing, and native outrage that dwell at the bloody forefront of American empire. As promising as that may sound, it seems to have been too complex an idea to adequately develop here, at least not without falling back on overly compressed musical motifs and a kind of stiff dramatic shorthand that skirts mere caricature.

Director Jim Cave’s solid staging ensures that the many swift scene changes come over gracefully. But the condensed action means that even the main character and his Iraqi counterpart — the taxi driver Omar (tenor Mark Hernandez) — have little dramatic depth, while characters like Jane the Journalist (soprano Bianca Showalter) can only come across as cartoons. The more choice aspects remain, unsurprisingly, the musical ones. Romig’s smooth, rich bass meshes nicely with a set of agreeable voices, including several fairly strong duets with sopranos Maria Mikheyenko and Eliza O’Malley. But in general, even the music feels too cramped and underdeveloped, like a series of tantalizing abstracts for some larger vision.

TRAP DOOR

Thurs/12–Sat/14, 8 p.m., $15–$20 sliding scale

Lab

2948 16th St., SF

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

Scramble for Africa 3.0

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Africa is not a monolith. Africa is not even Africa: the outsider bastardization kicked off in earnest when the Roman misnomer of a finite North African region was allowed to stand for the entire continent. However, for the West’s millennial hipsters currently emuutf8g such early adopters of 30 years ago — the oft-cited David Byrne and Brian Eno/Talking Heads, Paul Simon, Peter Gabriel, and the Police — the space formerly known as the Dark Continent has come to resemble the Golden Corral.

Vampire Weekend and other indie participants in the sonic Scramble for Africa 3.0 obviously see midcentury and postcolonial African pop culture as a cheap date, a provider of organic rock mystery where one can queue for heaping sides of hi-life, soukous, mbaqanga, mbalax, juju, rai, township jive, and Ténéré desert blues. La Présence Africaine is renewing rock ‘n’ roll — again. Striving ahead of the pale pack of black Yankee rockers is retired Nuer boy soldier Emmanuel Jal, justly a current press darling for his fine new second release, Warchild (Sonic 360).

Yet the acclaim for Jal has not outstripped the simultaneous giddiness and hand-wringing of a music press delighted by indie’s abrupt romance with African styles — hot on the heels of a new generation’s overlapping yen for English folk and Balkan gypsy sounds — but vaguely concerned about white exploitation of same, wagging fingers concerning musical "miscegenation." Race mixing yielded my family, cultural exchange has been the way of the world since antiquity, and as a critic whose mission involves exposing audiences to new sounds, I would never deny peoples’ enjoyment of genres seemingly beyond their ken. However, as Jal bitingly reminds us on Warchild‘s unabashed "Vagina," the rape of Africa — that blood-soaked project most essential to modernity — has gone down long enough.

Vampire Weekend, “A-Punk”

The problem with indie’s Karen Blixen close-up is that the transference of African mystery is going one-way — as usual. Vampire Weekend (XL) has sold 27,000 and counting and debuted on Billboard at no. 17, whereas, according to writer Robert Christgau in the New York Times, Sterns’ recent anthology encompassing the career of Congolese soukous master Tabu Ley Rochereau, The Voice of Lightness, has sold barely 9,000 copies.

Meanwhile, indie’s gone natives — including Mahjongg, the Dirty Projectors, Rafter, Yeasayer, and, from across the pond, Foals (Oxford), Courteeners (Manchester), and Suburban Kids with Biblical Names (Sweden) — seem to consider themselves smugly above postcolonial guilt (per DP’s Dave Longstreth) and the 1980s-vintage political correctness that plagued Simon and his apartheid-chic Graceland (Warner Bros., 1986). Vampire Weekend is good enough indie entertainment when you find Björk’s favorite Congolese likembé ensemble Konono No. 1 too repetitive and prefer songs about summertime splendor in the grass. But when Vampire Weekend’s unapologetically preppy white/white-ethnic musicians dub their music "Upper West Side Soweto" and seemingly aspire to come on like Brazzaville Beach Boyz — without any consciousness of such late 20th-century African titans or tyrants as Patrice Lumumba and Mobutu Sese Seko, respectively — it rankles this daughter of third world coalition builders raised in the ’70s and ’80s postcolonial era. Further, when Mahjongg’s Hunter Husar can tell Rhapsody’s Play blog that "to steal musically from another culture is to do a service to humanity," and "we don’t care about Africa any more than any other place," my everything-but-the-burden radar rings sharply.

Certainly there is energy around Africa on the independent music scene: black string band revivalists like Ebony Hillbillies have made the crossing back to West Africa in deep study of old-timey and country’s African ancestry. Funky Africa reissues are all the rage among crate-diggers: think Lagos Chop Up (Honest Jon’s, 2005), etc. And that Western-Kenyan summit Extra Golden was purposely omitted from the above indie roll call, for this multiracial quartet and their latest recording Hera Ma Nono (Thrill Jockey) suggest a way out of the cultural cul-de-sac their trendier fellows are already trapped in.

Further, the tug-of-war between disenfranchised folk of African descent who desired preservation of their mysteries and the white folks who possessed inchoate love for same has raged throughout modern times. As my friend Wendy Fonarow, author of Empire of Dirt: The Aesthetics and Rituals of British Indie Music (Wesleyan, 2006), recently told the UK Guardian: "There are interesting theories as to why rock ‘n’ roll happened when it did. There’s evidence to suggest Christianity, which exists as a missionising religion, had run out of ‘exotic others’ to missionise after the fall of colonialism. Therefore it was in their interests to get adolescents to act like heathens, so they had a supply of unconverted people to convert. So what we did was produce a heathen in our own midst to act out all the same things we’d accused other societies of doing."

Extra Golden promo for “Hera Ma Nono”

By Fonarow’s reckoning it would seem what Longstreth and company are up to is a necessary will to neotribalism, their recorded work a reversal of the detrimental European separation of mind and body. I would counter that these groups’ appropriation of African sounds is a means to the end of escaping the internally imposed authenticity rules of indie rock, a refutation of the linear trip between Greg Ginn and Kurt Cobain when their monoculture reduced them to the last of their race. Then again, options are at the heart of white privilege, as is the agency to cherry-pick from the non-Western bounty. It remains utterly disappointing that millennial musicians can quote Africana without making reference to kwassa kwassa‘s source in the Congo, where millions people have died, young boys mercilessly conscripted and countless women raped as tool of war, while their own blessings of Ivy League degrees and the lack of a draft amid a resurgence of American imperialism permit them a guilt-free stance toward postcolonial upheaval and their gentrification of longtime black neighborhoods. Vampire Weekend’s Brooklynites apparently see no irony in their song "Walcott": "Hyannisport is a ghetto / … Lobster’s claw is sharp as knives / Evil feasts on human lives."

Evil definitely feasts on human lives in the Congo, but evildoers are also harvesting bones in New York City, where the 50 bullets martyring Sean Bell’s body are currently being reduced to mere accident. These white African prodigals don’t and will never suffer the psychic angst of being black and oppressed. Vampire Weekend can always go home again, but we’ve got no home.

EXTRA GOLDEN

June 22, 7 p.m., $15

Rickshaw Stop

155 Fell, SF

www.rickshawstopcom