Performance

Goldies 2007

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The Guardian Outstanding Local Discovery awards — the Goldies — have gone through many phases since 1989, the year they first honored a group of Bay Area artists. They’ve sparked some anarchic celebrations and hosted some quiet and even tasteful affairs. They’ve honored close to two dozen people in one year and paid tribute to less than two handfuls the next. But whatever form they have taken, the Goldies have never been about courting or capturing target markets. They’ve always been a chance for the Guardian, which writes about what’s happening every week, to flip the script and do some curating of its own — to set its own date to celebrate actors, artists, dancers, filmmakers, musicians, writers, and people who do things that can’t be categorized.

"FREE FREE THIS WAY TO HEAVEN FREE." So reads a bit of text captured by the camera of the great photographer William Klein. In recent years the Goldies party has been a free affair. It makes sense: the Guardian is still a free newspaper, built on the ideals of a free press, so the Goldies party should be free to everyone. Though this issue is on the stands for a week, months of effort go into it, and the best and final reward is to see the winners meet one another and discover their fellows’ work, then invite their friends and everyone — that means you — to a celebration.

This year’s Goldie winners were selected by the Guardian‘s Johnny Ray Huston, Kimberly Chun, and Cheryl Eddy after discussions with our writers and critics, including Robert Avila, Rita Felciano, and Glen Helfand, as well as a wide range of people who make, show, and see art in the Bay Area. Look through the pages that follow and you’ll find a muse of cinema, food as weaponry, and even a different definition of sex toys (in this case, toys that have sex with each other). You’ll also find 13 reasons why the Bay Area is awesome.

Click below to find out more about this year’s Goldies winners

DANCE


SHINICHI IOVA-KOGA

DANCE/PERFORMANCE


KEITH HENNESSY

FILM


SAMARA HALPERIN

KERRY LAITALA

MUSIC


KIRBY DOMINANT

THE FINCHES

NON-STOP BHANGRA

WOODEN SHJIPS

THEATER


FOOLSFURY

VISUAL ART


MICHAEL ARCEGA

COLTER JACOBSEN

JENIFER K. WOFFORD

LIFETIME ACHIEVEMENT


CREATIVE GROWTH

PORTRAITS BY SAUL BROMBERGER AND SANDRA HOOVER PHOTOGRAPHY

Goldie winner — Visual art: Jenifer K. Wofford

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Hey framer, don’t try to frame Jenifer K. Wofford. She’ll turn that frame into a threshold. Her creative identity ricochets from teacher to student to painter to performer to director to curator with a self-determining force that exposes the mutability of such labels.

In May, Point of Departure, Wofford’s evolving series of postcard-size portraits of Filipina nurses, was a highlight (along with understated contributions by Bill Jenkins and Alicia McCarthy) of the UC Berkeley MFA show at the Berkeley Art Museum. In late July and early August, Wofford and 8 of 14 other participating Bay Area artists — including 2007 Goldie winner Michael Arcega — journeyed to Manila, the Philippines, for the first of three installments of the traveling exhibition "Galleon Trade," which she conceived and organized. (The show’s next stop will be at San Francisco’s Luggage Store, and from there it will venture to Mexico City.)

It usually takes a large institution with major funding to assemble a project of "Galleon Trade"<0x2009>‘s scope, but Wofford can not only skewer a museum’s lust for colonialist decoration (as one third of the performance mob known as Mail Order Brides and in solo pieces such as 2005’s Chicksilog) but also do the cultural exchange work that these establishments somehow fail to achieve with all of their resources. "The word that came up for all of us was serendipity," she says, discussing "Galleon Trade"<0x2009>‘s Manila manifestation, which required last-minute scrambling between the city’s thriving visual art and experimental film and video venues. "The entire time we were there, there was just one intersection after another where things fell into place."

The community goals of Wofford’s "Galleon Trade" are counterpointed by her solo art endeavors, which repeatedly tap into transitional spaces and isolated states of being. Hospitals (in Point of Departure and 2006’s drawing-video project Nurse) and motels (in 2005’s installation Motel Cucaracha) are just two liminal zones that Wofford is drawn to as if they were magnetic fields. She explores both in a manner that pinches people’s assumptions about privilege and servitude and what makes an insider or an outsider. "I’m fascinated by borders, or places where people don’t belong," she says. In fact, for her next solo show (at Southern Exposure) Wofford plans to spotlight and perhaps parodically re-create metal detectors in order to tap into their tragicomic potential. This idea takes on another facet when Wofford mentions that her "bullshit detector" goes off anytime that she reenters the art world just after teaching in high school.

"I just can’t not be inappropriate," Wofford jokes, the triple negative demonstrating her affinity for the truth that often resides in awkwardness. "Comedians of color like Dave Chappelle know that you get heard by being funny — the court jester gets to stay in the court. Also, humor can be disarming for a lot of people." This quality, partly forged through her work with fellow MOB artists Eliza Barrios and Reanne Estrada, is present whether she’s displaying the absurdist properties of the Flip-Flop on a Stick (in a hilarious video homage to a hand-fashioned bug-killing contraption she found at a market in Manila’s Quiapo District) or proving Yma Sumac will have her revenge on Hollywood. "Most of my projects have been born from some infantile Beavis and Butthead moment," Wofford goes on to confess, the pop-cult reference pinging off the gray-hoodie poses she and her sister Camille adopted for the 2006 performance-painting Woffords, Paint. "After I stop laughing, I start thinking about why I was snickering."

Where do we come from, and where the hell are we going? Wofford has a keen sense of just how impossible it is to answer those questions, which means she’s as good a person as any to follow into the future.

www.wofflehouse.com

Goldie winner — Film: Kerry Laitala

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A casual observer might simply call Kerry Laitala a filmmaker and leave it at that. But anyone who’s seen her spooky, intricate, delightfully creative works, including 2003’s Out of the Ether, 2005’s Torchlight Tango, and 2006’s Muse of Cinema, would certainly disagree. A self-described "media artist-archaeologist" whose art hinges not just on subject matter but on the physical manipulation of film stock, Laitala makes movies for viewers who’re willing to leave their preconceived notions about cinema at the screening-room door.

"Ninety-nine point nine percent of the people in the world don’t know what [experimental film] is," she said from the living room of her San Francisco apartment. The eclectic decor includes an array of Halloween decorations that Laitala displays year-round, stacks and stacks of books, and curiosities seemingly plucked from a cabinet of dusty Victorian delights. "A lot of people don’t like [experimental film] because it doesn’t fulfill their expectations of what cinema should be. They’re not interested in engaging with something that they’re not familiar with. That’s just human nature."

Having a limited audience doesn’t bother Laitala, who’s been making films since high school. She was first inspired after seeing a 16mm archival print of the Hindenburg explosion. "I was blown away by the paradox of how beautiful it was and how tragic it was too. How horrific and simultaneously incredible it was."

In college at the Massachusetts College of Art and grad school at the San Francisco Art Institute, Laitala pursued experimental filmmaking. At MassArt, "I saw Joseph Cornell’s Rose Hobart when I was 18 or 19 years old. That was where I became interested in experimental film and working with a medium in a way that’s more personal."

Since the late 1980s, Laitala has completed an impressive array of short films, installations, and projector performance works (including 2007’s Hocus Pocus, ABRACADABRA, recently staged at Francis Ford Coppola’s Napa Valley winery). Her art has screened all over the United States, Europe, and Asia, and she’s about to head down under for her Australian debut. The reason for her international popularity is clear: even if only point-one percent of the population embraces experimental film, Laitala’s works are exceptional — and anyone with a pair of eyeballs, even a befuddled popcorn-movie fan, can see it. Muse of Cinema, a 20-minute re-creation of the experience of going to the movies when movies were still being born, makes use of a serendipitous flea market find: antique magic lantern slides. The result is inspired, multilayered, and visually astonishing.

Five years in the making, Muse of Cinema also highlights Laitala’s technical skills. I asked her to explain hand processing, the technique she uses to create her vivid images. She told me, "After you’ve exposed your film in the camera, you have an image on the film, but you can’t see it. It’s a latent image. In order to bring the image out to the viewer’s eyes when you project it, you have to process it. You can either have a lab do that or you can do it yourself. When you process it yourself, you can manipulate the material. You’d have the pay a lab a lot more money to do that, but also [when you do it yourself] you have a lot more control. Oftentimes it has a handmade look to it because there might be certain kinds of idiosyncrasies with the way that you do the hand processing that’s different than how a lab would do it, where everything’s in a very standardized, sterile setting. With hand processing you can get a lot of interesting effects that are very hard to replicate digitally."

Muse of Cinema‘s soundtrack, created in collaboration with Robert Fox, is similarly complex, an evocative mix of sound effects and music snippets. Because they require her to gather plenty of material for her images and her soundtrack — and endlessly manipulate both to achieve the effects she desires — Laitala’s films are labor-intensive, which is part of the reason she enjoys making them. "I get a lot of ideas during the process of working with the material," she said. "You discover things that you would never set out to achieve if you had everything mapped out from beginning to end. I think a lot of artists work that way. People keep saying, ‘You gotta stop using the phrase experimental film, because experimental film makes it sound like you don’t know what you’re doing.’ It’s a really tricky thing. A lot of people call themselves film artists. You’re working with a medium in the same way that a painter would work with paint. You’re working directly with the stuff itself."

In a follow-up e-mail after our meeting, Laitala further explained herself: "My process is organic, utilizing elliptical forms, allowing my projects to evolve and become entities unto themselves. I am more interested in ideas that arise in a nonlinear fashion where my images can carry myriad meanings, for literal connotations are limiting." And there’s no limit to what this talented artist can achieve.

www.othercinema.com/klaitala

Goldie winner — Dance/Performance: Keith Hennessy

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"Citizens. Wake Up. A new day is dawning in San Francisco and all over the world."

Keith Hennessy, "A Speech to the Poor Artists," San Francisco City Hall, Oct. 4, 2000

Keith Hennessy has made work in the Bay Area for more than 20 years, yet he has stayed at the margins all this time. Yes, his audiences are good, and they show up time after time to watch his latest work, but he hasn’t gotten the grants that would allow him to do big tours or reach a more mainstream audience. Maybe he prefers it that way. Maybe big audiences wouldn’t be comfortable with hearing what he has to say. But Hennessy is that rare artist who succeeds in transutf8g fierce social concerns into artistically satisfying creations that enlighten and entertain.

"Why are you wasting your time researching the grace, beauty, and strength of the human body in motion?"

Hennessy started out as a competitive social dancer in his native Canada and worked his way to San Francisco by clowning, juggling, and doing political street theater. In the Bay Area he studied with Lucas Hoving; in 1985 he became a founding member of Contraband, the most radical dance-theater group of the period. He has had a roller coaster existence ever since, pushing himself to develop new theatrical expressions that allow him to explode the conventions of form in order to speak to and about the marginalized: the poor, the victims, the ostracized, and the homeless. Against all odds he believes in art’s power to reassume its ritualistic and healing function.

"Stop trying to hack your way alone through hostile jungles in the dead of night. Take the FreeWay. It’s paved and easy, and a 24-hour SafeWay is always available."

One of Hennessy’s most daring and controversial pieces was his 1989 solo Saliva, for which he collected spit from willing audience members, mixed it with pigment, and painted his naked body with it. It was an extraordinary act of defiance, courage, and solidarity — as well as spectacular theater.

Spectacle, Hennessy has discovered, is a way to draw in audiences, not to expose them to mindless entertainment but to amuse and challenge them. This can be an intoxicating mix. During his four years with the French circus Cahin-Caha, he became an experienced aerialist and refined his skill of using circus, cabaret, and other popular art forms to create works that foster a sense of community and a set of shared values that are difficult to resist. Hennessy believes in the power of the imagination and in art as a spiritual practice. He also allows his collaborators the full range of their own imaginations.

Last year’s double bill "How to Die" was raw, violent, and difficult to watch. Both pieces examined the erotics of death. SDF USA (Sans domicile fixe, i.e., homeless) paid tribute to the many homeless people, primarily male, who kill themselves every year. American Tweaker honored disco diva Sylvester and an era of unprecedented sexual abandon and sense of liberation within the gay community.

This year’s Sol Niger is probably Hennessy’s best work yet. Looking at the devastation humankind has brought on itself — up to the present day — through a series of tightly structured vignettes, the work celebrates and laments the glory and the frailty of being alive. This is activist art that works — as art and as a call to action. Sol Niger returns to Project Artaud Theater from January 16 to 26, 2008.

"Citizens of San Francisco. Citizens of the second millennium. Wake up. The global city is yours. Blessed be."

www.circozero.com

Goldie winner — Theater: foolsFURY

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One of the first things to strike you about a foolsFURY production is its sheer kinetic energy and rigorous physical vocabulary. Hovering somewhere between modern dance and mime, or maybe the fashion runway and the circus, the movement of the actors onstage suggests tightly coiled regimentation and an unpredictable, acrobatic freedom. Bodies rewrite the most seemingly inconsequential gestures as larger than life or in an altogether different register, so that you might suddenly see and wonder at them.

But the next thing to strike you will surely be the words. From its first outing nearly a decade ago to recent San Francisco and New York runs of artistic director Ben Yalom’s translation and staging of The Devil on All Sides (French playwright Fabrice Melquiot’s magic-realist rumination on Yugoslavia’s civil war) and the remounting in September of its exquisite version of the Henry James ghost story The Turn of the Screw (directed by company member Rod Hipskind), foolsFURY remains wedded to deep, often darkly comical, and alluring texts steeped in the mysterious potency of words.

The physical athleticism and stylization onstage — grounded in a unique, evolving synthesis of techniques from Tadashi Suzuki and Viewpoints to commedia dell’arte and Jerzy Grotowski — are, of course, inseparable from the company’s approach to such texts, whether they’re Martin Crimp’s silky and sinister ellipses (Attempts on Her Life), Don DeLillo’s gloomy, incantatory wisecracking (Valparaiso), Kirk Wood Bromley’s neo-Shakespearean, post-American rag (Midnight Brainwash Revival), or even Shakespeare himself (in one inimitable take on Twelfth Night that went solely by its telling subtitle, What You Will). This pairing of soaring physicality and textual depth has been a driving force behind the success of the small but restlessly active, ambitious company (which has also become a vital teaching center in the theater community) since its noteworthy debut in 1998.

Together with other choice elements — including the sensitive use of music, sound, and scenic design — foolsFURY’s heightened theatrical language is, at its best, a surprise and a challenge to audiences, inspiring and even requiring them to develop new ways of receiving a performance. Yalom concedes that it has taken some time to achieve all of this, including a stable group of like-minded, technically practiced actors. He claims he wasn’t thinking beyond a single play when he almost inadvertently founded the company. "I had no idea what it meant to be a professional theater director or artistic director," he recalls. "I was working with a couple of companies, trying to get them to hire me to direct a play — specifically The Possibilities, the Howard Barker play. After a while I started to get to know the scene, and it became pretty evident that that wasn’t going to happen. So I decided I was going to produce it myself."

Novice though he was, he had long been thinking about what makes theater different and vital, a train of thought the company members have since taken up together. "After spending a lot of time experimenting, we started to find certain aesthetic forms that were interesting. But to me it really comes down to the larger question ‘What should be the role of this art form in our contemporary culture?’ Because, frankly, if it doesn’t have a specific value and something that is unique about it, then, much as I love doing it, it would be irrelevant. I don’t think that’s the case [with foolsFURY], though it’s taken me a long time to figure out how and why."

And the name? "I made it up," says Yalom. "It really fit the Barker piece, and I think to a certain extent it fits [the company]. What underlies a lot of our sensibility is a collision of things that are uncomfortable and things that are funny because they’re uncomfortable. We’ve done a couple of shows that would be categorized as comedies. The far greater amount of work has been things that have been funny but funny because they are challenging and thought provoking and, certainly sometimes, very upsetting. The Barker was a perfect example of that: the ‘fool’ and the ‘fury’ just sort of crammed together."

Goldie winner — Visual art: Michael Arcega

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Make your way through the twists and turnarounds of Michael Arcega’s visual puns and titular wordplay — exhibit one: El Conquistadork, the 2004 Spanish galleon constructed of Manila folders that he launched in Tomales Bay, a point in the historic trade route between Mexico and the Philippines — and you’ll find yourself connecting the dots to the Manila, Philippines, native’s first artistic incarnation: an elementary school graffiti artist who once went by the tag Design.

"Then I switched it to Sen, then I got turned in and dwindled," Arcega says, recalling his eventual bust at Upland High School in Southern California. Yet school still rules the San Francisco Art Institute graduate’s world. The 34-year-old is currently hiding out in his Stanford studio, buried in first-year course work for an MFA. One can only wonder what the teenage Arcega would have made of the immaculate grounds of the so-called Farm — he remembers thinking when he first made the move from Eagle Rock High in Los Angeles to Upland, "Oh my god, the walls are so clean here!" — though today the artist clearly channels his subversive, pranking tendencies into pointed works executed with a meticulous hand and a puckish wink. Informed by ’90s multiculturalism but intent on moving forward, Arcega’s pieces, primarily sculptures and installations, upend language and probe the hybrids formed by cultural colonizers and the colonized.

Arcega’s exhibition at the de Young Museum, "Homing Pidgin," part of the "Collection Connections" series in which local artists make new art that reinterprets the museum’s objects, seems tailored for the San Francisco resident. He riffs off the Oceanic Art collection with the acuity and seemingly personal perspective found in such previous pieces as Terrorice, in which he conflates the United States’ "aid" supplies of arms and food with the construction of a rice AK-47 and grenade. Lingering in that zone where ha-ha morphs into aha, Arcega’s massive wooden Spork wittily spears the cultural-culinary invasions of fast food and the popular carved or painted salad utensils that populate souvenir shops in the Philippines while referencing the fact that most tribal cultures ate with their hands before the arrival of European explorers. The museum’s clubs, used in war and in ceremonial dances, are made over by Arcega, reenvisioned as intricate warships and barges topping ax handles and dance clubs — one even emits pulsing disco lights — perched on table legs. The artist also revisits mystery meats of the past — and explodes them — with Spam/Maps: Oceania, which replicates every teeny Pacific atoll using the canned luncheon meat and US occupation–era military ration whose name is an anagram of maps.

It’s powerful stuff from a punny guy. "He can move seamlessly between media, with the highest level of creative skill, to create pieces that disseminate his point of view in both political and historical terms," Arcega’s gallerist Heather Marx pinpoints via e-mail. "His brilliant use of humor subtly challenges the traditional notions of art practice, thus veiling the weightiness of his messages."

Arcega has certainly traveled far from the moment he first glimpsed and then imitated the graf art in the basement of his elementary school. He’s since leapfrogged from illustration to painting, sculpture, performance, and installation before, as he says, "discovering text as a medium. Now I just pick from an arsenal of past explorations." But right now the rigors of the academy call. "I wanted to put things on hold while I was at school so I could play without consequence," he says happily. "It’s stepping back to leap forward."

www.arcega.us

www.heathermarxgallery.com

Endorsements: Local offices

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Mayor

1. QUINTIN MECKE


2. AHIMSA PORTER SUMCHAI


3. CHICKEN JOHN RINALDI


Let us be perfectly clear: none of the people we are endorsing has any real chance of getting elected mayor of San Francisco. Gavin Newsom is going to win a second term; we know that, he knows that, and whatever they may say on the campaign trail, all of the candidates running against him know that.

It’s a sad state of affairs: San Francisco has been, at best, wallowing helplessly in problems under Newsom, and in many cases things have gotten worse. The murder rate is soaring; young people, particularly African Americans, are getting shot down on the streets in alarming numbers. The mayor has opposed almost every credible effort to do something about it — he fought against putting cops on foot patrol in the most violent areas, he opposed the creation of a violence-prevention fund and blocked implementation of a community policing plan, and he’s allowed the thugs in the Police Officers Association to set policy for a police department that desperately lacks leadership. The public transportation system is in meltdown. The housing crisis is out of control; 90 percent of the people who work in San Francisco can’t afford to buy a house here, and many of them can’t afford to rent either. Meanwhile, the city is allowing developers and speculators to build thousands of new luxury condos, which are turning San Francisco into a bedroom community for Silicon Valley. Newsom only recently seems to have noticed that public housing is in shambles and that the commission he appoints to oversee it has been ignoring the problem.

The mayor is moving aggressively to privatize public services (including turning over the city’s broadband infrastructure to private companies), and he’s done little to promote public power. He’s cracking down on the homeless without offering adequate alternatives to long-term housing. Much of the time, he seems disconnected, out of touch with the city; he won’t show up and take questions from the Board of Supervisors and won’t even comply with the Sunshine Ordinance and release his daily calendar so the voters can see what he’s doing all day. He rarely appears in public, unless his handlers have complete control of the situation.

In fact, almost all of the significant policy discussions and initiatives that are happening in San Francisco today (including the universal health plan that Newsom likes to take credit for) have come from the Board of Supervisors.

There are good things to say about Newsom. We were among the huge number of San Franciscans who applauded when Newsom directed the city to start issuing marriage licenses to same-sex couples. He did more than make a political statement, more than allow hundreds of couples to get married; he put one of the leading civil rights issues of our time on the center stage of the political agenda. And he made all of us proud to be San Franciscans. We were happy to see him stand up against the big international hotel chains and support striking hotel workers. In some ways, he’s brought modern management to the city — the 311 system, which connects callers directly to the proper city services, actually works, and sometimes works well.

But San Francisco is one of the world’s great cities, and it’s in serious trouble, and the person in charge isn’t offering much in the way of leadership — and he certainly isn’t offering the sort of progressive agenda that this city ought to be showing the nation. Newsom doesn’t deserve another term.

And yet the progressives in the city, who have come so very far since the return of district elections in 2000, were unable to field an electable candidate. We could spend pages dissecting why that happened. Matt Gonzalez should have made a decision much earlier in the process. Ross Mirkarimi should have run. The entire movement needs to be better about developing and promoting candidates for citywide office. But right now the issue on the table is this: who should the progressives, the independents, the neighborhood activists, the tenants, the people who have been dispossessed during the Newsom years, who don’t like the prospect of this mayor waltzing into another term atop a landslide majority, vote for Nov. 6?

We aren’t in the habit of endorsing for a big-league elective office people who haven’t put in their time in the minors. And Newsom’s challengers are not exactly a varsity squad. But many of them are raising important issues that Newsom has ignored, and we commend them all for taking on the difficult task of mounting a campaign against a mayor who most observers say is unbeatable. Our endorsements are, to be honest, protest votes — but we hope they’ll send a message to Newsom that there are issues, communities, and ideas he can’t just ignore after his coronation. The smaller the mayor’s margin of victory and the more votes the candidates who are pushing the progressive agenda collect, the less of a mandate Newsom will take into a second term that could be a truly frightening time.

Quintin Mecke has the strongest progressive credentials and by far the best overall approach to issues facing the city. He’s never held elective office (and had never run before), but he’s been involved in local politics for a decade. A volunteer with Tom Ammiano’s campaigns for supervisor and mayor and with Gonzalez’s mayoral campaign, Mecke went on to serve on the civil grand jury and the task force on redistricting, where he helped stave off attempts to chop up progressive supervisorial districts. He helped organize the South of Market Anti-Displacement Committee and now runs the Safety Network Partnership, a nonprofit that works to fight crime and violence in the city’s neighborhoods. He’s on the committee that monitors the city’s homeless shelters.

Mecke told the Guardian that "it’s hard to find an innovative, non-PR-type initiative out of the Mayor’s Office." He supports community policing, a progressive gross-receipts tax that would exempt small businesses, and a moratorium on market-rate housing until the city can determine how it will build enough affordable units. He complains that there’s no standard of care in Newsom’s homeless shelters. He opposes the privatization of public programs and resources.

Mecke tends a bit to bureaucratspeak; he talked about "horizontal conversations" instead of taking some issues head-on. And we’re concerned that he didn’t seem serious or organized enough to raise the modest amount of money it would have taken to qualify for public financing and mount a more visible campaign. But he’s a solid candidate, and we’re happy to give him the nod.

Ahimsa Porter Sumchai is a remarkable success story, an African American woman who grew up in the housing projects and wound up graduating from UC San Francisco’s medical school. She’s running primarily on the issue of environmental justice for southeast San Francisco — and for years has been one of the loudest voices against the flawed Lennar Corp. redevelopment project at and the reuse plan for the contaminated Hunters Point Shipyard. Sumchai says the shipyard can never be cleaned up to a level that would be safe for housing, and she suggests that much of it should be used for parks and open space and possibly maritime and green-industry uses. She’s highly critical of the low levels of affordable housing in market-rate projects all over the city, arguing that the developers should be forced to provide as many as 25 percent of their units at below-market rates. Sumchai is a physician, and she talks like one; her scientific language and approach sometimes confuse people. She suggested that one of the main causes of the homicide rate in the city is mental illness. "You can medically address people who are violent," she told us, saying the first step is to properly diagnose and treat depression in men. "Just as we looked at AIDS as an epidemic," she said, "we should look at violence as an epidemic." Which is, at the very least, an interesting approach.

Sumchai has some innovative ideas, including a universal child-care program for the city, paid for with a "fat tax" on unhealthy food. She’s a strong supporter of public power and a longtime critic of Pacific Gas and Electric Co.

She can be abrasive and temperamental, but she’s talking about critical issues that almost everyone else is ignoring. She deserves support.

Chicken John Rinaldi is the political surprise of the season, an artist and showman who has managed a traveling circus, run a bar in the Mission, put on unusual performances of every kind — and somehow managed to be the only person running for mayor who could qualify for tens of thousands of dollars in public funding. On one level Rinaldi’s campaign is a joke — he told us repeatedly he has no idea what he’s doing, and that if by some wild chance he were elected, he would hire people like Mecke and Sumchai to run the city. He’s the Dada candidate, with his entire run something of a performance art piece.

But Rinaldi has a real constituency. He represents a dying breed in the city: the street artists, the writers, the poets, the unconventional thinkers with economically marginal lifestyles, who were once the heart and soul of San Francisco. It’s hard to pin him down on issues since he seems to disdain any policy talk, but in the end, the very fact that he’s running speaks to the pressure on artists and the lack of support the unconventional side of the art world gets in this increasingly expensive city.

Rinaldi is the protest candidate of all protest candidates, but he’s going to get a lot of votes from people who think San Francisco needs to stop driving some of its most valuable residents out of town — and if that leads to a more serious discussion about artist housing, affordable housing in general, arts funding, and the overall crackdown on fun under Newsom, then it’s worth giving Chicken John a place on the ticket.

There are several other candidates worthy of consideration. Josh Wolf, a video blogger, served 226 days in a federal prison rather than turn over to the authorities tape of a demonstration he was filming. It was a bold and courageous show of principle (anyone who’s ever done time knows that spending even a week, much less month after month, behind bars is no joke), and it speaks to his leadership and character. Wolf is talking about some key issues too: he’s a big supporter of municipal broadband and sees the Web as a place to promote more direct democracy in San Francisco.

Lonnie Holmes, a probation officer, has roots in the African American community and some credible ideas about violent crime. He favors extensive, direct intervention in at-risk communities and would fully fund recreation centers, after-school programs, and antiviolence education in elementary schools. He thinks a network of community resource centers in key neighborhoods could cut the crime rate in half. He’s a little conservative for our taste, but we like his energy, commitment, and ideas.

Harold Hoogasian, a third-generation florist, registered Republican, and small-business activist, is a self-proclaimed fiscal conservative and law-and-order guy who complains that the city budget has skyrocketed while services don’t seem to have improved. Yet somewhat to our surprise, he told us he supports the idea of a moratorium on market-rate housing and a ballot measure that would force developers to build housing more in tune with San Francisco’s real needs (even if he wants to start with ownership housing for cops). He supports public power, wants more sunshine in government, and opposes privatization. He also brings a much-needed critique of the remaining vestiges of machine politics in this one-party town and speaks passionately about the need for outsiders and political independents to have a seat at the table. We’re glad to have him in the race.

In the end, though, our picks in this first ranked-choice vote for San Francisco mayor are Mecke, Sumchai, and Rinaldi — on the issues, as a political statement, and to remind Newsom that his poll numbers don’t reflect the deep sense of distrust and discontent that remains in this city.

District attorney

KAMALA HARRIS


We’re always nervous about unopposed incumbents. And since Kamala Harris unseated Terence Hallinan four years ago, running as an ally of then-mayor Willie Brown with the backing of a corrupt old machine, we’ve been nervous about her.

In some ways she’s been a pleasant surprise. Harris quickly showed that she has courage and integrity when she refused to seek the death penalty for a cop killer despite the fact that the police rank and file and much of the brass excoriated her for it. She remains one of the few district attorneys in the nation who oppose the death penalty in all situations. She’s created a public integrity unit and aggressively filed charges against Sup. Ed Jew. She’s made clear to the Police Department that she won’t accept sloppy police work. She talks constantly about making crime and criminal justice a progressive issue.

But there are plenty of areas in which we remain nervous. Harris hasn’t been anywhere near as aggressive as she could be in prosecuting political corruption. She doesn’t pursue ethics violations or Sunshine Ordinance violations. The San Francisco DA’s Office could be a national leader in rooting out and prosecuting environmental and political crime, but it isn’t.

Meanwhile, the murder rate continues to rise in San Francisco, and Harris and the police are pointing fingers back and forth without actually finding a workable solution.

And lately, Harris, to her tremendous discredit, has been stepping up the prosecution of so-called quality-of-life crimes — which translates into harassing the homeless. She’s made sure there’s a full-time prosecutor in traffic court, pressing charges for things like public urination, sleeping in the park, and holding an open container of beer. That’s a colossal waste of law enforcement resources.

We expect a lot more from Harris in the next four years. But we’ll back her for another term.

Sheriff

MIKE HENNESSEY


Mike Hennessey has been sheriff for so long that it’s hard to imagine anyone else holding the job. And that’s not a bad thing: Hennessey is one of the most progressive law enforcement officers in the country. He’s turned the county jail into a center for drug rehabilitation, counseling, and education (the first charter high school in America for county prisoners is in the SF jail). He’s hired a remarkably diverse group of deputies and has worked to find alternatives to incarceration. He’s openly critical of the rate at which the San Francisco police are arresting people for small-time drug offenses ("We’re arresting too many people for drugs in the city," he told us). He took a courageous stand last year in opposing a draconian and ineffective state ballot initiative that would have kicked convicted sex offenders out of San Francisco and forced them to live in rural counties without access to support, services, or monitoring.

We’ve had some issues with Hennessey. We wanted a smaller new jail than he ultimately decided to build. And we really wish he’d be more outspoken on local law enforcement issues. Hennessey told us he wants to stick to his own turf, but if he were more visible on police reform, criminal justice, and law enforcement, the city would benefit immensely.

Hennessey’s only opponent is David Wong, a deputy sheriff who was unable to make a case for replacing the incumbent. We’re happy to endorse Hennessey for another term — but since this might be his last before retirement, we urge him to take his progressive views and push them onto a larger stage.

Fingered? Jimmy Page apologies for reunion resked

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jimmy page.jpg
Jimmy Page back in the day. Photo courtesy of Alex
Reisner’s Led Zeppelin site.

A little message from Led Zeppelin guitarist Jimmy Page, issued by Warner Bros. today:

As you all know by now I was regrettably put in a situation where I had to postpone my performance at the Ahmet Ertegun Benefit show, on Nov. 26, due to a fractured finger. We have now rescheduled this show to take place, at the same venue, on Dec. 10.

In doing so I was very conscious of the fact that many people are traveling great distances to attend. I do want to let everyone know that this decision was unavoidable. My apologies to anyone who has been inconvenienced by this change.

I would also like to thank everyone else involved for their help with making this change. Harvey Goldsmith, the trustees of the Ahmet Ertegun Foundation, and of course, the other artists who so willingly agreed to join us on the show.

I look forward to the 10th December!

Jimmy Page

Hannah Montana and me

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hanna.jpg

By Tim Redmond
I suppose Child Protective Services will come and arrest me now that I’m about to admit that I took my kindergarten-age daughter to see a rock concert in Oakland, on a school night, and kept her up until well past 10 pm without a proper dinner … But what can I say: Vivian loves Hannah Montana. She has all the CDs. She watches the TV show. She puts on her best rock-star outfits and sings the songs, over and over, and dances and tells me that she’s going to be a rock star. She was Hannah Montana for Halloween. So when I learned at 4:45 pm Thursday that there were two review tickets available, I grabbed Viv, fed her half a cheese sandwich and loaded her on BART.

For those of you who don’t follow tween-age popular culture, Hannah Montana is a phenomenon. The Chron kind of blasted her a couple of days ago — and for good reason: The hype is out of control. So are the ticket prices.

And yes, we live in a culture where parents will do anything to please the little brats, including shelling out a fortune for a performance that lasted an hour and 15 minutes (almost to the minute; Disney runs a tight ship, and unlike any rock show I’ve ever been to, this one started and ended exactly on schedule).

So I should probably feel bad that I’ve not only allowed my daughter to be exposed to this, but actively encouraged it. I should feel terrible about the materialistic messages in the songs and the over-sexualized image of a 14-year-old girl prancing around onstage with male and female dancers who were all at least five years her senior.

I should feel rotten. I should go seek counseling from some proper-parenting group. I should be ashamed of myself.

And here’s what happened:

The moment Hannah Montana came onstage, after an utterly predictable 30-warm-up by a boy band called the Jonas Brothers, Vivian was transfixed. Her eyes opened like saucers, and she got this smile on her face that I will never forget as long as I live.

And frankly, the kid (the one on the stage, that is) knows how to perform. I’m not a big fan of the Work, as it were, but you have to admit, for a 14-year-old, Ms. Montana has astonishing presence. She sang (I think actually sang, not lip synched) her songs with plenty of energy and managed to dominate and control the stage even when she was surrounded by as many as a dozen other seasoned professional singers and dancers, most of whom looked to be in the early 20s.

At least, when she was Hannah Montana, she did.

Halfway through the show, she went backstage, ditched the wig and the TV persona, and came back out as herself, Miley Cyrus. Somehow, the energy wasn’t the same; I think Cyrus has got the Hannah Montana thing down, but hasn’t quite figured out how to be who she actually is. The last few songs reminded me that the person up on stage was too young to drive a car and barely old enough for high school. For her sake, I hope the Disney thing passes pretty soon and she can stop being a pre-packaged icon and start trying to learn to be Miley Cyrus; she might even turn out to be good at it.

But overall, I have to say, Viv and me had a blast. By a few minutes into the first set, my girl was standing on her chair, dancing madly and singing along. The earplugs I’d carefully installed to protect her young ear drums were ripped out and thrown on the floor (“I’ll put them back in when I WANT to, daddy!”). She’d kicked her cup of soda water into the people behind her, soaking the jacket on the back of her chair. When the rather uptight mom behind me warned that the chairs were tippy and my daughter was in danger and had already spilled her drink, I smiled and said, “it’s all rock and roll;” the woman looked at me in horror.

The place was packed with parents and daughters; our seats were pretty near the bar, so I was able to grab a bud light or two. The tweenage shrieking was almost unbearable, but Vivian didn’t care, and as a veteran of many, many Grateful Dead shows, I have to say it was no more obnoxious than the spaced-out dudes swaying and mumbling “Jerry, man.”

I mean, it was a rock show. In every way that’s right and wrong, for all the best and worst reasons …. And I knew that my daughter would be tired and crabby the next day and her ears will be ringing and she didn’t finish her homework, but fuck it: She danced all the way home.

Global chilling

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In 1994 an album came out that nearly put a class of DJs out of work. Those manning the decks at so-called chill-out rooms in countless clubs had good reason to fear Global Communication’s 76:14 (Arista), for its lush, emotive melodies and almost infinite attention to detail maintained the excitement that surrounded electronic music at the time while fostering a desultory, languid mood. Tom Middleton and Mark Pritchard were the two British producers behind Global Communications, and almost 15 years later Middleton is releasing his first solo album, Lifetracks (Big Chill Recordings/Six Degrees).

Despite the iconic status that 76:14 has achieved, Middleton denies that it has cast any sort of shadow over his ensuing productions or been any kind of burden during his subsequent decade-plus of production, including more work with Pritchard as Jedi Knights (whose nü electro New School Science [Universal, 1996] inspired the likes of the Prodigy) as well as solo remixes for acts as varied as Britpoppers Pulp and New Jersey house legend Kerri Chandler. "I’m very proud of 76:14 — it was a very rewarding experience creating it with Mark," Middleton wrote via e-mail before a live performance for Lifetracks in London. It "has some amazing moments for me personally and is a constant reminder to make music from the heart and not get concerned with the restrictions of markets, tempo, or genre."

Lifetracks reflects its creator’s frank lack of fear when it comes to making beautiful music. My inner jaded hipster might have initially cringed at both the yoga-evoking title and the unabashedly emotional strings of "Prana," but there’s no way I could hate on the subtle production flourishes and the expert arrangement that builds to the expected yet still fulfilling climax. Other songs — like "Sea of Glass," with its pulsing woodwinds, and "Enchanting," with its deliberate repetition and inversion of patterns — point to Middleton’s appreciation of musicians well beyond the boundaries of dance music. "I enjoy many of Steve Reich’s conceptual sound experiments and recordings, particularly from the late 1970s and into the ’80s. Over many of his contemporaries he still manages to produce music that is intrinsically ‘pleasant’ and ‘easy’ from a listening perspective. It might be the slow evolving cyclical nature, or the gentle phase shifting in harmony that really does it for me." At the same time, Middleton professes admiration for composers Sir John Williams and Vangelis, who exist somewhere between the canons of popular and classical music.

While Middleton may be best known for his more introspective work and Lifetracks is not exactly full of cuts headed to the top of the Billboard dance charts, the producer does love a good party and has no shame about using the tools that are needed to get people on the dance floor. When pressed for a few of his recent favorite tracks that go well together, Middleton caught me completely off guard with his recollection of a pair of reedits that fit together nicely for his weekly residency at Manumission on Ibiza: "Eurythmics’ ‘Sweet Dreams (Are Made of This)’ mashed up with Pink’s ‘Get the Party Started’ [mixed] into a glitchy electro remix of Paul Simon’s ‘You Can Call Me Al’ mashed into Prince’s ‘1999’ — for some reason they just all flowed into each other really well and created the ideal first two tracks to set up the party vibe for the whole night." This from the man who fondly recalls a sunrise over Mount Fuji for the way it reminded him of a Katsushika Hokusai woodblock he studied in art school. It is clear that Middleton is much more than a one-trick pony.

TOM MIDDLETON

Sat/3, 10 p.m., $15

Supperclub

657 Harrison, SF

(415) 348-0900

www.supperclub.com

Boo!

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› kimberly@sfbg.com

SONIC REDUCER If life is a cabaret, disco, or Costco excursion, then what about the sweet or sucky hereafter? Whether one believes in the interminable after-parties of the afterlife or not, one must get into the spirit of the season as a deathly chill breezes through the bones and the night shadows lengthen; try melting into the 15,000-strong crowd crawling down 24th Street and into Garfield Park during the Day of the Dead procession Nov. 2. The doors of perception are swinging wide — might as well stumble through and over a Burning Man–style performance art project, a random garage studio wine-ing passersby, or a shrine that speaks to you.

And what would the dead (not to be confused with RatDog) say? Would they wonder if that’s Devendra Banhart striding purposefully up 24th Street — or the ghost of luxuriantly locked Cockettes past? Why are the cash boxes of beloved nightspots like Thee Parkside and 111 Minna Gallery being hit by thieving tricksters? People and possessions come and go, but sometimes, mysteriously, they stick around. I was once terminally creeped out by an overnight stay at the Highland Gardens Hotel in Hollywood, where Janis Joplin slipped from this world into the next. Even otherwise sober arena rockers like those in Maroon 5 get the willies, as I found earlier this fall during a gang conference call on the edge of their current tour.

I asked frontperson Adam Levine why he ended up writing most of the songs on this year’s zillion-seller It Won’t Be Soon Before Long (Octone/A&M), and he chalked it up to an overflowing creativity inspired by intense solitude. I suppose alleged hookups with tabloid hotties like Lindsay Lohan and Jessica Simpson equal crap songcraft, so I wondered, "It didn’t have anything to do with the Rick Rubin house [where Maroon 5 recorded their album] or the ghost in it, supposedly?"

"Well, no," Levine replied. "That definitely kept me away from the house when I was wasn’t working, because of the strange spiritual goings-on."

Apparently, guitarist James Valentine, who stayed at the former Harry Houdini residence because he was "homeless at the time," had a solo encounter one night with a female phantom that walked into a room, then vanished. But spookier still is how catchy "Makes Me Wonder," off It Won’t Be Soon Before Long, is. One, two, even three hit pop singles don’t necessarily add up to the ghost of a chance in today’s fickle musical marketplace — and the predictable love-thang lyrical fixations of "This Love" and "She Will Be Loved" don’t necessarily appeal to sardonic souls who want to hear songs about vampires, aliens, and their favorite Suicide Girls. ("We’re certainly not reinventing the wheel or necessarily putting a flag anywhere," Levine confessed.) Still, one must appreciate the band’s attempt at levity with their cover of "Highway to Hell" on 2004’s 1.22.03.Acoustic (Octone/J). And AC/DC-style lasting power seemed to be on the minds of the Grammy-winning, multiputf8um group, which name-checked Prince and the Stones.

"I think that we don’t want to burn out," Levine said, "and there’s definitely this mentality that’s very strong these days about cashing in, and we’re much more interested in longevity. We’re also interested in cashing in to some extent — who wouldn’t be?" Valentine snickered as Levine continued, "We want to be taken seriously as a band, and there’s things that you need to do in order to make that happen.

"I think those artists that you mentioned have done that in order to stay relevant. I think that we just need to try as hard as we can and make sure that we’re not always taking a check just to take a check. I think that at the end of the day, it comes down to one thing, which is writing good music." Waving a lighter and building an altar won’t fly?

MAROON 5

With the Hives and Phantom Planet

Tues/6, 7:30 p.m., $39.50–$50.50

HP Pavilion

525 W. Santa Clara, San Jose

www.ticketmaster.com

LOOK OUT!

ENON


I’m high on the massive hand claps and grinding riffage of the Philly-Brooklyn band’s "Mirror on You," from Grass Geysers … Carbon Clouds (Touch and Go). Thurs/1, 9 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

UPTOWN GRAND REOPENING


Zero publisher Larry Trujillo and pals soup up the sound, lighting, and decor to showcase rock acts, live burlesque on Mondays, and electro nights on Saturdays. Birdmonster and the Morning Benders play. Fri/2, 9:30 p.m., $10. Uptown, 1928 Telegraph, Oakl. www.uptownnightclub.com

DO MAKE SAY THINK


Making thoughtful prog instrumentals for the 21st century with You, You’re a History in Rust (Constellation). Sat/3, 9 p.m., $15 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

MINIPOP


Fresh from getting fingered by BBC Radio 1’s Steve Lamacq, the SF dream poppers unfurl A New Hope (Take Root). Sat/3, 8:30 p.m., $10. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

TUNNG


Not to be confused with dung. The London nouveau folk band strum, detune, and jingle something fierce on Good Arrows (Thrill Jockey). Mon/5, 9 p.m., $10–$12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

CLOCKCLEANER


WWKT: what would Kurt think? The Load Records combo pens tunes like "Missing Dick," off 2006’s Nevermind. Tues/6, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

Crazy quilt

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› superego@sfbg.com

SUPER EGO I like weather. It’s everywhere this season. But it’s also all over the map: patches of drizzle here, swaths of squinty sunlight there, chilly threads of breeze, and a soft, wet batting of fog. Should someone call People for the Ethical Treatment of Animals on dog days? Are Indian summers racist? What color Converse matches my knockoff Burberry umbrella? Weather’s so confusing!

Fortunately, the forecast in Clubland is much more predictable: crazy, as usual. Partly rowdy with a high chance of gusty accordion and slight pratfalls on the runways. Now’s the time when dance floors get "wild" and club folks scramble like chipmunks to store up glowing insanity for the long winter ahead. I’m reminded of boob-tube scream queen Elvira’s immortal "Monsta Rap": "Somethin’ put his nuts on tha side of his head / What in the world were they thinkin’?" Below are some upcoming offbeat joys to enjoy.

PS Every day is Halloween, duh. Check out the Noise blog at www.sfbg.com/blogs/music for my depraved fright-night party picks.

Face the fear and drink it anyway! That’s my motto. It’s tattooed on my inner thigh, right next to a butterfly on a Harley, a rainbow of dancing M&Ms, and Tweety Bird pulling dental floss out of his ass with a pair of scalpels. I live for scary cocktail confrontations. But I’ve never quite been able to overcome my fear of clowns. It’s not so much the clowns themselves that terrify but the flesh-eating bacteria that live in their eyes and squirt out when they blink. Honk, honk!

Still, the line between a good night out and a full-on circus grows ever thinner with each new Burning Man, and circus-themed parties are starting to develop subgenres. For instance: Big Top, which successfully mixes double entendre (it’s a queer thing: "big top" — get it?) and three-ring silliness into one whapping flapdoodle of a monthly Sunday shindig. Promoters–club whores Joshua J and Rayza Burn, who fervently insist to me that they’re in no way "hot for clown," lay on the DIY pancake pretty thick. No slick fire-twirler troupes here — just a tipsy bunch of drag queens in rainbow fright wigs, guest DJs devoid of shame, and cross-eyed kids sporting giant shoes. Somehow it works. This month: a homo fashion costume ball with designer Kim Jones in the DJ booth.

I can’t tell you how to make money, but I can tell you that every time I hear the word milonga I pitch a yard’s worth of tango tent. Let’s pitch together — to the lively plucks and wheezes of local sensations Tango No. 9, an all-star Bay Area quartet celebrating the release of their self-released CD Here Live No Fish with a big ole Piazzola party at Café Cocomo (lessons luckily offered for us absoluto beginners). This is one of those nightlife events I occasionally recommend not because it’s going to be a drunken orgy of unfortunate plumbing leaks but because there’ll be an element of seductive danger. As in, how many heels will I break trying to get to the center of one of my several hot Argentine dance partners? Three licks.

"If there’s anything close to the authentic madness that is true Balkan partying in the Bay Area, it is us," Boban, promoter of the raucous quarterly Kafana Balkan party, told me over the phone. "People come to let it loose in true Balkan-region style. They get up the next morning, maybe with a little hangover, ha, and then they are refreshed in their daily maintenance of the machine." I should add here that Boban has the kind of deep, heavily accented, tinged-with-grins voice that could probably lead anyone into mountainous, oud-and-cümbüs-driven bliss. Lately, indie rock has embraced the Balkan spirits, but Kafana’s no mere Gogol Bordello–Beirut–Balkan Beat Box hoedown: DJ Zeljko brings the Rom and rakiya-fueled real, with selections from the likes of Boban Markovic Orkestar and Fanfare Ciorcarlia. It all whirls round in a carnivalesque atmosphere that includes clowns from Bread and Cheese Circus and live Bay Area Balkan band Brass Menazerie. Plus, Kafana’s a benefit for Humanitarian Circus, which performs for Kosovar orphans. Grab your dumbek and get — sorry — Mace-down-ian.

Vegan donuts are on fire. Nondairy sprinkles litter the runways; free-trade glazing greases the underground wheels of Monday nights. WTF? I’m talking about the sweet monthly Club Donuts, a manic multimedia fiesta that’s celebrating its hole–in–one year anniversary next month. Fab fashion shows, live bands, dance troupes, kitsch movies, and a hot mess on the dance floor have been Donuts’ delicious MO for a fat and fluffy year now, and the anniversary party promises to hit new monthly-Monday-night heights, with a live performance by Hey Willpower and DJs Calvin Johnson and Ian Svenonius joining resident Pickpocket on the decks. (It’ll be "ambrosial, ecstatic," the club’s breathtakingly hottt promoters Kat and Alison promise me. "Total visual and aural immersement, with lots of free vegan donuts.") Plus, you know, cute young Mission party artists. I’ll take half a dozen to go. *

BIG TOP

Fourth Sun., 7 p.m.–2 a.m., $3

Transfer

198 Church, SF

(415) 861-7499

CLUB DONUTS

Nov. 12, 9 p.m.–2 a.m., $8

Knockout

3223 Mission, SF

www.myspace.com/donutparty

KAFANA BALKAN

Nov. 10, 8 p.m.–2 a.m., $10–$25, sliding scale

12 Galaxies

2565 Mission, SF

www.12galaxies.com

www.myspace.com/kafanabalkan

TANGO NO. 9

Nov. 4, 7:30 p.m. tango lesson, 8:30 p.m. performance and party

$15, $20 with lesson

Café Cocomo

650 Indiana, SF
www.cafecocomo.
com

Torn apart

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› cheryl@sfbg.com

Let’s start with the Ian Curtis dance. Part march in place, part ecstatic flail, it conveyed the singer’s trancelike connection to Joy Division’s music; it also eerily echoed the epileptic seizures he began suffering at age 21, just as his band was becoming famous. If you don’t have the Curtis dance down — let alone his gaunt frame or haunted eyes — you don’t have Curtis.

Fortunately, Control director Anton Corbijn — making his feature debut after a long career photographing musicians including Joy Division — found Sam Riley, an unknown who more or less resembles Curtis physically. But beyond that, the performance is uncanny — the dance is there, along with the anguish and the hunger of a first-time lead actor anxious to do right by the star he’s portraying, not to mention his own career. Apologies to Joaquin Phoenix, but imitation isn’t always the best route. If you want to make your troubled-artist biopic feel authentic, the spirit of desperate urgency is well in order.

Of course, Johnny Cash lived a long life; post-punk poster child Curtis only lived to be 23, though he packed a lot of drama into his adult years. Control swoops in circa 1973; we first meet Curtis as a David Bowie–obsessed, William Wordsworth–quoting, dreaming-of-a-way-out-of-Manchester high school student. Soon after, he marries Deborah Woodruff (Samantha Morton), and the film hustles ahead to Joy Division’s formation, with early gigs, recordings, and a performance on Tony Wilson’s Granada Reports TV show (sparked when Curtis passes a note to Wilson urging him to book the group in so many words: "Joy Division you cunt"). Though Control is based on Deborah Curtis’s biography of her husband, Touching from a Distance (Faber and Faber, 1996), the film devotes ample attention to dynamics within the band, with Factory Records mogul Wilson (Craig Parkinson), and with manager Rob Gretton (Tony Kebbell). Concerts are re-created with keen realism, enhanced by Corbijn’s decision to shoot in no-frills black and white, a choice that also complements the dreary, working-class surroundings that inspired the band’s music. (For more on Joy Division and late 1970s Manchester, check out Grant Gee’s richly detailed doc, Joy Division, which screened alongside Control at this year’s Toronto International Film Festival and should be hitting theaters in 2008. Or there’s always Michael Winterbottom’s 2002 goofy-insane look at the Manchester scene, 24 Hour Party People.)

The heart of Control, though, is Curtis’s tangled home life. After impulsively marrying at 19, he tries to fit the role of dutiful family man, even keeping his desk job (while wearing his coat with "HATE" written on the back) as Joy Division takes off. Deborah gives birth to Natalie, and despite his intentions of doing the right thing, Curtis can’t help but fall for Annik Honoré (Alexandra Maria Lara), a bewitching journalist who’s portrayed as sympathetically here as any Other Woman could hope to be.

So yeah, you have your wife (whom you feel incredibly devoted to, despite everything), your mistress (whom you love more than anything), your burgeoning fame (which you’re not sure you want), and a mysterious disease that requires you to take so many pills your sense of self is completely compromised. What do you do? Everyone knows what happened to Curtis, and while Control — beautifully filmed and performed — can’t quite crack his entire enigma, it’s almost enough that it hints at answers. Control‘s final shot, a haunting image as gorgeous as it is morbid, is a lingering wonder. *

CONTROL

Opens Fri/26 in Bay Area theaters

See Movie Clock at www.sfbg.com

Deth to false metal!

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HORNS UP Dethklok, "the most brutal band in the world" and stars of Adult Swim’s juggernaut of animated murder, Metalocalypse, are touring in support of their recently released Dethalbum (Williams Street), which peaked at number three on the Billboard hard rock album chart and reached number 21 on the Billboard 200, making it the best-selling death metal album of all time. The fact that a cartoon band bested Slayer’s Reign in Blood (Def Jam, 1986) might bum out old-time metalists, but facts have to be faced here: not even Slayer are more brutal than the almighty ‘Klok. Even when tackling stand-up comedy or band therapy, they’re unquestionably dark and unrelenting (and hilarious).

Metalocalypse creator Brendon Small started playing guitar by learning the riff to Black Sabbath’s "Iron Man" and went on to Boston’s prestigious Berklee School of Music. He later took comedy writing classes at Berklee’s sister school, Emerson College, which led to stand-up and ultimately the Adult Swim show Home Movies. When that show was canceled, Small got together with his friend Tommy Blacha — "the only guy in comedy who would go and see death metal shows with me," Small told me over the phone during a recent San Francisco visit — and they came up with the following pitch: "We’ve got a TV show. It’s going to be about a metal band, and there’s going to be tons of murder. And we’re not interested in having anyone understand anything anyone says."

Metalocalypse openly acknowledges the humor inherent in the more-doom-laden-than-thou world of metal while paying homage to music that Small clearly loves and respects. "I look at it this way," Small said. "You go to a Cannibal Corpse concert, and they look like five serial killers onstage. And their songs are about murder, about how you — how you — are going to die. You’re in a pit of zombies, you’re bent over backwards, and you’re going to be fucked with a knife. And I’m, like, ‘Oh, fuck yeah.’ That’s the same kind of appreciation I have for horror movies. In a serious way and in a very kind of fun, audience way, where you see in a movie a face splatters, and the audience goes, ‘Yeah!’ It’s that kind of dynamic. There’s still a lot of people who don’t really get metal and kind of make fun of it. It’s like when you go and see a Broadway performance of Rent or Wicked or something. It’s like laughing at the fact that they learned their lines and got in character. It’s the same exact thing — these guys nail their parts."

Despite being anchored in an alternate reality where the most popular entertainment act in the world — and the 12th-largest economy — is a death-metal band, Metalocalypse is "not even about a metal band," Small said. Rather, "it’s about celebrityism. We’re making fun of celebrities and our country’s fascination with them." Small and Blacha use this allure to highlight the brutality of the everyday bummer. "It’s not ‘fucked with a knife’ or anything, but there’s shit that really fucks up your life all the time, and that’s fuckin’ brutal. Like, I don’t know…." He paused for a second or two before coming up with things that are truly inhumane: "Humidity. Going to the dentist. Going to the DMV. People not making up their mind in front of you at Starbucks. It’s fucking brutal. That’s all a metal song. Every one of those are lyrics."

DETHKLOK

With … And You Will Know Us by the Trail of Dead

Nov. 2, 5–7 p.m., free

Lower Sproul Plaza, UC Berkeley, near Bancroft at Telegraph, Berk.

events.berkeley.edu

For the complete interview with Brendon Small, go to www.sfbg.com/blogs/noise.

41st Anniversary Special: Bilking the links

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› news@sfbg.com

By now, even most nongolfing residents of San Francisco have heard the dire refrain coming from City Hall: San Francisco’s public golf courses are sucking millions of dollars from the city treasury! Dozens of media stories have trumpeted this bleak pronouncement, and city leaders are using the shortfall to push for outsourcing control of the century-old open spaces. But a Guardian review of the Golf Fund shows that the links are not nearly as down-and-out as pro-privatization forces have led us to believe.

Recreation and Park Department accounting documents we obtained show revenues at the city’s six publicly owned golf courses last year were up nearly $1.5 million from 2005 to 2006 and more than $2.2 million dollars from 2004 to 2005, an increase of nearly 30 percent. But the cost of a lavish contract with a large, out-of-state golf-management corporation has risen precipitously over the same time frame and drained most of these new funds.

For the 2006–07 fiscal year the city shelled out more than $3.25 million to Kemper Sports Management to operate the pro shop and clubhouse at the Harding Park Golf Course and its nine-hole neighbor, Fleming. By comparison, in 2004–05, Kemper’s tab at Harding and Fleming was a still eye-popping $2.07 million, but that number is nearly $1.2 million less than what the city had to pay last year. These increased costs, as well as a hefty loan repayment for Harding Park’s botched remodel in 2002 and 2003, have eaten up the links’ improved revenue and forced the city to throw in an extra $1.4 million from the General Fund to keep golf solvent.

"What’s going on up at Harding is a disaster," Bob Killian told the Guardian. Killian ran the city’s golf operations profitably for two decades until 2001. "When I was in charge we had contracts with various managers for the pro shops and the restaurants, and they made us money. They paid us. Now, Harding is run at a deficit. Where the fuck is the money going? What’s it for? Nobody knows. It’s all this big secret…. It’s a scandal."

Kemper’s seven-year deal is unique, to say the least. At every other publicly managed course, the city leases control of the pro shops and clubhouses to outside companies. In exchange for a flat fee paid into city coffers, those companies bear all of the risk and reap most of the rewards of operating the facilities. But at Harding, the city pays Illinois’s Kemper $192,000 per year, regardless of its performance, to act as an on-site manager, plus a 5 percent incentive fee for gross revenues over $6 million. But those guaranteed sums are only the beginning of the bill.

Kemper hires staff, rents golf carts, and orders the supplies to be sold in the pro shop and the clubhouse. Unlike in the city’s lease arrangements at other courses, though, the company bears none of the risk. It simply invoices the city for its expenses, and the city signs the tab. And the tab just keeps growing.

One public-golf insider who declined to be identified for fear of retribution said, "They’ve got this enormous staff there, managers and assistant managers and assistants to assistants of managers. It’s a golf course, not a hospital! I hear the payroll for the restaurant alone is like $600,000. And it’s only open for one shift a day…. They stock their pro shop with top-of-the-line gear that just sits there. If they order 20 Arnold Palmer shirts and only sell two, who cares? The city still pays for all 20."

In an e-mail to the Guardian, Kemper’s general manager at Harding, Steve Argo, told us it has between 60 and 80 employees, depending on the season. Citing this seasonal variability and "competitive reasons," he did not break down those numbers between management and nonmanagement, as we requested.

Both Argo and Katharine Petrucione, Rec and Park’s chief financial officer, attributed much of the added costs at Harding to the opening of a new permanent clubhouse there in late 2005. Argo said the increased revenues from the clubhouse have "more than covered the city’s increase in payments." But while Rec and Park’s ledgers do show that concessions revenues at Harding and Fleming have gone up since the clubhouse opened, the increase in Kemper’s bill has gone up nearly as much. All in all, with Kemper’s multimillion-dollar deal and loan payments for the over-budget remodel at the course, accounts still put the course at more than $500,000 in the red — even though a round of golf there now costs well over $100 and Kemper is still making a handsome profit.

It doesn’t end there. Petrucione said Kemper’s contract costs taxpayers even more than meets the eye. Because the company submits monthly and yearly budget projections as well as reams of invoices and expenses for reimbursement, Rec and Park staffers spend hours examining Kemper’s paperwork and activities — essentially managing the manager. When we asked her for an accounting of how much the Kemper contract costs the city in staff hours for these oversight duties, Petrucione replied, "It definitely requires more time and effort … than a lease agreement [like those at every other course] would."

During a recent radio interview, Sup. Jake McGoldrick called Rec and Park’s deal with Kemper "the worst contract I’ve ever seen." He added, "We don’t have a golfer problem. Golfers are coming out and playing. We have an accountancy problem."

The golf insider we spoke with echoed McGoldrick’s sentiments: "Business is up like 30 percent this year, but Kemper’s contract is jeopardizing the whole department…. If we redid the greens, tees, and fairways [at the other courses], just Band-Aid stuff like that, we would have the premier municipal system in the country. But instead they’ve given this cushy deal to a company from Chicago with no connection to San Francisco. It’s so unfair."

Despite the controversy over Kemper’s all-expenses-paid arrangement, Mayor Gavin Newsom, Rec and Park general manager Yomi Agunbiade, and others at City Hall have been using the deficits largely brought on by Kemper’s contract to push for more private control of the city’s links. In June the Mayor’s Office put forward a plan to outsource not just clubhouse and pro-shop management but all golf operations at the city’s premier courses, including Harding. The proposal was tabled after several contentious hearings at the Board of Supervisors, but many observers expect that it will make its way back to the board in the near future.

"In a perfect scenario, the city could [manage the courses efficiently], but the city has proven that it doesn’t have the ability to do it," Sup. Sean Elsbernd told us in July. Elsbernd has been one of the most vocal supporters of bringing in private golf management.

But McGoldrick, Killian, and other opponents of the idea point out that the city provided quality, inexpensive golf for nearly 100 years. They worry that private managers will find profit in higher greens fees, more part-time workers, and lower salaries and fewer benefits for full-time staff. But beyond those concerns, they see the mayor’s plan as yet another example of publicly owned assets being offered up for private gain.

The courses, McGoldrick told us, are "priceless…. We can’t just dump [them] because you’ve got folks from the Mayor’s Office and his Rec and Park Department who don’t want to be bothered."

In his endorsement interview with the Guardian, Newsom said about the golf courses, "You gotta deal with the reality of where we are and what our core competencies are. Golf courses do not reflect a core competency of government. We’re losing hundreds of thousands of dollars and about to lose over a million dollars a year, and that comes from somewhere. So rather than continuing to do what we’ve done and hope for a different result, we’re looking at best practices across the country and finding ways to manage our assets differently, and I’m not apologetic for exploring those things."

41st Anniversary Special: Connect the Connects

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› steve@sfbg.com

Mayor Gavin Newsom has created an entirely new branch of city government that is private, funded by undisclosed corporate donations, staffed by volunteers who are often city employees or his campaign donors, and unaccountable to any internal controls or outside scrutiny.

Yet rather than being a cause for concern, Newsom has touted San Francisco Connect and its four subprograms — Project Homeless Connect, Tech Connect, Green Connect, and Project Children and Families Connect — as his proudest achievement, a model he is actively exporting to other cities.

According to its Web site, "The mission of SF Connect is to mobilize residents and sectors for a stronger San Francisco. SF Connect is about engaged residents volunteering their talent and time for the City, as well as innovative partnerships between the private, public, and social [nonprofit] sectors."

Green Connect (and "partners" that include Pacific Gas and Electric Co. and Oracle), does cleanup and tree planting. Tech Connect (and partners Netgear.com and Hewlett Packard) works on "digital inclusion." And Project Homeless Connect (Gap, Visa, AT&T, Blue Shield, IBM, the Hotel Council, and Charles Schwab among its partners) does homeless outreach events.

During his endorsement interview with the Guardian, we asked Newsom about the programs and how they allow the private sector to take a more active role in delivering public services on behalf of city government, sometimes with the help of public resources. Is that a model he likes?

"Oh, you’d better believe that!" Newsom said. "Am I for actual responsibility and civic service and duty? You’d better believe it. I think it should be mandated for everyone who graduates from our public education system. I think they should be forced to give back and contribute in community service. What the Connects are all about is community service and connecting the dots. The Rec Connects, which may be what you’re referring to, is a way of leveraging resources and getting more of our [community-based organizations] involved."

All of those involved with SF Connect also seem to sing its praises. But there’s another side to Newsom’s feel-good approach to delivering public services: they often displace social services delivered by qualified providers, supplement underfunded city services with private providers rather than simply fixing and funding them, provide wedges for corporations to take over public spheres (as the Google-EarthLink wi-fi deal through Tech Connect very nearly did), and allow corporations to buy influence with unregulated contributions to a politician’s pet program.

"If you look at the ways of privatizing, volunteering is one, and it sounds nice," said Margot Reed, an organizer with Service Employees International Union Local 1021.

Yet that volunteerism sometimes replaces services that previously were provided by government or nonprofit agencies whose contracts and performance could be scrutinized. But Newsom’s approach through SF Connect doesn’t allow that kind of transparency.

To illustrate the problem, the Guardian made a Sunshine Ordinance records request to the Mayor’s Office, asking for a complete breakdown of the budgets of all the Connect programs. The office refused to provide the information, referring us instead to SF Connect, but that organization has a history of refusing to provide the Guardian and other media organizations with its budget and donor lists.

Last year the San Francisco Chronicle fought the Newsom administration for two months to get it to reveal the donor list, finally winning the release of the names of donors who had agreed to be disclosed (some asked for their money to be returned instead). SF Connect’s donors included PG&E, which gave $25,000; Google investor Ron Conway, who gave $100,000; Wells Fargo Bank, which gave $20,000; and Carmen Policy (the former 49ers top dog who was recently named to push a June ballot measure on a new stadium that Newsom wants to build), who gave $2,500. Other donors included Newsom appointees, contributors, and companies that do business with the city.

When we tried to get a current list of donors, staffers didn’t respond to Guardian phone calls or e-mails.

We also asked Newsom’s office for a complete breakdown of city staff time, money, and other resources that have gone into supporting the Connect programs, knowing that city staff have been involved in their events and e-mails have gone out from city offices.

"There is no line item in any budgets nor any reporting within our office on time spent coordinating with SF Connect," Joe Arellano from the Mayor’s Office of Communications responded by e-mail after repeated requests for answers.

That’s probably because there seems to be no clear line drawn between where the private SF Connect ends and where the public-sector Mayor’s Office begins. Call the phone number on the San Francisco Connect Web site for Project Homeless Connect, and it rings at the desk of Judith Crane in the Department of Public Health.

Even getting a list of privatization proposals by Newsom hasn’t been easy. The Mayor’s Office cited technical inadequacies when we asked it to search all of Newsom’s speeches, press releases, e-mails, and other documents for the words "public-private partnership," a favorite Newsom phrase.

We know that he’s unsuccessfully sought to privatize jail health services, security at the Asian Art Museum, and the city’s golf courses (see "Bilking the Links," page 22) and to create a citywide wireless Internet system run by Google and EarthLink.

But ask Newsom about it, as we did, and you’ll hear his semantic gymnastics: "Privatization is failing, so I’m not pro-privatization. I don’t look to privatize. I look for ways to manage more creatively and more efficiently."

Sprechen Sie Hubba Hubba?

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By Amber Peckham

Mag ich ein Bier haben, bitte?

That’s German for “May I have a beer, please?” Memorize it, because burlesque-style Oktoberfest has come to San Francisco at last, thanks to the combined efforts of the Hubba Hubba Review and the DNA Lounge. The lederhosen-clad lovelies of Hubba Hubba will kick off the festivities around 10:15 this Friday with the best burlesque show this side of Bavaria, followed by magic and comedy acts, a DJ, and the swing stylings of local band Lee Presson and the Nails.

sparklykingfish.jpg
Mein Gott! So hot! Sparkly Devil and Kingfish strut their stuff onstage during a performance.

Bilking the links

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By now, even most non-golfing residents of San Francisco have heard the dire refrain coming out of City Hall: San Francisco’s public golf courses are sucking millions of dollars from the city treasury! Dozens of media stories have trumpeted these bleak pronouncements, and city leaders are using the shortfall to push for outsourcing control of the century-old open spaces. But a Guardian review of the “Golf Fund” shows that the links are not nearly as down and out as pro-privatization forces have led us to believe.

Recreation and Park Department accounting documents we obtained show revenues at the city’s six publicly-owned golf courses last year were up nearly $1.5 million from 2005-2006 and over $2.2 million dollars from 2004-2005, an increase of nearly 30 percent. But the costs of a lavish contract with a large, out-of-state golf management corporation have risen precipitously over the same time frame and drained off most of these new funds.

For the 2006-2007 fiscal year, the city shelled out more than $3.25 million to Kemper Sports Management to operate the pro shop and clubhouse at the Harding Park Golf Course and its nine-hole neighbor, Fleming. By comparison, in 2004-2005, Kemper’s tab at Harding and Fleming was a still eye-popping $2.07 million, but that number was nearly $1.2 million less than what the city had to pay last year. These increased costs, as well as a hefty loan repayment for Harding Park’s botched remodel in 2002 and 2003, have eaten up the links’ improved revenues and forced the city to throw in an extra $1.4 million from the General Fund to keep golf solvent.

“What’s going on up at Harding is a disaster,” Bob Killian told the Guardian. Killian ran the city’s golf operations profitably for two decades until 2001. “When I was in charge, we had contracts with various managers for the pro shops and the restaurants and they made us money. They paid us. Now, Harding is run at a deficit. Where the fuck is the money going? What’s it for? Nobody knows. It’s all this big secret … It’s a scandal.”

Kemper’s seven year deal is unique, to say the least. At every other publicly managed course, the city leases control of the pro shops and clubhouses to outside companies. In exchange for a flat fee paid into city coffers, those companies bear all the risk, and reap most of the rewards, for operating the facilities. But at Harding, the city pays the Illinois-based Kemper $192,000 a year, regardless of their performance, to act as an on-site manager, plus a 5% “incentive fee” for gross revenues over $6 million. But those guaranteed sums are only the beginning of the bill.

Kemper hires staff, rents golf carts, and orders the supplies to be sold in the pro shop and the clubhouse. Unlike the city’s lease arrangements at other courses, though, they bear none of the risk. They simply invoice the city for their expenses and the city signs the tab. And the tab just keeps growing.

One public golf insider who declined to be identified for fear of retribution grumbled, “They’ve got this enormous staff there, managers and assistant managers and assistants to assistants of managers. It’s a golf course, not a hospital! I hear the payroll for the restaurant alone is like $600,000. And it’s only open for one shift a day … They stock their pro shop with top of the line gear that just sits there. If they order 20 Arnold Palmer shirts and only sell two, who cares? The city still pays for all 20.”

In an email to the Guardian, Kemper’s general manager at Harding, Steve Argo, told us they have between 60 and 80 employees, depending on the season. Citing this seasonal variability and “competitive reasons,” he did not break those numbers down between management and non-management, as we requested.

Both Argo and Katharine Petrucione, Rec and Parks’ Chief Financial Officer, attributed much of the added costs at Harding to the opening of a new “permanent clubhouse” there in late 2005. Argo said the increased revenues from the clubhouse have “more than covered the city’s increase in payments.” But while Rec and Parks’ ledgers do show that concessions revenues at Harding and Fleming have gone up since the clubhouse opened, the increase in Kemper’s bill has gone up nearly as much. All in all, with Kemper’s multimillion dollar deal and loan payments for the over-budget remodel at the course, accounts still put the course at more $500,000 dollars in the red – even though a round of golf there now costs well over $100 and Kemper is still making a handsome profit.

It doesn’t end there. Petrucione said Kemper’s contract actually costs taxpayers even more than meets the eye. Because the company submits monthly and yearly budget projections, as well as reams of invoices and expenses for reimbursement, Rec and Park staffers spend hours examining Kemper’s paperwork and activities – essentially managing the manager. When we asked her for an accounting of how much the Kemper contract costs the city in staff hours for these oversight duties, Petrucione replied, “It definitely requires more time and effort … than a lease agreement [like those at every other course] would.”

During a recent radio interview, Sup. Jake McGoldrick called Rec and Park’s deal with Kemper, “The worst contract I’ve ever seen…We don’t have a golfer problem,” he added. “Golfers are coming out and playing. We have an accountancy problem.”

The golf insider we spoke with echoed McGoldrick’s sentiments, “Business is up like 30% this year, but Kemper’s contract is jeopardizing the whole department … If we redid the greens, tees and fairways [at the other courses besides Harding], just Band-aid stuff like that, we would have the premiere municipal system in the country. But instead they’ve given this cushy deal to a company from Chicago with no connection to San Francisco. It’s so unfair.”

Despite the controversy over Kemper’s all-expenses-paid arrangement, Mayor Gavin Newsom, Rec and Park general manager Yomi Agunbiade, and others at City Hall have been using the deficits largely brought on by Kemper’s contract to push for more private control over the city’s links. In June, the Mayor’s office put forward a plan to outsource not just clubhouse and pro shop management, but all golf operations at the city’s premiere courses, including Harding. The proposal was tabled after several contentious hearings at the Board of Supervisors, but many observers expect that it will make its way back to the Board in the near future.

“In a perfect scenario the city could [manage the courses efficiently] but the city has proven that it doesn’t have the ability to do it,” Supervisor Sean Elsbernd told us back in July. Elsbernd has been one of the most vocal supporters of bringing in private golf management.

But McGoldrick, Killian and other opponents of the idea point out that the city provided quality, inexpensive golf for nearly 100 years. They worry that private managers will find profit in higher greens fees, more part time workers, and lower salaries and less benefits for full time staff. But beyond those concerns, they see the Mayor’s plan as yet another example of publicly owned assets being offered up for private gain.

The courses, McGoldrick told us, are “priceless … we can’t just dump [them] because you’ve got folks from the Mayor’s office and his Rec and Park department who don’t want to be bothered.”

Gimme less

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The Internet’s all abuzz (OK, the part of the Internet flooded by celebrity-obsessed housewives and former jazz dancers) about Britney Spears’ just-released music video for her single “Gimme More.” So what are you missing by watching mayoral debates or clipping your cuticles instead of cruising YouTube for mentally challenged bubblegum pop stars?

This:

Or I can just summarize it for you: Britney dances around a pole. Britney dances around a pole. Some other girls dance with Britney around a pole. Britney dances around a pole. Girls smile. The end. (Did I mention Britney dances around a pole?)

Though the video isn’t as dismal as her performance of the song at the VMAs – she actually looks awake in the video – it’s still pretty uninspired and uninspiring, especially for an artist who’s as much about performance as she is about actual music. Take away the seizure-worthy camera angle changes and it’s just, well, boring.

What’s less so? The Sex Pistols. So to add a bit of punk to your pop diet, read about Johnny Rotten calling Green Day “old gorgonzola cheese in old boots” and Britney’s VMA performance “like a school play by 11-year-olds” during an interview about the Sex Pistols reunion tour.

Gimme lip

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› kimberly@sfbg.com

SONIC REDUCER Do you believe in magic? Or voodoo? Or the links between ecstasy and long-term memory loss? If you’re a firm believer in the last, then you probably can’t recall the good ole days of garage rock — and no, I’m not talking about ’60s snarlers like the Seeds, the Standells, and the Chocolate Watchband nor ’80s revivalists like the Fleshtones, the Chesterfield Kings, and Holly Golightly. I’m searching the motley gray matter for that fuzzed-out, lo-fi, house-rockin’ turn-of-the-century blast from the early ’00s past, the one that teetered forth in the crusty, musty, mop-topped form of the Hives, the Von Bondies, the Vines, the Dirtbombs, the Strokes, the Detroit Cobras, the White Stripes, the Makers, the Datsuns, et al. In ’02 you were crap on a cracker if you didn’t come with the thes and the esses and the three chords and the loud, plowed, and way-too-gristly grizzly rock ‘n’ roll.

So where did all the good times go, troglodytes? The initial ’60s American garage rock siege was hopped up on the rawboned, blues-indebted British Invaders. But this time around did the bands simply get bored of the same few chords? Or weary of the uniforms? Was it simply another historical hiccup in musical trend cycles, a brief burst of energy fed by pink-slipped creatives and millennial joie de vivre?

Still, longtime listeners know garage rock never quite stops. The ahistorical trendoids who leaped aboard the bandwagon — who didn’t know your Kingsmen from your Chesterfield Kings or "Louie Louie" from "Talk Talk" — may have moved on to the next flavor of the weak. But snotty rock springs eternal — like mucus. Among the main remaining perpetrators today are those bone-deep bad boys with one foot in rock’s past and another in the future the Black Lips, the kid bros of all of those ’00s garage third wavers, who arrived kitted out with a tumescent, prepubescent sense of humor, a hot and sweaty live show, innumerable 7-inches, and now four full-lengths. I remember taking a listen to the Black Lips’ first self-titled Bomp! CD four years ago and finding that it rose above the pile of garage-bound by-the-bookers like so much toxic, nonnutritious, black-flecked, punky foam.

The Atlanta group’s latest CD, Good Bad Not Evil (Vice), finds them name-checking girl-group matresfamilias right up front — looking to a line from the Shangri-Las’ "Give Him a Great Big Kiss" with the album title — while still plying their grimy tricks: they sing the praises of "Magic City titties," strike pseudoreverent poses with "How Do You Tell the Child That Someone Has Died," and invoke the spirit of Professor Longhair and the 13th Floor Elevators while slamming the "ruthless old bag" that swept through N’awlins on "O Katrina!" The epicenter of Good Bad Not Evil might be "Veni Vidi Vici," punctuated by creepy slaps and skin-crawling licks as vocalist-guitarist Cole Alexander mocks, "Mirror, mirror on the wall / Who’s the greatest of them all / My man Muhammad, Boy Jesus too / ‘Cause I came, I saw / I conquered all / All y’all, all y’all, all y’all / People look towards Mecca’s way / Sistine Chapel people pray / It don’t matter what you do / Holy World War will come for you." Call it flower punk, as the Black Lips are wont to do, or conscious garage rock or backpacker bop, but it sounds like the scamps are reaching past the retro toward some real issues these days.

Of course, the Black Lips won’t spill the goods. Not that they can, when talking to Alexander, 25, turns out to be an exercise in total frustration. On a mobile and on the move through Indianapolis with the rest of the combo, the vocalist kept dropping out — or hanging up — betwixt juicy tidbits on dating Osama bin Laden’s niece Wafah Dufour ("We discussed making some instrumental tracks and hung out. She was really nice and pretty and cool, so we’ll just see how it goes") and giving equal Lip to Israel and Palestine, performance-wise ("These things make it seem like we’re more politically involved, but we just like to have fun. None of the Palestinians were able to come to see us, so we played in front of a mosque with just guitars. There are posters everywhere of suicide bombers’ faces — those guys are like rock stars there. But the kids loved it and were really intrigued that a punk band would play for them"). Still, after spending more time yammering to dead air than engaging with the vocalist — and finding "Veni Vidi Vici" inexplicably skipping on my copy of the new LP — I finally understood: these kids were born under a bad sign, and how. Good bad, though, not evil. *

THE BLACK LIPS

With the Spits

Mon/15, 8 p.m., $15

Great American Music Hall

859 O’Farrell, SF

www.musichallsf.com

THE VOODOO YOU DO

RUINS


With the departure of bassist Hisashi Sasaki, drummer Tatsuya Yoshida goes it alone, boosting the virtuosic noise spasms and live and unreleased skronkercise of Refusal Fossil (Skin Graft). With Good for Cows and Birgit Ulher Quintet. Wed/10, 9 p.m., $10. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

BRUTAL SOUND FX NO. 43


The noise-peddling umpteenth iteration includes Winters in Osaka, Pink Canoes, Mykel Boyd, Kukie Matter, Mr. Mercury Goes to Work, Ozmadawn, and Head Boggle Domo. ‘Nuff said. Thurs/11, 8 p.m., pay what you can. 21 Grand, 416 25th St., Oakl. www.21grand.org

CRYPTACIZE


Chris Cohen, once of Deerhoof, and Nedelle Torrisi dust off their new Asthmatic Kitty combo, Cryptacize. With Half-Handed Cloud, Lake, and Joel. Sat/13, 7 p.m., $5. Mama Buzz Café, 2318 Telegraph, Oakl. www.mamabuzzcafe.com

MATT POND PA


News flash: ebullient indie rocker overcomes stolen gear and The O.C. associations. Tues/16, 8 p.m., $14. Great American Music Hall, 859 O’Farrell, SF. www.musichallsf.com

Jack Davis, 1940-2007

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› news@sfbg.com

Jack Davis was a relentless and often unheralded advocate for underfunded, outflanked, and ignored artists, community groups, social movements, and others shunted aside by mainstream venues and the art establishment.

Davis died Sept. 23 at Henry Mayo Newhall Memorial Hospital in Valencia from injuries sustained in a car accident. He was born Nov. 16, 1940, in Phoenix, Ariz., and came to California to attend the University of Santa Clara and San Francisco State University in the late 1950s and ’60s. He studied theater arts in Northern California, then was one of the directors and founding actors of the South Coast Repertory in Orange County. He married Judith Watson and returned to San Francisco in 1968.

Well known in the underground art world that he helped pioneer, Davis was a pivotal figure in the growth and public awareness of hundreds of uniquely San Francisco creative projects. For nearly 20 years he was director of the SomArts Cultural Center, which provides classrooms and work space for community-based programs and theater and gallery access to nascent and established artists.

But his contributions went far beyond SomArts. He and Rene Yáñez helped found CELLspace, a unique community and cultural center in the Mission. Davis was an early supporter of Burning Man and hosted its parties, meetings, and large-scale events at SomArts. He also provided technical support and counsel for the Day of the Dead and other San Francisco street events.

Under his leadership SomArts hosted myriad edgy and unconventional troupes and shows. Davis hosted early events by Survival Research Laboratories, which essentially created the machine-and-fire art scene that is now renowned around the world. Davis would often need to run interference with the Fire Department and other authorities who were concerned about the SRL’s seemingly dangerous experimentation.

Davis assisted in the evolution of that scene at every step, recently providing support services so the Flaming Lotus Girls could bring their massive Serpent Mother project to the "Robodock" festival in Amsterdam last month. Other SomArts projects Davis facilitated include the offbeat Naughty Santa’s Black Market, the Queer Arts Festival, Balinese shadow theater, DadaFest, the SF Electronic Music Festival, and the SF Indie Fest.

Davis also helped win national recognition for the alt-art movement by working with Eric Val Reuther, a panelist for and consultant to the National Endowment for the Arts, to bring many worthwhile (and underfunded) groups to the attention of the NEA. Davis also cofounded the Neighborhood Arts Program National Organizing Committee and helped set up its West Coast office in San Francisco.

Among the community-based groups Davis helped establish were the Bayview Opera House, the Native American Cultural Center, the Mission Cultural Center, and the Western Addition Cultural Center. He helped create a theater at Lone Mountain College, was director of Intersection for the Arts, and organized the San Francisco Blues Festival with Tom Mazzolini. In the summer Davis and his son Hayden and their friend Ernie Rivera built stages and performance areas for street fairs and other events.

As director of Intersection for the Arts, Davis hosted many unknown performers who went on to acclaim in the larger world of theater, including Diane di Prima, Whoopi Goldberg, Bob Carroll, Ntozake Shange, Bill Irwin, Paul Dresher, and Rinde Eckert. Other groups Davis supported include the SF Mime Troupe, the Farm, the Pickle Family Circus, Make a Circus, and Dance Mission. Davis and George Coates were cofounders in the 1980s of the San Francisco International Theater Festival, which brought the early work of Spaulding Grey and others to the public’s attention.

"Jack was unflappable — nothing threw him," Coates once told me.

Davis lived on a houseboat — one of three he built over the years — with his daughter, Sarah, and his son-in-law, Shawn Lytle, in Mission Creek in San Francisco’s China Basin. As the longtime president of the Mission Creek Harbor Association, Davis fought developers and bureaucrats in a never-ending battle for the right of an organic, human-scale community to simply exist in this city. Many a weekend afternoon Davis could be found tinkering away on his or perhaps one of his neighbors’ boats. Due in great part to Davis’s efforts, Mission Creek remains one of San Francisco’s garden spots, even while surrounded by new development.

Davis was seen as a Buddha-like figure in the often-fractious world of community arts and politics. He was a bear of a man who exuded a preternatural calm. Composer, producer, and photographer Doug McKechnie noted once after a particularly rough MCHA meeting, "I was in awe of his ability to get things done with such grace, style, and simplicity. He could come into a crowd of bickering people, and they listened."

Davis was also instrumental in rejuvenating the Bay View Boat Club. "One day in 1984, Jack called me up and said, ‘Meet me at the Bay View Boat Club,’>" McKechnie said. "He showed me around the place and said, ‘I think this place has tremendous potential. Let’s join and see what we can do.’ Jack talked the club into having a special, one-year membership drive that allowed people who didn’t have a boat to join. We called everyone we knew, and before you could say ‘Bottle of beer’ the club had 200 new members, all of whom eventually got boats. Jack was elected commodore two years later and set the model for what is still one of the most astonishing, real, funky places in the world."

Davis is survived by his wife, Noriko Tanaka; ex-wife, Judith Davis; daughter, Sarah Coseby Davis; son-in-law, Shawn Lytle; son Arthur Fumiko Davis; daughter-in-law, Tesa Davis; grandchildren, Jordan Alexander Davis, Jacquelyn Rae Davis, and Olivia Davis Lytle; brother, Bill Davis; sister, Lynn Davis; and cousins, Patty Costello, Martha de la Cruz, and Amy de la Cruz. Jack’s mother, Jean Davis Mueller, age 94, resides in Scottsdale, Ariz. His son Hayden Carlos Davis died in 1999.

A celebration of Jack Davis’s life will be held Nov. 18 at the SomArts Cultural Center, 934 Brannan, SF, from 3 to 8 p.m. The family is establishing a scholarship fund for Arthur Davis. For information visit www.somarts.org.

Jack Davis will be deeply missed by all who were touched by his calm, generosity, and soothing presence over his 40-year involvement in Bay Area arts. 2

Mike Noland and Charlie Gadeken contributed to this report.

Ahoy, my latest lupine indie: Sea Wolf

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Come sea about me: Sea Wolf in performance elsewhere. Photo by Alex Brown Church

By Chris Lotto

Sea Wolf is Alex Brown Church, the band’s frontperson and only standing member. The rest of his pack are drawn on a rotating basis from a conglomerate of LA musicians known as the Ship Collective. It’s unclear whether this tour will produce a more permanent membership. On Wednesday, Oct. 3, at the Independent, he was backed by drums, bass, cello, a drowned-out lead guitar, and an extremely sexy keyboardist doing this lazybop back-and-forth shoulder maneuver the whole night. I think I may have seen a ring on her finger. No matter. That’s not the sort of band review we’re after here.

Invoking the spirit of Jack London’s 1904 work, Sea Wolf plays to life’s awareness of death. The songs intimate a fondness for bluegrass, moving in time with Church’s favorite apprehension: the decay of the natural world. The first five numbers could have easily featured Church alone with zero accompaniment. Like I said, Sea Wolf is Alex Brown Church. It’s not that the show was any less enjoyable because of all the other noise – only that a brooding cello line layered over a skip-slowly backbeat didn’t add much in the way of color, depth, or interest to Church’s own brooding melodies and skip-slowly acoustic.

Nor is this meant to discount Church’s – and the band’s – effectiveness in conveying a sense of well-traveled melancholia. He’s got a storyteller’s voice that leaves a near sad impression, yet it remains a voice that aims to please – Church has a gift for creating contented hymns of worry. Plenty of heads were bobbing inside the Independent, and Church’s reminiscences definitely had a couple thirtysomething couples giving each other the old “yeah, he’s got it” nod of approval. The lyrics are plenty evocative, happy to be doing a eulogist’s work, but much of the instrumentation is redundant, wasted on Church’s singer-songwriting.

Sea Wolf did get the place going with one you may have heard on the radio, “You’re a Wolf,” a tame little rock-out that, along with a second one just like it – punchy, highly civilized – made a little room for meaningful collaboration. And though it was a short set composed of short songs that all ended abruptly, it seemed that everybody in attendance, myself included, appreciated Church’s thoughtfulness, even more his easy, plangent grace.

Endorsements: Local ballot measures

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Proposition A (transit reform)

YES


This omnibus measure would finally put San Francisco in a position to create the world-class transportation system that the city needs to handle a growing population and to address environmental problems ranging from climate change to air pollution. And in the short term it would help end the Muni meltdown by giving the system a much-needed infusion of cash, about $26 million per year, and more authority to manage its myriad problems.

The measure isn’t perfect. It would give a tremendous amount of power to the unelected Metropolitan Transportation Authority, a semiautonomous agency created in 1999 to reform Muni. But we also understand the arguments of Sup. Aaron Peskin — who wrote the measure in collaboration with labor and other groups — that the MTA is free to make tough decisions that someone facing reelection might avoid. And the measure still would give the Board of Supervisors authority to block the MTA’s budget, fare increases, and route changes with seven votes.

We’re also a little worried about provisions that could place the Taxicab Commission under the MTA’s purview and allow the agency to tinker with the medallion system and undermine Proposition K, the 1978 law that gives operating permits to working drivers, not corporations. Peskin promised us, on tape, that he will ensure, with legislation if necessary, that no such thing happens, and we’ll hold him to it.

Ultimately, the benefits of this measure outweigh our concerns. The fact that the labor movement has signed off on expanded management powers for the MTA shows how important this compromise is. The MTA would have the power to fully implement the impending recommendations in the city’s Transit Improvement Project study and would be held accountable for improvements to Muni’s on-time performance. New bonding authority under the measure would also give the MTA the ability to quickly pursue capital projects that would allow more people to comfortably use public transit.

The measure would also create an integrated transportation system combining everything from parking to cabs to bike lanes under one agency, which would then be mandated to find ways to roll back greenhouse gas emissions from transportation sources to 80 percent of 1990 levels by 2012. And to do that, the agency would get to keep all of the revenue generated by its new programs. As a side benefit — and another important reason to vote for Prop. A — approval of this measure would nullify the disastrous Proposition H on the same ballot.

San Francisco faces lots of tough choices if we’re going to minimize climate change and maximize the free flow of people through our landlocked city. Measure A is an important start. Vote yes.

Proposition B (commission holdovers)

YES


Proposition B is a simple good-government measure that ends a practice then-mayor Willie Brown developed into a science — allowing commissioners to continue serving after their terms expire, turning them into at-will appointments and assuring their loyalty.

Members of some of the most powerful commissions in town serve set four-year terms. The idea is to give the members, many appointed by the mayor, some degree of independence: they can’t be fired summarily for voting against the interests (or demands) of the chief executive.

But once their terms expire, the mayor can simply choose not to reappoint or replace them, leaving them in limbo for months, even years — and while they still sit on the commissions and vote, these holdover commissioners can be fired at any time. So their jobs depend, day by day, on the whims of the mayor.

Prop. B, sponsored by the progressives on the Board of Supervisors, simply would limit to 60 days the amount of time a commissioner can serve as a holdover. After that period, the person’s term would end, and he or she would have to step down. That would force the mayor to either reappoint or replace commissioners in a timely manner — and help give these powerful posts at least a chance at independence. Vote yes.

Proposition C (public hearings on proposed measures)

NO


Proposition C sure sounds good: it would mandate that the supervisors hold a hearing 45 days in advance before putting any measure on the ballot. The mayor would have to submit proposed ballot measures for hearings too. That would end the practice of last-minute legislation; since four supervisors can place any ordinance on the ballot (and the mayor can do the same), proposals that have never been vetted by the public and never subjected to any prior discussion often wind up before the voters. Sometimes that means the measures are poorly written and have unintended consequences.

But this really isn’t a good-government measure; it’s a move by the Chamber of Commerce and downtown to reduce the power of the district-elected supervisors.

The 1932 City Charter gave the supervisors the power to place items before the voters as a check on corruption. In San Francisco it’s been used as a check on downtown power. In 1986, for example, activists gathered enough voter signatures to place Proposition M, a landmark measure controlling downtown development, on the ballot. But then–city attorney Louise Renne, acting on behalf of downtown developers, used a ridiculous technicality to invalidate it. At the last minute, the activists were able to get four supervisors to sign on — and Prop. M, one of the most important pieces of progressive planning legislation in the history of San Francisco, ultimately won voter approval. Under Prop. C, that couldn’t have happened.

In theory, most of the time, anything that goes on the ballot should be subject to public hearings. Sometimes, as in the case of Prop. M, that’s not possible.

We recognize the frustration some groups (particularly small businesses) feel when legislation gets passed without any meaningful input from the people directly affected. But it doesn’t require a strict ballot measure like Prop. C to solve the problem. The supervisors should adopt rules mandating public hearings on propositions, but with a more flexible deadline and exemptions for emergencies. Meanwhile, vote no on Prop. C.

Proposition D (library preservation fund)

YES


In the 1980s and early 1990s, San Francisco mayors loved to cut the budget of the public library. Every time money was short — and money was chronically short — the library took a hit. It was an easy target. If you cut other departments (say, police or fire or Muni or public health), people would howl and say lives were in danger. Reducing the hours at a few neighborhood branch libraries didn’t seem nearly as dire.

So activists who argued that libraries were an essential public service put a measure on the ballot in 1994 that guaranteed at least a modest level of library funding. The improvements have been dramatic: branch library hours have increased more than 50 percent, library use is way up, there are more librarians around in the afternoons to help kids with their homework…. In that sense, the Library Preservation Fund has been a great success. The program is scheduled to sunset next year; Proposition D would extend it another 15 years.

If the current management of the public library system were a bit more trustworthy, this would be a no-brainer. Unfortunately, the library commission and staff have been resisting accountability; ironically, the library — a font of public information — makes it difficult to get basic records about library operations. The library is terrible about sunshine; in fact, activists have had to sue this year to get the library to respond to a simple public-records request (for nonconfidential information on repetitive stress injuries among library staff). And we’re not thrilled that a significant part of the library’s operating budget is raised (and controlled) by a private group, Friends of the San Francisco Public Library, which decides, with no oversight by an elected official, how as much as 10 percent of library money is spent.

But libraries are too valuable and too easy a budget target to allow the Library Preservation Fund to expire. And the way to fend off creeping privatization is hardly by starving a public institution for funds. So we’ll support Prop. D.

Proposition E (mayoral attendance at Board of Supervisors meetings)

YES, YES, YES


If it feels as though you’ve already voted on this, you have: last November, by a strong majority, San Franciscans approved a policy statement calling on the mayor to attend at least one Board of Supervisors meeting each month to answer questions and discuss policy. It’s a great idea, modeled on the very successful Question Time in the United Kingdom, under which the British prime minister appears before Parliament regularly and submits to questions from all political parties. Proposition E would force the mayor to comply. Newsom, despite his constant statements about respecting the will of the voters, has never once complied with the existing policy statement. Instead, he’s set up a series of phony neighborhood meetings at which he controls the agenda and personally selects which questions he’s going to answer.

We recognize that some supervisors would use the occasion of the mayor’s appearance to grandstand — but the mayor does that almost every day. Appearing before the board once a month isn’t an undue burden; in fact, it would probably help Newsom in the long run. If he’s going to seek higher office, he’s going to have to get used to tough questioning and learn to deal with critics in a forum he doesn’t control.

Beyond all the politics, this idea is good for the city. The mayor claims he already meets regularly with members of the board, but those meetings are private, behind closed doors. Hearing the mayor and the board argue about policy in public would be informative and educational and help frame serious policy debates. Besides, as Sup. Chris Daly says, with Newsom a lock for reelection, this is the only thing on the ballot that would help hold him accountable. Vote yes on Prop. E.

Proposition F (police pensions)

YES


We really didn’t want to endorse this measure. We’re sick and tired of the San Francisco Police Officers Association — which opposed violence-prevention funding, opposed foot patrols, opposes every new revenue measure, and bitterly, often viciously, opposes police accountability — coming around, tin cup in hand, every single election and asking progressives to vote to give the cops more money. San Francisco police officers deserve decent pay — it’s a tough, dangerous job — but the starting salary for a rookie cop in this town exceeds $60,000, the benefits are extraordinarily generous, and the San Francisco Police Department is well on its way to setting a record as the highest-paid police force in the country.

Now it wants more.

But in fact, Proposition F is pretty minor — it would affect only about 60 officers who were airport cops before the airport police were merged into the SFPD in 1997. Those cops have a different retirement system, which isn’t quite as good as what they would get with full SFPD benefits. We’re talking about $30,000 a year; in the end, it’s a simple labor issue, and we hate to blame a small group of officers in one division for the serious sins of their union and its leadership. So we’ll endorse Prop. F. But we have a message for the SFPOA’s president: if you want to beat up the progressives, reject new tax plans, promote secrecy, and fight accountability, don’t come down here again asking for big, expensive benefit improvements.

Proposition G (Golden Gate Park stables)

YES


This is an odd one: Proposition G, sponsored by Sup. Jake McGoldrick, would create a special fund for the renovation of the historic (and dilapidated) horse stables in Golden Gate Park. The city would match every $3 in private donations with $1 in public money, up to a total of $750,000. The city would leverage that money with $1.2 million in state funds available for the project and fix up the stables.

Supporters, including most of the progressive supervisors, say that the stables are a historic gem and that horseback riding in the park would provide "after-school, summer and weekend activities for families and youth." That might be a bit of a stretch — keeping horses is expensive, and riding almost certainly won’t be a free activity for anyone. But the stables have been the target of privatization efforts in the past and, under Newsom, almost certainly would be again in the future; this is exactly the sort of operation that the mayor would like to turn over to a private contractor. So for a modest $750,000, Prop. G would keep the stables in public hands. Sounds like a good deal to us. Vote yes.

Proposition H (reguutf8g parking spaces)

NO, NO, NO


It’s hard to overstate just how bad this measure is or to condemn strongly enough the sleazy and deceptive tactics that led Don Fisher, Webcor, and other downtown power brokers to buy the signatures that placed what they call "Parking for the Neighborhoods" on the ballot. That’s why Proposition H has been almost universally condemned, even by downtown’s allies in City Hall, and why Proposition A includes a provision that would negate Proposition H if both are approved.

Basically, this measure would wipe out three decades’ worth of environmentally sound planning policies in favor of giving every developer and homeowner the absolute right to build a parking space for every housing unit (or two spaces for every three units in the downtown core). While that basic idea might have some appeal to drivers with parking frustrations, even they should consider the disastrous implications of this greedy and shortsighted power grab.

The city has very little leverage to force developers to offer community benefits like open space or more affordable housing, or to design buildings that are attractive and environmentally friendly. But parking spots make housing more valuable (and expensive), so developers will help the city meet its needs in order to get them. That would end with this measure, just as the absolute right to parking would eliminate things like Muni stops and street trees while creating more driveways, which are dangerous to bicyclists and pedestrians. It would flip the equation to place developers’ desires over the public interest.

Worst of all, it would reverse the city’s transit-first policies in a way that ultimately would hurt drivers and property owners, the very people it is appealing to. If we don’t limit the number of parking spots that can be built with the 10,000 housing units slated for the downtown core, it will result in traffic gridlock that will lower property values and kill any chance of creating a world-class transit system.

But by then, the developers will be off counting our money, leaving us to clean up their mess. Don’t be fooled. Vote no.

Proposition I (Office of Small Business)

YES


Proposition I got on the ballot after small-business leaders tried unsuccessfully to get the supervisors to fund a modest program to create staff for the Small Business Commission and create a one-stop shop for small-business assistance and permitting. We don’t typically support this sort of after-the-fact ballot-box budgeting request, but we’re making an exception here.

San Francisco demands a lot from small businesses. It’s an expensive place to set up shop, and city taxes discriminate against them. We supported the new rules mandating that even small operations give paid days off and in many cases pay for health insurance, but we recognize that they put a burden on small businesses. And in the end, the little operators don’t get a whole lot back from City Hall.

This is a pretty minor request: it would allocate $750,000 to set up an Office of Small Business under the Small Business Commission. The funding would be for the first year only; after that the advocates would have to convince the supervisors that it was worth continuing. Small businesses are the economic and job-generation engines of San Francisco, and this one-time request for money that amounts to less than 1/10th of 1 percent of the city budget is worthy of support. Vote yes on Prop. I.

Proposition J (wireless Internet network)

NO


It’s going to be hard to convince people to vote against this measure; as one blogger put it, the mayor of San Francisco is offering free ice cream. Anyone want to decline?

Well, yes — decline is exactly what the voters should do. Because Proposition J’s promise of free and universal wireless Internet service is simply a fraud. And the way it’s worded would ensure that our local Internet infrastructure is handed over to a private company — a terrible idea.

For starters, San Francisco has already been down this road. Newsom worked out a deal a year ago with EarthLink and Google to provide free wi-fi. But the contract had all sorts of problems: the free access would have been too slow for a lot of uses, faster access wouldn’t have been free, there weren’t good privacy protections, and the network wouldn’t have been anything close to universal. Wi-fi signals don’t penetrate walls very well, and the signals in this plan wouldn’t have reached much above the second floor of a building — so anyone who lived in an interior space above the second floor (and that’s a lot of people) wouldn’t have gotten access at all.

So the supervisors asked a few questions and slowed things down — and it’s good they did, because EarthLink suddenly had a change in its business strategy and pulled out of citywide wi-fi altogether. That’s one of the problems with using a private partner for this sort of project: the city is subject to the marketing whims of tech companies that are constantly changing their strategies as the economic and technical issues of wi-fi evolve.

San Francisco needs a municipal Internet system; it ought to be part of the city’s public infrastructure, just like the streets, the buses, and the water and sewer lines. It shouldn’t rely just on a fickle technology like wi-fi either; it should be based on fiber-optic cables. Creating that network wouldn’t be all that expensive; EarthLink was going to do it for $10 million.

Prop. J is just a policy statement and would have no immediate impact. Still, it’s annoying and wrongheaded for the mayor to try to get San Franciscans to give a vote of confidence to a project that has already crashed and burned, and Sup. Aaron Peskin, the cosponsor, should never have put his name on it. Vote no.

Proposition K (ads on street furniture)

YES


San Francisco is awash in commercialism. With all of the billboards and ads, the city is starting to feel like a giant NASCAR racer. And a lot of them come from Clear Channel Communications, the giant, monopolistic broadcast outfit that controls radio stations, billboards, and now the contract to build new bus shelters in the city with even more ads on them.

Proposition K is a policy statement, sponsored by Sup. Jake McGoldrick, that seeks to bar any further expansion of street-furniture advertising in the city. That would mean no more deals with the likes of Clear Channel to allow more lighted kiosks with ads on them — and no more new bus shelter ads. That’s got Clear Channel agitated — the company just won the 15-year bid to rebuild the city’s existing 1,200 Muni shelters, and now it wants to add 380 more. Clear Channel argues that the city would get badly needed revenue for Muni from the expanded shelters; actually, the contract already guarantees Muni a large chunk of additional funding. And nothing in Prop. K would block Clear Channel from upgrading the existing shelters and plastering ads all over them.

On a basic philosophical level, we don’t support the idea of funding Muni by selling ads on the street, any more than we would support the idea of funding the Recreation and Park Department by selling the naming rights to the Hall of Flowers or the Japanese Tea Garden or the golf courses. On a practical level, the Clear Channel deal is dubious anyway: the company, which runs 10 mostly lousy radio stations in town and gives almost nothing of value to the community, refuses to provide the public with any information on its projected profits and losses, so there’s no way to tell if the income the city would get from the expanded shelters would be a fair share of the overall revenue.

Vote yes on K.

Chicago’s Estrojam hits us where we secrete

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Margaret Cho rocked the mic – and her burleque bone – at Estrojam in Chicago.

By K. Tighe

An estimated 15,000 attendees flocked to venues around Chicago last week, Sept. 18-23, for the fifth annual Estrojam Music and Culture Festival to see women doing what they do best. E-Jam is no touchy-feely Lilith affair: the events ran the gamut from burlesque to boozing, hip-hop to rock, photography to film.

Margaret Cho lit up the festival with a raucous array of ta-tas, tattoos, and tassels. Many eyebrows were raised when the San Francisco-born comedienne took up belly dancing a few years ago, but this week’s stint at the Lakeshore Theatre proved that Cho has taken the cabaret world firmly by the fans and put together a stellar revue. Featuring seasoned pros like New York’s Dirty Martini and LA’s Princess Farhana, up-and-coming transgender comic Ian Harvie, and members of West Hollywood’s Gay Mafia Comedy Troupe, The Sensuous Woman is an edgier take on a burlesque variety show.

The opening fan dance was not your standard pink and frilly affair, but an irreverent pulsing precursor to the sexual themes of the show set to Peaches’ “Boys Wanna be Her.” Here’s the thing – everyone in the cast was flapping a fan, not just the pretty girls – it was clear that Cho intended to blur some lines. As she emerged from the feathered curtains, the audience went ape and Cho began a well-received stand-up routine with “I’m Margaret, Bitch.” Keeping on the current event tip, the comic called out the critics of Britney’s VMA performance, ascribing the commentary on the pop star’s weight to “a symptom of a diseased mind.” Going on to vividly and hysterically describe that fateful day in an airport bathroom for Sen. Larry Craig, Cho introduced her show as “Like Donny and Marie – but with an all-tranny chorus line.”