› news@sfbg.com If November has been a bad month for Mayor Gavin Newsom, it’s been worse for his police chief, Heather Fong. The entire battle over police foot patrols has made Fong look terrible. She started off saying that the department simply couldn’t afford to put more cops on the streets in high-crime areas because she didn’t have the troops to do it. She and the mayor fought hard to defeat the legislation. The bill passed anyway, effectively ordering her to do what she claimed she couldn’t do, and it was vetoed by Newsom. But as it seemed likely that the Board of Supervisors had the votes to override the veto, Fong came out with her own foot patrol plan, which wasn’t all that different from what the board had approved. Suddenly, she seemed to be saying that foot patrols really were possible. After the veto override she went in another direction, telling a TV interviewer that she wasn’t sure her captains were going to follow the law anyway. Police Commission member David Campos pushed her on those apparent flip-flops at the commission’s Nov. 15 meeting, and she bobbed and ducked like a wounded quail. In the meantime, at least one Newsom ally, Sup. Bevan Dufty, proclaimed that he had no faith in the chief, and numerous others on the board publicly decried her lack of leadership. Fong sat in the board chambers Nov. 14, looking visibly shaken, and listened to it all. And rumors started swirling that Newsom was ready to fire her. Not a good sign for the city’s first female top cop, who was already under fire for the skyrocketing murder rate and for failing to hold bad officers accountable for abuses of authority. But Fong has one thing going for her: some progressives think that the immediate alternatives are even worse. Campos, a proponent of foot patrols, told us he was critical of the chief’s reaction to the supervisors’ plan — a plan that the board only decided to implement after watching crime levels rise for three years straight and gaining unanimous backing from the Police Commission and significant support from a frustrated public. But he’s not so sure giving Fong the ax will help. “I understand the criticisms,” Campos told us, “but as a progressive, I’m worried what will happen to police reform if Fong is no longer there. Under her leadership we’ve seen a dramatic change in approach from that of her predecessors. There’s been less conflict, and her focus has been on how to get the job done without drama. She’s not a bomb thrower, and that’s been a real positive change.” The politics of the situation are complicated: sure, some progressives are furious at the chief — but a lot of the pressure to get rid of her is also coming from the police union and the old guard at the department. “Some of the people who are critical of her are those who also aren’t keen on reform and have tried to slow down the reform promises contained within Prop. H,” Campos explained. “To me, that raises my concern. I don’t want those people to succeed in their efforts. Their track record has not been good.” Sup. Tom Ammiano added, “You can change the chief, but that won’t address the real problems.” Commission member Theresa Sparks noted that “Chief Fong has brought a strong sense of integrity and a lot of administrative order to the department and made some changes of command staff. My only concern is the willingness of the rank and file to follow her leadership, given that she has such a different leadership style.” Sparks argued that whenever Fong leaves, the commission ought to go beyond the traditional practice of promoting from within. “There’s a number of qualified people within the department who certainly should apply,” she said, “but San Francisco might benefit from looking farther afield, much like Los Angeles did.” There will, no doubt, be tremendous pressure to hire from within the ranks. Dufty — who, to his credit, defied the mayor and voted to overturn the foot patrols veto — is a fan of Deputy Chief Greg Suhr. Yet Suhr was one of the so-called Fajitagate defendants charged with conspiracy, although the charges against him were dismissed in court. He was in command of 100 officers during an anarchist demonstration in the Mission District in July 2005 when patrol officer Peter Shields was overwhelmed by protesters and injured. (That was the demonstration that led to the jailing of journalist Josh Wolf — see Editor’s Notes, on the cover.) Suhr blamed a communications breakdown; Fong said that wasn’t possible. Suhr was exiled to a job with the SF Public Utilities Commission shortly afterward. Police reform activists don’t consider Suhr an ally, but Dufty called him “a very strong cop.” Even so, Dufty agreed that the department might benefit from outside leadership. “We’re at a stage where the balkanization of the department is at a level I’ve never seen,” he told us. “I’ve never thought that there should be a chief from the outside, but at this time I would consider it.” SFBG
Mission
The people’s party
› a&eletters@sfbg.com
Sake 1 isn’t your typical DJ. Holding a graduate degree in social work from UC Berkeley, he volunteers for Caduceus Outreach Services, providing aid to mentally ill homeless adults. He is in the middle of a year initiating as a priest of Elegua in the Lucumi faith (more commonly known as Santeria) and, among other restrictions, must wear white from head to toe, refrain from sex, alcohol, and drugs, and avoid physical contact with others. His weekly party Pacific Standard Time regularly donates a portion of its proceeds to community organizations such as DiverCity Works and the Center for Young Women’s Development. And he has continued to be an in-demand hip-hop and soul DJ, playing parties like Little Ricky’s Rib Shack in NYC and mixing compilations for outfits like Fader magazine, while relentlessly maintaining an optimistic outlook — even though 2006 saw the deaths of his brother; his best friend, DJ Dusk; and his protégé, DJ Domino.
“It has been hard to lose my best friend, my brother, and a student-friend all in the span of four months,” Sake said from his home in the Mission the week before he was to play a memorial party in New York for his brother, house producer and DJ Adam Goldstone. “But it reminds me where I come from and why I do what I do as a DJ. And I have angels all around me …”
ANGELS FROM THE AVENUES
Sake 1 (the name is his tag from his graffiti days) grew up Stefan Goldstone in the Fillmore and the avenues and graduated from Washington High School before attending UC Santa Cruz and finally UC Berkeley. He learned to mix by using records like Public Enemy’s “Night of the Living Baseheads” and Ultramagnetic MC’s “Ego Tripping” on one turntable while listening to KPOO on Sunday afternoons. His older brother in New York expanded his world with Red Alert, Pete Rock, and Marley Marl tapes, and Sake 1 soon began visiting the North Beach Tower Records, which at the time had an extensive selection of 12-inch singles. House parties in Santa Cruz followed when he went to college, and to this day the mood of those early parties is something he treasures. “I always feel like that’s something I’m trying to recapture, that house party vibe where you know everybody, where you feel safe even though it’s kinda out of control.”
Following a long list of steadily higher profile events that included Church, Soulville, and Luscious, Sake’s latest attempt to have a club that feels like a house party is Pacific Standard Time, where he is the resident DJ. The PST started in the spring of 2005 at Bambuddha Lounge, eventually moving to Levende Lounge in search of a bigger dance floor. Reflecting Sake’s diverse selections, which range from hip-hop to disco to broken beat, guests have included Daz-I-Kue from Bugz in the Attic, house producer Osunlade, and local favorites such as Mind Motion.
“Pretty much from June of 2005 until [now], it’s been packed every week, so it’s been a blessing,” Sake said. “The struggle part has been trying to keep the music progressive, keep the ideas and the organizations that we support at the forefront, and not fall back on ‘Well, we’re successful, we’re making money, and people like it, so let’s wild out and just have this bacchanal thing.’ When things become successful, it’s almost like a gift and a curse, because then people expect it to be a certain way every week, and it makes it hard to keep it changing. When it’s not successful, you can change, and nobody’s really trippin’, because nobody’s coming!” he laughed.
REACHING OUT
Saying that the party’s crowd has evolved with its success, Sake acknowledged that at times he finds it hard to strike a balance between playing the more obscure tracks he may personally favor and keeping the party rocking. At the same time, he is well aware that being successful allows him not only to reach a broader audience but to make a bigger impact when he does use his party for benefits. And keeping that success rolling may mean tempering his philosophy of selecting tracks by artists from other countries, female artists, and those that represent genres not easily slotted into the Clear Channel and MTV pigeonholes.
“At PST we struggle with trying to be this sexy, cool, tastemaker thing and then doing these community organization parties,” he reflected. “And the community organizations come and bring their bases, and their bases don’t want to hear SA-RA Creative Partners necessarily. They want to hear commercial rap, because that’s what a lot of our folks listen to.”
Nevertheless, at 11:20 on a recent Thursday night, Levende was rapidly filling up, and the already packed dance floor had no problem getting down to SA-RA’s “Hollywood.” But half an hour later there was a markedly bigger response when Sake dropped “Keep Bouncing,” a track by Too $hort featuring Snoop Dog and will.i.am that the majority of DJs digging SA-RA joints wouldn’t let near their crates.
“DJs should break records, and nightclubs should be places for not just new music but new ideas,” Sake explained. “People should be open to new sounds … and people should be open to having a nightlife experience that isn’t [divorced] from thinking about what is going on in the world outside — that [doesn’t just accept] that you have to step over homeless people to get into the nightclub, you have to disrespect the bar staff to get your drink quicker, you have to touch a girl’s ass if she won’t dance with you.” Walking the line between educating and entertaining, Sake 1 is making San Francisco a better place with a party that might just have it both ways. SFBG
SAKE 1 AT PACIFIC STANDARD TIME
Thursdays, 10 p.m.
Levende Lounge
1710 Mission, SF
$10
(415) 864-5585
SATURDAY
Nov. 18
Event
Nina Hartley
Nobody has more sex than Nina Hartley. So it’s no surprise that the prolific adult-film performer and sex educator decided to write a how-to on everything you ever wanted to know about the dirty deed. Nina Hartley’s Guide to Total Sex is a humorous and candid book that outlines methods to intensify your sexual experience with or without a partner. Hartley, who is also a registered nurse, applies her years of omnisexual experience to this comprehensive manual filled with user-friendly facts and techniques and punctuated by her witty and spicy candor. At this reading Hartley will talk dirty and share some of the tricks of her trade. (Hayley Elisabeth Kaufman)
7 p.m.
Booksmith
1644 Haight, SF
Free
(415) 863-8688
www.booksmith.com
Music
Pit er Pat
The Chicago trio display less raw aggression on their new album, Pyramids (Thrill Jockey), than their last, 2005’s Shakey, but that doesn’t mean they’ve lost their bite. Now propelled by minor chords, naïf but malevolent keys, and Fay Davis-Jeffers’s gawky vocals, Pit er Pat plunge into their fears, going where aces accustomed to trad post-rock musicianship ordinarily dread stumbling. Recorded with Tortoise’s John McEntire, Pyramids hits its own original apex at around the instrumental “Swans,” throbbing and sailing away on Davis-Jeffers, bassist Rob Doran, and drummer Butchy Fuego’s transparent, ragged rhythms. (Chun)
With Ebb and Flow
9:45 p.m.
LoBot Gallery
1800 Campbell, Oakl.
$5-$10, sliding scale
(510) 282-2622
www.lobotgallery.com
Also Sun/19
With Ebb and Flow
9 p.m.
12 Galaxies
2565 Mission, SF
$8
(415) 970-9777
www.12galaxies.com
THURSDAY
Nov. 16
Performance
The Outsider Chronicles
Creative is the title of one of Sean Dorsey’s funniest and most heartrending dance theater pieces, a solo in which the keening voice of a guidance counselor yanks on Dorsey’s strings, trying to maneuver his masculine enthusiasm into expressions of gender that aren’t “inappropriate.” Creative is also a good word to describe Dorsey’s impulses – he’s making vital work that charts its own territories without following trad dictates of gender and genre. Dorsey’s skill as a choreographer and his observant quality as a writer are both grounded in naturalism – he makes tough creative work look easy, even as it faces tough subject matter. This weekend brings the return of his acclaimed The Outsider Chronicles. (Johnny Ray Huston)
8 p.m. (through Sat/18)
Dance Mission Theater
3316 24th St., SF
$15
(415) 273-4633
www.freshmeatproductions.org
Music
Partyline
Who’s afraid of the big bad terror suspect – or the prez, for that matter? Not Partyline, that’s for sure. Bratmobile vocalist Allison Wolfe’s new all-femme band lashes together nyah-nyah vocals, punktastic guitar action, and a conscience. “We gotta keep from crying at our monkey terror president!” she yelps on the combo’s Retard Disco debut, Zombie Terrorist, the follow-up to last year’s Girls with Glasses EP. Imagine the Ramones in skirts and with a singular activist attitude, and you’ll get an idea of Partyline’s garagy gumption. (Kimberly Chun)
With French Toast and Golden Bears
9:30 p.m.
Hemlock Tavern
1131 Polk, SF
$7
(415) 923-0923
www.hemlocktavern.com
Goodbye PG
› a&eletters@sfbg.com
When Japanese documentary filmmaker Kazuo Hara was approached by Okuzaki Kenzo — the subject of his 1987 The Emperor’s Naked Army Marches On — and asked to film him committing murder, Hara strongly considered it before turning him down, more than anything because he “had become really sick of Okuzaki.” Or so he told an interviewer. This sounds like bullshit, and it may be, but the filming approaches and content of Hara’s body of work make you think that maybe he could have done it. (Okuzaki, incidentally, is currently serving time for the unfilmed murder attempt.) Hara has captured on film, in a doc that is essentially the sanctioned stalking of his ex-wife, the full frontal birth of her child. This was in 1974, understand, way before the Learning Channel or even The Cosby Show. He has followed a head case who once slung pachinko balls at Emperor Hirohito as the leader traveled around Japan accusing ex-soldiers, not without reason, of cannibalism. He has filmed the assaults of old men being accused, not without reason, of cannibalism. This is a filmmaker who might very well show up to a murder if he could still stand his subject.
Two of Hara’s docs will be showing this week at Yerba Buena Center for the Arts. Goodbye CP (1972) was his first film and caused quite a fuss in Japan for its uncensored look at the lives of people with cerebral palsy. It’s been called sadistic, and it almost broke up the marriage of its main protagonist, but it’s applauded by civil rights groups and is still shown to social service workers as a not-too-gentle reminder that those with CP aren’t anatomically smoothed-over dolls.
A Dedicated Life (1995), about the life and death from cancer of Japanese author Mitsuharu Inoue, isn’t as gonzo as most of Hara’s other films, but it’s one of his fullest and most mature. The transgression of the biography (beyond a fairly fruitless preoccupation with Inoue’s playboy persona) is Hara’s gruesome admission that he was basically waiting for the man to die so that he could get more candid interviews from those who knew him. This information, taken from an interview with professor Kenneth Ruoff, adds menace to the scenes in the doctor’s office and muddies the poignance of conversations Inoue had with his wife about his illness. But the poignance is always there, in this and Hara’s other films. It just usually has to share the spotlight with the creepy methods of the man behind the camera. SFBG
NO BOUNDARIES: THE TRANSGRESSIVE DOCUMENTARIES OF KAZUO HARA
A Dedicated Life, Thurs/16, 7:30 p.m.
Goodbye CP, Sun/19, 2 p.m.
Yerba Buena Center for the Arts, screening room
701 Mission, SF
$6–$8
(415) 978-2787
www.ybca.org
No more surveillance cameras
OPINION In July last year, San Francisco began installing video surveillance cameras to monitor the public streets. What quietly started as a pilot program with two cameras in the Western Addition has quickly expanded, with more than 30 cameras throughout the city. The Mayor’s Office is seeking to install 22 more cameras at a number of locations, including heavily trafficked areas such as the 16th Street and Mission and 24th Street and Mission intersections.
On Nov. 15 the Police Commission will decide whether to approve the installation of additional cameras. It should reject the mayor’s proposal and send a strong message that scarce public safety dollars should be spent on less intrusive and more effective programs such as increased foot patrols, improved lighting, and community policing.
While surveillance cameras may seem like an intuitive solution to the serious problem of violent crime, in reality cameras pose significant threats to civil liberties while providing few public safety benefits. Study after study demonstrates that video surveillance does not reduce violent crime in cities.
In Britain, for example, where there is one camera for every 13 people and the average person is photographed more than 300 times a day, a recent comprehensive review of 13 jurisdictions showed that cameras do not reduce crime or fear of crime. A University of Cincinnati study found that cameras in its city merely shifted crime beyond the cameras’ view. As Cincinnati police captain Kimberly Frey mentioned in one recent news report, “We’ve never really gotten anything useful from them…. We’ve never had a successful prosecution…. We’re trying to use … money for other things.”
With limited public safety dollars, cameras deprive more effective programs of funds that would significantly reduce crime. Studies show that improved lighting can reduce crime 20 percent, and increased foot patrols have also been shown to significantly impact crime, including violent offenses.
Moreover, the ever-increasing expansion of surveillance cameras poses a significant threat to our privacy. The prospect of 24-hour surveillance of innocent San Franciscans — with video accessible to city officials and the public under state open-records laws — is chilling in and of itself. If the trend continues, cameras installed today may be paired with other new developments, such as facial recognition and Radio Frequency Identification technology, giving law enforcement the ability to develop dossiers about our personal lives.
While San Francisco has some regulations governing camera use, those regulations have already changed and may change again, due to an overreaching political response to crime concerns. To see San Francisco’s future, one need only look to the inspiration for the program — Chicago. There, Mayor Richard M. Daley recently announced a plan that by 2016 would put a camera on almost every street corner in the city.
In light of the significant privacy and free speech implications and limited public safety benefit, the Police Commission should decisively reject further camera placement and strongly urge the mayor and Board of Supervisors to pursue effective programs. San Franciscans deserve more than symbolic measures like video surveillance cameras in response to very real crime problems. Scarce public resources should not be spent on ineffective Big Brother surveillance programs. SFBG
Mark Schlosberg and Nicole A. Ozer
Mark Schlosberg is police practices policy director, and Nicole A. Ozer is technology and civil liberties policy director, respectively, for the American Civil Liberties Union of Northern California.
Goldies Visual Art winner Yoon Lee
A good photograph captures an instant of life within a fraction of city space. The oft-awesome paintings of Yoon Lee — on display earlier this year in a solo show at the Luggage Store — condense seconds, days, and weeks of urban life into images of striking movement and color. Blurs from passing cars; a person glimpsed from the corner of one’s eye; the liquid shifts of Vampire Princess Miyu anime dreamscapes on a TV screen — these are a few of the everyday materials within Lee’s alchemy. Glimpsed as scaled-down versions on a computer screen, her pieces seem purely digital or neo-geo, but in person there is no doubt that her paintings are the result of a lengthy, meditative, and labor-intensive process.
“I know some artists who take a whole year to produce one piece, and I’m not up to that point,” Lee says over hot drinks at Farley’s on Potrero Hill. Her comic strip T-shirt and black leather motorcycle jacket reflect the mix of commercial color and rougher, real-life currents within her paintings. “My 8-feet-by-20-feet scale works usually take about six months. I start gathering images in my head and take photos. I make little sketches. I take things from comic books, newspapers, anything — I’m just an image scavenger.”
From there, Lee uses Illustrator or Photoshop to play with images and forms. “I use it as a mixing board to bring everything together and then edit, real fast,” she says, adding with a laugh, “in the old days you had to use canary paper and transparencies, then mess up and start all over again.” Actually, Lee’s “real fast” edits can last a month or two, but they are indeed quick in comparison to her painting process, a complex, kinetic, and at times astonishingly layered use of Golden acrylics. It’s there that she transmutes her gadget-fiend tendencies and love of shiny plastics into work that swirls with fierce ambivalence about those aspects of modern life and more.
For Lee, the frustration that comes from trying to translate computer compositions into flesh-and-blood paintings isn’t just worthwhile — it’s exactly what she’s seeking. “Sometimes I have to really invent a new process,” she says. “Every time I do a piece there’s something completely different I have to introduce or change so I can produce an effect that’s similar to the original sketch.” That kind of challenge has led Lee through many areas of study (philosophy and computer science, to name two) and fields of employment (she’s sold cars), though all the while she’s never lost focus on painting.
Someday a writer might explore and explain why op art has played such a major role in San Francisco art at the end of the 20th century and beginning of the 21st. Though Lee is part of an upcoming exhibition of San Francisco artists in Leipzig, Germany, curated by “Pierogi” Joe Amrhein, it’s debatable whether she is even influenced by the legacy of Sol LeWitt — or has a kinship with the LeWitt-loving Mission School artists who favor certain rainbow gradations. If her work shares some of their color schemes, its scale and sense of movement explode into a realm apart from the smaller cubic formations and prisms associated with recent Bay Area art. A casual viewer might note as much action as in a Jackson Pollock painting, a kid on the street might recognize an accidental kinship with graffiti. The artist herself names Julie Mehretu and Benjamin Edwards as partial guides.
Lee’s art is slick — but only in a literal sense. To put it another, more paradoxical way, her paintings are deceptively slick on the surface. Beneath the attractive gloss, that shininess that she enjoys and wants to share, are layers that you can get lost in — that is, when you aren’t arrested by the intensity of her observation. (Johnny Ray Huston)
Goldies Visual Art winner Tim Sullivan
In his most recent San Francisco exhibition, at the cozy Little Tree Gallery in the Mission, Tim Sullivan managed to reanimate the late blond bombshell Jayne Mansfield. Mind you, he did it with a low-tech visual effect — a full-color glossy of the actress attached to a flat-screen monitor, a shifting blue sky visible through little almond-shaped slits in the eyes of the photograph. But the mixture of sublime pop (the elaborate media construct of Mansfield) with an almost metaphysical art reference is a key movement in Sullivan’s appealing photography, video, and sculpture. His work is an enticing combination of funky but effective tricks, sophisticated references, and an appreciation of comedic white-trash aesthetics.
Sullivan’s work often contains gracious nods to other artists. He’s made a hilariously perverse video-sculpture homage to Bruce Nauman’s mid-1960s Self-Portrait as a Fountain and devoted an entire exhibition at the San Francisco Art Commission Gallery to the influential Dutch-born conceptual artist Bas Jan Ader, who toyed with a sad-sack persona and disappeared mysteriously while attempting to cross the Atlantic alone in a 13-foot boat. Sullivan, a striking figure with pale blond hair and dark horn-rim glasses, often appears in his own work, using self-portraiture to tangentially channel his artistic forebears. While there may be something postmodern about this strategy, you don’t have to know about contemporary art history to be captivated by his visual magic. For instance, you need only know about the 1960s-style power of Herb Alpert to appreciate Sullivan’s remake of the classic Whipped Cream and Other Delights album cover. Sullivan plays the babe, slathered in foam.
He’s also made a life-size horizontal photograph of himself seemingly levitating just above the floor against a backdrop of fabulously chintzy flecked wallpaper. It’s in lush color — the artist wears a crimson T-shirt, a color he favors, perhaps for its theatricality. The image appears at a key spot in an opening gallery in the California Biennial, a timely survey of 31 West Coast artists organized by the Orange County Museum of Art (through Dec. 31), and it’s had the effect of giving Sullivan, a San Francisco Art Institute grad, wider recognition — he reports that he sold out an edition of the photograph, and he doesn’t even have gallery representation. He was singled out in the Los Angeles Times’ review of the show, which dubbed him a purveyor of high-spirited “do-it-yourself special effects art.”
The OC show also includes a hilarious video called Magic Carpet Ride, a piece made at a Fisherman’s Wharf souvenir stand. In it Sullivan and his former teacher, the filmmaker (and Goldie Lifetime Achievement winner) George Kuchar, cavort on a roller coaster gondola. The pair exude goofball charm as they whiz over the Golden Gate Bridge past friendly drag queens. Kuchar is an instructive reference, as Sullivan also seems to dream in Technicolor. They also collaborated on a theatricalized reenactment of Chris Burden’s Shoot, the politicized 1971 gallery performance in which the Southern California conceptualist artist was shot in the arm with a pistol. The Sullivan-Kuchar version is set against an amber-hued commercial photomural of a tropical sunset. As a child of the Midwest, Sullivan expresses a continuing appreciation for and bemusement with the California dream. In another recent piece, he’s made fluorescent matchbooks emblazoned with regionally significant incendiary song titles, “California Dreaming” and “Running with the Devil” among them. This guy’s on fire. (Glen Helfand)
Goldies Dance winner Sean Dorsey
One look at Sean Dorsey — a debonair dancer with slightly mussed hair and innovative modern dance choreographer — and two words instantly come to mind: dip me!
But watching him dance, you see more of a rough-and-tumble Gene Kelly than a gliding Fred Astaire. Which isn’t to say he can’t throw down a steamy tango, as he does in Red Tie, Red Lipstick, a moving pas de deux about violence against a transgender couple. Dorsey featured the piece, with narration by trans poet Marcus Van, in his first full-length show, Outsider Chronicles, staged last year at ODC Theater and soon to be remounted Nov. 16 to 18 at the Dance Mission Theater.
Since moving to San Francisco in 2001 from Vancouver, Dorsey has blazed a fierce trail for transgender performers. He immediately became enamored with the city when he met site-specific choreographer Lizz Roman while visiting here with the Kokoro Dance company. “There was very little release technique or inversion work in Vancouver,” the native Canadian recalls. “I totally fell in love with her [Roman’s] movement and what she was doing.”
The feeling was mutual, and Roman gave the young dancer a spot in her company. Dance Brigade founder Krissy Keefer also went mad for Dorsey, granting him a solo slot in the now-defunct Lesbian and Gay Dance Festival. Even our pampered SF LGBT audience wasn’t used to seeing butch-looking dancers like Dorsey onstage, and its response was ecstatic.
By the spring of 2002 he was in ODC Theater’s Pilot Program, which nurtures emerging choreographers as they develop new work eventually showcased on the theater’s floor. Three months later he founded the groundbreaking Fresh Meat Productions, which brings trans and queer performers, filmmakers, musicians, and writers together annually to tell their stories through their chosen artistic discipline. Since the first two-day show at ODC Theater that summer, Fresh Meat has moved on to cosponsoring Tranny Fest, a festival of independent trans cinema now helmed by Dorsey’s partner, filmmaker Shawna Virago, and also helped to organize national tours of trans artists. Currently, Dorsey, the nonprofit’s artistic director, is organizing a show for a trans printmaker at the Femina Potens gallery and another solo show for a trans visual artist.
Amid all the organizing, marketing, and promoting, Dorsey brought his own point of view to queer performance with last year’s Outsider Chronicles, via an individual artist grant from the San Francisco Arts Commission. Written and choreographed by Dorsey, the program combines modern dance with music and narration in five stories that reflect the life of a transgender person — as well as any human being who has ever had a crush, a secret, or a high school guidance counselor with a textbook full of bad advice. Each vignette (most performed with dance partner Meir Culbreth) expresses a language of movement that is boldly real and acutely honest.
Through Fresh Meat and his own choreography, Dorsey has been able to combine art and activism in a way that creates alliances, fosters a community of like-minded artists, and changes our notion of what defines dance and, at its most basic level, our bodies. Next on the horizon, the onetime housing and poverty activist who realized his dance career almost accidentally while on a hiatus from grad school plans to use his Gerbode Emerging Choreographer Award to continue combining his two great passions. Tentatively titled Some Went Untold, the envisioned piece will be based on interviews Dorsey conducts with trans folk across the land.
“I’m still, like, ‘Hello, hello, hello, where are all the trans dancers?’” Dorsey says. “I’m hoping very soon that there will be more trans dancers to work with.” He also hopes to find the time to learn ballroom dance. Let the dipping begin! (Deborah Giattina)
More Hellman and SFSOS
By Steven T. Jones
I just got another call from Warren Hellman, who said he was saddened to see a group he founded but later disavowed — the sleazy conservative attack organization SFSOS — is one of the only groups in town to oppose the school bond measure Proposition A, which Hellman actively supports (his band will even be playing the campaign’s election night party at Slim’s tonight).
“For once, there is goodwill all around on something,” Hellman said of the school bond, which business groups such Committee on Jobs and progressives such as the SF People’s Organization enthusiastically support.
But he’s ashamed to see SFSOS opposing it, sending messages of concern to the group’s leader, Wade Randlett, and funder, Don Fisher, asking the group to send a message to its list noting that most business groups support it.
“It’s a personal vendetta on the part of the guy who runs SFSOS,” Hellman said.
That guy, Randlett, suddenly started attacking the school district last year when the superintendent was at odds with the school board. Randlett was secretly having an extramarital affair at the time with the superintendent’s spokesperson Lorna Ho (Randlett has since left his wife, Tamsin Randlett, and is still with Ho), which seemed to have been what prompted SFSOS to flip its focus from parks and potholes to the schools. And apparently, Randlett holds a grudge like few others, so he’s urging voters to deny needed school facilities to the kids. It’s a telling testament to the guy and the group that is leading the attacks on Chris Daly and openly supporting challenger Rob Black. It’s not too late to grab a Daly sign from his 16th and Mission HQ and do everything you can to keep this kind of sleaze out of City Hall.
More Hellman on SFSOS
By Steven T. Jones
I just got another call from Warren Hellman, who said he was saddened to see a group he founded but later disavowed — the sleazy conservative attack organization SFSOS — is one of the only groups in town to oppose the school bond measure Proposition A, which Hellman actively supports (his band will even be playing the campaign’s election night party at Slim’s tonight).
“For once, there is goodwill all around on something,” Hellman said of the school bond, which business groups such Committee on Jobs and progressives such as the SF People’s Organization enthusiastically support.
But he’s ashamed to see SFSOS opposing it, sending messages of concern to the group’s leader, Wade Randlett, and funder, Don Fisher, asking the group to send a message to its list noting that most business groups support it.
“It’s a personal vendetta on the part of the guy who runs SFSOS,” Hellman said.
That guy, Randlett, suddenly started attacking the school district last year when the superintendent was at odds with the school board. Randlett was secretly having an extramarital affair at the time with the superintendent’s spokesperson Lorna Ho (Randlett has since left his wife, Tamsin Randlett, and is still with Ho), which seemed to have been what prompted SFSOS to flip its focus from parks and potholes to the schools. And apparently, Randlett holds a grudge like few others, so he’s urging voters to deny needed school facilities to the kids. It’s a telling testament to the guy and the group that is leading the attacks on Chris Daly and openly supporting challenger Rob Black. It’s not too late to grab a Daly sign from his 16th and Mission HQ and do everything you can to keep this kind of sleaze out of City Hall.
Lacey’s Wednesday night massacre. The LA Weekly’s Harold Meyerson says to all staffers on the l7 Voice/New Times papers: Don’t deviate from the template or you are out. Lacey publicly savages Meyerson.
By Bruce B. Brugmann (B3)
As the rest of the press (mainstream and alternative) was publishing endorsements and election coverage for Tuesday’s referendum on Bush and Iraq, Mike Lacey, editor in chief of the Village Voice/New Times papers, was down in Los Angeles at the LA Weekly stoking yet another of his signature bloodbaths (see my previous blog below).
Lacey killed the Weekly’s influential and widely read political endorsements, making this election the first time in memory that the Weekly did not run endorsements. He oversaw the firing of News Editor Alan Mittelstaedt and the hiring of Jill Stewart, described by Kevin Roderick in LA Observed as a “Lacey favorite columnist at the old New Times Los Angeles.” Lacey also oversaw the sacking of Harold Meyerson, the highly respected veteran political columnist who was regarded as a Lacey target because he was liberal and activist. (Lacey wouldn’t renew his contract.) And, when Meyerson complained in an email to the staff about a front page story in the current edition in the New Times template, Mike savaged him publicly with a classic New Times rant and rave.
Michael Sigman, former president and publisher of the LA Weekly, made the appropriate comment to LA Observed: “I worked with hundreds of smart writers and editors during nearly 20 years at LA Weekly. Harold Meyerson is one of maybe two or three whom I would describe as a genius. His loss is unfortunate for the paper, and more unfortunate still for LA.”
Sigman was being diplomatic. In my five decades or so in journalism, I do not know of a more vicious public attack by an editor on a staffer. Moreoever, this was not just an attack on Meyerson as a columnist and major Weekly presence for years but it was an attack on the paper, on principled journalism, on the Weekly constituency, and on Los Angeles by the editor of a predatory chain headquartered in Phoenix, Arizona. Here is the lineup that shows the Voice/New Times priorities in the runup to the election:
+Meyerson’s farewell column.
+Meyerson’s email to the LA Weekly staff in which he said, among other things, that “Anyone who spends a nano-second looking at the paper understands that New Times template is already in place, and I know from countless conversations that editorial staffers live in fear of geting the ax if they deviate from it. That’s sad for the city, sad for the paper, and sad for those of you who work there and are in no financial position to leave (a position I understand very well).”
+Lacey’s “Hey Hack” response.
+And my previous blog on Voice/New Times policy of not allowing their papers to endorse–and my critical question arising therefrom: Does Dan Savage or Mike Lacey have the real balls? My vote is for Savage. He got endorsements in every one of his pre-election sex columns run by New Times papers. A bravura performance on pre-election deadline. And Lacey of course was being Lacey. And, thanks to Lacey and his regime, the LA Weekly of Jay Levin, Ron Curran, Harold Meyerson, Mike Sigman, and scores of fine journalists and staffers on a special journalistic mission is gone. Alas. Alas.
Our Town, Our Paper
L.A. and the Weekly, in hindsight and foresight
By HAROLD MEYERSON
Lacey on Meyerson and LA Observed
Dear kids: Meyerson sad about Contreras piece
Quality of life
By Tim Redmond
I’m usually not much for political speeches, but Chris Daly has a really nice riff on quality of life in this video of his recent rally at 16th and Mission. His point: It’s easy for people living in million-dollar condos to attack him and complain about the “quality of life” in District 6 (which is downtown shorthand for cracking down on the homeless). But what about the quality of life of all the people who live in residential hotels, who struggle every day, who live on the economic edge? Worth a listen, because it says a lot about why re-electing Daly is such a huge priority.
“So good, so quick — almost unworldly”
Short notice, but what the hell — there’s an awfully cool doc playing tonight and tomorrow at Yerba Buena Center for the Arts on seminal yet underappreciated Boston post-punk band Mission of Burma. Not a Photograph: The Mission of Burma Story, from co-directors David Kleiler, Jr. and Jeff Iwanicki, kicks off as the band is prepping for its first public performance since 1983 — the New York City show that launched their rapturously received 2002 reunion tour.
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photo by Kelly Davidson © 2006
SATURDAY
Sat/4
Performance
“Campfire”
Oh, to be kids again, sitting around the fire and chomping toasted marshmallows while taking turns freaking each other out with tales of the spirit world! Well, here’s your chance: BATS Improv, with special guests Unexpected Productions, is offering an improvisational theater version of the campfire story. Before the show audience members are encouraged to share their experiences with ghosts; these accounts are then converted into improvised performances certain to quicken the pulse and thrill the most jaded of hearts. (Todd Lavoie)
8 p.m.
Bayfront Theater
Fort Mason Center, bldg. B
Marina at Buchanan, SF
$15
www.improv.org
Music
Mudhoney
Born from the ashes of the seminal Seattle band Green River, Mudhoney was one of the first groups to rise to moderate fame during the alternative rock explosion in the late ’80s and early ’90s. Though its profile and popularity were eventually far eclipsed by other acts labeled with the now-despised “grunge” tag, Mudhoney is one of the few original bands of that era still touring and putting out records. Tunes from this year’s Under a Billion Suns seethe and spit with the same attitude that made “Touch Me I’m Sick” and “Suck You Dry” anthems for a disaffected Generation X. (Sean McCourt)
9 p.m.
12 Galaxies
2565 Mission, SF
$20
(415) 970-9777
www.12galaxies.com
www.subpop.com
THURSDAY
Thurs/2
Music
Measha Brueggergosman
While the San Francisco Opera’s busy playing it safe this season by reprising household-name works, our Symphony’s filling in the avant-garde gap with a roster right up any classical hipster’s alley. Nov. 2 through Nov. 4, the SFS presents a “hol-eee shit” lineup that’s got young audiophiles breaking their piggy banks for tickets. Hot, hot Canadian soprano Measha Brueggergosman gets sassy with 12-tone master Arnold Schoenberg’s electric-sexy cabaret songs, then launches into the stratosphere with Gustav Mahler’s tearfully ethereal Fourth Symphony. (Marke B.)
8 p.m. (through Sat/4)
Davies Symphony Hall
201 Van Ness, SF
$25-$110
(415) 864-6000
www.sfsymphony.org
www.measha.com
Event
Día de los Muertos
To paraphrase Octavio Paz: in Mexico death is an entity to be courted, cherished, and celebrated. It is this beneficent attitude toward la Muerte that has helped make Día de los Muertos, or Day of the Dead, one of Mexico’s most treasured holidays and not surprisingly, one of the Mission District’s too. This year thousands will gather at the intersection of 24th Street and Bryant for a ritual procession to remember the dead – and to honor the living. In Garfield Park processionalists will have the opportunity to place ofrendas, or offerings of food, photographs, and other mementos, on five community altars and pay respect to smaller altars created by individuals. (Nicole Gluckstern)
7 p.m.
24th St. and Bryant, SF
Free
(415) 595-5558
www.dayofthedeadsf.org
The risk of honest planning
OPINION At the Nov. 1 meeting of the land use committee of the Board of Supervisors, a seemingly straightforward statement of policy will be heard. It simply requires that the city apply its own General Plan guidelines to future development in the eastern neighborhoods.
But the legislation, proposed by Supervisors Sophie Maxwell, Jake McGoldrick, Aaron Peskin, and Tom Ammiano, is creating quite a furor. A senior planning official has testified that if it’s adopted, the entire development boom in the eastern neighborhoods may be halted. The mayor has threatened a veto.
The policy in question calls for city planners to show how they intend to ensure that 64 percent of all new housing development is affordable to moderate-, low-, and very low-income San Franciscans. That’s what the housing element of the master plan says is needed.
Land use development policy lies at the very heart of San Francisco politics. It’s dangerous work for supervisors to attempt to determine that policy, especially if it calls for protection of existing neighborhoods and their residents.
Just ask Supervisor Chris Daly.
Don’t for a minute believe that he is in the fight of his political life because he’s rude, because he doesn’t care about law and order, or because he prefers dirty streets upon which to raise his son. These petty and silly charges mask a far more serious objection: the way his opponents see it, Daly has been too slow in adopting the massive wave of market-rate housing slated for his district and is far too protective of lower-income residents in District 6.
Never mind that since Daly took office some 3,000 units of housing have been built in the South of Market portion of his district alone or that an equal amount wait in the pipeline at the Planning Department. Mayor Gavin Newsom and his market-rate developer allies are simply not satisfied with Daly’s pro–housing development approach — because Daly has sought some balance in that development.
Likewise, the Maxwell resolution calls for plans that will be balanced, contain sustainable development policies, and guarantee a voice for residents against the headlong drive of the current administration to convert the eastern neighborhoods (South of Market, Potrero Hill, the Mission District) into vertical gated communities for Silicon Valley commuters. It states that it shall be the policy of the city that future plans explain not only how they will meet the affordability goals of the housing element but also how they will meet policies of preserving the arts and other productive activities; providing for public transit, pedestrian, and bike rider needs; protecting employment opportunities for current and future residents; and keeping families with children in the city.
There’s a working majority of the Board of Supervisors willing to fight for current neighborhoods and residents and a future that includes them. The battle in District 6 shows that the fight is not without risk. Do the rest of us realize it? SFBG
Calvin Welch
Calvin Welch is a community organizer in San Francisco.
Will Dan Savage and Savage Love save the Village Voice/New Times chain? Will the chain allow any of its 17papers to endorse candidates in this critical election?
Maybe it’s up to Dan Savage, the editor of The Stranger in Seattle who writes a sex column called Savage Love with a left political slant for the Village Voice/New Times chain of l7 papers.
Let me explain. The New Times editor MIke Lacey and publisher Jim Larkin have historically refused to allow any of their papers, including the SF Weekly and the East Bay Express, to do editorials, endorse candidates, or take real positions on such critical issues as the war and occupation of Iraq, the Bush vs. Kerry presidential race, or even local races for mayor, governor, and the U.S. House and Senate. Why? It has always baffled me and it baffles the staffs of their l7 papers. And now, this year for the first time, the staffs and readers of the six old Voice papers that were purchased by the New Times last fall (the Voice, the Minneapolis City Pages, the Nashville Scene, the Seattle Weekly, the LA Weekly, and the OC Weekly) will find that they can no longer run the endorsements and strong political coverage they ran so proudly in their papers for years.
What was the New Times position on Bush’s reelection? New Times ducked the issue and, as far as I can tell, the only endorsement published in any New Times paper came from Savage’s column just before election day. Dan, bless his heart, came out for Kerry in the last line of his column and has been pushing for impeachment. He even went out to Pennsylvania a few weeks ago to make trouble for Sen. Rick Santorum. He was successful.
There are major races in almost every one of the Village Voice/New Times cities, from New York to the state of Washington to Tennessee to Florida to Ohio to almost every city and region where the Voice/New Times has a paper. The mission of a real alternative paper is to be alternative to and competitive with the local monopoly daily. Instead, the Voice/New Times papers, by not endorsing, cede valuable political terrain and influence to their local daily competitors with their standard establishment endorsements, usually conservative and establishment to the core, in local and national races (see the Chronicle and Examiner endorsements.) And so the question remains: will Lacey and Larkin, operating out of their headquarters in Phoenix, allow any of their papers, in this terribly critical election, to finally break the taboo and take an editorial stand and do some editorial endorsements?
I bet they won’t. I bet they continue their policy of making no explanation to their staffs and readers. And so once again it will be up to Dan Savage, the zesty gay sex columnist, to save the day and come out with some anti-Bush endorsements in his pre-election column in the l7 Voice and New Times papers. Will he do it? Will Lacey and Larkin allow the Savage endorsements to run in their papers? Let us stay alert. Meanwhile, the Bruce blog will keep you posted.
P.S. What has been the Lacey/Larkin/New Times position on the war and occupation? Let me recap an example from an earlier Bruce blog. Back in 2003, as the Guardian was pounding away on Bush and the invasion with front page stories and strong editorials, Lacey/Larkin/SFWeekly/EastBayExpress/NewTimes gave me a Best of Award for “Best Local Psychic.”
Their Best Of item read: “Move over, Madam Zolta, at least when it comes to predicting the outcome of wars, Bruce-watchers will recall with glee his most recent howler, an April 2 Bay Guardian cover storyheadlined ‘The New Vietnam.’ The article was accompanied by an all caps heading and a photo of a panic-stricken U.S. serviceman in Iraq, cowering behind a huge fireball. The clear message: Look out, folks; this new war’s gonna be as deep a sinkhole as the old one. Comparing a modern U.S. war to Vietnam–how edgy! How brilliant! How original! And how did the prediction pan out? Let’s see now: More than 50,000 U.S. soldiers got killed in Vietnam vs. about l00 in Iraq. Vietnam lasted more than l0 years; Iraq lasted less than a month (effectively ending about two weeks after the story ran.) Vietnam destroyed a U.S. president, while Iraq tuned one into an action hero. Well, you get the picture. Trying to draw analogies between Vietnam and Iraq is as ridiculous as Brugmann’s other pet causes. Scores of reputable publications aroiund the nation opposed the Iraq war, but did so in a thoughtful, intelligent manner. Leave it to the SFBG,our favorite political pamphlet, to help delegitimate yet another liberal cause. Bush, Rumsfeld, and Ashcroft send their sincerest thanks, Bruce.”
I am not jesting. This is what they wrote. I proudly display this Best of in my office. And this was yet another example of New Times journalism: hit, run, and hide. The article was not by-lined and I tried, again and again, by phone calls and by guerrilla emails to Lacey and his SF Weekly editors, to get someone to stand up and say who conceived, wrote, and edited the item. Nobody would fess up. But I was told reliably that the writer was the cartoonist Dan Siegler and the editor was then editor John Mecklin, who was reported to be Lacey’s top editor and hand-picked by Lacey to take on the Guardian in San Francisco. I then confronted them with emails, askijng for confirmation or comment. I got none then and, as the war worsened, I updated my request now and then. I never got a reply.
We had lots of fun with their Best Of award. We did a counter Best of, a full page ad, titled “Best Premature Ejaculation,” a special award to the editors of the SF Weekly/New Times. We ended with this note: “Sorry, folks: We wish the war in Iraq were as neat and tidy as you, Bush, Rumsfeld, and Ashcroft would like to think it is. But you, um, spoke to soon.”
We added a postscript: “Gee, what’s the New Times position on the war anyway. We can’t seem to figure it out.” Three years later, l2 days before the election that is a plebescite on the war and Bush the Perpetrator, the question is more timel than ever: what is the Lacey and Larkin position on the war?
Will they tell us? Or is it up to Dan Savage? B3
SATURDAY
Oct. 28
Music
“Murder Ballads Bash”
On the way to the gallows, after committing some heinous butchery or other, you may be prompted to sing a heart-wrenching dirge, not for the dead but for the crime. The tradition of recounting tales of murderous minutiae in musical narrative form, each devastating hack till the fatal blow, is continued at the Starry Plough’s fifth annual “Murder Ballads Bash.” The misery-filled evening offers a variety of musicians, including Joni Davis, Harlan Hollander, Loretta Lynch, and folk metalists the Pinks, who have all written original homicidal tunes strictly for the vicious and bloodthirsty audience. (Hayley Elisabeth Kaufman)
9 p.m.
Starry Plough
3101 Shattuck, Berk
$8
(510) 841-0188
www.starryploughpub.com
Visual Art
“Graphic Witness: Jesus Barraza and Juan R. Fuentes”
Jesus Barraza is young, but the potent combinations of colors and images in his prints reflect years of political and artistic experience: works such as Angela Davis and Evolution of a Revolutionary (which is devoted to Amiri Baraka) create distinct images of artists who are already icons for good reason, while other event-based posters galvanize communities for Xicana and Palestinian causes. Barraza currently works as part of Taller Tupac Amaru, a printing studio he cofounded in 2003 after studying under Juan R. Fuentes at the Mission Cultural Center for Latino Arts. Their new show, “Graphic Witness,” unites mentor and apprentice, pairing Fuentes’s linoleum block prints with Barazza’s graphic designs. (Johnny Ray Huston)
7:30 p.m. (show continues through Nov. 25)
Galería de la Raza
2857 24th St., SF
Free
(415) 826-8009
www.galeriadelaraza.org
FRIDAY
Oct. 27
Film
Bernal Heights
Outdoor Cinema
Icy nights be damned: San Franciscans are incapable of overdosing on outdoor cinema. Xanadu in Dolores Park may attract a certain roller-skating niche audience, but the past few months have proven that there’s something for everyone at Bernal Heights Outdoor Cinema. A special “Best of Bernal” night closes out the series, with works by local favorites Jay Rosenblatt, Jeff Fino, Jenni Olson, and more filling the program. Don’t miss Bolerium, Keary and Nathan Kensinger’s affectionate portrait of the Mission District indie bookstore. (Cheryl Eddy)
7:30 p.m.
Metro High School
Folsom between Precita
and Stoneman, SF
Free
(415) 641-8417
www.bhoutdoorcine.org
Opera
Tristan und Isolde
O divine madness, the oblivion of desire, a “bliss inspired by deception” – that’s Richard Wagner’s Tristan und Isolde. The debt-ridden composer’s quickie respite during his marathon work on the Ring cycle became so much more than an earthshaking moneymaker – instead it’s a musically radical and vocalist-taxing ode to “soul states” and transcendent love that champions, as it curses, night, death, and desire over daylight, life, and duty. Even pop culture and cinema’s greedy appropriation of SF Opera music director Donald Runnicles’s favorite opera (I couldn’t stop recalling Un Chien Andalou at the first strains of the prelude or feeling the urge to blurt a Looney Tunes-appropriate “Kill the wabbit!” at key moments) won’t stem your appreciation of Wagner’s chromatic romanticism, David Hockney’s deep-focus Salvador Dali-meets-Alfred Hitchcock sets, and the utter vocal chops of Thomas Moser as Tristan in the third act and Christine Brewer as Isolde during the “Liebestod” (Love death) in this LA Opera production presented by SF Opera. (Kimberly Chun)
7 p.m.
Opera House
301 Van Ness, SF
$40-$205
(415) 864-3330
www.sfopera.com
