San Francisco

Free Sunday meters challenge rejected, SFMTA board’s independence questioned

Erica Hanna
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92
Free Sunday meters challenge rejected, SFMTA board’s independence questioned

The San Francisco Board of Supervisors voted to reject an environmental appeal of the decision to repeal paying for parking meters on Sundays, which was voted on by the San Francisco Municipal Transportation Agency in April as part of the agency’s annual budget approval.

It was a hotly contested decision, as competing interest groups fought for their slice of Muni’s funding. SFMTA Chairman Tom Nolan told us at the time, “As long as I’ve been on the SFMTA board I’ve never felt more pressure.”

This week’s appeal to the Board of Supervisors focused on one aspect of the overall SFMTA budget: the repeal of paid Sunday meters. 

“I appreciate there is frustration,” SFMTA Director Ed Reiskin said to the board. That was an understatement.

The Sunday meters benefit many, the appeal’s filers contended: Less cars circled around looking for parking (because more drivers could actually find spots) meant reduced congestion and safer streets for bicyclists and pedestrians. It’s a sign of the strength of the argument that the appeal was filed by transit advocacy group Livable City (whose executive director is BART board member Tom Radulovich) and Mario Tanev, a very bright policy wonk over at the San Francisco Transit Riders Union. 

“The SFMTA’s own data proves the Sunday meters were good for the city,” Cynthia Crews of the League of Pissed Off Voters said to the board. “We need to stop playing chicken with public safety.”

But despite the environmental benefits of paid meters, the appeal was rejected. The reasons are buried in political gobbledygook, but untangling the complex story reveals the mayor’s power, and his missteps. 

Firstly, the environmental appeal wasn’t exactly aimed at the meters themselves, but at the SFMTA budget as a whole. That’s because the SFMTA board didn’t vote to repeal Sunday meters directly, but stuffed it into their approved budget, which is exempt from California Environmental Quality Act review. It was like serving up a distasteful Sunday meter fruitcake with the Muni budget holiday meal: You’d better eat the whole dinner, or else you’re not eating at all. 

Budgets are statutorily exempt from environmental review (otherwise there’d be an EIR with every major financial decision). So the Sunday meters were approved through a politically tactical move, shielded by the environmental exemption cloak of the budget.

This meant the environmental appeal yesterday targeted not just the meters, but it could effectively challenge the entire SFMTA’s right to environmental review exception for its budgets, supervisors said. They also warned such a challenge may set a precedent for other budgets from other agencies to not be exempt from environmental review, an onerous burden. That was too big of a pill for the board to swallow, which is likely why only two supervisors voted against granting the SFMTA the CEQA exemption: John Avalos and Eric Mar. 

Yet most of the political maneuvering wasn’t from the board, but from Mayor Ed Lee, a problem Supervisor David Campos used this review hearing to highlight. “Even if you do or don’t want to see Sunday meter parking, irrespective of the issue,” Campos said, “I think the way this matter was handled by the SFMTA, respectfully, is not something anyone should be happy with.”

He continued: “Let’s be clear: The reason why the SFMTA budget included an item that did not provide for funding from Sunday meters is because the mayor wanted it that way. We have a budget system that is essentially run by decisions made in the Mayor’s Office.”

We posed this idea in our story “Politics over Policy” [4/22], contending that because the SFMTA is appointed by the mayor (meaning, he picks and chooses who is on the board), the board members are therefore politically beholden to the mayor. 

Campos drove this point home at the meeting: “I think there’s something to be said when the appointment of one official (on the SFMTA board) is entirely dependent on [the mayor], who can disagree or agree with the decisions you made.”

The night before our last story went to print, SFMTA Board Chariman Tom Nolan told us that was in fact exactly what happened on the Sunday meter issue. The SFMTA board, whose directors vote on resolutions every week, received a phone call from the mayor asking for a specific vote. And he got it.

“Ed Resikin, myself, and a few others in a conference call [with the Mayor’s Office],” Nolan said. He told us the central message of the call was this: The mayor wanted to put a vehicle license fee increase on the city’s November ballot. In order to do that, the mayor contended, car drivers needed to feel like they weren’t being nickled and dimed. Paid Sunday meters had to go. 

“That was where they advanced the idea that the mayor wanted to do that,” Nolan told us. “That call was right before the mayor’s State of the City message.”

Nolan is an affable, straightforward person. The budget the SFMTA passed came on the heels of a fiery meeting, filled to the gills with activists from the senior and persons with disabilties communities. They asked for free Muni for those same groups, which would cost less money than the Sunday meters would bring in — many at the meeting said the meters could pay for the free Muni service. The need is dire, as some seniors said they regularly made the choice between groceries and a Muni pass.

Nolan sounded deeply effected by their stories.

“Muni is for everybody, especially those who need it most,” he said. “The testimony was very heartbreaking. It’s expensive to live in this city.” 

But in the end, he told us, the mayor felt it was best to kibosh the Sunday meters, which deprived the SFMTA of funding to make Muni free for qualified seniors. We asked Nolan if the mayor had outsized influence on the SFMTA board.

“I think people are aware that we are quasi-independent,” he said. “We are clearly part of the city family. I can assure you that this happens very seldom that we get this pressure from the Mayor’s Office. He’s a very open-minded guy, really, and he has a high tolerance for ambiguity, which I like.”

“But,” you don’t turn him down, he said, because, “he’s the mayor.”

SFMTA Board Director Cheryl Brinkman supported paid Sunday meters. But when justifying her vote to repeal them, she told the packed board meeting the “best political minds” in the Mayor’s Office said it was the right thing to do in order to pass the VLF increase ballot measure.

But in a move that outraged Sup. Scott Wiener and many others, just this month Lee dropped the VLF ballot measure altogether for this year, eventually agreeing to support its placement on the November 2016 ballot.

So to pave the way for success at the ballot box the board rejected free Muni for seniors and lost over $10 million in Muni funding. And in the end, the mayor threw all the justification for his compromises out the window.

Best political minds, indeed. 

DCCC calls against Prop B did not have desired effect, did raise questions

Sasha Cuttler And Mary Magee
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10
DCCC calls against Prop B did not have desired effect, did raise questions

Chairperson Mary Jung of the San Francisco Democratic County Central Committee, a highly influential political body that governs the San Francisco Democratic Party, has come under fire for “misuse of funds” after authorizing the use of DCCC dollars to make calls to voters just before the June 3 election.

The funds in question, according to DCCC members who raised concerns, came out of a $25,000 check from billionaire venture capital investor Ron Conway, received by the DCCC May 30.

In a June 16 letter – signed by DCCC members Kelly Dwyer, Hene Kelly, Sup. Eric Mar, Sup. David Campos, Sup. John Avalos and Petra DeJesus – Jung is taken to task for directing $11,674.48 from this donation be used for phone calls placed to voters in opposition to Proposition B, which appeared on the June 3 ballot, just before the election.

As previously reported, a complainant cried foul on this action in a filing with the San Francisco Ethics Commission, because callers seemed to be intentionally misleading voters by implying that the No Wall on the Waterfront Campaign, which backed the measure, was opposed to it.

When we phoned Jung for comment on that complaint, she said she did not have the call script and could not comment on the charge that the calls were misleading. She also said Conway’s contribution was not necessarily put toward the No on B calls. Instead, she told us, she could not link any single donation with any single expenditure, because the DCCC had been conducting broad fundraising efforts leading up to the election.

In their letter to Jung, the dissenting DCCC members argued that her decision to authorize the use of funds for the No on B voter calls violated the organization’s bylaws, because “there was never a vote by the members to expend $11,674.48 to make calls for No on B.” 

The letter points to an article within the board’s bylaws, stating that “Disbursements of SFDCCC funds … shall be authorized by a majority vote of the voting members present and voting at a regular meeting.” 

In the end, San Francisco voters overwhelmingly approved Prop. B, which requires voter approval before building heights may be increased above established limits for new waterfront development projects. However, the measure was not popular among real-estate development interests.

In addition to being chair of the DCCC, Jung is employed as a paid lobbyist for the San Francisco Association of Realtors, making her professionally positioned at the center of the San Francisco real-estate community.

“The power that comes with being the Chair does not mean that you can circumvent Bylaws and advocate and raise money for causes that you happen to also work for,” the authors of the letter stated bluntly. “There is a serious conflict of interest here.”

When the Bay Guardian phoned the DCCC to ask if there was an expert on the organization’s bylaws who might be able to comment on whether the rules had been violated, we were directed to Arlo Hale Smith, a 30-year DCCC member and parliamentarian with a deep understanding of the bylaws.

Smith offered an interesting twist on the matter: He said these funds were indeed “properly expended, under the emergency provision.”

The emergency provision? Yes, Smith explained, the DCCC bylaws contain a provision allowing the DCCC chair and treasurer to authorize the use of funds without first calling a vote, “in the event of an emergency.” This provision has been used in the past, he said, to authorize last-minute expenditures when an election imposes a tight deadline.

Since the money arrived three days before the election, there was no time to call a meeting and vote on it, Smith clarified. That’s why it was perfectly legitimate for Jung to authorize the use of funds. He added that disagreement over the content of the calls warranted a separate conversation.

“Because of when the check arrived – it constituted an emergency,” Smith noted, confirming that he was talking about the check from Conway.

That would be the same check from Conway that Jung told us had nothing to do with the No on B calls.

Sounds like the DCCC is going to have lots to talk about on June 25, when the members who submitted the letter asked for a hearing on this matter.

Here’s the full text of the letter.

DCCC members' letter to Chair Mary Jung

Who moved my cheese?

Michael Redmond
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2
Who moved my cheese?

culture@sfbg.com

THE WEEKNIGHTER Weekends are for amateurs. Weeknights are for pros. That’s why each week Broke-Ass Stuart (www.brokeassstuart.com) will be exploring a different San Francisco bar, bringing you stories about the places and people who make San Francisco one of the most phenomenal cities in the world. Who wants a drink?

I think it was SF writer Brock Keeling who told me The Lion Pub (2062 Divisdero St, SF. 415-567-6565) used to be a gay bar. Well, I mean he didn’t tell me, I read it on his old site SFist, but you get the point. There was some reference to “remembering when the Lion Pub was a gay bar” and I thought, actually I don’t remember that at all. To me the Lion Pub had always been that place that had the cheese spread and that acted as the Normandy in the Marina’s D-Day-like onslaught of Divisidero. It was the first place over the hill where the waves of guys in collared shirts and gals in uncomfortable shoes had landed before slowly, intrepidly, marching south.

It’s hard to be nostalgic for a something you never experienced, but you can sure as hell romanticize it… not that I’m really doing either. As a straight guy I don’t imagine myself trekking all the way over to Lower Pac Heights to frequent a gay bar, especially when I live close to so many on Folsom Street. But Pete Kane’s recent article in SF Weekly about the death of gay culture in SF got me thinking about the peculiarities of The Lion Pub’s transformation. When the bar switched teams in the early 2000s it must’ve been jarring for the regular patrons. What had been a gay bar since 1971 (according to the Gay Bar History Log on The Cinch’s website) was suddenly being filled with the kind of people who still called their friends “fags” when they were busting their balls.

This was the early 2000s after all, way before Ellen or Michael Sam, and not long after Matthew Shepard. Now I’m not saying for sure that shitty things happened, because I want to believe this is/was the San Francisco we all think it is/was. But what I am saying is that the switch from a gay bar to a Marina bar must’ve been mind-boggling.

But I wouldn’t know. I wasn’t there. [Ed Note: It was weird, but OK. —Ye Olde Marke B.] The first time I visited The Lion Bar was probably in 2006 and I was incredibly impressed. It felt somewhere between a fern bar (its hidden gay legacy peeking through) and a Victorian parlor, it had a disco ball, and most importantly it had free food. I was researching the “free food” section for my book Broke-Ass Stuart’s Guide to Living Cheaply in San Francisco, and someone had tipped me off to the Lion Pub. Rumor was they put out a big cheese spread and even did free sushi on some nights.

So of course I had to go investigate. Walking in that first night I could smell the fresh fruit juice and could spy attractive people milling around. It was bigger than I expected and it wasn’t till I walked around a bit that I found what I was looking for: cheese and crackers! When I asked the barkeep how often they did this, he just kinda shrugged his shoulders and said, “Pretty much whenever they feel like it,” and let it at that.

I haven’t been back to the Lion’s Pub in years but rumor has it that the luminous cheese spread is no more, which bums me out. But maybe next time I’m in the area I’ll pop in anyways for one of its notorious greyhounds — and I’ll try to imagine what it was like back before everything got so straight. I’ll bring my own cheese spread just for old times’ sake.

Stuart Schuffman aka Broke-Ass Stuart is a travel writer, poet, and TV host. You can find his online shenanigans at www.brokeassstuart.com

 

A heart in San Francisco

Michael Redmond
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5
A heart in San Francisco

arts@sfbg.com

THEATER This week, at New Conservatory Theatre Center, San Francisco’s Evan Johnson remounts his popular 2013 solo play, Pansy. It’s the story of a disaffected twentysomething gay man who discovers a cache of videocassettes in the basement of his SF apartment building — made by someone who could be considered his doppelganger, a club kid long since felled by AIDS. The play functions in part as a communion between a younger generation of queer San Franciscans and the early era of the AIDS crisis.

Of course, there are those who, in their lives as well as work, continue to bridge the two eras, maintaining a vital link to this fraught but fecund period in SF’s queer/queered history. One of them is the inimitable Justin Vivian Bond. Mx. Bond has long since been based in New York, and yet v (to apply the preferred prefix and pronoun to someone who has gracefully sidestepped the dominant gender binary) grew into an artist here, and has returned to SF many times over the years, including for packed performances produced by Marc Huestis at the Castro Theatre.

Although maybe still most often identified with the cabaret sensation Kiki and Herb — a Tony-nominated, long-running duet with Kenny Mellman, in which Bond excelled as the perennially sloshed Kiki Durane — Bond’s career has hardly slowed since K&H were put to rest more than five years ago. In fact, the output for this internationally acclaimed artist, actor, performer, and singer-songwriter has been impressive: In addition to innumerable musical performances, there are two fine albums, a spunky and poignant memoir about growing up as a trans kid in suburban 1970s Maryland, and a recent turn as the Widow Begbick (singing original songs by Duncan Sheik) in a New York production of Bertolt Brecht’s A Man’s a Man.

A powerfully soulful and charismatic performer, Bond brings Love Is Crazy!, an evening of songs about love in all its aspects, to Feinstein’s at the Nikko this weekend.

SF Bay Guardian In the late 1980s and early ’90s, AIDS made SF a dark place, but it was also a time of exceptional artistic, intellectual, and political ferment. How did that affect the development of your career?

Justin Vivian Bond I majored in theater in college, but I couldn’t really see a place for myself in mainstream theater. At my freshman evaluation they told me I had to butch up; I had to be able to pass as a straight man in order to make a living in the theater. Fortunately, I’ve been able to prove them wrong! But that was sort of a frustrating and unappealing way to live my life.

So I moved to San Francisco. I was going to probably go back to college and get a degree in art history and teach. But instead, I found Theatre Rhinoceros and queer performance and Queer Nation. It was a time when there was a tremendous amount of activism around HIV and AIDS. I worked at A Different Light bookstore, so I was exposed to the greatest queer minds of the day, brilliant writers and artists that would come in there. It was also, looking back now, the golden age of queer publishing. It was when Mike Warner published Fear of a Queer Planet. It was an intellectual and creative surge for queer people. Rick Jacobsen was still alive, and he did the Kiki Gallery [1993–1995]. I worked with him on a show that was written by Christian Huygen called Waiting for Godet, which appropriated Waiting for Godot and made it about two drag queens. It was so much fun, and really exciting. And I was in Hidden: A Gender with Kate Bornstein at Theater Rhinoceros. We toured that around the country — that was my New York stage debut.

I was at the Alice B. Theatre in Seattle when the NEA Four were defunded. Three of the four were at that festival. That was when I decided that I was going to devote my life to queer performance and to having the voices of queer people heard in as many places as possible. That propelled me to stay in the role of Kiki longer than I might have liked to, because it eventually brought me to Carnegie Hall and a Tony nomination on Broadway. [After that] I thought, OK, now I can really start honoring my own creativity, aside from making political statements. Fortunately for me, once I gave up that character and started performing as myself, I feel like things have been going pretty well. And it all started for me in San Francisco, which is why I love it so much.

SFBG Was there always a political dimension to your work?

JVB Having my art spring from a political place — exposed to the queer politics, really the life-or-death politics, that were happening back then — really justified my impulse to be an artist. I’m not saying that everything I’ve ever done has been politically astute or important, but there is a political perspective behind everything I do. That helps me justify asking a bunch of people to pay attention to me. If I didn’t feel like I was actually saying something, I’d probably be embarrassed to be on the stage, really.

SFBG What are the origins of Love Is Crazy!? You took it first to Paris. Was it a show you made specifically for that city?

JVB It kind of evolved. When I was last in San Francisco, actually, I was getting ready to host a benefit for the Lambda Legal Defense [and Education] Fund. Sometimes I’ll just pick a word and put it on my iPod, then let all the songs with that word in them play. That particular day, I had recently become single, so I hit “love,” and this list of songs played. I thought, “I should just write down this list and that could be my next show.” And that’s what I did for a show here in New York called “Mx. Bond’s Summer Camp.” I liked that show but over time I sort of finessed it. Now, not all the songs have the word love in them. Some are songs from both of my records. I was going to Paris, and I decided I wanted to do this Valentine’s Day show in front of the Eiffel Tower. I had a really wonderful time with it, so I decided to tour that show this year. So that’s what it is, craaazy love. And it’s got some good anecdotes in it.

SFBG I’m curious about the origins of your distinctive singing voice.

JVB For Kiki, I sang with a character voice. I started performing Kiki when I was like 28 or 29. I was just coming into my own voice at that time, and I kind of sang in that voice for 15 years. In San Francisco, during the last run of Kiki and Herb, I met this person who I fell in love with, and went on the road with, from San Francisco up to Canada. I kind of got back in touch with my queer roots, and I started writing my own songs, because I needed to find my own voice. It really helped me to get myself into the mindset of what I wanted to say, as opposed to what I wanted to say as this character.

I wrote several songs that were on my record Dendrophile. And I started singing songs that really resonated with me, including “The Golden Age of Hustlers,” which is a song by Bambi Lake and Jonathan Basil, who lives in the Bay Area. It’s about San Francisco and Polk Street. It’s an elemental song for me. And that’s how I started to rediscover my own voice. I had also just been in London; I went to Central Saint Martins College for my MA in scenography, which is like performance installation. One of my teachers was talking about Nina Simone, and how when you hear her sing you hear the life that she’s lived. I set out to try and make my voice reflective of my experience, so that when people hear my singing voice, they’ll sort of know what my life has been like and the world that I inhabit through it. That was my goal. And it really is a very satisfying thing, I have to say.

SFBG To be concentrating on your voice?

JVB And my life, and what my voice can say. 

JUSTIN VIVIAN BOND

Sat/21-Sun/22, $35-$50

Feinstein’s at the Nikko

222 Mason, SF

www.feinsteinssf.com

 

This Week’s Picks: June 18 – 24, 2014

Michael Redmond
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0

raucous as it is tender

WEDNESDAY 18

 

 

Zara McFarlane

You’ve got to be plenty ballsy to venture a cover of “Police and Thieves,” the immortal 1976 reggae track by Junior Murvin (produced by Lee “Scratch” Perry, no less) and transformed into a rock classic by the Clash on their debut 1977 album. But this fascinating Jamaican-British singer’s version, a hypnotic cabaret-jazz version floated by a voice clear as a bell, earns the praise heaped upon it. Included on McFarlane’s new album, If You Knew Her, “a tribute to women, from the alpha female to the housewife,” puts a feminist spin on the spooky lyrics that decry “scaring the nation with their guns and ammunition, from Genesis to Revelation.” With her classic poise and lucid style (Roberta Flack springs to mind), it’s easy to see why global soul guru Gilles Peterson snagged McFarlane quick for his Brownswood label. (marke B.)

8pm, $18 advance

Yoshi’s SF

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

THURSDAY 19

 

Mugwumpin 10

Mugwumpin, San Francisco’s ensemble-driven experimental theater company, celebrates its 10th anniversary season this month with a host of performances by itself and others (including A Host of People, from Detroit) as well as a series of symposia, workshops, and “occurrences.” It’s a big deal for a small company devoted exclusively to devised work and should be full of good things, including two revivals and a work-in-progress production of the company’s latest, Blockbuster Season — a duet of disaster featuring co-founders Joe Estlack and Christopher W. White. Beginning this week, you can whet your appetites and explore them too, as Mugwumpin remounts its 2010 hit, This Is All I Need. (Robert Avila)

‘This Is All I Need’

8pm, $25, $40 Two-show pass

June 19-22, July 2-3, 5-6

ACT Costume Shop Theater

1117 Market, SF

www.mugwumpin.org

 

 

mewithoutYou

Ten years ago Philadelphia’s experimental post-hardcore outfit mewithoutYou released their sophomore album, Catch For Us the Foxes. Now, a decade and three albums later, Foxes is still a beloved fan favorite and the defining album of mewithoutYou’s lyrically rich and musically unique career. The album, which borrows its name directly from the Song of Songs, tackles the band’s usual themes of spirituality, nature, and literature in their trademarked spoken (well, shouted)-word vocals over beautifully melancholy, churning instrumentals. In honor of the record’s 10th birthday, mewithoutYou will be playing the entire record start to finish, followed by a set taken from the rest of their catalog. (Haley Zaremba)

With The World is a Beautiful Place & I Am No Longer Afraid to Die, Dark Rooms

8pm, $16

Slim’s

333 11th St, SF

(415) 255-0333

www.slimspresents.com

 

 

 

Fresh Meat Festival

There are probably other LGBT festivals in the county. But — call me a chauvinist if you must — there is none like the gay-friendly Fresh Meat Festival, which focuses on transgender-based performance, the way this homegrown three-day event does. Now in its 13th incarnation, it is as raucous as it is tender, and as political as it is personal. Above all, its artists are impressively professional, with the know-how to present one heck of a show, whether they perform ballroom, hip-hop, Taiko, voguing, disco, circus, or music. Whatever their chosen discipline, they make quality work about who they are — comfortably, honestly, joyously. For many of them, and their audiences, it is a gathering of the tribes. Sean Dorsey, the brain and heart behind the festival, is showing excerpts of his yet to-be-born next piece. (Rita Felciano)

Through Sat/21, 8pm, $15-25

Z Space

450 Florida, SF

www.freshmeatproductions.org


FRIDAY 20

 

Animate Your Night: Choose Your Own Adventureland

For more than 50 years now, a collection of fine, feathered friends have been greeting and entertaining visitors at Disneyland’s Enchanted Tiki Room, singing up a storm of tropical-themed tunes in a show that was the very first to showcase audio-animatronics. Fans can pretend they’re at the theme park tonight at the Animate Your Night: Choose Your Own Adventureland party, and celebrate the arrival of a “barker bird” addition to the The Walt Disney Family Museum’s collection with a tiki-themed party to welcome it, complete with live music and dancing, cocktails from Smuggler’s Cove, presentations, and a host of other activities. (Sean McCourt)

7-10pm, $12-$30

The Walt Disney Family Museum

104 Montgomery, SF

(415) 345-6800

www.waltdisney.org

 

 

 

Dean Wareham

While his sharp tenor has gotten a bit lower and his hair is noticeably grayer than it was during his days fronting Galaxie 500, Dean Wareham has remained astonishingly consistent since his burst onto the burgeoning indie rock scene almost 30 years ago. His eclectic and minimalist guitar work and profoundly detached lyrics are on display once again on his eponymous first solo album, which came out in March. To celebrate the occasion, Wareham has embarked on a tour of intimate venues along with his stellar four-piece band. Wareham’s wife and frequent collaborator Britta Phillips, who was an instrumental creative force in Wareham’s post-Galaxie 500 group Luna and on several duet albums since, will also perform with the group. The Chapel, with a capacity of a few hundred, provides the perfect venue to examine Wareham’s instrumental and emotional subtlety, a set that he has promised will include tracks from throughout his career. (David Kurlander)

9pm, $20

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

 


SATURDAY 21

 

 

Nightmares on Wax

With a career that now spans two and a half decades, producer George Evelyn (aka DJ E.A.S.E., aka Nightmares on Wax) is credited with being among the first to merge early New York hip-hop

With the British B-boy and graffiti scenes of the ’80s, forming what would come to be known as trip-hop. Work with greats like De La Soul followed, but Evelyn has evolved with the times — he’s still considered a go-to inspiration and dream collaborator for today’s up-and-coming hip-hop, dub, and funk hopefuls. He also just released a two-disc “best of,” N.O.W. Is the Time, so this show should be a good time to time-travel a bit — while dancing your ass off, of course. (Emma Silvers)

With Ren the Vinyl Archaeologist

9pm, $22-$25

Regency Ballroom

1300 Van Ness, SF

www.theregencyballroom.com

 

 

Summer Solstice Celebration in the Redwoods

What better way to mark the longest day of the year than by savoring the fruits of summer while strolling among 100-year-old redwoods? And by fruit we mean wine, of course, which is complimentary at this annual celebration thrown by the SF Botanical Garden. Local cheeses will also be available for tasting as you stop to savor natural beauty, exploring the trails of lush wilderness that are at our fingertips right here in the city, in what’s likely to be the prettiest twilight you’ll see all year. No togas or complicated flower headdresses required. (Silvers)

6-8pm, $20-$30

San Francisco Botanical Garden

1199 Ninth Ave, SF

www.sfbotanicalgardensociety.org

 

 

SUNDAY 22

 

 

North Beach Bacchanalia

The local record label Name Drop Swamp Records is hosting an all-day music and poetry festival at the Emerald Tablet gallery, a self-described “creativity salon.” Bands include electric chamber folk-rock group Muralismo, the ambient and existential Devotionals, and several more groups with remarkably alluring names — Edwin Valero, named after the legendary Venezuelan boxer who killed his wife and himself in 2010, is sure to be compelling. Poets include Collaborate Arts Insurgency co-founder Charlie Getter and prolific writer and labor activist Paul Corman-Roberts. The Lagunitas Brewing Company sponsorship suggests that the ale will be flowing, while the Beat Museum support ensures snaps aplenty. (Kurlander)

12pm, free

Emerald Tablet

80 Fresno, SF

(415) 500-2323

www.emtab.org

 

 

Waka Flocka Flame

Born in Queens and raised in Atlanta in a musical family, Waka Flocka Flame has been surrounded by hip-hop his entire life. But he never wanted to be an MC. It wasn’t until he was 18 and his mother started managing rapper Gucci Mane (with whom he has been infamously feuding since 2013) that Waka Flocka began experimenting with the mic himself. Now, with three albums, 18 mix tapes, and 111 guest appearances under his belt, Waka Flocka is going hard in da motherfuckin paint and has made a huge mark on the southern trap scene. Aggressive, crisp, and catchy, Waka Flocka’s distinctive beats and rhymes will make for a high-energy show not to be missed. (Haley Zaremba)

With Chanel West Coast, DJ Sean G

9pm, $35

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

 

TUESDAY 24

 

Withered Hand

Jack Kirby aside, I wouldn’t expect to like anything titled New Gods, but the latest album by that name by Slumberland artist Dan Wilson, aka Withered Hand, seems to have a purely grounded worldview. Beauty on the album is of the here-in-the-moment variety; if an afterlife did exist, Wilson seems to wryly propose on the album opener “Horseshoe,” “we could kill our friends, we could sing a song that never ends.” And on “King of Hollywood” there’s a searing bit of self-righteous egotism in the lyric “Some of you guys should get with my God / He hates about everything / Well everything except me / I’m the anomaly.” Now that’s theology anyone can get behind. (Ryan Prendiville)

Opening for Owl John

9pm, $15

The Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

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Reel pride

Michael Redmond
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0
Reel pride

The Case Against 8 (Ben Cotner and Ryan White, US) This documentary follows the successful fight to have Proposition 8 overturned as unconstitutional and restore legality to gay marriage in California. There’s way too much time spent on the couples chosen as plaintiffs, a Berkeley lesbian pair and two Los Angeles male partners — we get it, they’re nice people — and the decisions to disallow broadcast of the eventual court proceedings means we get laborious recitations of what people have already said on record. Frameline has shown so many documentaries about gay marriage already that festival regulars may find this one covers too much familiar ground at excessive length. (It also doesn’t bother giving much screentime to the anti-gay forces, which might have livened things up a bit.) Still, it’s a duly inspirational tale, with real entertainment value whenever the focus turns to the case’s very unlikely chief lawyers: mild-mannered Ted Olson and boisterous David Boies, the latter a longtime leading conservative attorney who’d argued the other side against Olson in the Bush v. Gore presidential election decision. Nonetheless, he’s all for marriage equality, and these otherwise widely separated figures are great fun to watch as they work, taking considerable pleasure in each other’s company. Thu/19, 7pm, Castro. (Dennis Harvey)

Bad Hair (Mariana Rondón, Venezuela, US) Living in a Caracas tenement, Marta (Samantha Castillo) has no husband, no romance in her life, and now no job after she’s fired from a security company. She turns her frustrations on the older of her two fatherless children, 10-year-old Junior (Samuel Lange Zambrano), whose insistence on straightening his hair like the people he sees on TV strikes her as incipiently gay — and that is something she is not willing to tolerate. Mariana Rondón’s prize-winning feature is a small, subtle drama about the poisoning effects of economic pressure and homophobia within the family unit. It’s also quietly devastating about something you don’t often see in movies: The real-world truth that, sometimes, deep down, parents really don’t love their children. Sat/21, 1:30pm, Roxie. (Harvey)

Floating Skyscrapers (Tomasz Wasilewski, Poland, 2013) Competitive swimmer Kuba (Mateusz Banasiuk) has moved girlfriend Sylwia (Marta Nieradkiewicz) into the Warsaw apartment he shares with his possessive divorced mother (Katarzyna Herman), but the two women don’t get along and Kuba doesn’t seem very committed to the relationship anyway. So Sylwia immediately worries her days are numbered when Kuba — who already indulges in the occasional furtive public gay sex — shows unusual interest in out Michal (Bartosz Gelner). As the two young men grow closer, it becomes clear that this is something neither of the women in Kuba’s life will stand for. Tomasz Wasilewski’s Polish drama has a crisp widescreen look and a minimalist air, with little dialogue articulating emotions the characters are wrestling with. Though its protagonist isn’t particularly likable, the film’s simultaneous confidence and ambivalence lends its eventually depressing progress real punch. Sat/21, 9:30pm, Victoria; June 26, 9:30pm, Roxie. (Harvey)

I Am Happiness On Earth (Julián Hernández, Mexico, 2013) When young dancer Octavio is picked up by well-known filmmaker Emiliano, he’s instantly smitten — not realizing yet that the latter is the kind of serial seducer allergic to fidelity. Rich, famous, and gorgeous, he can have anyone he wants, and he does. That’s about it for story in Julián Hernández’s latest, which features some of his characteristically lush camerawork and poetical romanticism. But it’s one of his weaker efforts, basically turning into one sex scene after another with even less attention to character and plot development than usual. This sexy, aesthetically sensual eye candy sports the odd enchanting moment, as when two men after a quickie are suddenly transfixed by the TV and begin singing a pop ballad along with it, to each other. But Hernández (2006’s Broken Sky, 2003’s A Thousand Peace Clouds Encircle the Sky) is a highly talented filmmaker who here seems to be running out of ideas. Sat/21, 9:30pm, Castro. (Harvey)

The Foxy Merkins (Madeleine Olnek, US, 2013) Writer-director Madeleine Olnek of Codependent Lesbian Space Alien Seeks Same (2011) hits a bit of a sophomore slump with this similarly loopy but less inspired absurdist comedy. Lisa Haas returns as Margaret, a sad-sack new arrival to Manhattan who — apparently like most holders of Women’s Studies degrees — ends up homeless and prostituting herself to a large available client base of better bankrolled lesbians. She gets schooled in the ways of the street and kink-for-pay by veteran Jo (Jackie Monahan), who’s a good business partner if also a somewhat unreliable ally. After a hilarious first half hour or so, the movie runs out of steam but keeps plodding on to diminishing returns, despite scattered moments when Olnek and cast hit the comedic bull’s-eye. She’s got a unique sensibility, at once deadpan and utterly nonsensical, but it’s fragile enough to need a stronger narrative structure to sustain than it gets here to sustain feature length. Sun/22, 9:15pm, Castro. (Harvey)

Winter Journey (Sergei Taramaev and Luba Lvova, Russia, 2013) This stylish Russian drama depicts the paths-crossing and eventual unlikely friendship of two extremely different young men in Moscow. Keanu-looking Eric (Aleksey Frandetti) is a bratty, lieder-singing voice student who escapes pressures at home and school by getting drunk and hanging out with a circle of older gay artistic types. Lyokha (Evgeniy Tkachuk) is homeless and unstable, inclined toward picking fights and stealing stuff. Their not-quite-romance — a bit like a below-zero My Own Private Idaho (1991) with lots of Schubert — isn’t particularly credible, but it’s directed with confident panache by Sergei Taramaev and Luba Lvova, to ultimately quite poignant effect. Mon/23, 9:15pm, Victoria. (Harvey)

Violette (Martin Provost, France, 2013) Taking on another “difficult” woman artist after the excellent 2008 Séraphine (about the folk-art painter), Martin Provost here portrays the unhappy life of Violette Leduc (Emmanuelle Devos), whose fiction and autobiographical writings eventually made her a significant figure in postwar French literature. We first meet her waiting out the war with gay author Maurice Sachs (Olivier Py), one of many unrequited loves, then surviving via the black market trade before she’s “discovered” by such groundbreaking, already-established talents as Jean Genet (Jacques Bonnaffé) and Simone de Beauvoir (Sandrine Kiberlain). It is the latter, a loyal supporter who nonetheless retains a chilly emotional distance, who becomes bisexual Violette’s principal obsession over the coming 20 years or so. Devos does her best to portray “a neurotic crazy washed-up old bag” with an “ugly mug” — hardly! — who is perpetually broke, depressed, and awkward, thanks no doubt in part to her mean witch of a mother (Catherine Hiegel). “Screaming and sobbing won’t get you anywhere,” Simone at one point tells her, and indeed Leduc is a bit of a pill. For the most part lacking the visual splendors of Séraphine (this character’s environs weren’t so pastoral), Violette is finely acted and crafted but, like its heroine, hard to love. Note: Frameline is also showing Violette Leduc: In Pursuit of Love, a documentary on the same subject. Mon/23, 9:15pm, Castro. (Harvey)

To Be Takei (Jennifer Kroot, US) The erstwhile and forever Mr. Sulu’s surprisingly high public profile these days no doubt sparked this documentary portrait by SF’s own Jennifer Kroot (2009’s It Came From Kuchar). But she gives it dramatic heft by highlighting the subject’s formative years in World War II Japanese-American internment camps, and finds plenty of verite humor in the everyday byplay between fairly recently “out” gay celebrity George and his longtime life and business partner Brad Altman — the detail-oriented, pessimistic worrywart to his eternally upbeat (if sometimes tactlessly critical) star personality. We get glimpses of them in the fan nerdsphere, on The Howard Stern Show, at Takei’s frequent speaking engagements (on internment and gay rights), and in his latter-day acting career both as perpetual TV guest and a performer in a hopefully Broadway-bound new musical (about internment). Then of course there’s the Star Trek universe, with all surviving major participants heard from, including ebullient Nichelle Nichols, sad-sack Walter Koenig, thoughtfully distanced Leonard Nimoy, and natch, the Shat (who acts like a total asshat, dismissing Takei as somebody he sorta kinda knew professionally 50 years ago.) We also hear from younger Asian American actors who view the subject as a role model, even if some of his actual roles weren’t so trailblazing (like a couple “funny Chinaman” parts in Jerry Lewis movies, and in John Wayne’s 1968 pro-Vietnam War film The Green Berets). Even if you’ve tired of Takei’s ubiquity online and onscreen, this campy but fond tribute is great fun. Tue/24, 6:30pm, Castro. (Harvey)

Back on Board: Greg Louganis (Cheryl Furjanic, US) For most Americans, the words “famous diver” conjure up only one name: Greg Louganis, the charismatic, record-breaking Olympian who dominated the sport in the 1980s. But as Cheryl Furjanic’s doc reveals, athletic perfection did not spell easy livin’ for Louganis. Though he hid the fact that he was gay (and HIV positive) from the public for years, his sexuality was an open secret in the diving world, and likely cost him lucrative endorsement deals. Louganis’ tale is not being shared for the first time (see also: the best-selling autobiography, which became a made-for-TV biopic), but Furjanic goes in deep, revealing Louganis’ considerable financial woes even as he finally finds personal happiness — and recharges his sports career when he’s asked to mentor 2012 Olympians. He’s clearly a good-hearted guy, and it’s hard not to root for him, particularly when we’re treated to so much footage of “the consummate diver” in his prime. He made it look easy, when clearly (in so many ways) it was not. June 25, 4pm, Castro. (Cheryl Eddy)

Regarding Susan Sontag (Nancy Kates, US) This excellent documentary by Nancy D. Kates (2003’s Brother Outsider: The Life of Bayard Rustin) places more emphasis on the subject’s life — particularly her lesbian relationships — than on the ideas expressed in her work as a novelist, essayist, filmmaker, and cultural theorist. But it’s still a fine overview of a fascinating, often divisive figure. Extremely precocious (she began college at 15), she abandoned an early marriage for freedom in late 1950s Paris, then became a charismatic cultural theorist at the center of all 60s avant-gardisms. Her lovers included playwright Maria Irene Fornes, painter Jasper Johns, choreographer Lucinda Childs, and finally photographer Annie Liebovitz. A terrific diversity of archival footage and contemporary interviewees contribute to this portrait of a very complicated, difficult (both personally and as an artist/intellect) woman perpetually “interested in everything.” June 25, 7pm, Victoria; June 26, 7pm, Elmwood. (Harvey)

Lady Valor: The Kristin Beck Story (Sandrine Orabona and Mark Herzog, US) “I don’t do anything halfway,” admits Kristin Beck, a 20-year, highly-decorated veteran of the Navy SEALs. During her time in the military, she was known as Christopher — and she admits now, as a trans woman “trying to be the real person that I always knew I was, and always wished I could be,” that her willingness to embrace danger was a coping mechanism as she struggled to realize her true identity. In this moving, well-crafted doc, we follow along as Kristin travels to visit with family (some more accepting than others, and some, like her aging dad, making a heartfelt effort even as they stumble over pronouns and still call her “Chris”) and former Navy colleagues and fellow veterans, many of whom have put aside their initial confusion and embrace Kristin as she is. And who is she? A badass who survived multiple tours of Iraq and Afghanistan, with a wry sense of humor and an easygoing, thoughtful personality, Beck is also an inspiration — an American hero on multiple levels. June 27, 1:30pm, Castro. (Eddy)

Appropriate Behavior (Desiree Akhavan, US) First seen packing her belongings under the malevolent eye of her newly ex–girlfriend, then walking unabashedly down the street with a harness and dildo in hand, Brooklyn-dwelling twentysomething Shirin (played by writer-director Desiree Akhavan) doesn’t seem like a person who has trouble owning her sexuality. And indeed, in the parts of her life that don’t require interacting with her close-knit Iranian American family, Shirin is an out, and outspoken, bisexual. Brash, witty, self-involved, and professionally unmoored, she has a streak of poor impulse control that leads her into situations variously hilarious, awkward, painful, and disastrous. Through a series of flashbacks, Akhavan walks us back through the medium highs and major lows of Shirin’s defunct relationship, while tracking her floundering present-day attempts to wobble back to standing. Akhavan’s first feature, Appropriate Behavior has a comic looseness that occasionally verges on shapelessness, but the stray bits are entertaining too. June 27, 7pm, Castro. (Lynn Rapoport)

Of Girls and Horses (Monika Treut, Germany) A semi-delinquent teenager named Alex (Ceci Chuh) is sent away to work on a horse farm as a sort of last-ditch effort to shift her onto a more salutary path. Under the care of thirtysomething Nina (Vanida Karun), who is taking time apart from urban life in Hamburg, where her girlfriend lives, Alex comes to fall under the quiet spell of the horses, and when another young girl, Kathy (Alissa Wilms), shows up to vacation at the farm with her horse, Alex falls for her as well. Director Monika Treut (1999’s Gendernauts) favors long, lyrical shots of horses grazing or gazing soulfully into the lens, of Nina and Kathy cantering over flat green expanses of countryside, and of Alex forking hay into the stalls. A few small dramas take place, but Of Girls and Horses is more of a sketch than a story, and whether it holds your interest may depend on how many Marguerite Henry horse stories you consumed in your youth. June 27, 9:15pm, Roxie. (Rapoport)

Futuro Beach (Karim Ainouz, Brazil) When two German men globe-trotting on their motorcycles go for a dip off the Brazilian coast, they’re pulled under by the current — only Konrad (Clemens Schick) is saved by local lifeguard Donato (Wagner Moura), his companion lost. The two men console one another with sex. Then in the first of several disorienting jumps forward in time here, suddenly Donato has moved to Europe in order to continue their relationship, leaving his old life (including a dependent mother and younger brother) behind. There are further narrative leaps ahead — director Karim Ainouz (2002’s Madame Satã) is all about bold gestures here, but his visual and sonic assertiveness don’t necessarily fill the blanks in narrative and character development. The resulting exercise in style will leave you either dazzled or emotionally untouched. June 27, 9:30pm, Castro. (Harvey)

Cupcakes (Eytan Fox, Israel, 2013) After a run of politically tinged features, Eytan Fox (2002’s Yossi & Jagger, 2004’s Walk on Water) goes the Almodóvar-lite route with this flyweight comedy about a Eurovision-style song contest. Gay Ofer (Ofer Shechter) and various girlfriends who all live in the same Tel Aviv apartment building decide to enter the Universong competition, becoming Israel’s official entry with improbable ease despite never having performed publicly before. Their mild travails (fighting the creative inference of professional handlers, Ofer’s attempts to drag his boyfriend out of the closet) fill time pleasantly enough before the inevitable triumphant telecast climax. This candy-colored fluff, its mainstreamed camp sensibility predictably reflected in corny vintage hits (“Love Will Keep Us Together,” “You Light Up My Life”), is aptly named — it’s as colorful, easily digested, and about as nutritious as a tray of cupcakes. June 28, 8:30pm, Castro. (Harvey)

I Feel Like Disco (Axel Ranisch, Germany, 2013) When housewife Monika (Christina Grobe) suffers a stroke and falls into a coma she may never come out of, her chubby teenage son Flori (Frithjof Gawenda) and junior high swim coach husband Hanno (Heiko Pinkowski) are forced to depend on each other without mom as a buffer. Things tentatively look up when Flori develops an unlikely friendship — and possibly something more — with dad’s star diver, Romanian émigré Radu (Robert Alexander Baer). Axel Ranisch’s gentle seriocomedy doesn’t make much of an impression for a while, springing few surprises (despite occasional deadpan fantasy sequences) along its moderately amusing path. But as father and son struggle to rise to the occasion of their shared crisis, we grow to like them more — and likewise this ultimately quite disarming feature. June 29, 7pm, Castro. (Harvey) *

Frameline 38, the San Francisco International LGBT Film Festival, runs June 19-29 at the Castro Theatre, 429 Castro, SF; Roxie Theater, 3117 16th St, SF; Victoria Theatre, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. For tickets (most shows $10-15) and schedule, visit www.frameline.org. For even more Frameline 38 short takes, visit www.sfbg.com.

Go with a smile

Michael Redmond
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0
Go with a smile

arts@sfbg.com

FILM Clad in his signature cape and cowl, Batman has been taking to the streets in the darkness of night and fighting crime in the imaginations of comic-book fans for 75 years.

Thanks to the Christopher Nolan film trilogy, the public has gotten used to the idea of the character being dark and brooding and living in a gritty, more realistic world. But it was Tim Burton’s eye-popping Batman, starring Michael Keaton, that first ushered in a modern vision of the Dark Knight, 25 years ago this week on June 23, 1989. That summer, Batman unleashed in a wave of pop-culture Batmania. No matter where you turned, you’d see the Bat-Signal on a T-shirt, hear “Batdance” on the radio, or catch yourself muttering one of Jack Nicholson’s iconic Joker quips.

Sam Hamm, who wrote the story for Batman and co-wrote the script with the late Warren Skaaren, is a San Francisco resident.

“I grew up reading comic books — I was completely saturated with the stuff. A few years ago, I was cleaning out some old boxes, and I came across a picture of myself when I was probably five years old, wearing a cowboy hat and reading a copy of Batman. So in that photograph somebody had encapsulated my entire future. Obviously, it was my destiny,” laughs Hamm.

By the mid-1980s, an early script for a Batman film had been kicking around at Warner Bros. for several years. Hamm had started working for the company on some different projects around that time; one day, while waiting for a meeting, he saw the script on a shelf and started reading it.

“It was very much the same structural model as Superman,” he recalls. “I was reading it, and thinking, ‘No, this is not the way.’ It [was] explaining all this stuff you don’t have to explain. It’s basically just a guy who puts on a suit and goes out and kicks ass — but why would a rich guy go out and do that every night? That, it seemed to me, was the interesting part of the story. It wasn’t how this guy came to be, it was why this guy came to be — that’s the central mystery of the movie.”

After lobbying for about six months, he was asked by Tim Burton, who was attached to direct at the point, to share his ideas for a new story.

“I said, ‘Okay, here’s the deal — you don’t start with Batman. It’s the origin of the Joker that you start out with, and Batman is the mystery. I have this feeling that Batman is really depressed, and he has to keep on going out and doing this stuff because he’s reenacting this mess with his parents.'”

Hamm’s vision was a drastic departure from the campy 1960s television show that mainstream culture most closely identified the character with at the time, but the filmmakers quickly decided that it was the direction they wanted to take.

“We started with the idea that Batman is bat-shit crazy. He goes out and does this, but then meets a girl, and starts thinking, ‘What would it be like if I had a normal life? I’ve never thought of having a normal life.’ So the progress of the story is that he starts to go sane, and what does that do to the weird sort of lifestyle decision that he’s made?”

That approach clearly resonated with fans around the world. Looking back decades later, Hamm has fond memories of being part of the phenomenon.

“It was wild. There was a huge buzz around it,” he says. “I would be driving around San Francisco, and there was a house in Noe Valley where the guy had painted the logo on his garage. They put a Bat-signal on Zeitgeist! It was quite bizarre to feel you were a part of that.” *

 

Eight up

Leo Herrera
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0
Eight up

arts@sfbg.com

DANCE The 36th annual San Francisco Ethnic Dance Festival opened with an ambitious agenda: presenting India’s eight classical dances in one program. Yet this first weekend — EDF continues at Yerba Buena Center for the Arts through June 28 — didn’t quite meet the high expectations the festival had set for itself.

In part, this was because a shadow fell on the show. Last week, great kathakali practitioner K.P. Kunhiraman, who was to make his farewell appearance, died unexpectedly in India. With his wife, Katherine Kunhiraman, he had directed Kalanjali: Dances of India, one of the Bay Area’s oldest Indian dance schools, teaching both folk and classical Indian dance.

While bringing these classic forms together was a noble idea, EDF should have presented them on equal footing. This is particularly true because while bharatanatyam, kathak, and to a lesser extent odissi and kuchipudi are well known to Bay Area audiences, kathakali, manipuri, mohiniattam, and sattriya may have been unfamiliar even to many of the Southeast Asian families who attended the festival.

Performed by guest artists from out of town, these new-to-us genres were set to music that came out of loudspeakers. For a first exposure to an art, which so intimately depends on instruments and the human voice, recorded music was a disservice to both the practitioners and the audience.

One only had to look and listen to tabla player Samrat Kakkeri (and his colleagues) with the first-rate Chitresh Das Dance Company, which closed the program, to realize that the subtle give-and-take that flows between dancers and musicians should not be given up to expediency. No wonder the Chitresh dancers managed the intricacies of the multiple rhythmic patterns in Das’ kathak yoga with such confidence and joy. Many dance genres do just fine with unrelated music or no music at all. Indian dance, as this program proved, does not.

Also, while some of the less familiar dance forms might have been given more stage time — some others could easily have been shortened. What intrigued most in these first EDF appearances was how little use was made of the sophisticated rhythms that we have come to know as Indian dance.

More drama than dance, kathakali’s spectacular performances can last all night. The excellent Sunanda Nair gave us a glimpse of a work in which an evil demon — in the shape of a seductive woman, wouldn’t you know — gets her comeuppance from baby Krishna. She returned later in an example of mohiniattam which highlighted articulate arms and feathery hands. It was thrilling to see how her torso contrasted with her legs planted into wide plies, from which she smoothly sank into and rose from the ground.

Sohini Ray’s snippet of manipuri, however, disappointed because it looked stiff, and didn’t really develop those wonderfully gentle whipping turns that make the dancers look prayer wheels. She communicated much better in what seemed a more folkloric form of manipuri in which leaping, running, and turning on the knees conversed with a dual head drum.

Intriguing in its use of unisons and rolling wrists, sattriya — performed by two women, one in pants — conveyed the gently rocking geniality of two friends on the road. I have to assume that the one with a hat was Lord Krishna. For those familiar with the mudras, Indian dance’s gestural language, they were so beautifully clear that they were easy to follow. I recognized three for sure: a welcoming gesture, shooting an arrow, and riding a horse.

In its first appearance at the EDF, San Francisco’s Nava Dance Theatre proved itself a fresh, spunky, and musically-aware bharatanatyam company. In its piece, a love-struck young man (a dreamily handsome Arun Mathai) was comforted by a bevy of young maidens. A spectacular, theatrically savvy soloist, Bhavajan Kumar, may yet do for bharatanatyam what Joaquín Cortés did for flamenco.

In their celebratory kuchipudi — bharatanatytam’s younger, looser sister — the nine young women of San Jose’s Natyalaya school of dance handled the rigors of their geometries with considerable grace. Maybe one day we’ll see them perform to live music.

Charming, yet very serious in odissi were Maya Lochana Devalcheruvu (age 11) and Akhil Shrinivasan (10). Young as they are, they already showed odissi’s curved body position and light footwork. With good stage presence, they knew what they were aiming for. The duo then welcomed Sujata Mohapatra, an exquisite odissi dancer light but firm on her feet, floating on her toes, and her rippling neck enhancing the facial expressions.

Though in mourning, Kalanjali: Dances of India performed Tillana, the final section in a bharatanatyam performance, for which the dancers pull together everything they learned. These women probably did. *

SAN FRANCISCO ETHNIC DANCE FESTIVAL

Through June 29, $18-$58

Yerba Buena Center for the Arts Theater

700 Howard, SF

www.worldartswest.org

 

Dangerous delays

Michael Redmond
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1
Dangerous delays

rebecca@sfbg.com

Since we at the Bay Guardian published a story flagging Pacific Gas & Electric Co.’s odd behavior of stonewalling a developer who had basic questions about a high-pressure gas pipeline running beneath his Bernal Heights building lot (see “Bernal blows up,” May 20), we’ve heard from others concerned about the company’s practices regarding safety.

PG&E has undertaken a massive pipeline improvement project to correct the underlying problems that led to a disastrous 2010 natural gas explosion in San Bruno, which destroyed a neighborhood, killed eight people, and injured 58 others.

But the repairs have been complicated by a number of factors, including inaccuracies in records that provide a foundation for the whole undertaking. Meanwhile, a fascinating document obtained by the Bay Guardian raises troubling questions about whether state regulators are taking seriously PG&E’s shortcomings in this endeavor.

Established in 1905, PG&E is California’s largest utility company. It wields tremendous political influence, particularly in San Francisco, where it’s headquartered. But the utility giant has been in hot water lately. It was indicted by federal authorities on charges of criminal negligence earlier this year in connection with the San Bruno explosion, and may soon face additional charges in a superseding indictment, the company noted in a recent regulatory filing.

PG&E’s safety upgrade project, known as the Pipeline Safety Enhancement Plan, was launched to address the underlying problems that led to the unanticipated pipeline rupture and explosion in San Bruno. That disaster brought the powerful utility under intense scrutiny, exposing a deeper pattern of negligence and sloppy record-keeping. The PSEP was rolled out as a corrective measure, in response to regulatory demands.

 

SHIFTING TARGETS

The detailed PSEP outlined how the utility would go about strength testing, replacing, and retrofitting its vast network of natural gas transmission pipelines, which comprise 6,750 miles traversing the utility’s Northern California service territory. The hefty document was submitted for CPUC approval in 2011.

However, things haven’t gone exactly as planned. Phase I of this plan was supposed to have been completed by the end of 2014 — but that’s now behind schedule, and some of the original targets have been revised.

The Bay Guardian attempted to contact both PG&E and the CPUC for this story, but did not receive responses. However, regulatory filings reveal quite a lot about the company’s progress.

A comparison of the work PG&E proposed to complete in 2011, versus what it reported having completed as of March 31, 2014, demonstrates how the massive safety upgrade project has shifted over time.

In a document submitted to the CPUC on May 22, PG&E reported that it had completed 541 miles of strength testing, as compared with 780 miles of strength testing originally proposed to be completed by the end of 2014. PG&E said it had replaced 105 miles of pipeline, as compared with the 186 miles of pipeline replacement it initially said would be done by the end of the year. It also reported installing 141 automated valves — but in 2011, PG&E told regulators that by the end of Phase I, “228 gas shut-off valves will be replaced, automated, and upgraded to enable PG&E to remotely or automatically shut off the flow of gas in the event of a pipe rupture.”

In hefty technical documents, PG&E provides reasons for why some of the targets have shifted, often the result of new information coming to light. In a June 6 CPUC filing, PG&E noted that nine scheduled pipeline replacement projects included in Phase I likely would not be completed by the end of the year, as originally planned.

This formal acknowledgement of a delay seems to substantiate the account of a Guardian source familiar with the pipeline safety upgrade work, who asked not to be identified. Work crews hired by PG&E contractors and subcontractors to perform the safety upgrades have found themselves in a holding pattern of waiting to be called out to job sites, our source said, despite the extensive planned work.

The utility typically sends work crews out to perform maintenance work during spring and summer months, so it can be wrapped up in time for winter, when there’s higher demand for gas heating.

The cost of these upgrades is shared between PG&E shareholders and revenues collected from utility customers.

 

PROBLEMS REVEALED

A major obstacle to the goal of improving safety has yet to be resolved: PG&E’s pipeline records still aren’t in order, despite a major push to iron out data in the wake of San Bruno.

Since these records are the foundation for making safety upgrade decisions, these informational gaps threaten to undermine the project. The implications of this glaring problem are outlined in a CPUC document obtained by the Bay Guardian which was circulated on an internal “service list,” but not made publicly available.

First, some background: In October 2013, PG&E submitted an update to its PSEP plan to the CPUC, which included reporting on its effort to collect and analyze pipeline records. The regulatory agency’s Safety and Enforcement Division conducted an audit of this reported progress.

The audit, which made headlines when it was released in April, commended PG&E for its work but also noted, “PG&E does not have traceable, verifiable, and complete records for every pipeline component in its transmission system.” The audit also found errors in the work papers submitted by the company to back up its claims. Nevertheless, the Safety and Enforcement Division concluded, “no imminent safety concerns arose” from the findings.

But this proclamation isn’t the final word on the matter. The Office of Ratepayer Advocates is a small division within the CPUC, which functions as a watchdog looking out for the interests of utility customers. Its comments on the audit tell quite a different story, raising questions about why the enforcement division didn’t seem to place much weight on its own findings.

In its comments, reflected in the document that was circulated internally, the ORA sharply questioned the Safety and Enforcement Division’s overarching conclusion. It should “reflect the actual findings of the audit,” the ORA wrote, recommending that the Safety Division “define what is meant by … ‘no imminent safety concerns.’

“In common language,” the ORA went on, “this would be interpreted to mean there is no situation that puts the public in immediate risk of death or serious physical harm. If that is the meaning, please confirm. If not, please clarify the meaning.”

The ORA goes on to note that such a statement is “contradicted by findings within the body of the report,” and that “it is difficult to understand how the SED Report could reach this conclusion.”

The Safety Division’s audit “documents errors that ORA would define as safety risks,” the ORA notes, such as the discovery of a pipeline that has a maximum operating pressure nearly 20 percent higher than it should be, based on the pipeline feature data, or the discovery that PG&E had been “inappropriately operating a pipeline with a reduced margin of safety.”

PG&E responded to the Safety Division’s audit, and “they view their report as final,” noted ORA spokesperson Nathaniel Skinner. As far as addressing the problems uncovered in the audit, “It’s unclear to us what the next step is for the Safety and Enforcement Division.”

Tenants can fight evictions and win

Michael Redmond
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By Tyler Macmillan


OPINION Every year, around 3,500 formal eviction lawsuits are filed against residential tenants in San Francisco Superior Court. Contrary to popular belief, the eviction lawsuit — known as an “unlawful detainer” — is one of the fastest moving cases in the entire civil system. While we’ve all heard anecdotes about how it can take years to remove San Francisco tenants from their homes, tenants sued for eviction experience civil litigation at warp speed.

More than a third of those sued for eviction miss the five-day window the law provides to file a response with the court. In 2013, 1,294 of the tenant households that were sued for eviction in the city missed that deadline to respond. The strong tenant protections found in San Francisco’s Rent Ordinance and California law don’t mean much to those who miss their five-day deadline: Sheriff’s deputies clear the property just a few weeks after the case is filed if you don’t respond. So much for due process.

Securing tenants due process rights in San Francisco has been our job at the Eviction Defense Collaborative (EDC) since 1996. At our drop-in legal clinic, our team of attorneys and volunteers assist over 94 percent of all tenants who respond to their eviction lawsuit in San Francisco each year. Although our office is open Monday through Friday to help tenants respond to the lawsuit on time, nine out of 10 tenants sued for eviction represent themselves for the duration of their case. Over 90 percent of landlords can afford to hire expert, aggressive attorneys to evict their tenants — very few tenants can afford to hire a private attorney to defend their homes.

Unsurprisingly, tenants agree to move out in most eviction lawsuits — around four out of five tenants sued for eviction will settle the case with an agreement to leave their homes. And who could blame them? The choice of conducting a jury trial against a licensed attorney is not an appealing — or realistic — choice for a self-represented tenant. Without an attorney to stand up and fight for your rights at trial, those rights remain the empty, meaningless promises of the pay-to-play American legal system.

Of course, tenants who get represented by attorneys can win eviction cases — exactly the reason we started our Trial Project at EDC last year. Since the Trial Project launched, EDC staff attorneys have represented a small percentage of tenants facing the prospect of a jury trial on their own. Through the hard work of EDC staff attorneys (who on average earn less than $50,000 a year), the Trial Project enjoyed another jury trial victory in May. While very few eviction cases reach a verdict, this was EDC’s third trial victory in the past year.

This particular jury verdict saved the home of a Spanish-speaking couple who has lived in the Mission District for the past 19 years. They have young children who attend the local public schools and attend church in the neighborhood. This family has limited income and would certainly have had to leave of San Francisco if it was evicted, uprooting the children and leaving behind its community.

The landlord had accused the family of not paying the rent — even though the family had repeatedly tried to pay. The jury agreed with the tenant, finding that the conditions on the property were so bad that the landlord wasn’t entitled to the rent being demanded. The jury actually followed the law, and reduced the tenants’ rent.

The heroes in this case are the tenants — their courage in standing up for their home and their civil rights is inspiring, and should be a lesson to tenants across the city. We need tenants in San Francisco to push back against this current wave of displacement and we’re here to help.

Tyler Macmillan is a tenants’ rights attorney and the executive director of the Eviction Defense Collaborative, a nonprofit legal services clinic in the Tenderloin. Any tenant sued for eviction can drop into EDC at 995 Market St., #1200 (at Sixth Street) Mon-Fri, 9:30-11:30am and 1-3pm.

Justice delayed is justice denied

Michael Redmond
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EDITORIAL Members of the San Francisco Board of Supervisors who try to identify with both the progressive movement and business-oriented Mayor Ed Lee — most notably, Sups. David Chiu and Jane Kim — engaged in a strange bit of self-congratulations during their June 10 meeting, patting themselves on the back for a trio of “progressive” reforms.

Yet in each case, the measures are weaker than they should be and too long overdue — and they have their full implementation delayed for years, while the needs of the people they aim to serve are immediate. What Kim and Chiu presented as a demonstration of political effectiveness on behalf of needy constituents is actually just the opposite. It is political cowardice and not political courage.

The best of the trio of approvals was a measure by Sup. David Campos that finally closes the loophole that allows employers to satisfy their employee healthcare mandate by creating healthcare savings accounts, which they make difficult to use and then pocket the money that remains.

This should have been enacted three years ago when Campos first won approval for it, only to see Lee veto it and Chiu sponsor a watered-down alternative that didn’t address the problem. Even now, in order to win over Sups. Mark Farrell and London Breed to attain a veto-proof majority, Campos had to delay full implementation until 2017.

“I also want to commend Sup. Campos for finding compromise,” Chiu said before joining the inevitable majority, a snide dig at his Assembly race opponent that only served to reinforce Campos’ campaign trail points that Chiu’s compromises are often just sellouts to downtown interests. This watered-down version, albeit better than the last watered-down version, also won unanimous approval.

Another kumbaya moment came with the introduction of a consensus ballot measure for increasing the minimum wage in San Francisco, with the Mayor’s Office and business community finally agreeing with the campaign by labor and progressive groups to increase the minimum wage to $15 — but delaying that implementation to 2018. How much displacement and economic hardship will San Franciscans experience between now than then?

Chiu and Kim also sang the praises of Lee for finally agreeing to finally keep his word and support a local increase in the vehicle license fee to fund safer and smoother streets and more money for Muni. But rather than this year as promised, that measure will be on the November 2016 ballot, pushing it back from prosperous to uncertain times.

At the June 12 Guardian community forum, Sup. Scott Wiener said he may still move forward with his proposed charter amendment to give Muni more general fund money until the local VLF is approved, and we strongly urge him to so do.

“Justice delayed is justice denied” is a legal maxim that this board full of lawyers is certainly familiar with. Their delays of crucial reforms are disgraceful and damaging to the city, and for them to congratulate themselves for doing so is insulting.

Breaking the chains

Michael Redmond
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Breaking the chains

steve@sfbg.com

San Franciscans have always been wary of chain stores, more so than residents of any other major US city, none of which have taken on the ever-expanding national corporations and their homogenizing impact on local communities as strongly as San Francisco.

In the decade since San Francisco first adopted trail-blazing controls on what it calls “formula retail” businesses, those restrictions have only gotten tighter for various commercial districts around the city as elected supervisors seek to prevent big companies from taking over key storefronts from local shopkeepers.

But now, as the Planning Department and Mayor’s Office push a new set of formula retail regulations that they say standardizes and expands the analysis and controls for chain stores throughout the city, neighborhood groups and small business advocates are decrying aspects of the proposal that actually weaken those controls.

Most controversial is the proposal to almost double the number of outlets that a company can have before it is considered a formula retail business, going from up to 11 stores now up to 20 under the proposal, which was approved by the Small Business Commission last week and heads to the Planning Commission next month.

Opposition is particularly strong in North Beach, one of two neighborhood commercial districts that have an outright ban on formula retail business (Hayes Valley is the other) and where residents are organizing to fight the proposal at the Board of Supervisors and at the ballot if necessary.

“The Planning Department proposal to redefine what a chain store is flies in the face of the voters’ will and 10 years of successful chain store policy,” Aaron Peskin, the former Board of Supervisors president from North Beach who sponsored the ordinance banning chains there, told the Guardian.

The citywide voters he refers to are those who approved Prop. G by a wide margin in 2006, defining formula retail business as having 11 or more outlets with common branding and merchandise and requiring that they obtain a conditional use permit before opening in most neighborhood commercial districts, thus giving local residents a vehicle to stop those projects.

Although Prop. G allows the city to update its standards and definitions regarding formula retail, Peskin and others said throwing out the negotiated number of 11 outlets undercuts “the fundamental underpinning of the formula retail controls.”

The Planning Department proposal also does nothing to prevent big national chains from creating spin-offs to circumvent the controls, a growing trend that raised controversy in the last few years, including when Gap subsidiary Athleta opened a store on Fillmore Street and when Liz Claiborne owner Fifth & Pacific Companies tried to open a Jack Spade store in the Mission District.

Those two controversial provisions in the Planning Department proposal aren’t in rival legislation by Sup. Eric Mar, who has long been a champion of expanding controls on chain stores. Both the Mar and Planning Department legislation will go before the Planning Commission on July 17, and they could be either merged or move forward as rival proposals.

“We’re hoping this legislation moves forward as quickly as we can,” Mar told us. “We’re losing neighborhood character in many areas.”

 

WEAK LINKS

For all the indignant opposition to the Planning Department proposal expressed at the June 9 Small Business Commission meeting, where mayoral appointees led that body’s 4-2 vote approving the measure, the planners who developed it say they’re actually trying to expand the controls on chain stores.

Senior Policy Advisor AnMarie Rodgers and Project Manager Kanishka Burns sat down with the Guardian to go through details of the proposal and a May study it was based on, “San Francisco Formula Retail Economic Analysis,” by Strategic Economics, as well as an earlier study by the Controller’s Office.

“Our department is super committed to encouraging the diversity of neighborhood commercial districts,” Rodgers told us, acknowledging that small businesses often need protection from deep-pocketed corporations that can pay higher rents and enjoy other competitive advantages over mom-and-pop stores.

Rodgers cited studies showing that local small businesses circulate more of their revenues in the city than big chains, boosting the local economy. That’s one reason why the Planning Department proposal expands formula retail controls to include the categories business and professional services (including Kinko’s and H&R Block), limited financial services (including street front ATMs and small banking outlets), and fringe financial (such as check-cashing and payday loan outlets).

The new controls would also count a company’s outlets in other countries and locations that have been leased but not yet opened, it would expand some of the neighborhoods subject to formula retail controls, and it would require formula retail businesses to minimize their signage on the street, improve their pedestrian access, and fund more detailed analysis on their impacts on the local economy. Big box stores, in particular, would be required to submit to even more detailed economic impact studies.

Many of these same provisions are included in the Mar legislation, which also goes further in including gyms, gas stations, smoke shops, strip clubs, massage establishments, and various automotive businesses under the formula retail controls. Like the Planning Department measure, Mar’s also requires more data for formula retail applicants.

“We want to make chains fund economic impact statements before they go into the neighborhoods,” Mar said, noting how those studies will allow city officials to make better decisions about whether to approve formula retail applications.

Stacy Mitchell is the senior researcher for the Institute for Local Self-Reliance, an organization that has been working with San Francisco on its formula retail controls since their inception. She applauds the city’s current efforts to create more comprehensive guidelines and to require more economic analysis.

“San Francisco doesn’t have a good mechanism for fully evaluating the economic impact of these proposals,” Mitchell told us, calling the Planning Department and Mar efforts “a really good place to start the conversation.”

But Mitchell said that she doesn’t want to weigh in on what specific number of outlets may be right, saying city officials just need to decide, “What is the right balance and mix and how do we want to handle it?”

Rodgers told us the Planning Department legislation will expand the number of businesses that fall under formula retail controls, even as the threshold is raised to 20 outlets, although she couldn’t quantify exactly how much.

But critics are focusing on aspects of the proposal that loosen current restrictions, noting how that cuts against the trend in recent years of supervisors seeking to tighten restrictions in their districts, creating a hodgepodge of legislation that the Planning Department was trying to overcome with comprehensive new legislation.

 

WHAT’S A CHAIN?

The Planning Department’s new threshold and the arguments being made to support it rely heavily on making the case that three specific homegrown companies should be excluded from formula retail protections: Philz Coffee (with 14 stores), Lee’s Deli (13 outlets), and San Francisco Soup Company (16 locations).

“Right now, we would treat Philz the same way we treat Starbucks,” Burns said, noting that Starbucks has more than 20,000 outlets.

“Can’t you cut a break to the businesses that started here?” was a question that Rodgers says helped shape development on the regulations. The Strategic study found that about 5 percent of the retail establishments in the city had 11 to 20 outlets, while another 4 percent had 21-50 outlets. “We’re just trying to find the sweet spot.”

Yet Peskin said the change doesn’t make sense, and it’s just a way to give special treatment to a handful of local companies with political connections, and which have more resources to go through the conditional use process than a true small business.

“They’re basically finding another way to satisfy San Francisco Soup Company, a stalwart member of the Chamber of Commerce,” Peskin said.

Asked how she can seemingly circumvent the will of the voters, Rodgers told us, “It was a voter initiative, but it says the Planning Commission will establish further details.” In fact, Prop. G simply relies on the formula retail definitions that had already been adopted by ordinance started with a measure by then-President Matt Gonzalez in 2004.

But Peskin said the proposal to increase the threshold to 20 is an affront to popular local controls on chain stores, one that has little chance of becoming law.

“I don’t think the Board of Supervisors is crazy enough to go and undo one of the most successful pieces of legislation from the early part of this century. And if they do, then the voters won’t stand for it,” Peskin said, pledging to personally work on the campaign to protect existing formula retail controls.

Mar also said he will defend the current threshold. “The 11 that was written into the legislation was the result of a compromise,” Mar said, noting that Gonzalez initially placed the threshold at four stores and compromised with the business community on 11. “We’re going to do our best to work with our coalition to hold it to 11.”

 

CORPORATE CONTROL

Mar was also critical of the Planning Department proposal for not looking at corporate ownership of subsidiaries, something that his legislation does, stating that companies with a 50 percent or more ownership stake in an outlet get included in the formula retail designation.

“Our proposal has been attacked by people who think we’re over-regulating and those who think we’re under-regulating,” Rodgers told us.

Yet as the June 9 Small Business Commission hearing made clear, supporters of the proposal predictably came from the same business groups that have opposed formula retail controls from the very beginning: San Francisco Chamber of Commerce, San Francisco Association of Realtors, and San Francisco Building Owners and Managers Association.

Representatives from each of those three groups were the only people who spoke in favor of the proposal, each of them declaring it a “balanced” and “data-driven” compromise that they support, even as they argued for loosening the restrictions even more. But the vast majority of speakers were neighborhood activists critical of the proposal.

“Going from 11 to 20 makes no sense at all. Who picked out this number?” Susan Landry, owner of Animal Connection in the Marina District, told the commission. “Please have a conscience and vote for independent businesses.”

But Small Business Commissioner Kathleen Dooley said the vote was just the latest example of a commission stacked with mayoral appointees (including two bankers) doing the bidding of downtown rather than advocating for small business interests.

“Nine supervisors have tightened up the restrictions in their districts, but the Planning Department has gone the opposite way,” Dooley told us. “The irony was it all started with the protests [of chain applicants skirting local controls], but the Planning Department turned it on its head to loosen the restrictions.”

Yet the planners involved on the proposal call that a simplistic view that discounts the comprehensive nature of the new policy, which they say could serve as a model for other cities.

“I think they’ll all catch up to us,” Rodgers said of the other big US cities that have become to explore formula retail controls as local small businesses struggle against competition from chain stores. “We are a national leader on this and we want to get it right.”

Mitchell agreed: “There are lots of conversations going on around the country about how to meet this challenge, and people are watching what San Francisco does.”

Supervisors consider affordable housing half-step

Sasha Cuttler
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Supervisors consider affordable housing half-step

While the Board of Supervisors today considers placing a measure on the fall ballot that would slow market rate housing projects when affordable housing development drops below 30 percent of total production, it is also slated to quietly approve another item showing San Franciscans actually need more than double that amount of housing.

The 30 percent ballot measure by Sup. Jane Kim is covered by the San Francisco Chronicle this morning, an article that includes Chicken Little quotes from developers and their biggest cheerleaders, who fear the sky will fall if the current flood of luxury housing development is slowed even a little bit.

But those fears are unlikely to materialize given that Kim seems to have steadily weakened her measure since its introduction last month, responding to allies who deceptively warn of a “housing civil war.” The measure doesn’t create the moratorium that many affordable housing advocates have called for, simply a bit more paperwork for developers, and even then it exempts projects with less than 25 units and those bigger developers who file applications by the end of this year.

That sort of tepid approach to building the housing that current San Franciscans actually need belies the official city policy of seeking to build more than 60 percent of new housing for those earning 120 percent of the area median income or below, as spelled out in the Housing Element of the city’s General Plan.

Ironically, the board is scheduled to re-adopt the 2009 version of that plan today. Its approval of that plan in June 2011 was challenged in court by neighborhood groups, and in December the court ruled that the city needed to shore up its analysis of alternatives to comply with the California Environmental Quality Act. That work is now done, so the board today will repeal its 2011 action and re-approve the 2009 Housing Element.

The changes weren’t terribly significant — and besides, the city seems to essentially ignore its Housing Element anyway, even though cities and counties are required by state law to complete them and build their fair share of the affordable housing needed in their region. In rare cases, cities and counties can be fined by the state for not doing so, as was the case with Folsom many years ago when it built only market rate housing.

“Plan for the full range of housing needs in the City and County of San Francisco, especially affordable housing,” reads Policy 1.1 of the Housing Element.

Later in the plan, it spells out just how much housing that should be in San Francisco, based on the Regional Housing Needs Assessment done by the Association of Bay Area Governments: “A total of about 18,880 units, or 61 percent of the RHNA target, must be affordable to households making 120 percent of the area media income (AMI) of less.”

So the supervisors probably shouldn’t stretch too far in patting themselves on the back for a loophole-ridden half-step toward meeting its affordable housing obligations, although we’re happy to see at least some progress in the right direction. 

Win Tickets to see Angélique Kidjo June 21!

Natalia Robyns-Kresich
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Win Tickets to see Angélique Kidjo June 21!

Throughout the ‘90s and beyond, Angélique Kidjo has performed globally, winning honor after honor, including a Grammy, while using her visibility to campaign for women’s rights, provide educational opportunities for girls, and support environmental initiatives. She’s performing June 21 at Nourse Theater in San Francisco. Enter to win a pair of tickets by emailing rsvp@sfmediaco.com with your first and last name, and Angélique Kidjo in the subject line.

Picture of SF’s extreme income equality worth thousands of words

Sasha Cuttler
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Picture of SF’s extreme income equality worth thousands of words

Sometimes visuals paint a picture in a visceral way that mere numbers can’t, and that was the case when the Anti-Eviction Mapping Project recently released a graph highlighting the magnitude of San Francisco’s high rate of income inequality growth and how it compares to other major cities around the country. San Francisco’s purple bubble is floating way up, all alone, above Atlanta, Georgia’s orange bubble and everyone else closely grouped together. 

The graph’s findings reveal the sad but well-known fact that San Francisco is widely unequal, and it comes as little surprise that from 2007 to 2012, SF saw its income gap grow faster than any other major city in the United States.

The visualization cited a Brookings Institute report on income inequality released in February, which found the income of San Francisco’s low-earning residents (more specifically, those in the 20th percentile of yearly income) dropped by an average of $4,000 during that timespan, while the highest-earning residents (the 95th percentile) saw their income jump by an average of $28,000 over the same period. The latter figure was the largest gain in any American city, and it affirms what’s already clear to city residents: The rich are getting richer while the poor continue to get poorer.

That message might seem like old news to those familiar with San Francisco’s income inequality issues, but the truly alarming part of the study is the rate at which the trend is occurring. Though it provides further confirmation of an unpleasant fact that has plagued San Francisco residents for years, the unprecedented speed of the income gap’s increase is especially startling given the efforts to rectify the issue. As the mapping project pointed out, “trickle-down economics does not appear to be working” in San Francisco.

The gap has become so pronounced that the city’s 2012 GINI Coefficient (which measures income distribution) of .523 would make it the 14th-most economically unequal country in the world if San Francisco were its own nation. That’s right in line with countries that are widely known for their income inequality, like Paraguay and Chile, and more than twice as unequal as top-ranked Sweden.

Perhaps the best indication of this growing division has been the drastic increase in evictions throughout the city. The Anti-Eviction Mapping Project has worked to shed light on the issue, releasing time lapses showing the evictions while making it clear that seniors and disabled people aren’t immune to the trend either.

The Anti-Eviction Mapping Project is probably best known for protesting the Google tech buses, whose effects on local communities they’ve researched extensively. The organizations’ maps showlinks between the location of bus stops and a large number of evictions in the same areas.

Developing nations with income gaps akin to San Francisco’s don’t have tech buses driving around their streets, so it’s no surprise that the buses’ unpaid use of public bus stops hasn’t left residents of lower income areas particularly thrilled, especially with the tech sector pushing up the price of housing in those areas while contributing heavily to the results of the Brookings Institute report.

American revolution: Smith Henderson talks ‘Fourth of July Creek’

Sue Vaughan
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American revolution: Smith Henderson talks ‘Fourth of July Creek’

Smith Henderson is all smiles. His debut novel, Fourth of July Creek, has been receiving rave reviews since its release two weeks ago, has a 100,000 copy pressing from HarperCollins, and was recently called “the best book I’ve read so far this year” by Washington Post critic Ron Charles.

“I was not expecting the Ron Charles thing … that was amazing,” Henderson says, sipping his beer on the outdoor patio of Farley’s East in Oakland. (He’ll be reading from the book Tue/17 at San Francisco’s Book Passage.) While the degree of success that the book is receiving tickles Henderson, he doesn’t pretend to be shocked that people are enjoying his work. “When people tell me ‘I love your book,’ I’m happy, but not chagrined. I wrote the book toward my interests, so of course I like my book.” Henderson smokes a cigarette as he chuckles. 

His novel explores the plight of Pete Snow, a Montana social worker who discovers a feral boy, Benjamin, and his survivalist father Jeremiah Pearl. While dealing with the dissolution of his own family, several other cases, and a tumultuous romance, Snow uncovers Pearl’s revolutionary ideas and begins to question his own safety and that of his entire community, the rural town of Tenmile. Henderson’s intertwining plot confronts a plethora of contemporary societal ailments, including alcoholism, suspicion of government, child neglect, cultural polarization, and the gift and curse of religion. 

Much of our conversation concerned the intricate plot points that Henderson somehow manages to sew together seamlessly. Such a combination of topicality and technical flourish has led Charles and several other high-profile critics to throw around words like “Great American Novel,” meaning work consistent enough and broad enough in  political scope to say something profound and lasting about the nation. 

Henderson isn’t one to label his own work, but he doesn’t entirely laugh off the potential hyperbole either. “I think it’s tricky to use words like ‘Great American Novel’ because it’s set in Montana — it’s a very white state. There’s a lack of diversity that I think is necessary in talking about the whole country.” After a moment of rumination, however, he offers a partial refutation of his own point. “That being said, the novels that come to mind are pretty regional as well; Beloved is pretty focused on a single location and group.”

While Montana might not be the optimal mirror for America, it’s a place that Henderson knows quite well. A native son, he grew up in the state and went to college, like Pete Snow, in Missoula. (He now lives in Portland, Ore.) “My whole family are cowboys and loggers. My dad is still a logger,” he says proudly. “Montana is a weird place … there’s a libertarian streak that is pretty unique in how it manifests itself.” 

Henderson cites the 2004 election, in which Montana voted for George W. Bush, legalized medical marijuana, and constitutionally banned gay marriage all on the same ballot. The odd mix between “live free or die” and socially conservative practices in the state provided an ideal climate for the confrontation between Snow, a government employee with the Department of Family Services, and the fiercely anti-authority Pearl. The eventual escalation between the government and the community is easy to believe. 

“Things are always liable to get a bit wacky and out of control up there,” says Henderson. 

Yet Henderson, while by no means conservative or religious, isn’t trying to write a book about extreme zealots. “At first it’s possible to look at Pearl and think he’s completely insane. But a lot of his paranoia is not entirely unfounded.” 

Near the end of the book, Pearl uses an example of government agencies  replenishing the Montana wolf population as an example of how dangerous Federalism can become. “Pearl basically suggests, ‘You may think your wolves are pretty, but they are liable to eat me.’ That lack of practicality is real.” 

While Henderson set Fourth of July Creek in the early 1980s, he was inspired by the rhetoric going on in national politics today. “Arguments like those of Pearl’s are all over the place right now, and initially they may seem just as paranoid. But when you have unmitigated drone strikes and NSA surveillance it isn’t impossible to see where people are coming from.” 

He does, however, see the value of government intervention — Helena pays his ultimately heroic (or at least likeably anti-heroic) protagonist, after all. “On the other hand, you have health care, gay rights, the environment, all receiving meaningful support.”

Though informed and interested in the modern state of affairs, Henderson was very intentional in his chronological setting of the book. He leans forward and takes on a quieter, more intense tone as he talks about the era directly succeeding Carter’s economic and military failures. “1980 was an inflection point. Obviously Carter, while getting a lot right, struggled a ton in the implementation. And the backlash to that, coming in the form of the Reagan Revolution, has really defined modern society … We learned how to make wealth out of thin air — at least for some people.” 

Reagan’s election and the surrounding rhetoric takes center stage in the book. Judge Dyson, an aging and alcoholic Democrat, openly weeps as he watches the election results with Snow. “It was the death of the LBJ, rural-big-government Democrat. And that’s something I’m not sure we’ll ever get back.” 

In addition to highlighting the philosophical shifts that have led to the urbanization of liberal thought, Henderson also uses the relatively unorganized pre-digital bureaucracy as a major plot device. “There was no concept of secondary trauma in 1980 Montana. There was no social worker to help Pete deal with the horrific things that he sees on a daily basis.” 

The dearth of support systems fuel Snow’s drinking bouts, depression, and difficulty in handling his daughter’s disappearance and ex-wife’s instability; he may be a great social worker, but the state’s inability to track his emotional progress and casework eats away at his life.

A fascinating storyteller and political force, Henderson is also often  technically experimental. The portion of the book that details Snow’s daughter’s descent is done in the form of an anonymous question and answer. “When I write, I almost always write questions to myself: ‘Where is Pete Snow from?’ ‘Choteau.’ ‘Why Choteau?’ For the Rachel section, I just left it in that form.” 

But the section is far from unfinished. Henderson left the section as is because of the intensity of its content — in a pure third-person narrative it felt too stilted. “The voices are full of an anxiety and intensity that couldn’t be captured with the more impartial voice in the rest of the book.”

The frenetic 90 minutes that we spent discussing Fourth of July Creek further convinced me that the book cannot be distilled to one message, but is rather a varied rumination on insecurity, suspicion, and government. When I asked Henderson what he thinks the primary takeaway is, however, he was remarkably candid and quick in his response. He pointed me to the Thoreau quotation that opens the book: “If I knew for a certainty that a man was coming to my house with the conscious design of doing me good, I should run for my life.” 

Henderson then highlighted a passage in which Snow is likened to a priest for how much he gives up to help dysfunctional families. “America in the ‘80s was losing trust for institutions, and continues to. Despite all of his flaws, Pete is worthy of our trust, and hopefully represents a powerful refutation of Thoreau’s instant suspicion for government or those who come to help us.”

Henderson’s creation, while transcending political ideology, powerfully shows the potential for altruism even in a country as broken as the US.

 

Smith Henderson

Tue/17, 12:30pm, free

Book Passage

1 Ferry Building, SF

www.bookpassage.com

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