The San Francisco Streets and Neighborhoods workgroup, convened by Mayor Gavin Newsom, sat down to its seventh meeting Sept. 9 "to analyze and understand the key issues impacting safety on our streets and formulate recommendations for needed improvement with the goal of creating a safe environment on our streets for everyone."
Some of the top dogs on public safety were at the table, including Police Chief Heather Fong, fire department Capt. Pete Howes, representatives from the district attorney and public defender’s offices, and Kevin Ryan of the Mayor’s Office of Criminal Justice, who co-chairs the group.
Were they here to discuss the recent spike in shootings in the Mission District? The murder of a Western Addition teenager three days earlier? The effectiveness of gang injunctions in those neighborhoods? The upcoming march on City Hall of students from June Jordan High School demanding leadership from the mayor on the rise in violence?
Not really. A quick survey of the agenda indicated most of the talk would be focused on another great threat to public safety: homeless people.
"One of the things we never talked about is what are the specific undesirable behaviors we’re focusing on," facilitator Gary Koenig said to the group. Wielding a dry-erase marker at the whiteboard, he probed further, "In other words, the objective we set for ourselves had to do with safety on the streets. So what are the objectionable behaviors that make the street unsafe or make the street be perceived as unsafe by others?"
"Shooting people," blurted Seth Katzman, a representative from the Human Services Network, a coalition of nonprofits.
The room erupted in laughter.
"I’m going to keep bringing it up," he said, not laughing.
Koenig asked what other activities they were targeting, and a more telling picture emerged: drug dealing, aggressive panhandling, blocking the sidewalk, public urination and defecation, littering, intimidation.
"On intimidation," said Chief Fong, "if you have someone walking down the street and they’re yelling out or blasting out, sometimes they’re talking to themselves and all of a sudden, ahh! People don’t know how to respond and think that maybe there’s going to be a next step in terms of some kind of aggressive behavior."
"Would you call that scary behavior?" asked Koenig, marker poised to note.
"Just kind of unpredictable behavior in terms of how someone’s carrying themselves. They haven’t committed a crime, but …" Fong trailed off.
Koenig added "unpredictable behavior" to the list. "Remember, we’re really not talking about crimes here," he said. "We’re talking about what are we focusing on to help improve safety and the sense of safety on our streets."
That’s the real mission of the group: to make downtown more comfortable for tourists, shoppers, business owners, and condo residents; and more uncomfortable for homeless and poor people panhandling, loitering, urinating in public, acting strangely, getting loaded, or sleeping on the streets.
The group was clearly weighted toward enforcement, but coordinated with buy-in from those who demonize the homeless and those who defend them: Ryan, a law-and-order Republican, shares chair duties with the Rev. John Hardin, executive director of the homeless services nonprofit St. Anthony Foundation. Others at the meeting included Steve Falk of the San Francisco Chamber of Commerce; Heather Hoell of Yerba Buena Alliance; Joe D’Alessandro, CEO of the Convention and Visitors Bureau; Bobbie Rosenthal from Local Homeless Coordinating Board; Anne Kronenberg of the Department of Public Health; Reginald Smith from the 10-Year Council on Homelessness; Jennifer Friedenbach from the Coalition on Homelessness; Human Services Agency director Trent Rhorer; and Dariush Kayhan, the mayor’s homeless policy director.
Their ultimate goal is to come up with a handful of recommendations for a street safety pilot project that Newsom will implement in two neighborhoods within six months. The group’s task, on this day, was to weed through the list and decide what the group would endorse.
So far all the proposals have targeted poor and homeless people with enhanced services, punishment threats, and new restrictions on street life. Suggestions ranged from establishing drug-free and "VIP" zones in the downtown business and tourist areas (which came from the Chamber) to COH’s suggestion to fully fund treatment on demand. But all agreed that money is tight.
"If we did a lot of the service things, we probably wouldn’t be doing a lot of the others," Hardin noted early in the meeting, indicating the enforcement and justice items.
The mayor has not set aside any funding to implement the pilot projects, according to Kayhan. And that reality steered the group away from social services and toward crackdowns.
For example, Friedenbach suggested the chronic inebriate program run by DPH does a good job, but said that it’s underfunded and should be evaluated and expanded. Koenig asked DPH’s Anne Kronenberg if this is possible.
"You know it all comes down to money," she replied. "There’s a little disconnect going on for me. What we’re saying is good but I also know what the budget situation is in the city. That’s one [sticking point] where if we could get the mayor on board … or some other creative way of funding."
"Money is a real issue," Rhorer piped up. "So I’m thinking maybe if it’s a high cost item, we take it off the list." Yet, he added, "I totally agree the chronic inebriate program needs to be expanded to more placement facilities."
Instead, it was removed from the list.
"The problem is, if we take out some of these matters, what we’re going to be left with is enforcement ordinances and the justice system. And I think we all agreed a long time ago the idea isn’t to incarcerate people, but to get housing and services for them," Katzman complained. "It’s going to leave us with the stick and not the carrot."
Recommendations in the "stick" category included establishing "drug free zones" with enhanced penalties for dealing, using, and possession. Similar zones already exist within 1,000 feet of schools and parks in San Francisco, but have been implemented more broadly in other cities.
After discussing the constitutionality of making one street corner drug-free but not others, some suggested folding it in with another idea on the list: VIP zones.
"What does VIP stand for?" someone asked.
"Very Important Person," someone else answered.
"How about B and T? Business and tourism zones?" Rhorer suggested. "Marketing of VIP sounds a little more difficult."
According to the description on the meeting agenda, VIP zones would be established around downtown, the Yerba Buena center, Fisherman’s Wharf, Chinatown, and Union Square as areas subject to "special enforcement of drug laws, aggressive panhandling, sitting/lying on sidewalks" and other "quality of life crimes."
Defending the idea, D’Alessandro said, "Just from our perspective, tourism generates $500 million a year in local taxes that fund a lot of the programs we’re talking about at this table. And we’re very threatened. We’ve lost a lot of business." He said one convention bailed because a visitor was spit on.
"There’s obviously huge problems with this. It’s specifically targeting people because of their status, their housing status," Friedenbach said, sarcastically suggesting they have a registration for homeless people entering certain areas of the city.
"I think we have to separate aggressive panhandling and blocking thoroughfares from poverty," D’Alessandro said. "This is not targeting poor people."
"When you say sitting and lying on the sidewalk, that is targeting people who don’t have a place to sit," Friedenbach countered.
"Maybe we don’t do this unless we provide places to sit," D’Alessandro replied."
"Like more drop-in centers," Rhorer offered.
But temporary places to sit and sleep don’t seem like part of Newsom’s vision. Since he took office, more than 400 shelter beds have been lost. In March, Newsom defunded the only city-funded 24-hour drop-in center serving both men and women.
By the end of the meeting, many of the ideas for enhancing services remained in play, like ramping up Project Homeless Connect and the Homeless Outreach Teams, as well as more drop-in centers, housing, and job programs. All of the law enforcement–oriented changes were still on the list, including implementing the drug-free and VIP zones.
Speaking afterward, Katzman returned to the issue of what defines safety, and for whom. "We have tenants and clients in the Tenderloin who are afraid to go out of their buildings at night because of drug-related violence. They’re not complaining to us about people peeing on the streets," he said. "No one likes it, but that’s not the big issue right now."
The Democrats, who control both houses of the state Legislature, lost badly on the state budget. They caved in, they sold out — and the worst part is, they had very little choice.
The state can’t keep running forever without a budget. I think we could have gone a little longer, and the Democrats could have turned up the public pressure a bit more, but in the end, it probably wouldn’t have mattered a bit. A small number of anti-tax Republicans from very conservative districts now control the entire state budget process.
And the worst part of that is, I’m not sure we can change that. So I’m thinking we should try something else.
Just about everybody knows by now that California is one of only three states that requires a two-thirds Legislative majority to approve a budget. The state Constitution also requires a two-thirds vote to raise taxes. So unless the Democrats can take control of both houses by a 67 percent majority, the GOP can exert a veto over any attempt to close a budget deficit with anything but deep, draconian cuts.
And the Republicans who hold sway aren’t the moderate types who might want to negotiate. One reason the Democrats control both the Assembly and the Senate is that they’ve been experts at drawing legislative lines, shoving large majorities of Republicans into a small number of districts. That means more Democrats in Sacramento — but it also means that many of the Republicans represent areas where there’s little chance a Democrat can challenge them — and where the voters will rebel against any representative who raises taxes.
"The Republicans have no incentive ever to raise taxes," Assemblymember Mark Leno explained to me recently. "They all fear that if they vote for a tax increase, they will lose their seats. And history shows that they are right."
That’s why the polls show an overwhelming percentage of Californians want better schools — but the state budget will take billions away from education, putting the next generation of Californians at risk.
So the buzz in more progressive circles in Sacramento is starting to focus on a constitutional reform that would eliminate the supermajority for budget approval. But that would only be meaningful if we also scrapped the two-thirds rule for new taxes — and that’s going to be a tough sell. I can see the money flowing by the tens of millions into a campaign to keep legislators from raising taxes. And given the fact that the public in general doesn’t trust the Legislature, it’s possible that battle will be lost.
Over and over, starting with Proposition 13 in 1978, California voters have approved anti-tax measures. I hope we can turn that tide around, but I think we also need a backup plan.
See, it doesn’t take a supermajority to give cities and counties the right to raise taxes on their own.
Leno, for example, has a bill that would allow cities to impose their own car taxes. In San Francisco, we’re talking big money, $50 million or so — enough, perhaps, to blunt the impact of the state’s cuts to public schools and public health. It might be easier to push for the passage of that sort of measure than for statewide Constitutional reform.
Let cities pass their own income taxes. Let counties impose oil-severance taxes. Amend Prop. 13 to allow higher taxes on commercial property.
Then maybe San Francisco and Berkeley and Los Angeles will wind up with better schools and parks and streets and hospitals, and Orange Country and the other anti-tax havens will see their public services collapse as the state keeps cutting. Maybe after a while they’ll get the point.
Think metered parking spaces can only be used for cars? Think again. The forward-thinking, public space-obsessed art collective REBAR has been exploiting a legal loophole that allows just about any use of those car-sized spots – as long as the meter’s being fed – since 2005.
Back then, the small Bay Area-based collective started by building miniature public parks in places where private SUVs usually live. The result was so surprising and delightful that the idea’s caught on worldwide – and now, on Friday, September 19, in 600 cities globally, metered spaces will be used for everything from extended sidewalk seating outside a café to, in one Bay Area case, a marriage locale. (Watch the two men wed on Friday at 137 Scott, from 3 to 5pm.)
Even if you don’t have time to build your own park, take a walking tour and join in the fun as businesses, individuals, and arts groups all over the city transform gutters into gardens. For more info on PARK(ing) Day, visit www.parkingday.org. Or, for maps of the day’s haps, check out the Trust for Public Land’s national info at their website.
For more information on REBAR, including other projects such as a commission for the City of Amsterdam and a presentation at the world-renowned Venice Architecture Biennale, check out their website at www.rebargroup.org.
The controversial and long-awaited Eastern Neighborhoods Community Plan — which includes a thicket of thorny planning and financing issues that will largely determine San Francisco’s socioeconomic future — has finally arrived before the Board of Supervisors.
Neither developers nor community activists are happy with the plan approved Aug. 7 by the Planning Commission, which sets zoning, policies, and funding levels for new development in the Mission District, eastern SoMa, Potrero Hill, and the Central Waterfront.
Developers objected to the fee levels and affordable-housing requirements, saying they would discourage growth, but the compromise plan of less than $16 per square foot in development fees (which vary widely, depending on many factors) and a maximum 20 percent affordable-housing requirement have left public needs severely underfunded. San Francisco Planning Department estimates indicate the fee structure will yield only about $150 million for the area’s $400 million in infrastructure needs.
“The plan right now is not balanced in favor of diversity and real neighborhood needs,” said Sup. Tom Ammiano, who plans to introduce a long list of amendments to the plan in conjunction with Sup. Sophie Maxwell and neighborhood groups that include the Mission Anti-Displacement Coalition, the South of Market Citizen Action Network (SOMCAN), and the Potrero Boosters Neighborhood Association.
On the other side of the equation, the Residential Builders Association and other developers say the city will end up with little development activity if they ask for too much, and they’re threatening legal action if the city pushes too hard. “Our members certainly aren’t happy, and the industry isn’t happy,” RBA president Sean Keighran told the Guardian, saying the plan allows for too little development. “Many of our members are meeting with attorneys and considering their options.”
The Board of Supervisors Land Use Committee will begin working through the myriad conflicts Sept. 15 with a series of at least four hearings running through Sept. 23, when the plan could head for the full board. But given the complex political dynamics at play — and the fate of Proposition B, the affordable housing set-aside measure that could help narrow the funding shortfall — key parts of the plan could be delayed until at least January, when the new board is seated, making the stakes of this November’s election even higher.
Political priorities will determine the plan’s emphasis, and the balance of power on the board now seems to favor increasing the amount of affordable housing that will be required in the eastern neighborhoods, home to much of San Francisco’s remaining working class. The supervisors also are leaning toward asking developers to pay more for parks and other infrastructure needs.
Planning Department staffer Steve Wertheim said the goal has been to “make the fees as feasible as possible” for developers and “to find a sweet spot” that will satisfy developers as well as community activists. While he said the commission “was as aggressive as possible with the tools we had available, we would have to subsidize every house if we want [more] affordable housing.”
Planners say they are constrained by city studies indicating that developers won’t build if required to offer more than 20 percent of their housing units below market rates. “As a resident of San Francisco, I would love to see housing cheaper. But we can’t make affordable housing requirements so high that we end up getting no housing at all,” Wertheim said. “We’ve done as much as we can, but the whole city has to commit.”
Indeed, the plan’s funding shortfall raises citywide questions. Tony Kelly, president of Potrero Boosters, said the unspoken assumption in the Eastern Neighborhood Plan is that voters will need to approve Prop. B: “This plan is a big argument for the housing fund.” Either the proposition passes or San Francisco simply becomes steadily less affordable for working families.
Keighran thinks there’s been too much focus on affordable housing. “This one goal should not take priority over the other goals,” Keighran said. “We feel we’re being asked for so many different things from so many different people.”
Yet the activists argue that San Francisco will lose its working class and families if the market alone is allowed to determine what kind of housing is built. The city’s own general plan states that 64 percent of new housing should be affordable. The activists are urging the supervisors to prioritize community needs over developer profits.
“It’s a huge, sprawling plan that has a lot of detail, and the details we wanted to see aren’t there,” said Nick Pagoulatos, coordinator of the MAC. “In terms of the housing, it’s a complete disaster for our housing needs…. The housing we’re seeing is the same old housing we’ve always seen in our neighborhoods, which is mostly market-rate housing.”
Given the amount of light industrial land in the plan area that would be zoned for housing — enough for an estimated 7,500 new units — Pagoulatos said the community has gotten very little. The Planning Department estimates that less than 30 percent of the housing developed under the plan will be considered affordable — less than half of what the city needs — and even getting to that level will require more funding, perhaps by creating new redevelopment districts.
Among other problems in the plan, Pagoulatos said there isn’t nearly enough land set aside for the fully affordable projects that nonprofit entities seek to build with city affordable-housing funds. “If we don’t get that, then we didn’t get anything for all the concessions that we’ve made,” he said.
While the plan now includes modest new affordable housing and community benefits requirements for developers who want to exceed the plan’s height and density limits, activists say the community isn’t getting enough for offering this carrot. They propose to require that 100 percent of the units exceeding current entitlements be affordable.
“Our main concern is there isn’t enough affordable housing in the plan,” said Chris Durazo, community planning director for SOMCAN. “We want the Board of Supervisors to get involved and take this seriously. They need to understand how this community is growing. The families here now should be able to remain here.”
SOMCAN formally appealed the Planning Commission’s approval of the plan’s environmental impact report, which didn’t include detailed traffic studies that must eventually be completed. “We’re appealing it based on them punting the traffic and transportation plan,” Durazo said.
Kelly said that was emblematic of the cursory approach planners have taken toward sizing up and providing for the needs of residents in the affected neighborhoods. “This whole plan is going to move forward with less than half the money for neighborhood improvements they say are necessary,” Kelly said. He notes that the population of the 94107 ZIP code could double under the plan, which makes no provisions for increasing transit services for that higher population or securing new land for parks.
“The gap in affordable housing and the loss of light industrial jobs is matched by a lack of funding for community improvements,” said Kelly, who said his association focuses on that latter issue but is supportive of community groups that focus on housing and jobs.
In fact, there has been an unprecedented level of community organizing and collaboration among groups of all political stripes around this plan, work that is expected to pay off more at the board level than at the commission level.
“Because the board and the commission are two very different political bodies, others may come out that weren’t at the commission hearings,” said Wertheim, noting that developers were well-represented at the commission level. “But the one thing I’ve learned from this whole process is not to be surprised.”
Keighran seemed to sense the changing dynamics. “Planning takes methodical procedural work,” he said. “Politicians are not best suited to doing planning.”
But the activists say this plan should be a reflection of the city’s values, not simply a product of discussions between developers and planners. Yet they understand that politics can cut both ways, particularly during an election season.
“Of course we need more housing, but building $6 million condos isn’t the answer,” said Marc Salomon of the Western SoMa Task Force, which broke away from the Eastern Neighborhoods planning process — a process he criticizes. “It’s not about housing people, it’s about investment. It’s ‘How do we give the developers what they want and give the natives the bare minimum, or just enough that they don’t burn down City Hall?'<0x2009>”
Salomon fears the Eastern Neighborhoods will continue to suffer from political pandering. “The [supervisors] are all looking for their next move,” Salomon said. “The discourse has moved so far to the right that you can’t be against market-rate housing. And what they’re doing is developing market-rate housing to suit developers, and at the same time purging this city of progressives.”
Theresa Andersson, Hummingbird, Go! (Basin Street) Could this be the latest hair — or rather, heir — to Dusty Springfield’s not-so-dusty blue-eyed soul diva throne, aided by Allen Toussaint, Ane Brun, and Sweden’s Tobias Froberg?
Apollo Sunshine, Shall Noise Upon (World’s Fair) Bad album titles happen to even imaginative psych-poppers.
Lila Downs, Shake Away (EMI/Manhattan) New York-Oaxaca singer-songwriter doffs the Frida drag and bares some Shakira-style midriff along with a lively pop sound.
Donnie Klang, Just a Rolling Stone (Bad Boy) Making the Band 4′s broom-topped answer to Jon B and Justin T paraphrases Bobby D for the TRL set.
New Kids on the Block, The Block (Interscope) Old manager Lou Pearlman is going to prison, Donnie is headed for divorce court, and there are even rumors that one member is — gasp — nonheterosexual.
Underoath, Lost in the Sound of Separation (Tooth & Nail/Solid State) Rock me, sexy screamo Jesus-freaks.
UNKLE, End Titles … Stories for Film (Surrender All) Say “UNKLE” like Black Mountain and Josh Homme want you to.
Brian Wilson, That Lucky Old Sun (Capitol) He reunites with Van Dyke Parks and takes a trip down memory’s drag strip, covering Louis Armstrong and paying homage to SoCal.
Young Jeezy, The Recession (Def Jam) True dat. Producers like Eminem and Jazze Pha and contributors such as Kanye West and T-Pain feel Jeezy’s, erm, pain.
SEPT. 9
Calexico, Carried to Dust (Touch and Go) Dusted but darn pretty. Whispery. Poppy.
Cornelius, Sensurround (Everloving) Keigo Oyamada, 3-D sound specialist, returns with a video-and-remix DVD/CD, aptly titled after a quake-imitating movie gimmick.
Kimya Dawson, Alphabutt (K) Everyone poops.
Michael Franti and Spearhead, All Rebel Rockers (Anti-/Epitaph) The SF activist stalwart spit-shines a spunky-fresh blend of dub and funk.
Fujiya and Miyagi, Lightbulbs (Deaf, Dumb & Blind) Fresh from car and Miller Lite commercials, the English kraut-rockers with the Japanese name(s).
Gym Class Heroes, The Quilt (Decaydance/Fueled by Ramen/Atlantic) I hate gym.
Hatchback, Colours of the Sun (Lo) Dfa- and Prins Thomas–approved Sorcerer-buddy Sam Grawe sets the controls beyond cosmic into hypnotic with epic instrumental jams such as “White Diamond” and “Horizon.”
Okkervil River, The Stand Ins (Jagjaguwar) The sweet sequel to last year’s novelistic The Stage Names.
Kardinal Offishall, Not 4 Sale (Geffen) The Clipse dispenses financial advice on “Set It Off.”
Jessica Simpson, Do You Know? (Columbia Nashville) Huh?
The Sound of Animals Fighting, The Ocean and the Sun (Epitaph) A dreamy Animal Collective meets a mathier-than-thou Dillinger Escape Plan?
Emiliana Torrini, Me and Armini (Rough Trade) In The Two Towers (2002), the Icelandic songbird serenaded the gruesome-cute ring-a-ding-dinger with “Gollum’s Song.”
Tricky, Knowle West Boy (Domino) The 40-year-old boy sings the body eclectic.
SEPT. 12
Metallica, Death Magnetic (Warner Bros.) When they weren’t pissing off neighbors, the music biz titans and longtime friends of Bugs Bunny were recording — with Rick Rubin — outside of SF for the first time in a dozen years.
SEPT. 16
George Clinton, George Clinton and Some Gangsters of Love (Shanachie) The gang — Carlos Santana, Sly Stone, the Red Hot Chili Peppers, and RZA — is all here, maggot brains.
Faith Hill, Joy to the World (Warner Bros.) The initial single off the C&W-pop vocalist’s first Xmas album: “A Baby Changes Everything.”
Ill Bill, The Hour of Reprisal (Uncle Howie/Fat Beats) Bad Brains and Raekwon the Chef cook up mischief with “La Coka Nostra.”
Musiq Soulchild, On My Radio (Atlantic) The spirit of Philadelphia, from behind soulful shades.
Nelly, Brass Knuckles (Derrty/Universal) Fergie, Ciara, and Lil Wayne get derrty right herre.
Ne-Yo, Year of the Gentleman (Def Jam) We’re waiting for “Year of the Ice Road Trucker.”
Raphael Saadiq, The Way I See It (Columbia) Oakland will come out for its boy.
Alexander Tucker, Portal (ATP Recordings) Acclaimed UK fingerpicking maestro of murk-folk returns with a dissonant, symphonic mix of vibes, cello, and electric mandolin on his third album.
The Veronicas, Hook Me Up (Sire) The Aussie twins hope to hook up the Jonas Brothers’ tweeny audience with their sassy pop.
SEPT. 23
Blitzen Trapper, Furr (Sub Pop) The wild-eyed Northwesterners focus on a janky old piano found outside their studio.
Cold War Kids, Loyalty to Loyalty (Downtown/Atlantic) Chilly times call for tunes with titles like “Golden Gate Jumpers.”
Common, Invincible Summer (Geffen) Last sighted orbiting will.i.am’s Obama ad and now rotating with the Neptunes.
Charlie Haden Family and Friends, Rambling Boy (Decca) The jazz genius gets back to his Iowa-bound country-music roots with help from offspring Petra and Josh, Elvis Costello, Rosanne Cash, and Pat Metheny.
Kings of Leon, Only By the Night (RCA) Brothers by day.
Jenny Lewis, Acid Tongue (Warner Bros.) Elvis Costello really does get around, guesting here alongside She and Him and Lewis manfriend Johnathan Rice.
Mogwai, The Hawk Is Howling (PIAS/Wall of Sound) The Scottish instrumentalists move on from making music for Zinedine Zidane. Song titles include “I’m Jim Morrison, I’m Dead,” and “I Love You, I’m Going to Blow Up Your School.”
Peter Bjorn and John, Seaside Rock (Almost Gold/Star Time International) The trio from Sweden veer away from lyrical pop to lyric-free — and whistle-free, one hopes — compositions inspired by childhood.
TV on the Radio, Dear Science (Interscope) Shining with radioactive adorableness.
SEPT. 29
Marianne Faithfull, Easy Come, Easy Go (Naive, UK) The queen of the nicotine rasp reunites with Hal Wilner to cover Dolly Parton, Neko Case, Judee Sill, Randy Newman, and Morrissey.
SEPT. 30
Miles Davis, Kind of Blue: 50th Anniv. (Columbia/Legacy) In marriage, the 50th anniversary is golden. In the music industry, the 50th anniversary is a two-CD plus DVD plus LP plus book plus poster.
Dungen, 4 (Sublimininal Sounds) The fourth studio album by Swedish foursome is divided into two sounds: raw guitar rock and jazz-inflected cinematic orchestration\
El Guincho, Alegranza! (Young Turks/XL) Born with the zestful zing! of an Esquivel sample, Pablo Diaz-Reixa’s irresistible 10-track burst of Barcelona beach boy 21st-century Tropicalia finally gets a US release — and, one hopes, a tour to go with it.
Jennifer Hudson, Jennifer Hudson (Arista) After an Oscar, various red carpet misfires, and the Sex and the City movie, her debut arrives, taking the s, the o, the l, and the o out of “solo“ via guest appearances or production by Diane Warren, Timbaland, Ne-Yo, T-Pain, Cee-lo, Pharrell, Ludacris, Akon, John Legend, and duet partner R. Kelly.
Mercury Rev, Snowflake Midnight (Yep Roc) Melting the heels of the band’s seventh studio album is Strange Attractor, a companion collection of 11 free downloadable tracks.
Barbara Morgenstern, BM (Monika Enterprise) The operator behind effervescent bursts of multilayered electronic pop presents her fifth album and — attention SF club promoters! — hopes to the tour the states.
Nina Simone, To Be Free (Sony Legacy) A three-CD, one-DVD retrospective that spans more than four decades, from Dr. Simone’s earliest recordings with Bethlehem to her final recordings for Elektra.
Taj Mahal, Maestro (Heads Up) Forty years after his recording debut and five years after his last US release, he covers Otis Redding and works with Ziggy Marley.
T.I., Paper Trail (Grand Hustle/Atlantic) His house arrest album, narrowed down from 50 songs, includes production by all the usual big names, and cameos by Rihanna, Justin Timberlake, John Legend, Usher, and the dreaded Fall Out Boy.
XX Teens, Welcome to Goon Island (Mute) I see Paris, I see Toulouse, I see someone’s green and blue boobs.
OCT. 7
Black Sabbath, Paranoid (Deluxe) (Universal) The band’s biggest-selling album gets a quadraphonic update, along with instrumental versions of six songs.
Deerhoof, Offend Maggie (Kill Rock Stars) A pencil drawing by Tomoo Gokita of a half-naked mystery man graces the cover, and the first single has been released in the form of sheet music.
Jolie Holland, The Living and the Dead (Anti-/Epitaph) Norman Mailer wouldn’t be able to attract guests like M. Ward and Marc Ribot.
Morgan Geist, Double Night Time (Environ) In the wake of contributing cellist Kelley Polar’s second album, one member of Metro Area presents his own new romantic bouquet of Detroit techno-tinged disco pop, with guest crooning by Jeremy Greenspan of Junior Boys.
Gregory and the Hawk, Moenie and Kitchi (FatCat) Sweetly twee indie-folk prepares its latest world-domination campaign.
Lambchop, OH (ohio) (Merge) Chop, chop — Nashville rocks.
MSTRKRFT, title to be announced (Dim Mak) Isis brings the “Bounce.”
Of Montreal, Skeletal Lamping (Polyvinyl) Do be a drag — with plenty of confetti.
Rise Against, Appeal to Reason (Geffen) Tried to reason with them about playing up the pirate metal.
Senses Fail, Life Is Not a Waiting Room (Vagrant) So why are we waiting for our hearing to fail?
Michele Williams, Unexpected (Columbia) The Destiny’s Child vocalist, not the actress, stops going gospel in favor of pop.
Women, Women (Jagjaguwar) Hope they get to hang out with Lesbians.
OCT. 14
The Alps, III (Type) Local music heads Scott Hewicker, Jefre-Cantu Ledesma, and Alexis Georgopoulos makes the leap from CD-R to “proper” album release, paying homage to the hallucinatory sides of Serge Gainsbourg, Ennio Morricone, and Terry Riley along the way.
I’m From Barcelona, Who Killed Harry Houdini (Mute) The Swedish — not Spanish — mega-band returns with 10 new songs, including at least one by the ill-fated famous illusionist.
Ray LaMontagne, Gossip in the Grain (RCA) And buzz in the barn.
Queen and Paul Rodgers, The Cosmos Rocks (Hollywood) We know guitarist and astrophysicist Brian May finally completed his doctorate, but that title will have Freddy Mercury’s ghost hitching it to the next galaxy.
T. Pain, Thr33 Ringz (Jive) After producing most of Ciara’s upcoming full-length, Faheem Najm recruits Chris Brown, Lil Wayne, and Kanye West for his own — if it doesn’t go putf8um, I’m gonna buy you a drank and fall in love with a stripper.
OCT. 21
Hank III, Damn Right, Rebel Proud (Curb/Bruc) The disc has been described as a “Jekyll and Hyde mix of disturbingly dark stuff and good ol’ country.”
Labelle, Back to Now (Verve) Their first full-length in 33 years brings Gamble and Huff, Lenny Kravitz, and Wyclef Jean out of the woodwork.
Lee Ann Womack, Call Me Crazy (MCA Nashville) She sang at the 2004 Republican National Convention, but redeemed herself as much as possible a year later with the “20 Years and Two Husbands Ago.” Now, unfortunately, she’s borrowing titles from Anne Heche.
OCT. 28
Cradle of Filth, Godspeed on the Devil’s Thunder (Roadrunner) The grimy tots say they were inspired by Joan of Arc’s aristocratic compatriot.
Cynic, Traced in Air (Season of Mist) The proggish metal outfit issues its first studio album since 1993.
Warren G, The G Files (Hawino) Quick, regulate before G notices.
It’s a Musical, The Music Makes Me Sick (Morr) Guitar-free Berlin duo craft harmonic pop in the key of Bacharach, with trumpets, vibraphones, and canonical choirs.
Grace Jones, Hurricane (Wall of Sound, UK) The most anticipated comeback of the season, since Glass Candy, the Chromatics and every other nu-disco act offering pale versions of her fabulous robot chick chic — includes contributions by Brian Eno and Sly and Robbie and a song called “Corporate Cannibal.”
John Legend, Evolver (G.O.O.D Music/Columbia) Kanye West, Andre 3000, and Estelle join the high-minded proceedings.
Pink, title TBA (LaFace/Zomba) She attempts to get the party started — yet again.
NOV. 4
Big Boi, Sir Luscious Leftfoot … Son of Chico Dusty (LaFace) Ouch, don’t hurt yourself on that title. The OutKast insider finds support in Andre 3000, Mary J. Blige, and Too $hort.
Dido, title TBA (Arista). “Thank You,” multi-instrumental wiz and producer Jon Brion for overseeing this long-time-coming album.
NOV. 11
Missy Elliott, Block Party (Atlantic) Was it really over a decade ago that the late Babygirl gave her a boost to fame? Keyshia Cole is a likely guest, and Timbaland is just one of many co-producers.
NOV. 18
Kelly Clarkson, title TBA (RCA) Everybody loves the Rachael Ray of American Idol pop! Don’t they?
GREEN CITY On Sunday, Aug. 31, the Mayor’s Office and several community groups join forces to bring San Francisco into an international movement to increase physical activity, break down invisible borders, and make scenic space available to all during the city’s first ciclovia.
More than 4.5 miles of streets will be closed to cars that day from 9 a.m. to 1 p.m. for Sunday Streets, the first of two ciclovias scheduled this summer. The idea of the ciclovia — which is Spanish for "cycle way" or "bike path" — was conceived in Bogotá, Colombia, during the mid-1990s and has since spread throughout the world.
The concept is to take existing roads — the province of cars — and turn them into temporary paths for walking, jogging, cycling, and other physical activity.
"I think it really helps us re-imagine our city streets as places of safe, non-auto physical activity," said Wade Crowfoot, Mayor Gavin Newsom’s director of global climate change. "From an environmental perspective, it’s time we re-imagine our space and our streets, and to make streets accessible to everyone."
The route extends from Bayview Opera House, up Illinois Street to the Embarcadero, along the waterfront, and across Washington Street into Chinatown. Five activity pods will feature dance classes, yoga, hopscotch, jump rope, and more, and participants are encouraged to explore as much of the route as they can. The Giants’ stadium will be open to pedestrians and bikers who want to run the bases, and event facilitators say they hope this 4.5-mile stretch will grow into something bigger.
"We hope this is just the beginning, and that it succeeds all over the city," said Andy Thornley, program director of the San Francisco Bicycle Coalition.
The man largely credited with starting the ciclovia is Gil Penalosa, who implemented the idea as Bogotá’s commissioner of parks and recreation in 1995. Penalosa now runs a nonprofit called Walk and Bike for Life that promotes the ciclovia and other forms of active living.
San Francisco’s event is modest: Bogotá closes off more than 80 miles of looping streets every Sunday and on holidays. More than 1.5 million people turn out each week, according to the Walk and Bike for Life Web site. Ottawa closes more than 30 miles of space on Sundays from May to September, and events have taken place all over Europe in addition to the American continents.
The ciclovia is also part of the car-free movement, an international effort to promote alternatives to car dependence and automobile-based planning.
Besides saving energy and promoting fitness, event planners at ciclovias in Bogotá noticed the events were causing a cultural shift. The Christian Science Monitor reported in an Aug. 18 article that residents from different neighborhoods began interacting as never before. Indian residents of poorer neighborhoods used to halt at the imaginary dividing lines of the more affluent European neighborhoods, and vice versa, but now people mingle freely.
San Francisco organizers hope to use Sunday Streets to create a similar effect here.
"We deliberately chose the route that connects the Bayview to Chinatown, two communities that are historically disconnected," said Susan King, the event’s organizer. "We want people to go to Hunters Point and Chinatown and see what’s out there, with the hope that people will see things they want to come back to."
King also noted that these two neighborhoods lack adequate open space. "We want people in those communities to experience what people who live adjacent to Golden Gate Park and the Presidio get to experience on a regular basis — an opportunity to exercise and not worry about getting hit by cars," King said.
Another international trend that Sunday Streets continues is the reclaiming of waterfront space. Tom Radulovich, executive director of Livable City, said he recently visited Vancouver and experienced its 28 miles of bicycle and pedestrian paths along the water. Paris also has a ciclovia every summer that closes a major expressway and creates a beachfront and promenade along the Seine.
"[The Embarcadero] — that big, dangerous roadway — cuts the city off from the waterfront," Radulovich said. "We want to think about the possibility of reclaiming the water space more successfully for San Franciscans."
One of the few voices of opposition to Sunday Streets came from a group of Pier 39 merchants who worried about the economic impact.
The Board of Supervisors voted Aug. 5 not to delay the event until an economic impact report had been released, but Crowfoot said traffic impact analyses will be done this weekend so that there will be better understanding of the impact of any future events. But many ciclovias have actually increased business because people are more prone to stop and look in stores when they walk by instead of just driving past them.
PREVIEW Many a gnarly happening has occurred since I last spoke with Danger Mouse, né Brian Burton. If memory serves, at that time in 2004, around the time he remixed The Beatles("The White Album") (EMI, 1968) and Jay-Z’s The Black Album (Roc-A-Fella/Island Def Jam, 2003) into The Grey Album, the grounded DM was easily forthcoming about his standard-setting, electronic civil disobedience–inspiring endeavor and waxed rhapsodic about art house cinema. The years — and, no doubt, experience as a prolific collaborator (Gorillaz, Van Dyke Parks, and rumored future projects with Sparklehorse and Black Thought) and producer (Beck, the Rapture) — have left Burton more reserved. Regarding Gnarls Barkley — DM’s project with Cee-Lo Green, which recently released the acclaimed The Odd Couple (Atlantic) — Burton chooses to simply rough out the partnership as that of hometown buds from the Atlanta area. "We knew a lot of the same places growing up," Burton says from Athens, Ga., where Gnarls Barkley concluded a recent tour. "I’d try to sneak in with people, and I’m sure he was already walking right in the front door."
But affection for late rock ‘n’ roll pioneer Ike Turner brings the Mouse out of his shell. Burton wanted to produce Turner and enlisted the Black Keys to serve as the backing band and songwriters. "We did some demos for some of the songs, but it didn’t quite go in the direction we wanted," Burton says. "Ike’s voice was so deep and so heavy — it didn’t really fit as much as Dan’s." So instead DM agreed to produce the Keys’ kudo-clad Attack & Release (Nonesuch). Turner even got to hear the finished product, and plans were in the works for the Keys to write fitting songs in varied styles for the musical elder before he died. Now Burton tells me he’ll try to work with some of the Turner-Keys tracks, and he’ll remember the man, who "randomly" stepped in to play on the last Gorillaz release, as a longtime friend who was "very honest. I don’t know what he was like when he was younger, even though he told me many stories. But he made you humble."
GNARLS BARKLEY with Ozomatli, the New Pornographers, Medeski Martin and Wood, and Lebo at Slow Food Rocks. Sat/30, 11 a.m.–7 p.m. (Festival continues Sun/31 with Phil Lesh and Friends, G Love and Special Sauce, John Butler Trio, and London Street.) $10–$160. Great Meadow, Fort Mason, SF. 1-877-655-4849, www.festivalnetwork.com/sfr
To choose just one photo by Sean McFarland for this year’s Guardian Photo Issue was tough. Ultimately, we went with one from 2005 that looked best within the issue’s layout. McFarland’s more recent work was markedly different, but just as impressive. The interview below is interspersed with some of these more recent photos, and some interesting background information about their mysteries.
Sea, by Sean McFarland
At the moment, McFarland is part of the survey of Bay Area photography on display at City Hall (through Sept. 19), but that isn’t his only current show with a strong local element. He’s also a contributor to “Let Us Now Praise San Francisco,” at the 77 Geary space Marx and Zavattero Gallery. Up through this Saturday, it brings together select writers and photographers for a SF-specific 21st-century answer to James Agee’s and Walker Evans’ famous combo of word and images, Let Us Now Praise Famous Men.
Tornado, by Sean McFarland
SFBGIn the last year or two, your work has shifted away from urban views to elemental images: sky, sea, vast land. What has set you off in that direction? Sean McFarland: I’ve been thinking a lot about the ways in which the earth changes. In an urban environment, we build buildings, roads, and parks, changing the landscape. These are immediate and obvious alterations of our environment. Our actions also change the landscape as we alter the climate – more frequent and powerful storms, rising seas. By focusing on making images of the natural world, of the landscape, I’m interested in making pictures of us. How we change the earth and how the earth effects us.
This is the second year that the Guardian has devoted an issue to local photographers. I’ll wait until it happens a third time before deeming the project an annual endeavor. It’s easy to believe in that possibility, because the range of photography in the Bay Area right now is exceptional. This great state of affairs is partly due to spaces and organizations such as SF Camerawork, RayKo Photo Center, and PhotoAlliance. It’s also due to more do-it-yourself street-level groups such as Hamburger Eyes and one of this issue’s 10 contributors, Cutter Photozine.
Last year’s photography issue focused on portraiture, but this year I’ve opted for a survey approach that allows for spontaneous connections. Jessica Rosen and Sean McFarland both utilize collage, but with vastly different results. Keba Konte’s collage aesthetic adds objects to imagery and links history to autobiography. Investigative work leads to political or societal exposure within Trevor Paglen’s and David Maisel’s photography. Adrianne Fernandez and Bayeté Ross-Smith focus on youth as they bring new twists to traditions such as the family album and the prom portrait. Dustin Aksland’s portraiture also includes teenagers, sometimes plopped onto or stopped within American landscapes, while Mimi Plumb likens rural landscapes to the backs of horses.
August may be when summer winds down and a portion of SF prepares to camp elsewhere, but it’s an important time for local photography. This issue coincides with PhotoAlliance’s and the San Francisco Arts Commission Gallery’s annual exhibition of local photographers. Two of the 10 artists on the following pages are part of that show. American photography also will be playing a major role at the San Francisco Museum of Modern Art next year, when that space presents an exhibition devoted to Robert Frank and his classic monograph The Americans (Steidl).
In honor of an old adage or clichéd truth, there aren’t a lot of words next to the pictures that follow. But the text does include Web site information. In most cases, these photographers’ sites function as another gallery of sorts, one that lacks the tactile nature and dimensions of an actual photograph but at least suggests the variety of a body of work to date. Scope them out, and scope out Pixel Vision, the Guardian‘s arts and culture blog, for interviews and other photography-related pieces this week. Last, before you look, some thanks are due to Glen Helfand, Chuck Mobley, and Mirissa Neff for their help in the selection process, and to Kat Renz for a last-minute idea.
BACKGROUND In my "Alternative Album" project, the interplay of social and personal history is essential. It yields a complex tension between irony and nostalgia for the so-called family album.
SHOUT OUTS My influences include artists such as Larry Sultan and Elinor Carruci, who have worked with their prospective families to create intimate images that provide a compelling look into family dynamics.
SHOWS "Gender Agenda," through Sept. 14. The Gallery Project, Ann Arbor, Mich. www.thegalleryproject.com. Also "Not Your Mama’s World," Fri/8 through Sept. 9. Washington Gallery of Photography, Bethesda, Md. www.wsp-photo.com
WEB AlternativeAlbum@aol.com
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NAME Jessica Rosen
TITLEI Could See the Amazon from the 5th Floor of the Robert Fulton Projects BACKGROUND This work is a large-scale photo collage installation made from cut-up, layered C-prints of my original photographs. It measures about 10 feet by 12 feet. Because this scale relates to human scale, it allows the viewer to experience the image as an environment rather than as an isolated image.
SHOUT OUTS My work stems from a fascination with people. Over the years my art practice has continually focused on portraiture. Although my newer collage works may seem quite fantastic, most are truly portraits in the traditional sense.
SHOW "Jessica Rosen," through Oct. 1. Open 24/7 (storefront window). Keys That Fit, 2312 Telegraph Ave, Oakl., http://www.xaul.com/KEYS/home.html
TITLE Top to bottom, untitled photos by (1) Ethan Indorf; (2) Keith Aguiar; (3) Ace Morgan; (4) Darcy Sharpe
BACKGROUNDCutter is a San Francisco documentary photo magazine. Founded by Heather Renee Russ and Alison O’Connell, it has a DIY ethic and is eco-positive (it uses recycled paper and soy-based inks). Cole Blevins, Jesse Rose Roberts, Sara Seinberg, and Rachel Styer also worked to put out the first issue, which includes 20 photographers and spotlights Ace Morgan’s uncanny blend of rage, longing, joy, and punk rock.
SHOUT OUTS Cutter is dedicated to people telling their stories and documenting their existence. We seek to undo traditional voyeurism toward the "other" and place the power of sight in the focused home of the author.
SHOW The first issue can be purchased at local shops such as Needles & Pens. They’re currently accepting submissions for the second issue, due this fall. There will be a release party and photo show in late November.
BACKGROUND The large-scale photographs of the "Library of Dust" series depict individual copper canisters, dating from 1913 to 1971, which contain unclaimed cremated remains of patients from Oregon’s state-run psychiatric hospital.
SHOUT OUTS Robert Smithson, NASA photographs, 19th-century exploratory landscape photographers (especially Timothy O’Sullivan), and the New Topographics photographers from the mid-1970s.
SHOW "David Maisel: Library of Dust," Sept. 4–Oct. 4. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Haines Gallery, 49 Geary (suite 540), SF. (415) 397-8114, www.hainesgallery.com. Library of Dust (Chronicle Books, 108 pages, $80) will be released in October.
WEB www.davidmaisel.com
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NAME Keba Konte
TITLE Detail from "888 Pieces of We"
BACKGROUND The eighth day of the eighth month of the eighth year is approaching, and in alignment with this auspicious moment I have created this exhibition of 888 photographs printed on wood, copper, and vintage books. I’ve had to select from thousands of images spanning 42 years in order to choose 888 that reflect my journey: there are protests and portraits, street moments and political movements; freaks, friends, and family members. As a documentary and portrait photographer, one observes the beautiful strangers. However, looking at this large body of work, another story comes into focus: my own.
SHOUT OUTS Roy DeCarava, Gordon Parks, Sebastião Salgado, Ruth Bernhard, Kimara Dixon.
SHOW "888 Pieces of We: A Photo Memoir," Fri/8 through Sept. 8. Oakland Art Gallery, 199 Kahn’s Alley, Oakl. (510) 637-0395, www.oaklandartgallery.org
WEB www.kebakonte.com
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NAME Sean McFarland
TITLESUntitled (park)
BACKGROUND I work from an archive of photographs I’ve made, along with images gathered from print and other media. Through collage, new pictures are formed. Recently my work has focused on weather, nighttime, and the ocean.
SHOUT OUTS For now, two books: National Audubon Society Field Guide to North American Weather, (Knopf, 1991), and Gerhard Richter’s Atlas (D.A.P., 2007). Also, students, friends, and just about any archive.
SHOWS "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org. Upcoming: "Johanna St. Clare, Paul Wackers, Sean McFarland, Dan Carlson," October. Thurs.–Sat., 1–5 p.m. Eleanor Harwood Gallery, 1295 Alabama, SF.
BACKGROUND This was shot during a trip to Paso Robles. My friend and I pulled off the highway to take the back roads into town. As soon as we pulled off, we passed this man sleeping in his car. We went about a half-mile and I made my friend turn around. We pulled up in front of the car and I shot two frames out of the passenger window.
INSPIRATION "Useful pictures don’t start from ideas, they start from seeing." — Robert Adams.
SHOWS "States of Mind," September. TH Inside, Brussels, Belgium. "States of Mind," November. TH Inside, Copenhagen, Denmark.
WEB www.dustinaksland.com
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NAME Bayeté Ross-Smith
TITLEHere Come the Girls
BACKGROUND This is part of a series that documents high school students in Berkeley, east Oakland, San Francisco, and Richmond as they mark their ascension from childhood to adulthood through the celebratory rite of passage known as prom. Taking a cue from traditional prom photos, the portraits allow for seriousness and playful flamboyance, depicting a vast array of budding identities.
SHOUT OUTS Walter Iooss, the Magnum photographers, and James Van Der Zee.
SHOW "Pomp and Circumstance: First Time to Be Adults," Sept. 4–Oct. 11. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Patricia Sweetow Gallery, 77 Geary (mezzanine), SF. (415) 788-5126, www.patriciasweetwogallery.com. Upcoming: "Off Color," Sept. 19–Nov. 1. RUSH Arts Gallery, New York.
BACKGROUND These photos are part of an ongoing series that began about 10 years ago when I photographed a herd in the John Muir Wilderness of the Sierra Nevada. The horses in this new series live in Petaluma.
SHOUT OUTS Horses’ backs embody the landscape. They become the horizon and horizon line, at times transforming into the rolling hills of the California landscape where I grew up, before tract houses and strip malls became the norm.
SHOW "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org
TITLEKEYHOLE 12-3 (IMPROVED CRYSTAL) Near Scorpio (USA 129), 2007
BACKGROUND This is a photo of reconnaissance satellite, taken from the roof of my house in Berkeley. It’s part of a series of photos of American spy satellites.
SHOUT OUTS I got interested in photography because I was working on projects that were nonfiction allegories, projects that played with notions of truth and what we can and can’t see. To me, photography is the medium that does that best. It captures reality and at the same time doesn’t. I like that tension. I also became interested in photography post-9/11 because photography became an aggressive gesture in a way that it wasn’t before — people could be arrested for photographing the Brooklyn Bridge. The act of taking photographs outside became an exercise in civil rights.
SHOWS "The Other Night Sky," through Sept. 14. Wed.–Sun., 11 a.m.–5 p.m. Berkeley Art Museum, 2626 Bancroft, Berk. (510) 642-0808, www.bampfa.berkeley.edu. Upcoming: Taipei Biennial, Sept. 13–Jan. 11, 2009; Istanbul Biennial, 2009; "2008 SECA Art Award Winners," Feb.–May, 2009, SFMOMA.
>>For our complete Towards Carfree Cities conference coverage, including video, interviews, and pics, click here.
› steve@sfbg.com
GREEN CITY A large group of San Francisco’s top alternative transportation advocates traveled to Portland, Ore., for the Towards Carfree Cities international conference June 16-20, marveling at a transportation system widely considered to be the most progressive in the United States.
"Portland is light-years ahead of everyone else in this country," said Leah Shahum, executive director of the San Francisco Bicycle Coalition, who attended the conference along with representatives from the San Francisco Planning and Urban Research Association, San Francisco State University, prominent urban design firms including Arup (which is designing the new Transbay Terminal project), architect David Baker, and other institutions.
Public transit in Portland is extensive, cheap, frequent, and easy to use, with the Max line — unlike Muni — allowing bicycles on the trains. Walking is encouraged by new design standards and public information campaigns. A riverside freeway was replaced by open space years ago. And the large network of bicycle paths and other improvements to promote cycling have made Portland the only large city to earn the putf8um designation from the League of American Bicyclists (San Francisco is one tier down at gold).
"But the reality is Portland is far from being great," was the sobering assessment from keynote speaker Gil Peñalosa, the former parks director of Bogotá, Colombia, who pioneered carfree policies there before pushing the issues internationally through the nonprofit Walk and Bike for Life.
Cities are facing multiple crises connected to over-reliance on the automobile — declining public health, environmental degradation, resource depletion, loss of community, and not enough space in US cities to handle the 100 million people they’ll need to accommodate in the next 35 years. And Peñalosa said most are responding with baby steps that deny the scope of the challenge.
"We’re not doing enough," he said, noting that even the best US cities are way too dependent on automobiles compared to cities that have made the biggest advances in reducing automobile use, such as Copenhagen, Amsterdam, Berlin, Paris, Barcelona, and Vancouver.
"That’s where Portland belongs, and that’s the challenge," Peñalosa said. "Under existing conditions, we have to make major leaps instead of baby steps."
It was the first time that this eighth annual conference has been held in the United States, and organizers said they hoped its message will resonate in a country that needs to change profoundly if it is to efficiently manage its growth while playing a positive role in dealing with global climate change.
Many of the ideas raised at the conference and pursued in Portland are beginning to spread. The conference opened with Depaving Day, a pavement-removal effort that has many adherents in the Bay Area, and closed with Sunday Parkways, during which a six-mile loop in North Portland was closed to cars. Such "Ciclovias," which Peñalosa started in Colombia, are planned this August in New York City and San Francisco.
"There are people from all over the world doing amazing work," said local conference coordinator Elly Blue of the Portland group Shift, which organized the conference to coincide with Portland’s annual Pedalpalooza, two weeks of fun bike events and other festivities.
Many attendees noted that global warming, high gasoline prices (and the specter of Peak Oil), worsening public health, and persistent traffic congestion have made many big city leaders more open to carfree concepts than they’re ever been.
"The climate is changing," League of American Bicyclists director Andy Clarke said. "This is our time. It’s our moment to seize the opportunity and change our communities."
Mia Birk, Portland’s former bicycle-policy coordinator, added, "We’re not anti-car, but we’re trying to create a system where walking and biking are viable transportation options." Birk now runs Alta Planning and Design, which is working on carfree and car-light projects with hundreds of cities around the world, including some in the Bay Area.
"What we’re talking about is a true cultural revolution to encourage that kind of shift," Birk said, inviting the crowd to "be a part of that revolution."
Denver-based MediaNews Group announced today that it plans to lay off all pens, note pads and toilet paper declaring that the cuts would enable the company to remain profitable while continuing to serve news to its readers.
The company, which owns several major daily newspapers in the Bay Area including the Oakland Tribune, the San Jose Mercury News and the Contra Costa Times, also disclosed that its reporters will no longer gather in buildings leased or owned by MediaNews as the company will be shedding all of its commercial office space in order to save yet more money. Instead, they’ll meet in freely accessible public parks where they will use scattered twigs to etch their stories into the dirt relying on cans and rope to call their sources. Bloggers will then summarize the etchings by peering over their shoulders, but attribution won’t be necessary, because, well, you can’t link readers to sodden earth.
MediaNews CEO Dean Singleton asked company employees during a press conference in a Denver city park to refrain from throwing beer cans at him so the company can recycle them for pocket change to pay down his vast army of creditors, which is currently threatening mutiny.
Singleton has also reportedly done away with “beats” at his newspapers and his few remaining reporters will from now on cover “whatever they can gather with crude tools available on the ground,” according to the only reporter capable of actually documenting the conference with a pen and note pad, a bored-looking Entertainment Tonight producer who was apparently passing time in the park before Val Kilmer made a rare, rumored appearance in an opulent Denver restaurant around the corner.
“These are strange times,” Singleton said at the conference. “It may appear on the surface that the American people care about the Zimbabwean elections considering the recent demand for coverage there. But my nose for news tells me its anti-union editorials on the front page of the Denver Post that they really want and need.”
Steven T. Jones covered the TowardsCarfreeCities conference, which closed yesterday with the first Sunday Parkways, and brought back these photos and words.
Clear the streets of cars and they will fill with happy people riding their bikes, playing games or music, strolling with their families, communing with friends and strangers, teaching children to bike or skate, and generally building community across class, racial and regional lines.
That’s a lesson pioneered during the Sunday road closures known as Ciclovias in Bogota, Columbia and other foreign cities, events that made their U.S. debut yesterday in Portland, Oregon, drawing huge crowds and rave reviews. The city’s six-mile Sunday Parkways loop connected several North Portland parks and created a healthy, fun, communal atmosphere.
Next up are New York City, Baltimore, and San Francisco, which are all working on Ciclovias planned for later this year. SF’s version, dubbed Sunday Healthways, proposes to open up more than four miles of roadways from the Bayview Opera House to Portsmouth Square in Chinatown along the waterfront for three weekends starting in August (officials tell me more details are due for release after July 4 once current permitting discussions wrap up).
There’s bound to be a backlash among the cars-first set in San Francisco once the event is publicized and underway. But as Gil Peñalosa, who developed the concept as parks director in Bogota and now promotes it internationally, said at last week’s Towards Carfree Cities conference in Portland, “The educational benefits are huge.”
Simply having a community discussion about carfree concepts – even if it means arguing about the details and scale of Ciclovias — helps people understand the environmental and social imperatives behind reallocating urban spaces, he said. In many U.S. cities, more than half of all land goes to circulating automobiles, but as Peñalosa said, “The roads are big enough for people to do many things.”
From Quentin Tarantino’s Death Proof, the last great car movie
June is here at last, and the door to summer is swinging on its green hinges—we may even get one of those fabled, rare warm nights tonight. Last night I saw some girls optimistically wearing shorts and flip-flops after the sun went down and the temperature plunged, but I figured they were from England, like the guy who mythologized those almost non-existent “Warm San Franciscan Nights.” Or maybe they’re hot blooded, check it and see. Who knows?
Usually, I’m happy to stay in my fair city during the month of June even if I can sometimes still see my breath at night. We have summer sunshine all day long; we have gorgeous parks in which to sip (or chug) rose and High Life; and we have Pride, which I’m sure is going to be even more off the hook than usual due to righteous gay marriage hoopla.
This June, however, I’m going to make like a tree and get out of here.
Steven T. Jones reports from the Towards Carfree Cities conference in Portland
“We’re not doing enough,” Gil Peñalosa told the Towards Carfree Cities conference during his keynote speech yesterday. Cities are facing multiple crises connected to over-reliance on the automobile – declining public health, environmental degradation, resource depletion, loss of community, not enough space in U.S. cities to handle the 100 million people they’ll need to accommodate in the next 35 years – and most are responding with baby steps that deny the scope of the challenge our species in facing.
Peñalosa is sort of a rock star among the carfree set. After spearheading the transformation of his native Bogota, Columbia into a healthy, forward-thinking community by overhauling parks and roadways and pioneering the carfree “Ciclovia” concept that San Francisco is now adopting, Peñalosa took to the international stage, serving as executive director of Walk and Bike for Life and working closely with pioneering urban design firms such as Gehl Architects.
Unlike many European cities that have aggressively moved beyond automobile-centered development models, Peñalosa said no U.S. city has demonstrated the political will to make carfree living a realistic option for all their citizens, particularly the very young and very old. He congratulated Portland for recently receiving the top-tier platinum designation for bicycle friendly cities from the League of American Bicyclists.
That’s very good, but he noted that it’s tough to go from good to great, which is what needs to happen now if we’re to slow global warming, reverse obesity trends, and prevent soul-sapping gridlock in our cities. “The reality is Portland is far from being great,” Peñalosa said. “You are only good. You’re far from being great.” He also commended New York City for announcing just a day earlier that much of Manhatten will be carfree for three days this summer. But again, good, not great.
San Francisco, by the way, is a tier below Portland’s platinum with a ranking of gold. Sure, we’re doing a Ciclovia for three days this August and talking about a congestion pricing fee for driving downtown (something New York City recently tried and failed to implement). But compared to cities such as Copenhagen, Amsterdam, Berlin, Paris, Vancouver, Barcelona, and Melbourne – where well over half of all trips are taken by foot, transit or bicycle and the populations are far healthier – San Francisco, New York City, and Portland are living in the last century. He said it’s time for the best U.S. cities to start playing at the level of their international counterparts.
“That’s where Portland belongs and that’s the challenge,” Peñalosa said. “Under existing conditions, we have to make major leaps instead of baby steps.”
EDITORIAL Millions of dollars in campaign money kept Lennar Corp.’s plans for southeast San Francisco alive. But the financial news isn’t looking good for the giant homebuilder — and the San Francisco supervisors ought to be worried.
Last week, Sup. Chris Daly released a document he obtained from the Redevelopment Agency showing that the city had quietly sought a $25 million grant from the state Department of Housing and Community Development to cover a projected loss in Lennar’s Hunters Point Shipyard project.
The problem: increased construction costs, trouble in the financial markets, and unforeseen environmental issues have eaten up all the money that Lennar and the city had made available for infrastructure improvements on the site. That means the roads, water and sewer pipes, and other basic stuff that project will need to go forward are no longer adequately funded. Without an influx of state money, the city argued, the whole shipyard project would either be "drastically reduced in scope" or put on hold for another two or three years.
"Without the requested $25,021,079 Infill grant allocation, our infrastructure project faces a serious risk of being mothballed," city officials wrote. As Sarah Phelan reported at sfbg.com, the state rejected the application last week.
The shipyard project is the first piece of Lennar’s grand-scale Bayview Hunters Point redevelopment — and it’s already in serious financial trouble. The same issues that are causing problems at the shipyard will be in play when Lennar starts work on the 10,000 new housing units now approved for the Bayview–Hunters Point redevelopment area. Construction costs will be even higher in a year or two. The end of the mortgage crisis is not yet in sight. As Daly told us, the shortfall in the first part of the project "casts a very large shadow on the mixed-use development envisioned under the conceptual framework on Proposition G."
Then on June 8, a Lennar subsidiary that’s working on redeveloping the Mare Island Naval Shipyard property filed for Chapter 11 bankruptcy. That project is now in limbo as the development consortium — facing economic pressure and unable to get the necessary financing — seeks protection from creditors. Combined with the fact that Lennar’s bond ratings continue to tumble (Lennar debt was downgraded again June 10), San Francisco officials ought to be asking the obvious question: can this Miami-based developer actually pull off this project? Or is it possible that after all of the political debate over the Lennar plan, the lack of adequate affordable housing, the future of the 49ers, the toxic contamination of the site, and everything else, the entire massive project could collapse because Lennar doesn’t have the financial ability to finish it?
This, of course, is one of the inherent problems with the traditional redevelopment model. The city essentially will be giving a huge piece of public land to a single private company that will then be responsible for building an entire new neighborhood with homes, offices, stores, and parks. In theory the developer will make enough money to stay afloat until construction is finished — and the property taxes in the area will increase enough to fund necessary infrastructure (schools, roads, bus lines, water and sewer service, and other public amenities). But if the developer goes broke, the city is left hanging.
That’s what’s happening in Vallejo, where a city that already has serious financial problems is facing the possibility that environmental cleanup at Mare Island will grind to a halt, and that a $6 million municipal service fund — paid for in part by Lennar — could suffer.
The prospects for San Francisco could be far worse. Suppose the city goes ahead and transfers public land to Lennar — which then goes into bankruptcy. Would that city land be treated as a private asset and given over to whatever creditor or vulture fund picks up Lennar’s ghost?
Fred Blackwell, the director of the Redevelopment Agency, won’t return our phone calls, but the supervisors need to hold a hearing on this and force him and Lennar to provide some answers. The board needs an independent audit of Lennar’s finances, either by Budget Analyst Harvey Rose or an outside consultant. And until the city knows for sure that the developer can actually handle this project, the entire redevelopment process for Bayview–Hunters Point needs to be put on hold. *
Maria Dinzeo reports from City Hall on some of the same-sex couples getting married today.
Every couple has a different tale, and same-sex couples are no exception. Some met and fell in love at school; some found love in a bar.
Sarah Good and Kristina Ramos met in Charlottesville, VA, where Good was a law student and Ramos as a graduate student in English. They have been together 20 years, waiting for the right to marry.
So how did they know they were right for one another? “How does anyone know?” said Ramos. Good point.
Michael Gerber said he met husband Tony Paredes “after the bars on Folsom Street closed on a seedy Saturday night.”
“Oh don’t say that!” laughed Paredes, a burly bearded gentleman whose grey suit jacket matched Gerber’s.
For both couples, this day has been a long time coming. Gerber and Paredes have been together 13 years and were first married in 2004, mostly as an act of civil disobedience. Now they are marrying for a second time, and they hope it will be the last. “I’ve been out for a long time, and I never thought in my wildest dreams that this could really be happening,” said Gerber, beaming. “It’s very affirming, and it makes you feel good to have your marriage recognized by society,” he said.
While Good and Ramos recently took a three-week vacation to Australia, “as our retroactive honeymoon,” Gerber and Paredes will head off to Glacier National Park in Montana for two weeks. “We both enjoy road trips and we’ve been to many national parks,” said Gerber. “We’re from the City so we like to get out of Dodge as much as we can.” But don’t expect them to be pitching tents. Said Gerber, “my idea of camping is a room and a shower.”
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.
Sup. Chris Daly wants an immediate hearing into the fiscal health of Lennar’s construction project at Hunters Point Shipyard, (you know, the one where they repeatedly messed up the asbestos dust monitoring).
Daly made his request at the June 10 Board of Supervisors meeting, following the discovery that the San Francisco Redevelopment Agency has applied for, but has so far been denied, a $25 million grant to subsidize infrastructure costs at the site.
The agency filed its grant application with the California Department of Housing and Community Development in April 2008. During that same period, Lennar spent an estimated $5 million to successfully persuade voters to support Proposition G, which will allow Lennar to develop luxury condos at Candlestick Point, as well as at the Shipyard.
(At the last minute, Lennar appeared to sweeten Prop.G’s terms, by negotiating a community benefits deal with the San Francisco Labor Council, including promises of 32 percent affordable housing and job creation investment. But tthe deal stretches the definition of “affordable” to way above what your average Bayview Hunters Point resident earns. And it only becomes legally binding, if, and when, something gets built at Candlestick/Hunters Point.)
Holding up a big fat binder, stufed with spreadsheets, financial data and grant applications, Daly read aloud to his fellow supervisors from documents that suggest that there is a serious financial shortfall at the Parcel A site, where Lennar graded an entire hillside in preparation for developing a 1,500 unit condominium complex.
“This raises questions about Parcel A and the mixed use project,” said Daly, citing from documnents that claim that the receipt of gap funding, “will restore the ability of the SFRA and the Developer to continue the development.g
As the agency’s own grant application states, “The Gap Funding in the amount of $25,021,079 provided by the infill infrastructure grant will enable the San Francisco Redevelopment Agency and the land master developer to continue the development of the Shipyard.”
“The infill infrastructure grant will be instrumental in moving forward the Capital Improvement Project in light of exisiting market conditions and increased construction costs.”
“Without the receipt of the grant, it will face delays in the timing of the completion of the infrastructure and creation of much needed parks.”
Hmm.
Daly’s cache of documents also reveal that the Shipyard Legacy Fund has shrunk from $30 million to $5 million. This raises serious doubts about the City’s ability to deliver on a list of promised community benefits at the Shipyard.
According to the SFRA’s own documents, “The Legacy fund is charged with reinvestment of the Agency’s proceeds from net land sales back into the BVHP community with an emphasis on employment, housing and financial/asset development, youth development, elder services, arts/culture & recreation and environment/safety.”
Sean Parker is a fixture in the SF scene. He’s usually riding flat at the Clock Tower, but I give the guy props for riding everything, and doing it all well–street, flatland, dirt, skateparks, whathaveyou. Not many people can grind a handrail, ride dirt jumps, air a bowl, and roll a hitchhiker all the way down the street all on the same bike. There’s nothing he won’t hit, and he’s famous for building spots–hidden jumps, concreted Jersey barriers, the list goes on. Skaters might hate, but the fact is you’ve probably skated something Sean built. He’s a relaxed, chill guy, but he’s not going to take any shit off of anyone.
Mr. Sean Parker
SFBG: Let me just start with the basic questions. How old are you, first of all?
SEAN: I’m gonna be 33 next week.
SFBG: How long have you been in the city? Where’d you grow up?
SEAN: A little over 10 years here. I grew up in the Washington, DC area.
SFBG: Why did you get into BMX?
SEAN: I don’t know. Something about the magazines always intrigued me. And then I eventually saw Matt Hoffman do a demo in, that was in West Virgina or something. Yeah, he actually gave me my first set of handlebars. I just kind of built a bike and quit skateboarding immediately.
SFBG: Oh, so you used to skate?
SEAN: Yeah.
SFBG: How old were you at the time?
SEAN: That was from like 9 to 12, I guess, 9 to 13.
SFBG: What was it about seeing the Hoffman demo that made you think “this was so much radder than skating”?
SEAN: There was just so much more you could do, it seemed like. You could go bigger, faster. It didn’t look as frustrating.
SFBG: Did you start with flatland?
SEAN: Mostly street riding. That’s all there was where I lived at the time. They didn’t have parks or anything, so I just rode around and did wallrides and handrails and stuff.
SFBG: How’d you get into flat?
SEAN: I eventually moved to Pittsburgh, Pennsylvania. I was just riding around, looking for people, if there was a scene or anything, and bumped into a group of flatlanders who were really good. I was like, “Damn, I guess I’m riding flatland now.” They taught me a bunch of stuff. I learned pretty quick. I kind of just tried to do everything at once from that point.
SFBG: You pretty much ride everything, huh?
SEAN: Yeah. Anything in front of me. Behind me. I don’t know which way I’m going.
SFBG: Do you ride parks as well?
SEAN: Yeah. I just rode Alameda yesterday. I love that place. I kind of just got there by default, like I do with the Embarcadero to ride flatland. I always want to check out the parks around San Jose or Benicia or something, I hear there’s some good ones. It’s funny, I just talked to the guy from sjbmx.com, and he’s at Benicia right now.
SFBG: I should call you up, man. I’ve been wanting to hit that park for like, weeks.
SEAN: Yeah, it’s pretty hot, I guess. I mean, a lot of people are talking about it like us.
SFBG: It’s bike legal, too.
SEAN: Oh, nice.
SFBG: What do you think about the new Potrero park opening up and not allowing bikes?
I push off and head down a makeshift plywood runway, compressing as I roll over the edge and into the Technicolor graffiti of the drainage ditch. The transition between the banked wall and the flatbottom has an abrupt kink in it, enough to send you to your face if you’re caught sleeping. I take some weight off the front end and try to maintain my speed as I pump into the opposite corner and carve the far end of the ditch where there’s an over-45-degree wall that runs behind what my friends and I call the "death pit" — a gaping cutaway in the bottom of the culvert, five feet deep, filled with broken glass, and frequently used as a urinal. Since I’m at the apex of my backside carve, up a wall 10 feet above last week’s Miller Time, I’m jolted by the crackle of a loudspeaker:
"You are trespassing. Leave the area at once or you will be arrested."
My concentration shot by the sheriff’s announcement, I jump off my deck and over the chasm at the base of the bank, barely clearing the skater’s version of a Vietnam tiger pit, and land on the rough concrete beyond the edge. My board bullets straight in, though, so I’ve got to lower myself — gingerly — into the mostly dry detritus and rescue it before my friends and I jet out of the spot and into the manicured back nine of Pleasanton’s Castlewood golf course. We get to the car, throw the boards in the trunk — mine has a "Skateboarding Is Not a Crime" sticker on the bottom — and head to the next spot, a ditch called the Rat Trap.
The year is 1987. I’m 16, in high school, and living with my parents in Fremont. The scene plays out over and over in much the same way: a drainage ditch, a nicely painted curb or ledge at a shopping center, the occasional backyard pool, and night sessions at the Tar Banks, a set of embankments around a loading dock with curbs at the top. It’s an underground railroad of repurposed architecture, none of it designed with a skateboard in mind but all of it highly skateable.
Taking the $4.7mil Cunningham skatepark. Video by Jarrod Allen, www.jarrodallen.com
Every weekend my crew hits as many spots as we can, and the constants shape up like this: urethane, aluminum, Canadian hard rock maple, concrete, and asphalt. Maybe blood, maybe beer — we’re teenagers after all — but nearly always: cops.
Skateboarding may not be a crime, but it sure as hell feels like one.
Flash forward 20 years. I’m with a different crew as I pull onto a street in suburban Redwood City, and I’m no longer rollin’ in my mom’s Plymouth Sundance, but my own truck. The other thing that’s changed is the number of wheels per head. There are four heads to eight wheels, and we’re here to ride the Phil Shao Memorial Skatepark. On bikes.
The park does not disappoint. There are a million kids trying tech ollie flip tricks around the perimeter of the park, but the bowl is what I’m about. Big and shapely with almost burlesque hips poured into her concrete, I’m in love as soon as I roll in. There are a few local bikers who have the place dialed, nonchalantly airing a few feet out and throwing the bars before heading back down the tranny. The only two skaters riding the bowl are a tall skinny teenager and his little sister, who looks to be about 10, and they have it on lockdown: lipslides on the spine, grinds, rock and rolls — everything smooth and fast. "Yeah!" I yell as they take their runs, stoked on their skills.
I know the times have changed when I see the little girl come up out of the bowl in the $450,000 public piece of silky-smooth concrete perfection, walk over to her mother, who’s posted up on a ledge, get a cell phone and make a call. Not five minutes later there are seven (I counted) Redwood City police officers converging on the bench where my friends and I are sitting. They randomly collar my buddy Scott — though I was the last one to drop in — and write him a ticket for $100. I have to admit, I’m flabbergasted.
Guess what: skateboarding isn’t a crime anymore — it’s gone mainstream. Successful companies hire lobbyists to promote the sport, and communities spend big bucks building new facilities for skaters. And now some skaters, many of them kids who never had to live in the underground world that I did, are using their legitimacy to push out the new outlaws — people who ride BMX bikes.
It’s crazy — two cultures that share so much, fighting over how many wheels they ride.
"Is that your daughter’s bike?"
The question comes from one of my coworkers, and, believe it or not, it’s not intended to be snarky. I can’t ride in public without someone saying "cute little bike," while giggling to themselves — or laughing and pointing. Seeing a six-foot-tall, 200-pound, bald-headed, tattooed white dude on a "kid’s bike" is like being passed on the sidewalk by a bear on a unicycle. At one point reactions like these would’ve rubbed me the wrong way, but nowadays, I nod and smile. Sometimes, I try to explain what constitutes a "full grown" BMX bike. While it’s got small wheels — 20 inches in diameter — the top tube, from the seat to the stem, measures 21 inches, and the handlebars are considered pro-sized at eight inches high by 28 inches wide.
Bicycle motocross, or BMX, is purported to have started in 1963 when the Schwinn corporation of Chicago unveiled the Stingray, which was basically a downsized version of the company’s balloon-tired cruiser-type bikes. Kids pretended to be grown-ups by aping Roger DeCoster and other moto heroes — launching their bikes off jumps, racing in empty fields and abandoned lots, and cranking wheelies down the sidewalks of Anytown, USA.
"It all began the way most individual sports start," motorcycle customizer Jesse James says in a voiceover at the beginning of the 2005 BMX nativity story/documentary Joe Kid on a Stingray, "kids pretending to be grown-ups, but acting like big kids."
I have been riding since I was seven. After three decades, one truism remains, and I can’t candy-coat it. I’ve got to speak it like a true BMXer: BMX is rad. It is and always has been an entity unto itself, progressing from wheelies, skids, and bombing hills to encompass myriad styles and surfaces, from streets to pools to dirt jumps to ramps to the balletic grace of flatland freestyle.
This summer, big kids on little bikes will be jumping 30-foot gaps at as many miles per hour as BMX pays homage to its racing roots at the 2008 Olympic Games in Beijing. On June 12 in New York’s Central Park, Kevin Robinson will try to break the legendary Mat Hoffman’s record for the highest quarter-pipe air on a bike — 26 feet, 6 inches.
It doesn’t take death-defying world records, the X Games, the Olympics, or the stupefaction of squares with cameras to make BMX legit. That feeling of overcoming fear and doubt by jumping a little farther, a little higher, the rush of nailing a trick, or carving a bowl, hasn’t changed in half a century. The legitimacy lies in that feeling, behind your breastbone, and it doesn’t change as you get older. Your wrists hurt, your ankles hurt, and your back hurts, but the feeling is the same. Kid’s bike? Hell yeah, it’s a kid’s bike.
It’s not as though I was blissfully unaware of a beef between bikers and skaters that day in Redwood City. Ask any BMXer to tell you a story of friction between the two and four-wheeled sets, and it’s not going to take them long to come up with something.
"When I was 12 years old, a skateboarder threw my bike out of the bowl at Ripon skatepark," says Jackson Ratima, now 19, a Daly City rider sponsored by Fit Bikes. "He was, like, 20 years old or something."
Tim "Wolfman" Harvey, 21, another up-and-coming pro, tells a similar story about a visit to the Bay Area from his native Massachusetts, when a local skater hassled him at the Novato skatepark. "I didn’t even know anything about California. It was my first time out bike riding, period. The guy was giving me all kinds of crap, yelling at me."
Ironically, Harvey, as friendly and easygoing a guy as you could hope to meet, almost turned pro for skateboarding before an ankle injury made it nearly impossible to ollie, an essential trick in street skating. He now lives in Petaluma and is a member of the painter’s union in San Francisco, where he’s a familiar face at street spots, but now on a bike. Back then, though, he "thought California was a scary place."
The Bay Area — and SF in particular — may be the worst place for bikers seeking a vibe-free session. "I’ve never experienced hostility like it is out here," Ratima says.
Smoldering after the Redwood City incident, I began to fixate on the "Skateboarding Is Not a Crime" slogan from my youth. Originally a bumper sticker made by Transworld Skateboarding magazine in the mid ’80s, Santa Cruz Skateboards currently makes a deck with that written on it, so the skate community has gotten a lot of mileage out of being oppressed.
"Skateboarding isn’t a crime?" I’d ask myself. You’re damned straight skateboarding isn’t a crime: it’s the law. BMX is a crime. There isn’t a biker alive who rides transition who hasn’t rolled into a taxpayer-funded park and had a knee-high grommet point to the sign and say, "Bikes aren’t allowed."
Not allowed, huh? Son, I skated my first pool when you were doing the backstroke in your papa’s ball bag.
Look: I love skateboarding and always will. Both skaters and bikers are doing the same thing, copping that same feeling rolling over the same terrain. The war makes no sense.
"We have religion and race and class dividing us. I refuse to be divided by what type of wheel size I have," says Jon Paul Bail, a local at Alameda’s Cityview skatepark.
Bail, 40, is the artist and pundit behind politicalgridlock.com. Through the Home Project, a program run through the Alameda Unified School District, Bail helped raise $150,000 to build the park, $8,000 of which came directly from his company’s coffers. He helped design the park, and he helped pour the concrete in the park, which opened in 1999. Mixed sessions of bikers and skaters were going down for six months with minor tensions but no major incidents when then–City Attorney Carol Korade advised City Hall that mixed use was too dangerous, and shut the bikers out.
My call to Corinne Centeno, Redwood City’s Director of Parks, Recreation, and Community Services, got off to a rough start: "I understand [the Phil Shao Skatepark] is not bike-legal, right?"
"Right. It was built as a skatepark," she replied, subtly italicizing the first syllable with her tone of voice.
"It wasn’t designed for bikes," she repeated, before adding, "but their having been prohibited from the start hasn’t necessarily kept people out." In an effort to do just that, the city is building a fence around the park, with bids currently ranging from $23,000 to $60,000.
The semantic argument — "it’s called a ‘skatepark,’ not a ‘bike park’<0x2009>" — is usually reserved for laypeople who don’t know enough about skateboarding or bike riding to see its inherent lack of logic.
Drainage ditches are not called a "skating ditches," nor were they designed for skating. Swimming pools are not called "skating pools." Yet, therein lie the roots of the modern skatepark, along with full pipes, which are based on industrial-size drainage systems also not intended for wheels. Every day skateboarders and bikers transcend these limits through creative repurposing.
Collision, and the fear of collision, is the main thing public officials cite when shutting bikers out of parks. "It’s unnerving," Vancouver pro skater Alex Chalmers wrote in a 2004 Thrasher manifesto, "BMX Jihad: Keep It in the Dirt."
"BMXers cover so much ground so quickly, especially when they’re pedaling frantically to blast a transfer, that it’s particularly hard to gauge these collisions," he wrote.
But the fact is that in any given park BMXers and skaters take different lines, and the best way to acclimate each group to the other is through exposure. If bike riders are banned, it increases the risk of collisions when a few bikers decide to chance the ticket or brave the vibe-out and ride anyway. A lot of bikers hit parks early in the morning because they don’t want to deal with hassles. During the overlap in "shifts," this leads to bewildered skaters who aren’t used to the lines a biker takes, and vice versa.
And the head-on menace is greatly overstated, largely disappearing when a park is integrated, if only unofficially. At Cityview, the police have displayed somewhat less zeal in ticketing bikers during the past few years. "They treat us like gays in the military," says Bail. "Don’t ask, don’t tell." And yet everyone manages to coexist.
At the new $850,000 skatepark in Benicia, which opened in October, integration isn’t a big deal. "From its conception, we designed it to be a skateboard park and also for bikes," says Mike Dotson, assistant director of parks and recreation. Technically, the park has designated bike hours, but since it’s largely unsupervised, there’s a mildly laissez-faire approach to enforcement. "In the very beginning there was a lot of concern about the use of both bikes and skateboards," Dotson says, stating that the park was packed the first few months. "Initially we had one or two calls on it. Since then I can say I haven’t had any calls on it — in relation to bikes and skateboards being in it at the same time or other complaints."
And there are mixed-use parks all over the world, as far away as Thailand and as nearby as Oregon: "You go to Oregon, and you can ride wherever you want," says a stunned Maurice Meyer, 41, lifelong San Francisco resident and founding member of legendary bike and skate trick team the Curb Dogs. Long Beach, Las Vegas, Phoenix, even Alex Chalmers’ hometown of Vancouver — all have parks where bikes and skates legally ride at the same time. What’s up with the Bay?
Lawyers, insurance underwriters, and city hall types may never understand how a park works. "It’s out of ignorance," Bail says. "To them it looks like chaos. To anyone who has skate etiquette — which is everyone — we all take turns."
Besides, let’s face facts: a skatepark is a dangerous place — to different degrees at different times, and for different reasons. "I swear to God, every time I go to the skatepark I see a hundred boards flying all over the place," Ratima says, "and I’ve never seen a bike go flying and land on a guy’s head." It’s not an inflatable jumpy house — it’s fun, but it’s not made out of cotton balls and your mother isn’t here. Usually.
Rose Dennis, press liaison for the San Francisco Recreation and Park Department, seemed baffled that someone would want to ride a bicycle inside the skatepark part of the new Potrero del Sol. Perhaps as a way of distracting me from my damn-fool idea, she kept hyping the park’s "other amenities."
I live three blocks from Golden Gate Park — if I want to play Frisbee, I’m not going to drive across town. I want to ride. When I brought up the possibility of scheduling bike-only sessions in the yet-to-be opened park, she suggested I draft a letter to general manager Yomi Agunbiade, before adding that "the facility wasn’t designed for that type of recreation."
When I (graciously, I thought) let her know that it would be not only possible to ride a bike there, but highly gratifying, she got a little heated: "At the end of the day, the buck stops with us. If one of you guys breaks your skull open and you’re bleeding all over the place, believe me, no one’s going to have any sympathy for Rec and Park if they make really nonjudicious decisions."
In other words, like a lot of city officials, she’s worried about getting sued.
But you know what? There’s actually less chance a BMXer will successfully sue the city. I give you California Government Code Section 831.7, which states the following: "Neither a public entity nor a public employee is liable to any person who participates in a hazardous recreational activity … who knew or reasonably should have known that the hazardous recreational activity created a substantial risk of injury to himself or herself and was voluntarily in the place of risk."
The law lists "bicycle racing or jumping" as being a "hazardous recreational activity." It’s on a fairly extensive list, along with diving boards, horseback riding, and the ever-popular rocketeering, skydiving, and spelunking, which, as I’m sure you’ve heard, are all the rage with the kids these days — much more popular than BMX.
But the words "skateboarding," "skateboarder," and "skateboard" are not listed anywhere in the text of the Hazardous Recreational Activities law, commonly called the HRA law. In fact, the International Association of Skateboard Companies has been lobbying to get the bill amended to specifically include "skateboarding" since 1995, when Assemblymember Bill Morrow (R-San Diego) took up the issue. Morrow’s bill was rejected by the state Senate Judiciary Committee in 1996. In 1997, Morrow and skateboard association lobbyist Jim Fitzpatrick gave up on amending the HRA and instead pushed Assembly Bill 1296, which added Provision 115800 to the state’s Health and Safety Code, which states, in part and in much less forceful language — without using the word "liable," for instance — that owners or operators of local skateparks that are not supervised must require skaters to wear helmets, elbow pads, and knee pads, and that they must post a sign stating said requirement.
It doesn’t say anything about "if one of you guys breaks your skull open and you’re bleeding all over the place" while wearing a helmet, then you can’t hold the operator liable.
When I asked San Francisco Deputy City Attorney Virginia Dario-Elizando how the law might apply to the city’s skateparks, she told me, "This question has never come up. I must tell you, I’ve never even seen the rules for the skateparks — no one’s ever asked me to look at them."
BMXers are willing to compromise if that’s what it takes. In May, San Jose opened the 68,000-square-foot Lake Cunningham skatepark, built by the same design firm (Wormhoudt) as the Benicia park at a price of $4.7 million, and the place has bike hours. Like any park, there are rules. Like some parks, there’s supervision, so the rules are enforced: separate bike sessions; helmet, elbow, and knee pads required at all times; brakes required on bikes; no smoking; no songs with swear words over the park soundsystem; no bikes in the three bowls with pool coping even though they only allow plastic pegs, which are undoubtedly softer on coping than metal skateboard trucks … it’s a long list of restrictions. It’s inconvenient for guys who don’t like pads or don’t run brakes, and there’s some griping, but we’ve got our eyes on the prize: the place is amazing, with a huge full pipe, massive vert bowls, and a decent street course.
I would like skaters to realize a couple of things: skating and BMX aren’t so different from each other, at least in the feeling each gives you, right there, behind your sternum, where your heart beats.
Bikers are going to ride no matter what, just like skaters are going to skate. Legal or not, we’re not going to go away. "I got arrested for riding there when I was 14," Ratima says of the Daly City skatepark. "They took my bike and threw it in the back of the car. I just kept going every day, and finally they just gave up."
"I’ve ridden bikes on vert," Thrasher editor Jake Phelps tells me during a phone conversation. "I can ride a bike in a pool, I can do that. I’m stoked when I ride a bike in a pool. Feels hella fun to me. Catching air on a bike is awesome, no doubt about that."
This, from the longtime editor of the bible of the "fuck BMX" set. It’s either baffling or heartening. I can’t decide which. "I don’t mind people that are just regular," he says. "If they’re skateboard people or they’re bike people too, I’ll respect anybody that respects me."
That’s what it comes down to: respect. I respect the fact that skateboarders did not come into this age of skateparks easily. I faded out when there was nothing, and I came back when they were in small towns across America, and I missed all the politicos and dreary meetings. It’s time for bikers to stop feeling like second-class citizens and demand a seat at the table. In the words of Black Flag, it’s time to rise above.
REVIEW Always looking like the potato famine’s desperately drunk survivor, Stephen Rea is that rare screen actor masochistically gifted at communicating physical as well as psychic pain. No one could possibly have struck more notes on the scale from pathos to giddy gallows humor than he does in Stuck, cult horror director Stuart Gordon’s brutally tart black comedy. He plays Tom, a down-on-his-luck, newly jobless and homeless guy whose already shitty day gets a whole lot worse when he’s accidentally plowed into by Brandi (Mena Suvari), a young rest home caregiver in the distracted aftermath of some major off-time partying. Lodged in her windshield — half in, half out of the car — Tom appears to be not long for this world. So Brandi (afraid that involving the police, to say nothing of jail time, might endanger her potential job promotion) does the logical thing: she drives home, parks the car in the garage, and goes to work, assuming that Tom will expire during her shift. Only he hangs on, finding ways despite his weakened, bloody, and, er, stuck condition to keep the not-exactly-evil but slightly trashy, supremely self-involved Brandi and her less-than-faithful boyfriend Rashid (Russell Hornsby) from disposing of him. Inspired (very loosely) by an actual incident, Stuck is a eminently satisfying comedy of the grotesque, sporting all of Gordon’s flair for balancing queasy horror and near-surreal hilarity. (When you look back on his track record of imaginative genre films and consider the dreck that routinely gets wide-released, it’s shameful that this is practically his first theatrically distributed feature since Re-Animator and From Beyond, both more than two decades old.) Suvari and Hornsby etch shallow yet oddly sympathetic characters in very funny and credible details, while Rea is ideal in one of his best roles ever — not that this is the kind of movie people give acting awards for. Maybe they ought to, though.
EDITORIAL In the late 1980s, Mayor Art Agnos put forward a plan for development at Mission Bay, which at that point was an underused plot of land that used to be a Southern Pacific railroad yard. He negotiated with the developer, Catellus Corp., and cut what he insisted was the best deal the city could possibly get. He insisted that any more demands — for, say, increased affordable housing — would have so damaged the project’s finances that nothing would ever be built.
Development opponents took the issue to the voters — and the mayor’s plan lost. Catellus promptly came back with a much sweeter deal.
It’s worth remembering that lesson, because next week voters will be faced with a stark choice for a massive Hunters Point–Bayview redevelopment plan. Mayor Gavin Newsom and his allies say the city has squeezed major concessions from the developer, Lennar Corp. The San Francisco Labor Council and two community groups have forced Lennar to sweeten the pot even more (see "Assessing the deal," page 11). At this point, the city’s supposed to have the best deal it can possibly get.
But with all due respect to the Labor Council, Association of Community Organizations for Reform Now (ACORN), and the San Francisco Organizing Project, it’s not good enough.
The battle — which is shaping up as a very close contest — involves dueling ballot measures Propositions G and F. Prop. G is the deal Newsom and Lennar are pushing; it would give the financially troubled developer the right to build 10,000 new housing units, office and retail space, and a new football stadium, along with 300 new acres of parks, in one of the city’s most economically depressed areas. Some of the new housing would be available at below-market rates. Prop. F raises the ante a big notch: it would require that half of all Lennar’s housing be available to people making less than the median area income, which is $75,000 for a family of four.
For the record, it’s worth noting that the new concessions labor got would never have happened if Sup. Chris Daly and a group of Bayview–Hunters Point activists hadn’t placed Prop. F on the ballot. In fact, organized labor wasn’t terribly involved in the redevelopment project until a couple of months ago. That’s when Lennar’s team of political consultants realized that they might be facing a shellacking at the ballot June 3.
The polls show that Prop. F is very popular — and for good reason. It’s a simple proposal that makes excellent intuitive and practical sense. As housing activist Calvin Welch likes to say, San Francisco doesn’t have a housing crisis — the city has an affordable-housing crisis. Multimillionaires don’t have trouble finding places to live. And unfortunately, much of the new housing being built in this city is targeted to the very rich: typical market-rate one-bedroom condos start at around $500,000 and soar quickly into the millions. The rest of the city is getting forced out, and the dramatic, profound gentrification is transforming San Francisco.
Even the city planning department recognizes what’s going on: the Housing Element of the city’s General Plan states that 64 percent — nearly two-thirds — of all new housing ought to be affordable.
But the vast majority of the residents of Bayview–Hunters Point could never afford the vast majority of the new housing units Lennar wants to build. Prop. F seeks to address the deep imbalance in the proposed housing mix.
Lennar is squealing, saying it can’t possibly make the project pencil out with that much affordable housing. The company’s political team pushed the Labor Council to side with them, and in exchange for endorsing G and opposing F, labor got some worthy goodies. The level of what Lennar calls affordable housing is now higher than 30 percent — but when you actually look at those numbers, only about half of the 30 percent is truly affordable to the neighborhood residents who face being forced out of town. There’s also a new job training program and a mandate that new businesses allow their staff to unionize through a simple card-check process (although the city would almost certainly mandate that anyway).
But the bottom line is that the deal labor cut doesn’t meet what ought to be the standard for all new housing in San Francisco. Even after all the concessions, roughly 70 percent of the new units will be available only to rich people. That’s not acceptable in a city that is rapidly losing its artists, writers, musicians, immigrants, students … just about everyone who makes San Francisco such an exciting place to live is now an endangered species. And labor’s deal fundamentally does nothing to change that.
Vote yes on F and no on G. And if Lennar won’t build enough affordable housing, let’s scrap this deal and find someone who will. *
Lünenburg Heath is a vast, moorland-like tract in northwest Germany, between Hamburg, Hanover, and Bremen. Its low-growing vegetation, gnarled shrubs, and dry soil form the scar tissue left by medieval deforestation. SS leader Heinrich Himmler was secretly buried there. And despite its springtime swatches of wildflowers and family-friendly theme parks, it is a landscape whose beauty stems from its air of desolation.
"Don’t get lost on Lünenburg Heath," intones Brian Eno in a nursery rhyme monotone atop a cortège of synth chords. They are the only words sung on Tracks and Traces, a 1997 Rykodisc reissue of a 1976 collaborative recording session between Eno and Harmonia, the veritable ’70s German supergroup composed of Neu! guitarist Michael Rother and kosmiche godfathers Cluster.
I have always pinned Cluster as the dark stars in the krautrock universe, based on the drifting, feverish, synthesizer-rich improvisations of core duo Hans-Joachim Roedelius and Dieter Moebius. So I can easily imagine their protean music whistling across Lünenburg at dusk, haunting the ears of daytrippers — a strange and seductive admixture of sprightly pop and forlorn ambient improv reflecting the landscape’s more recent transformations and less-than-sunny history.
Having regrouped in 1997 after a decade-long hiatus from working together, Moebius and Roedelius are once again touching down for a rare series of US dates, including a May 23 trancefest at Henry Miller Library in Big Sur and a May 25 show at the Great American Music Hall in San Francisco. And despite Eno’s cryptic warning, it’s hard not to lose one’s way amid the hazy vistas and plaintive melodies of Cluster’s music.
Their expansive discography — which includes a recombinant cast of regular, notable collaborators such as Eno, Can bassist Holgar Czukay, and überproducer Conny Plank — provides a few signposts. Roedelius and Moebius initially teamed up with fellow electronic musician Conrad Schnitzler in 1969 as Kluster, releasing three explosive documents of improvisation that rapaciously incorporated elements of 20th-century classical music, jazz, and rock. Important Records’ recent release, Vulcano: Live in Wuppertal 1971, paints a vivid picture of this early period.
Schnitzler left the group in ’71, taking the hard "k" with him. From then on, Cluster recalibrated its keyboards toward a more subdued and, at times, even pretty and poppy aesthetic. Improvisational jams gave way to shorter songs, and the lurking menace of 1972’s Cluster 2 (Brain/Water) was followed by the double about-face of drum machine confections on Zuckerzeit (Brain/Lilith, 1975) and the pastoral miniatures of Soweisoso (Sky/Captain Trip, 1976).
Still, dark patches are a consistent hallmark of Cluster’s terrain, even when they choose to let the sun shine through. The superficial pleasantness of their two collaborations with Eno released at the time, 1977’s Cluster & Eno (Sky/Water) and 1978’s After the Heat (Gyroscope), belies the affective force — what could be described as a low-simmering melancholy — of certain songs. The slow progression of blue notes that form the woozy melody of "Für Luise," from Cluster & Eno, linger long after they have decayed into the Gershwin-like piano of "Mit Simaen." Cluster & Eno‘s cover photo returns us to a field — though not Lünenburg. A lone microphone stands at attention against a faint mother-of-pearl sky, which ends at the smudge of shadowy foliage at the bottom of the frame. It’s near twilight. Cryptic and evocative, meditative and inexplicably sad, the image provides a visual analog to Cluster’s chimerical output. The visual is also suggestive of Moebius and Roedelius’ openness to the chance encounters and unforeseen possibilities that arise from improvisation, as if to say: if you find yourself lost in a dark wood, just stop and listen. *
REVIEW More than one witness has reported that Mayor Gavin Newsom, fiancée in tow, dropped by the jam-packed opening reception for photographer Ryan McGinley’s show at Ratio 3. The civic-minded pair joined the fray of cool kids and art world cognoscenti — I heard John Waters and Todd Oldham were there — and in some ways the appearance was apropos: the artist and politician share a lineage of tall, charismatic Irish Catholics who inspire others to action. Noting celebrity, political, and religious connections is admittedly a little suspect in a review of a contemporary art show; still, the youthful but stately mayor’s presence at a gallery on a somewhat gritty Mission side street has meaning as an expression of the widespread appeal of McGinley’s pictures. Who could resist lush images of nubile white boys and girls cavorting naked amid what seem like national parks and roadside America?
McGinley is a particularly American artist. One of the photographs on view is even a dead ringer for an Andrew Wyeth painting. Rather than Christina crouched in the wheat field, McGinley’s Running Field (2007-08) offers a lithe young woman dashing through golden rolling hills wearing only white sneakers. His choreographed vision is a brand of hipster organic purity, a dream of back-to-the-land naturalism and free love.
McGinley also manages to straddle a number of positions and demographics. Among the 16 pictures in this satisfying exhibition, there’s full frontal male nudity, and a wonderful image of a shirtless blond guy embracing a black bear, both of which unabashedly read as queer. A centrally placed picture of a group of hikers in a rocky canyon plays like a still from an update of Antonioni’s Zabriskie Point (1970). McGinley’s photograph exudes cineaste hippie-spiritual vibes, as does the acid trippy image titled Blue Falling (2007-08), in which the silhouette of a male figure — the hair on his legs crisply visible in profile — is seemingly suspended in an intensely hued sky. Dakota’s Crack Up (2007-08), visualizing an ebullient male/female couple caught in an active moment of undressed while roller-skating, brims with both clothing-optional resort appeal and fashion photo bravado.
The youth and nakedness of this universe seems to be related to Larry Clark’s kid obsessions, except McGinley is still young himself — he had a solo show at the Whitney five years ago, when he was 24 — and his surprisingly wholesome pictures are more hooked on fresh air and community than the more troubled eroticism of the wizened though still dreamy-eyed elder artist. A cinematic influence also binds these two figures. Most of the photos in McGinley’s show blur the line between naturalism and studio artifice: the hikers on the rocks are positioned in light in such a way that they appear to have been inserted digitally, the woman in Fireworks Hysteric (2007-8) seems to be floating in a glittering, celestial space, as do other subjects who have been catapulted into thin air. And is that a naked dude embracing a stuffed animal or a real live bear?
According to the artist, the animal is a living thing, albeit a trained one. He also admits the colors in his works are achieved through an intense darkroom practice. That gray area between the real and the imagined works in the artist’s favor, lending his images a sense of the uncanny: the activities captured in his photos did happen, though they come across as otherworldly.
There’s also a performance art backbone to McGinley’s process. His photos depict a team of models, cast for their looks as well as their athletic abilities, who travel together for extended periods. The constant contact promotes intimacy and physical fearlessness, and while they are very believable as an actual pack of marauding, hopeful young people, they are in fact a constructed entity — a family of paid actors directed by an artist with a clear vision of a kind of communal lifestyle. McGinley assuredly realizes these images, but they don’t come off without some suspicion. Where can these photographs go from here? The likeability of the pictures — and models — is tinged with envy and perhaps a resentment of the cool high school kids who seem impervious to social or sexual obstacles. That McGinley’s models reportedly sustain their share of photo-shoot injuries only attests to his winning feats of fiction. It all appears so smooth and dreamy. I don’t know what the mayor thought, but in the end, McGinley’s work won me over, and I want the feeling to last. *
