San Francisco

Trash talk

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sarah@sfbg.com

The fate of the city’s mountains of garbage — 1,400 tons a day — will be decided some time in the next few months. Maybe.

Two competing proposals for hauling away the trash have been up for consideration since last spring. But the San Francisco Board of Supervisors still doesn’t seem to know which alternative is better, and the board still hasn’t scheduled a hearing on the issue.

Waste Management Inc. has the current contract and trucks waste to the Altamont landfill. Recology now wants to ship the garbage by rail three times as far away, to the company’s Ostrom Road landfill in Yuba County (“A Tale of Two Landfills,” 06/15/10).

David Assmann, deputy director of San Francisco’s Department of the Environment told the Guardian that his department asked for a hearing in October on its proposal to award the contract to Recology when the city’s contract at Altamont landfill expires in 2015.

“But that hearing request got delayed,” Assmann said. “With a new board, new committees, and maybe new chairs of committees coming in January, I’m not sure when the hearing will take place,” he added. “But I’d be surprised if it’s before Jan. 15.”

Sup. David Campos told the Guardian he still has many questions about the contract. “I don’t know if it’s the correct way to go at this point,” he said. “I’m trying to figure it out.”

That sentiment seems to be shared by Sups. John Avalos and Eric Mar, who took a road trip earlier this year to see both landfills. And some local waste management experts have suggested that Recology’s plan would be greener if the city barged its trash to Oakland, then loaded it onto trains, instead of driving it across the Bay Bridge.

Assmann acknowledged that the barging question keeps coming up, but said would be cost prohibitive since trash would have to be loaded and unloaded both sides of the bay. “It would be horrendously expensive, so it’s not a likely option unless folks want their rates to go up dramatically.”

And now Yuba County officials are rethinking how much to charge the city to dump it waste in their rural county’s backyard. Yuba County Supervisor Roger Abe told the Guardian his board has asked the county administrator to look into the process for raising disposal fees at Ostrom Road.

“We’re supposed to receive a report on that, plus parameters on what you can change,” Abe said, noting that fees at Ostrom Road were set at $4.40 per ton in 1996. “So it’s a 14-year-old fee. Clearly, the cost of living is a lot higher now. And when the landfill was established, it was only serving Yuba County. But now it’s being touted as a regional landfill, an approach that is depleting our county’s ability to dispose of its own trash. So if people outside the county are using our landfill, they should be paying more.”

But Assmann doesn’t think the rate hikes would torpedo the city’s plan. “Whichever one of the two landfills is chosen can always opt to raise fees. But that would also impact the fees of local residents, so it’s a self-inhibiting factor,” he said.

“And who knows the implications of Prop. 26 on this,” he continued, referring to the statewide proposition voters approved in November that requires a two-thirds supermajority vote in the state Legislature and at the ballot box in local communities to pass fees, levies, charges, and tax revenue allocations that previously could be enacted with a simple majority vote.

“But even if the fees double in Yuba County, they’ll still be less expensive that at Altamont,” he said. “So our recommendation is to go forward with the Ostrom Road landfill proposal.”

Abe agreed that Prop. 26 could have an impact on the fee-raising process. “But I find it difficult to believe that Yuba County would have a problem raising fees on out of town garbage,” he said. “If I had a choice, I’d say no to Recology. But if it’s coming anyway, I know that $4.40 per ton is not going to be sufficient compensation — and this county is desperate for funds.”

DoE director Melanie Nutter has claimed the Recology contract is environmentally friendlier and could save ratepayers $125 million over the life of the contract. “This is a good deal for San Francisco and for the environment,” Nutter stated when DoE was pushing for a board hearing in October. “Ostrom Road is a state-of-the-art facility that employs industry best practices, and the price is dramatically lower than the competition. This will help us maintain reasonable refuse collection costs as we move toward zero waste.”

The landfill disposal contract is for 5 million tons or 10 years, whichever comes first. DoE predicts that this amount will decrease in the coming years because of prior success in waste prevention, recycling, and composting programs. San Francisco already recycles 77 percent of its waste stream, the highest diversion rate of any city nationwide.

But Abe notes that Waste Management proposes to use methane generated from trash disposed at its Altamont landfill to power its liquid natural gas trucks. “I can’t see how using trains would be greener,” he said.

Recology spokesperson Adam Alberti has told the Guardian that Recology’s waste disposal contract was environmentally superior, in part because San Francisco has mandatory composting legislation that reduces the amount of decomposing organics, a major source of greenhouse gas emissions, being sent to landfills. But Irene Creps, who has homes in San Francisco and Yuba County, pointed out that not all municipalities disposing trash at Ostrom Road have mandatory composting laws, which means the landfill will continue to generate methane. “A lot of places around here only have a black bin,” Creps said.

Meanwhile, Waste Management has threatened legal action if San Francisco awards the contract to Recology, alleging that Recology’s bid was procured under flawed and potentially unlawful application of administrative rules. In a Nov. 9, 2010 letter, WM’s Bay Area Vice President Barry Skolnick urged San Francisco’s Board of Supervisors to “reject the award to Recology and avoid entering into a high-priced 10-year contract that is not even necessary until 2015, at the earliest, and to apply the procurement process to all qualified bidders fairly and consistently, as the law requires.”

The local trash controversy continues as a grassroots movement to stop Recology from expanding at the Jungo Road Landfill in Humboldt County, Nev., won an interim round. At a Dec. 20 meeting, Humboldt County commissioners voted 4-1 to reject a proposed settlement agreement with Recology that would have allowed the landfill to continue.

RCV lessons for the SF mayor’s race

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OPINION Elections using ranked choice voting (RCV) in both San Francisco and Oakland contain important lessons for the upcoming SF mayoral election. Rather than rely on traditional endorsements and funding advantages, winning candidates need to get out in the community, meet people, and build coalitions.

Jean Quan became the first Asian American woman elected mayor of a major city by coming from behind to beat the favorite, former state Senate president and powerbroker Don Perata. Perata outspent her five to one, but Quan countered by attending far more community meetings, forums, and house parties. She would knock on the door of a voter with an opponent’s yard sign and say, “I know I’m not your first choice, but please make me your second or third choice.”

She also reached out to her progressive opponents, especially Rebecca Kaplan, saying, “In case I don’t win, I think Rebecca should be your second choice.” As a result, Quan received three times more runoff rankings from the supporters of Kaplan, who finished third, than Perata did. That propelled Quan to victory.

Perata, meanwhile, used the traditional front-runner strategy of spending more money. His campaign never figured out that he needed to seek the second and third rankings from the supporters of other candidates by finding common ground.

A similar story also played out in SF’s supervisorial Districts 2 and 10. In those races, victors also won by coming from behind and picking up more second and third rankings from other candidates’ supporters.

In D10, some people seem to think that winner Malia Cohen wasn’t a strong candidate because she wasn’t one of the top-two finishers in first rankings. But this reflects a misunderstanding of this race’s dynamics. In the final results, Cohen finished third in first rankings (not fourth, as the early results showed), yet she was only five votes behind Tony Kelly for second place and only 53 votes behind Lynette Sweet in first place.

So Cohen was as much a front-runner as either Kelly or Sweet in an extremely close race with 22 candidates. She prevailed by picking up more second and third rankings from other candidates’ supporters, resulting in an African American candidate winning this traditionally black district.

Note that if D10 had used San Francisco’s old December runoff, the voter turnout would have plummeted from the high of a November gubernatorial race, and the winner would have won with a handful of votes. The RCV system worked to pick the candidate preferred by the most voters in a single November election.

In D2, fiscal conservative Mark Farrell beat the progressive’s choice, Janet Reilly. But this district is not a progressive one, and that’s supposed to be one of the benefits of district elections (which was a progressive reform), i.e. each district is able to elect its own representative who conforms to the majority of its district instead of what Big Money interests want. Unfortunately, that also means a progressive candidate probably won’t win a nonprogressive district. Farrell built an effort that attracted more second and third rankings from other candidates’ supporters, allowing him to come from a point behind to win a close race.

That’s the way you win with RCV. With no clear frontrunner, the candidate who can draw significant numbers of second and third rankings is most likely to win. In our overly adversarial, winner-take-all society, the incentives of RCV to find common ground and build coalitions with ranked ballots is a relief for most voters. Mayoral candidates should take note. 

Steven Hill is author of 10 Steps to Repair American Democracy (www.10Steps.net), Europe’s Promise (www.EuropesPromise.org) and other books, opeds, and articles. Visit his website at www.Steven-Hill.com.

Editor’s Notes

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tredmond@sfbg.com

Art Agnos spent six terms in the California Assembly and four years as mayor; he doesn’t need my political advice. But I gave it to him anyway the last time I saw him, when he expressed an interest in serving out the remainder of Gavin Newsom’s term.

Agnos and I were not close when he was running San Francisco; the Guardian supported him strongly for the job, but we were quickly disillusioned, not just by his nearly instant sellout to Pacific Gas and Electric Co., but by his apparent disdain for public process. But now he’s retired, and living on Potrero Hill near the Guardian office, and I see him on the streets when I’m going to buy lunch at Hazel’s and he’s walking his dog, and we have pleasant chats about politics. He’s mellowed. At 72, he seems to have a bit more perspective on what he did right — and wrong.

At any rate, when he told me that he’d be willing to serve as a caretaker mayor — and I got a sense that he’d actually like to do it — I told him this: you can’t just talk to me and a few supervisors. You want to be mayor of San Francisco, even for 11 months, you have to go out and talk to the people who spend their lives trying to make this a better place. The same goes for Ed Harrington, Mike Hennessey, and anyone else who wants the job.

Here’s the odd thing about the next mayor: For better or for worse, the person who takes over whenever Newsom finally decides to go to Sacramento will be directly accountable only six supervisors (or seven or eight, in the unlikely event that anyone gets that kind of majority). If the interim mayor is really a caretaker and never seeks reelection, it’s possible that the voters and the activist groups that define San Francisco won’t be part of the next administration’s political calculus.

And that would be a mistake.

The progressive movement in San Francisco is much stronger and more organized than it was when Agnos first ran for mayor in 1987. And if the progressive majority on the board chooses a mayor, there will be high expectations — not just for policy, but for openness and inclusiveness. After being shut out for seven years, a whole lot of people are going to want to be able to walk into the Mayor’s Office and feel welcome.

And that process starts now.

There are all kinds of arcane state laws that limit the ability of the current or incoming supervisors to campaign for the mayor’s job. But we already know who they are — they’ve been campaigning and meeting with groups and constituents regularly over the past couple of years. Not so with the outside candidates.

What mix of new revenue and cuts would Harrington seek to balance the budget? How would Hennessey address pension reform? Where’s Agnos on implementing community choice aggregation? I’m not the only one who wants to know.

There’s this ethos among these guys that it’s unseemly to be trying too hard to get the job, that it’s better to sit back and be asked — and part of that is the reality that it’s going to suck trying to balance the city’s books, and it won’t be a fun 11 months, and some of them would just as soon not bother. But there’s no shame in wanting to be mayor, or interim mayor. If you want it, say so — and tell us all what you’d do.

I’m moderating a Harvey Milk Club panel discussion Jan. 3 and all the prospective candidates are invited. The least any potential mayor can do is show up and answer questions.

Year in Film: 2010

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YEAR IN FILM To recap: 2010 was the year Oscar started dipping his golden fingers into the previous year’s pot of (mostly forgettable) big releases and fishing out 10 Best Picture nominees. Blue Pandora people were defeated at the podium, though they did leave a cultural stain behind — it’s safe to say, for example, that nobody’s been styling weddings after The Hurt Locker.

Predicting the next Academy Awards class requires looking past 2010’s top earners (Toy Story 3 and Inception aside) and focusing on films that pleased both critics and audiences (The Social Network, Winter’s Bone, Black Swan) — though if you’re in a betting mood, the carefully calibrated The King’s Speech seems exactly like the kind of movie the Academy will reward over anything achingly contemporary, staunchly gritty, or knowingly out-there. But as any true film fan knows, it’s usually not the movies that make the most money, or even win the most awards, that resonate and beg revisiting in the months and years that follow.

The Guardian’s annual Year in Film issue takes a look at some of 2010’s more notable trends, starring films you liked (The Kids Are All Right) and hated (I’m Still Here) — and films you wanted to see but forgot about and are now rushing to put on your Netflix queue (Splice). (Note: the “you” in the previous sentence is, uh, me.) And since I’m talking in the first person now, let me steer you toward my favorite documentary of the year (and 2010 boasted some great ones, including my second-favorite, The Tillman Story), made-for-ESPN tale The Two Escobars. I was lured in by heavy advertising during the World Cup — apologies to the Giants, but Landon Donovan’s ridiculous game-winner in USA versus Algeria is my pick for sports highlight of the year — and was unexpectedly mesmerized by its tragic story; only later did I learn of the film’s San Francisco connection. Read on, and pass the popcorn.

>>Babes in bondage

Or, 2010’s perfection-pursuing fatal femmes

>>Get “real”

The Social Network, Catfish, and I’m Still Here push the boundaries of truth and fiction

>>Past imperfect

Digging through the year in archival footage

>>Rate irate

Confidential to the Motion Picture Association of America: F-U

>>Baby daddy drama

Parsing 2010’s bumper crop of sperm donor comedies

>>Goal difference

Top 2010 doc The Two Escobars examines two sides of Colombian narco-soccer

>>Guardian critics pick their best movies of the year

 

 

 

 

New Year’s Eve 2011 parties

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As always, we recommend attending several parties on New Year’s Eve — just to spread your personal brand of bubbly around (and change up the scenery a bit.) Below are some recommendations for maximum impact, all of which take place the night of Fri/31. Chin chin! (Check out our Music Listings for even more.)

1984

The long-running (as in almost 20 years!) retro ’80s party is playing host to a free flashback at Mighty, in a ppreciation of, well, everything ’80s. DJs Dangerous Dan and Skip play all the faves and waves.

9 p.m.–2 a.m., free. Mighty, 119 Utah, SF. www.mighty119.com

 

BEARRACUDA

Calling all big, hot gay men — the fur will fly at this hairy annual affair, with DJs Steve Sherwood, dabecy of Electronic Music Bears, and Medic

8 p.m.–4 a.m., $25 advance. Deco, 510 Larkin, SF. www.bearracuda.com/NYE


BLOW UP NYE

Stylish hip-electro madness continues to reign at this monthly party, and the NYE Blow Up blowout should be pretty spectacular (and gorgeously messy). DJs Jeffrey Paradise, Eli Glad, and more help you explode.

10 p.m.–3 a.m., $18 advance, 18+. Kelly’s Mission Rock, 817 Terry Francois Blvd., SF. www.blowupsf.com

 

BOOTIE NYE

The outrageous mashup club teams up with Mezzanine to present this bonkers night, with DJs Adrian and Mysterious D, live band Smash-Up Derby, French rapper Grandpamini, upstairs room by Brass Tax, pirate balloon drop, and much more.

9 p.m.–late, $20–$40. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

COSMIC VOYAGE

Hardworkin’ San Diego techno DJ Donald Glaude is no stranger to SF — he’ll know exactly how to take you higher (and blow up the Funktion One sound system) at Vessel for this intergalactic jam

9 p.m.–6 a.m., $25–$65. Vessel, 85 Campton Place, SF. www.vesselsf.com

 

COUNTDOWN

Get down with a rockin’ reggaeton, hip-hop, and reggae new year fiesta at Club Six, with the awesome Los Rakas live (seriously, those guys are dope), Jah Warrior Shelter Hi-Fi, the Coo-Yah Ladeez, Mr. E, and more to fill all three dance floors.

8 p.m.–4 a.m., $10. Club Six, 66 Sixth St., SF. www.clubsix1.com

 

ECLECTIC FEVER

Cumbia, Afro-Latin funk, bhangra, reggae, flamenco, soul, and more styles take over the floor with live performances from Sila, B-Side Players, Locura, Non Stop Bhangra, and more.

8 p.m.–3 a.m., $35 advance. West Bay Center, 1290 Mission, SF. ef2010.eventbrite.com

 

ELECTRIC VARDO

A wonderfully global dance party with a “Palace on Wheels” theme, featuring fat Chance Belly Dance, DJs Amar and lady ra, chef Ranjan Dey’s Indian creations, and music from Bollywood to Andalusia.

9 p.m., $29–$80. New Delhi Restaurant, 160 Ellis, SF. palaceonwheels2010.eventbrite.com

 

“11”

Deep house master Marques Wyatt from L.A. joins our own Mark Farina, Julius Papp, and many more for a dance floor marathon, claiming to be the “longest New Year’s Eve celebration.” Whew!

8 p.m.–6 a.m., $30 advance. The Factory, 525 Harrison, SF. 11-zvents.eventbrite.com

 

15TH ANNUAL COMEDY COUNTDOWN

Yuck up your new year with super-hip (and mostly cute!) comedians Charlyne Yi, the Sklar Brothers, Shane Mauss, Nick Thune, Christina Paszitsky, and a ton more. Hilarious balloon drop!

9:30 p.m., $60–$120. Palace of Fine Arts, 3301 Lyon, SF. www.ticketmaster.com

 

G.A.W.K.

The still-spunky, 25-year-old Gay Artists and Writers Kollective is hostings its annual NYE blowout, with live musical performances and readings that attract newcomers and classic artists alike for some kollective fun.

8 p.m.–1 a.m., free and all ages. Tikka Masala, 1668 Haight, SF. 

 

ICEE HOT NYE

Get down and wobbly as the city’s best showcase for grimy-funky new musical styles brings in the new year with London’s Bok Bok and Ramadanman, DJs Disco Shawn, Ghosts on Tape, and Rollie Fingers.

9 p.m., $15–$20. Elbo Room, 647 Valencia, SF. www.elbo.com

 

KIM NALLEY

The incredibly gifted and hot-to-trot blues chanteuse will “Let the Good Time Roll” with two smokin’ shows on New Year’s Eve at the wondrous Rrazz Room at Hotel Nikko. Just watch Ms. Nalley go!

7:30 p.m. and 10 p.m., $35. Rrazz Room at Hotel Nikko, 222 Mason, SF. www.therrazzroom.com

 

LEXINGTON CLUB NYE

Spend the eve getting down with the coolest dykes on the planet (and the ladies who love them). DJs DURT and Pony Boy rock the tables, Aimee and Chandra host. Free glass of champers from 8 p.m.-9 p.m.!

8 p.m., free. Lexington Club, 3464 19th St., SF. www,lexingtonclub.com

 

LOOSE JOINTS NYE

The awesome funky Friday weekly party with DJs Tom Thump, Damon Bell, and Centipede is a top choice for those looking to get down.

9 p.m., $10. Make-Out Room, 3225 22nd St., SF. www.makeoutroom.com

 

MANGO NYE

The funky summer jam for a diverse and stylish crowd of lesbians returns to wave bye-bye to ’10. DJs Marcella & Edaj make it happen at El Rio.

7 p.m., $15–$40 advance. El Rio, 3158 Mission, SF. mango2011nye.eventbrite.com

 

POWERHOUSE NYE

Showering go-go boys! Muscular bartenders serving it up stiff! Yep, you’re at the Powerhouse, spraying your man-champagne into 2011, with DJ DAMnation and a $100 wet towel contest. (free towel check!)

10 p.m., $10. Powerhouse, 1347 Folsom, SF. www.powerhouse-sf.com

 

RENDEZ-VOUS IN PARADISE

Normally the phrase “Las Vegas’s best DJ!” sends us running to the barn for pitchforks — but this is scratch turntable legend Tina T, who is amazing. North Beach’s Atmosphere club is pretty swank, but the crowd will get down.

10 p.m., $50–$75. Atmosphere, 447 Broadway, SF. www.a3atmosphere.com

 

SEA OF DREAMS

This incredibly huge, longtime New Year’s Eve tradition is bursting with star power: Balkan Beat Box, Thievery Corporation, Modeselektor, Beats Antique, and tons more. Plus, a “GalaxSea” theme, for all you Neptunefish of 2011.

9 p.m.–5 a.m., $75–$135. Concourse Exhibition Center, SF. www.seaofdreamsnye.com

 

S.O.S. (STANDING ON STARDUST)

The fab rare disco and funky stylings of DJ Bus Station John will be on full display at this incredible-sounding shindig at Burritt Room, put on by handsome duo Bon Vivants. We hear there’ll be yummy food and a giant ice-sculpture unicorn shooting champagne, so ….

9 p.m.-2 a.m., $85. Burritt Room, 417 Stockton, SF. More info here.

 

SOME THING NEW

Some Thing, the weekly Friday night theatrical drag extravaganza (always full of hot altqueers), comes up with something special — drag goddess Juanita More takes the turntables with Sidekick and Stanley Frank to turn you out.

10 p.m., $10. The Stud, 399 Ninth St., SF. www.studsf.com

 

STREETS OF SAN FRANCISCO

Infamous DJ Steve Aoki and club photographer Cobrasnake are leaving the electro hipsters behind and appearing at this fancy ball, featuring a scale replica of the city’s beloved monuments.

9 p.m., $12–$200 advance. Fort Mason Center Festival Pavilion, Marina Blvd., SF. www. sanfrancisconewyear’seve2011.com

 

SUNSET AND HONEY

Two of the city’s smartest house and techno collectives, Honey Soundsystem and Sunset, join forces at the awesome new Public Works, with special guests Kim Ann Foxman of Hercules and Love Affair and Tim Sweeney of Beats in Space.

9 p.m.–5 a.m., $30. Public Works, 161 Erie, SF. www.publicsf.com

 

TEMPLE OF LIGHT

Temple’s annual luminous extravaganza goes “3-D” to delight the eyes and ears (and a third thing — feet?) with DJ Paul Hemming, Jaswho? live, Ben Tom, Soulspin, and more.

9 p.m.–4 a.m., $40–$150. Temple, 540 Howard, SF. www.templesf.com

 

TRANNYSHACK NYE

Good lord — Heklina and her cray-cray drag queens are teaming up with circus-themed party Big Top to wrestle 2010 out the door. Look out, shoulder pads! Tons of performances, Ejector live, DJ Omar, and an appearance by Kembra Pfaler of the Voluptuous Horror of Karen Black.

9 p.m.–3 a.m., $20. DNA Lounge, 375 11th St., SF. www.dnalounge.com

Spoiled mayor wants to get his way

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I guess it’s no surprise that Gavin Newsom takes his political cues from the San Francisco Chronicle editorial board. But this spoiled-kid choose-a-mayor-I-like-or-I-won’t-leave attitude isn’t pretty. Newsom has chosen a new office; it’s no longer his business who the folks he left behind want to put in Room 200.


And here’s what’s silly: If he wants a caretaker mayor, he’s not helping things with this approach. I actually think the incoming board is less likely to pick a caretaker. And the overall political leaning of the new board isn’t that different than the current board.


Newsom even seemed to acknowledge that: “I wonder what the big difference is now the more I work through the math.”


So why exactly is he doing this? Just to make the Chron folks feel important? Just to leave us with one last show of petulance? Or has he cut some sort of deal with the incoming supervisors? And which candidate does he want, anyway? because if it’s Ed Harrington, I hope he’s worked through the math — there’s no way Harrington gets six votes on the new board, unless either David Chiu or Jane Kim goes totally south and decides to support a pro-PG&E candidate who will only continue the worst of Newsom’s policies.


Frankly, I don’t see it happening.


Gavin: You’re done. You can’t choose the next mayor; you don’t have the votes. So quit whining and move on.


 




 


 


 


 


 


 

Ma seeks to ban raves in latest War on Fun offensive

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Someone needs to tell Assembly member Fiona Ma that the ’90s – with its myopic War on Drugs mentality, ascendant rave scene, and chest-beating “tough on crime” political one-upsmanship – are over, even though we’re still paying that era’s bills. Because Ma just introduced AB 74, which seeks to bans raves in California.

Why now? Well, her website says this “historic legislation” was written “on the heels of recent drug-related tragedies in Los Angeles and the Bay Area,” referring to three drug-related deaths at two events last May and June. And even though the same statement claims “attendance at raves can range from 16,000 to 185,000 people,” Ma somehow thinks that a few overdoses justifies a broad ban on dance parties (although she pointedly exempts live concerts, for reasons she doesn’t explain, even though the exact same argument can be made about concerts).

As a representative from the vibrant city of San Francisco, Ma (who did not return our calls for comment) is an embarrassment, taking the already-regressive War on Fun efforts by so-called “moderate” politicians to a new low. But unfortunately, the effort to ban public dance parties has already gained traction at the federal level with provisions of the long-controversial RAVE Act – promoted by top Democrats as well as Republicans — finally sneaking their way onto the books last year.

And now, Ma wants to get into the act, as always seeking to curry favor with the cops in the process (not to mention the alcohol industry, a prime funder of the War on Drugs and the ambitions of its political foot soldiers such as Ma). If they get their way, nothing short of our basic constitutional right of freedom of assembly is at risk, and that should be of concern to people of all ideological stripes.

Does Mayor Newsom represent SF workers or San Mateo politicians?

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“Does Newsom represent local workers or San Mateo politicians?” That’s the question being asked  at City Hall today. And it’s threatening to deliver an unwelcome kick to Mayor Gavin Newsom on his way out of City Hall’s revolving doors, as dozens of unemployed construction workers deliver 1,000 Christmas cards that residents of Bayview Hunters Point, Chinatown, the Mission, the Tenderloin and South of Market have signed. The cards urge Mayor Gavin Newsom to “put the Merry into Christmas and the Happy back into New Year” and sign local hire law that the Board passed a week ago.

This special holiday season delivery has been in the works since Dec. 14, when Bayview-based job advocates Aboriginal Blackmen United (ABU) tried to meet with Newsom and get his signature on legislation that a super-majority on the Board support.

But after Newsom was a no-show and his chief of staff Steve Kawa refused to give ABU any assurances, community advocates Brightline Defense Project printed up a thousand of the cards urging Newsom to “put the Merry into Christmas”. And Brightline, ABU, Chinese for Affirmative Action, PODER, and the A. Philip Randolph Institute then asked unemployed workers, activists, and concerned citizens to sign this unusual set of greeting cards.

The move comes a day after the San Mateo County Board of Supervisors voted unanimously to urge Newsom to veto Avalos local hire policy. Local hire advocates suspect this counter-move was orchestrated to give Newsom political cover, should he choose to make the seemingly Scrooge-like move of vetoing, just before the holiday season, legislation that would help San Francisco residents secure work on billions of dollars worth of local tax-payer funded construction projects .

But the San Mateo supervisors claim that San Francisco’s plan, which would mandate that 50 percent of workers on city-funded projects are local residents, threatens to hurt an already sluggish regional economy.

“This is not the time to put isolation around a community,” San Mateo Sup. Carole Groom reportedly said at a hastily convened Dec. 21 special session.
 “If this is rejected, it would be time for all of us to sit down and talk about this,” fellow San Mateo County Sup. Adrienne Tissier reportedly said.

Newsom has until Christmas Eve to either sign or veto the law, though the Board can still override his veto, provided Avalos still has eight votes in the New Year. And if Newsom doesn’t sign or veto the law by week’s end, it will go into effect in 60 days.


San Mateo officials are arguing that the local hire legislation particularly impacts their county, because the law contains a “70-mile” clause that includes the San Francisco Airport, the Hetch Hetchy water system and the San Bruno jail.

Sup. John Avalos previously told the Guardian that project labor agreements protect workers at the airport and working on projects that the San Francisco Public Utilities Commission funds. But Tissier reportedly claimed that San Francisco’s local hire policy would kick in, once new contracts are negotiated.

Reached by phone, Avalos said it’s not clear if the San Mateo supervisors have actually read his legislation
‘If they had, they’d see a lot of ways that is supports San Mateo workers,” Avalos said.

San Francisco’s local hire legislation, which is the nation’s strongest, requires that 20 percent of workers within each construction trade be local residents starting in 2011. That number increases 5 percent annually for seven years, as local workers join trades where community representation is lacking, before reaching 50 percent. In other words, 80 percent of the workforce could be non-city residents in 2011, and even at 50 percent local hire, half of the jobs will still be available to workers who don’t live in San Francisco.
 
“That’s hardly an exclusion especially when you consider that San Francisco taxpayers are making the investments on these projects,” Avalos stated.
He believes that the San Mateo County Building Trades Council pressured the San Mateo Board to pass their Dec. 21 resolution urging a veto on his measure. Either way,  Victor Torreano, vice president of the San Mateo County Building Trades Council was quoted in media coverage of the Dec. 21 vote, saying, “the need for housing in San Francisco and the Peninsula make it impossible for many blue collar workers from sinking family roots in the area.”

Avalos acknowledges that San Francisco International Airport is in San Mateo County, and its workers understandably wants jobs there,
“San Mateo County has to put up with the sound of the airport, and its residents deserve to have jobs there, but this is much ado about nothing,” Avalos said. “But it’s the Building Trades that are uncomfortable with changing slightly their practices.”

Mike Theriault, Secretary-Treasurer of the San Francisco Building Trades Council, acknowledged that his group has never been pleased with Avalos’ legislation.

“But we are resigned to seeing how it plays out,” Theriault told the Guardian. “We think there are better things they could have done to guarantee access of San Francisco residents to careers in our trades.”

Theriault believes that Avalos may not understand the project labor agreement are of limited duration.
“So, they will require an extension of the existing labor agreement,” Theriault said,  noting the legislation states that future extensions would have to comply with the new law.

But Theriault acknowledged that with or without Newsom, Avalos’ legislation still has a chance to move forward.
“If he vetoes it, I understand that the Board will have another crack at it, Jan. 4,” THeriault said, referring to the current Board’s last meeting in January.
 
The Bay Area Council has also announced its opposition to Avalos’ legislation,
 “This troubling trend of intra-county battles being started by the San Francisco Board of Supervisors needs to stop,: Bay Area Council President and CEO Jim Wunderman said in a Dec. 21 statement. “The Bay Area is one regional economy, not nine island states. We need to focus on nurturing the fragile economic recovery in our region, not setting bad policies that pit county against county.  The Bay Area Council urges Mayor Newsom to veto this foolhardy piece of legislation.  Right now, we do not need any more incentives for businesses to leave any county, the Bay Area, or California.”

But advocates for the legislation note that the San Francisco Controller recently estimated that the law will pump $270 million into the local economy over the next 10 years. They hope Newsom will emerge from his warren-like office today and sign the law, delivering a historic Christmas present to the city’s growing ranks of unemployed workers.


But even if he doesn’t, Avalos isn’t sweating it.


“Newsom probably won’t sign it, and he’ll write a letter saying he’s opposed to it,” Avalos predicted. “And even if the new mayor is [SFPUC director] Ed Harrington, he’s been supportive of the measure. So Newsom has to answer his own conscience and ask himself, if he’s going to represent local residents or San Mateo politicians.”


According to Brightline’s Joshua Arce, ABU led about 30 to 40 workers from Bayview, Chinatown, and the Mission up to Room 200 today to drop off 1,000 signed  cards from residents in every neighborhood asking the Mayor to sign the community’s local hiring law by Christmas.
 
“Room 200 was locked, but we kept knocking,” Arce told the Guardian. “Eventually the doors opened and out came [Mayor Gavin Newsom’s chief of staff] Steve Kawa. We showed him all of the Christmas cards that we had for his boss and he thanked us. Ashley Rhodes of ABU explained that since we heard how much the Mayor liked the ABU holiday card last week, we printed up 1,000 more and got them signed by people from every community in San Francisco.”
 
“We asked where the Mayor was in terms of making his decision, he said that the Mayor was still studying all of the issues,” Arce continued. “He brought up the opposition from the San Mateo County Board of Supervisors, so we asked him to tell the Mayor to support us, the thousands of unemployed and job-hungry San Franciscans, over four San Mateo politicians.”
 
“Steve Kawa said that they will be working around the clock to make sure all concerns are addressed, and we showed Steve a card signed by Sup. Bevan Dufty just moments before we came upstairs,” Arce addded. “Sups. John Avalos and Eric Mar also signed Christmas cards to the Mayor.”

According to Arce, ABU left the two huge Santa bags full of cards with Kawa, who picked them up, commenting “These bags are awfully heavy.” 

“I asked him to make sure to tell his boss that the cards were printed on 100% recycled paper,” Arce concluded. “Let’s hope that Mayor Newsom puts the Merry into Christmas and the Happy back into New Year!”

Newsom’s delay tactic would create a legal mess

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In this week’s Guardian, I lay out the latest political dynamics surrounding who will become San Francisco’s next mayor. But in reporting out that story, I stumbled across some interesting potential implications to Mayor Gavin Newsom’s petulant promise to delay his swearing in as lieutenant governor.

There is little precedent and scant caselaw on the legality of Newsom’s gambit, as most lawyers and political observers have said, so Newsom would be taking the city and state into uncharted territory just the deny his nemesis, Sup. Chris Daly, a chance to vote on the successor mayor. And it could backfire on Newsom.

For example, what if the excitement of returning to the governor’s office gives Jerry Brown, 72, a fatal heart attack after he and the rest of the state constitutional officers (except Newsom) are sworn in on Jan. 3? If Newsom had taken the oath of office as he was supposed to, he would realize his dream of becoming governor.

Instead, here’s what California Government Code 12058 says would then happen: “In case of vacancy in the office of Governor and in the office of Lieutenant Governor, the last duly elected President pro Tempore of the Senate shall become Governor for the residue of the term,” so Darrell Steinberg would become governor. Having covered Steinberg when I worked in Sacramento, I think he’d make a far better governor anyway, so this is probably a good outcome.

Here’s another unlikely scenario I like even better: what if Gov. Jerry Brown suddenly remembers all the nasty things that Newsom said about him while running for the Democratic Party gubernatorial nomination and declares the lieutenant governor’s office vacant because of Newsom’s no-show at the constitutionally mandated swearing-in ceremony and decides to appoint a grown-up to the office.

Newsom’s stand also carries risks for San Francisco, beyond just the sudden transfer of power that Newsom and moderate supervisors have already created. The City Charter calls for the newly elected Board of Supervisors to be sworn into office at noon on Jan. 8. But, as I’ve learned in interviews with officials in the Clerk the Board of Supervisors Office, there’s a strange quirk in the charter that makes it unclear who the president of the board is between when the new supervisors are sworn in and when they elect a new president, which is their first order of business.

After all, oftentimes the outgoing president isn’t even a supervisor anymore, as was the case two years ago when Aaron Peskin yielded his D3 supervisorial seat to David Chiu. This year, the Clerk’s Office says Chiu will preside over the Jan. 8 meeting for ceremonial reasons until a new president is elected (which could take minutes, hours, or days depending on a nominee’s ability to get six votes).

Now, under normal circumstances, the city would have a duly elected or appointed mayor during that transition period, so it’s not terribly important that there is a gap in who serves as president of the board. Even when the mayor moves on to higher office, as is the case this year, the City Charter calls for the president to serve as acting mayor until the board can appoint an interim mayor.

But because of Newsom’s extralegal meddling in city affairs after his scheduled departure, Chiu doesn’t become acting mayor as he should for those five days. So what happens if Brown has his sudden heart attack at 12:05 pm on Jan. 8 and Newsom, seeing that his stunt may cost him the chance to be governor, rushed to Sacramento to take his oath of office before Brown flatlines?

In that circumstance, the Mayor’s Office would be vacant and so would the board presidency, leaving San Francisco leaderless until the board can come up with six votes each for a new mayor and board president.

Now, is any of this likely? No, but this and lots of other hypothetical possibilities illustrate just how selfish and irresponsible that Newsom and the downtown-based instigators of this drama are being, despite their hypocritical public claims to caring about the city and trying to prevent political games.

But as Sacramento Bee columnist Dan Walters recently wrote: “It’s impossible to predict how Newsom’s power play will turn out. It’s a stormy beginning for his new career in state politics – but given the irrelevance of his new office, it may also be the high point.”

Music Listings

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Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 22

ROCK/BLUES/HIP-HOP

Agalloch, Allerseelen, Dispirit Great American Music Hall. 8pm, $19.

Michael Chase and Lorenzo Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Murkins, Attack Plan, Station and the Monster Bottom of the Hill. 9pm, $8.

Jason King Band Biscuits and Blues. 8 and 10pm, $15.

“Polk Street Lounge Comedy and Burlesque Show” Hemlock Tavern. 9pm, $6. With Mary Van Note, Nato Green, Sean Keane, and Miss Mae Western.

JAZZ/NEW MUSIC

“Christmas in San Francisco with Russ Lorenson and Friends” Rrazz Room. 8pm, $40.

Gaucho, Michael Abraham Amnesia. 7pm, free.

Horace-scope Coda. 10pm, $7.

Spaceheater Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

FOLK/WORLD/COUNTRY

Dan Hicks and the Hot Licks Yoshi’s San Francisco. 8 and 10pm, $18-26.

DANCE CLUBS

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Ceremony Presents Factory Records Night Knockout. 9pm, $5. Dark pop and new wave with DJs Deadbeat and Yule Be Sorry.

Club Shutter Elbo Room. 10pm, $5. Goth with Nako, Omar, and Justin.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes. Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

Red Wine Social Triple Crown. 5:30-9:30pm, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

THURSDAY 23

ROCK/BLUES/HIP-HOP

Bell Biv DeVoe Yoshi’s San Francisco. 8 and 10pm, $25-35.

“Big Cat Blue Holiday Concert” Biscuits and Blues. 8 and 10pm, $15.

Blind Willies, Flash Gilmore, Funbeatles Stud. 8pm.

“Gospel Christmas with Kim Nalley and Tammy Hall” Rrazz Room. 8pm, $35.

Vienna Teng, Alex Wong and friends, Paul Joey Ryan, Amber Rubarth Great American Music Hall. 8pm, $26.

Michael Zapruder, We Is Shore Dedicated Hemlock Tavern. 9pm, $5.

JAZZ/NEW MUSIC

Def Poets Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

FOLK/WORLD/COUNTRY

Bluegrass and old-time jam Atlas Café. 8pm, free.

Horse Thief Jack Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $10. DJs Pleasuremaker and Señor Oz spin Afrobeat, tropicália, electro, samba, and funk.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Gigantic Beauty Bar. 9pm, free. With DJs Eli Glad, Greg J, and White Mike spinning indie, rock, disco, and soul.

Good Foot Som., 2925 16th St, SF; (415) 558-8521. 10pm, free. With DJs spinning R&B, Hip hop, classics, and soul.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

FRIDAY 24

ROCK/BLUES/HIP-HOP

Alvon Biscuits and Blues. 8 and 10pm, $20.

Oakland Interfaith Gospel Ensemble Slim’s. 7 and 9:30pm, $15.

FOLK/WORLD/COUNTRY

Baxtalo Drom Amnesia. 9pm, $7-10.

SATURDAY 25

ROCK/BLUES/HIP-HOP

“Bud E. Luv Christmas Show” Rrazz Room. 8pm, $30.

“13th Annual Black X-Mass” Elbo Room. 9pm. With Graves Bros Deluxe, Los Murderachis Dimesland, and more.

Earl Thomas and the Blues Ambassadors Biscuits and Blues. 8 and 10pm, $22.

FOLK/WORLD/COUNTRY

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Death Guild X-Mess Night DNA Lounge. 9:30pm, $5. Gothic, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.

DJ Floydaclaus Hemlock Tavern. 9pm, free.

45Club Knockout. 10pm, free. Funky soul with dX the Funky Gran Paw, Dirty Dishes, and English Steve.

Go Bang! Presents: Ho Ho Bang! Deco Lounge, 510 Larkin, SF; www.gobangsf.com. 9pm, $5. Disco with Steve Fabus, Tres Lingerie, and Sergio.

SUNDAY 26

ROCK/BLUES/HIP-HOP

“Gorilla Holiday Takeover” DNA Lounge. 5:30pm, $12. With To Memory and Me, Twisted Blues, One for the Masses, and more.

Lucky Peterson Biscuits and Blues. 8 and 10pm, $20.

JAZZ/NEW MUSIC

Kim Nalley Rrazz Room. 7pm, $32.50.

DANCE CLUBS

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJs Sep, Maneesh the Twister, and guests Roy Two Thousand and DJ Quest.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. “Dance floor for dancers – sound system for lovers.” Got that?

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Religion Bar on Church. 3pm. With DJ Nikita.

Swing Out Sundays Rock-It Room. 7pm, free (dance lessons $15). DJ BeBop Burnie spins 20s through 50s swing, jive, and more.

MONDAY 27

ROCK/BLUES/HIP-HOP

Allstar Weekend, Dylan Fox and the Waves, Greenlight District, Vegas is North Slim’s. 5:45pm, $16.

Cracker, Camper Van Beethoven Independent. 8pm, $25.

Morris Day and the Time Yoshi’s San Francisco. 8 and 10pm, $30-45.

Lucky Peterson Biscuits and Blues. 8 and 10pm, $20.

Richard Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

DANCE CLUBS

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Joe Radio, Decay, and Melting Girl.

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Musik for Your Teeth Revolution Café, 3248 22nd St., SF; (415) 642-0474. 5pm, free. Soul cookin’ happy hour tunes with DJ Antonino Musco.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 28

ROCK/BLUES/HIP-HOP

Morris Day and the Time Yoshi’s San Francisco. 8 and 10pm, $30-45.

Hollow Earth, Iron Witch, Vanishing Breed Hemlock Tavern. 9pm, $5.

Kitten on the Keys Rite Spot, 2099 Folsom, SF; www.ritespotcafe.net. 9pm, free.

Spirits in the Basement, Filthy Mudbloods, Laughing Prophets of Doom Bottom of the Hill. 9pm, $8.

*X, Ray Manzarek Slim’s. 8pm, $31.

DANCE CLUBS

Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ Lightnin’ Jeff G. and DJ Filthy Phil.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

Womanizer Bar on Church. 9pm. With DJ Nuxx.

Our Weekly Picks: December 22-28, 2010

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WEDNESDAY 22

DANCE

The Christmas Ballet

Smuin Ballet’s The Christmas Ballet (previewed previously and now a mini-review) is a welcome antidote to the sentimentality surrounding the holiday season. The first part pays lip service to more or less classical music but the show really takes off in the second half, “The Cool Christmas.” Matthew Linzer as Elvis and Robin Cornwell, giving life to Eartha Kitt, are show-stealers. But then so is Ryan Camou’s high-leaping drummer boy. This entertainment — and that’s what it is — is ballet-based though leavened with Cajun, Irish, polka, waltz, hula, jazz, and tap. This year choreographer-in-residence Amy Seiwert’s added a spritely “Carol of the Bells”; her stark and sculpturally intriguing “Noel Nouvelet,” based on a 15th-century carol, still looks strong. The late Smuin’s wide-ranging musical taste allowed him to come with intriguing versions of familiar material. In this respect, at least, Seiwert seems to follow in his footsteps. (Rita Felciano)

Wed/22–Thurs/23, 8 p.m. (also Wed/22, 2 p.m.);

Fri/24, 2 p.m., $4–$62

Yerba Buena Center for the Arts

Novellus Theater

701 Mission, SF

(415) 978-2787

www.ybca.org

 

PERFORMANCE

SantaLand Diaries

David Sedaris, one of America’s favorite humorists, got his start with SantaLand Diaries, an essay on his stint working as an elf in the holiday spectacle at Macy’s. Sedaris first shared this humorous holiday anecdote on National Public Radio’s Morning Edition in 1992. Since then it has been adapted for the stage by Joe Mantello as a solo one-act. David Sinaiko stars as Crumpet the elf in Combined Artform’s annual presentation of holiday amusement and laughs. The wacky zaniness of the holidays is captured by Sedaris like none other. Note that no one under 16 will be admitted. (Emmaly Wiederholt)

Wed/22–Fri/24 and Dec. 26–-30, 8 p.m.;

(also Thurs/23, 5 p.m.; Fri/24, 3 p.m.) $20–$30

Eureka Theatre

215 Jackson, SF

www.cafearts.com

 

MUSIC

San Francisco Symphony

In the last few frenzied days before Christmas, take time to get into the spirit with the San Francisco Symphony in Twas the Night, a program of holiday favorites. From “Good King Wenceslas” to “The 12 Days of Christmas,” this assortment of beloved seasonal tunes will put the whole family in good cheer. Ages 17 and under are half-price and complimentary festive beverages follow the performance, so join in the jolly fun. With Ragnar Bohlin conducting, Robert Huw Morgan on organ, Lisa Vroman singing soprano, and Joan Cifarelli on piano, traditional carols and songs come to life as never before. (Wiederholt)

Wed/22–Thurs/23, 7:30 p.m.; Fri/24, 2 p.m., $15–$67

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

THURSDAY 23

 

FILM

Sita Sings the Blues

Inspired by the sudden decay of her own marriage, Nina Paley recreated what she’s called “the greatest break-up story ever told,” the tale of Sita and Rama from Sanskrit epic the Ramayama. The resulting film, produced on the director’s home computer, has been hailed as a miracle of contemporary animation, blending various artistic styles with the music of 1920s blues singer Annette Hanshaw. Using that music created a copyright suit against Paley, who has since released the movie online as part of the Free Culture movement. These screenings benefit the Red Vic, courtesy of the director and Shadow Distribution. (Ryan Prendiville) Thurs/23 and Sun/26, 7:15 and 9:15 p.m.

(also Sun/26, 2 and 4 p.m.), $6–$9

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

www.redvicmoviehouse.com

 

PERFORMANCE

“Joyful Noise: A Gospel Celebration of Christmas”

The Lorraine Hansberry Theatre is in the midst of its 30th anniversary seasons — and like all previous seasons, 2010-11 is dedicated to “exploring, celebrating, and reflecting the lives of African Americans.” But it’s been a bittersweet year, with the deaths of founding artistic director Stanley E. Williams and founding executive director Quentin Easter, a longtime couple, coming just weeks apart. LHT has dedicated this year’s spin on its traditional holiday gospel musical, Black Nativity, to the pair; the popular performance’s new title and script were created with Williams’ input before he died. But don’t expect a somber affair — the play honors the spirits of its founders with dance, humor, and powerful vocals, and promises to bring joy to all ages, cultures, and faiths. (Cheryl Eddy)

Through Dec. 31

Thurs, 8 p.m.; Fri/24 and Dec. 31, 2 p.m.;

(also Dec. 31, 7 p.m.); Sun/26, 4 p.m., $25–$50

Fort Mason Center

Southside Theater, Bldg D

Marina at Laguna, SF

www.lhtsf.org

 

EVENT

Latke Ball

While the nerdy Jews will be tittering away at Kung Pao Kosher Comedy (see below), the Jew who just wants to get her grind on (or anyone trying to duck down from tinsel) heads tonight to the annual Latke Ball, the Jewish Community Federation’s annual December fundraiser — usually held Dec. 24 but stepping into the night prior this year outta respect to shabbat. Sure, there are no cutting edge DJs on the bill, but more than 1,000 observant and not-so-much Heebs who refuse to take “closed for the holidays” for an answer? This calls for a mazel tov! — and maybe a Manhattan. (Caitlin Donohue)

9 p.m.–2 a.m., $40

Ruby Skye

420 Mason, SF

(415) 777-0411

www.jewishfed.org/event/latke-ball-2010

 

PERFORMANCE

Kung Pao Kosher Comedy

While the Jew into sweatin’ to the top 40 is dodging flailing stiletto vamps at the Latke Ball (see above), the more cerebral set heads to Kung Pao Kosher Comedy, comedian Lisa Geduldig’s 18-year-old stand-up alternative to the low-fi claymation specials blasting from your roommate’s TV. The annual event was birthed in a South Hadley, Mass., Chinese restaurant and serves up yucks by offbeat comedians hailing from various corners of Jewdom, all over family-style servings of rock cod with bok choy and Boca Raton-style chow mein. Headliners this year include creepy-cute comedy vet Wendy Liebman, 21-year old prodigy Nathan Habib, and Georgia-born Vietnamese-Jew Joe Nguyen. (Donohue)

Thurs/23–Sun/26, 5 and 8:30 p.m., $42–$62

New Asia Restaurant

772 Pacific, SF

(925) 275-9005

www.koshercomedy.com

 

SATURDAY 25

 

EVENT

Safeway Holiday Ice Rink

New York City has its world-famous skating rink at Rockefeller Center, blah blah blah. But why travel to the freezing-cold East Coast when you can get some downtown ice time right here in San Francisco? Possibly rocking a t-shirt while you’re at it? Plunked down in the middle of Union Square, the Safeway Holiday Ice Rink offers 90-minute sessions starting on each even hour. You’ll already be banged up from fighting the crowds at Macy’s and (sweet Jeebus) Forever 21, so it’s well worth taking a shopping time-out to channel your inner Johnny Weir as Union Square’s behemoth Christmas tree twinkles overhead. (Eddy)

Through Jan. 17, 2011

Daily, 10 a.m.–10 p.m. (Fri-Sat, 10 a.m.-11:30 p.m.);

Dec. 31, closes at 9:30 p.m., $4.50–$9.50 (skate rental, $4)

Union Square

Geary and Powell, SF

www.unionsquareicerink.com

 

MUSIC

“13th Annual Black X Mass”

Gotta love it when you click on an event taking place Dec. 25 and it takes you to the First Satanic Church’s homepage. The Black X Mass, though, is ironically a bit of a godsend. Maybe you don’t celebrate Christmas, or you’re unable to travel to hang with relatives — or perhaps you’re planning to do both, and fully realize you’ll need to decompress after a full-court press of holiday cheer. Whatever the reason, if you’ll be lurking around the dark and lonely streets of San Francisco during the holidays, head to the Elbo Room for Karla LaVey and the First Satanic Church’s annual Black X Mass party. Replace that Santa hat with horns and hail the stylings of Graves Brothers Deluxe, Dimesland, Los Murderachis, the Fuxedos, Theremin Wizard Barney, the Devil Dancers, and more. (Eddy)

9 p.m., $9.99

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

SUNDAY 26

 

PERFORMANCE

“Gallagher’s Holiday Smash Bash”

Like Sinbad, Gallagher has spent a couple decades in relative obscurity. So obscure, in fact, that’s it’s hard to imagine a time when he was popular. Immensely popular. Like, 10 televised specials between 1980 and 1987 popular. (Side note: this type of inexplicable success is known as “the Aykroyd phenomenon.”) Cultural amnesia makes it difficult to admit liking the innovator of prop comedy. But the decline of Gallagher is not due to simply a change in fashion, the way society decided one day that we no longer found giant men hilarious if they wore Hammer pants. No, it’s because of Carrot Top. That fucker single-handedly ruined props for everyone. Tonight, Gallagher may Sledge-O-Matic us back to a simpler time. (Prendiville)

7 p.m., $30

Yoshi’s San Francisco

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

MONDAY 27

MUSIC

Morris Day and the Time

Few can rock a suit like Morris Day. After bringing himself out of a self-imposed retirement in 2004, the funk-R&B singer and Prince collaborator released It’s About Time, his first solo album in 12 years. Much to his fans’ delight, he also got all the original members of the Time back together to begin touring again. Pieced together by Prince in 1981 as an outlet for material he didn’t necessarily want to release under his own (ever-changing) name, the group eventually carried on itself, thanks in large part to the eccentric and energetic stylings of Day — who also turned in a memorable performance as the Purple One’s foil in 1984’s Purple Rain. (Landon Moblad)

Mon/27–Tues/28, 8 and 10 p.m., $30–$45

Yoshi’s San Francisco

1330 Fillmore, SF

(415) 655-5600

www.yoshis.com

 

TUESDAY 28

 

MUSIC

“X-mas With X (An Evening With)”

Legendary Los Angeles punk rock group X distinguished itself from other bands of its era by adding the rock-solid drumming of DJ Bonebrake, the guitar virtuosity of Billy Zoom, and the poetic lyrics and intimate vocal interplay of John Doe and Exene Cervenka. It was this distinctive blend that caught the attention of Doors keyboardist Ray Manzarek, who went on to produce the band’s classic first album, 1980’s Los Angeles. At these two very special shows, Manzarek joins X on stage to perform their debut record in its entirety, lending his talents on the keys that helped shape tunes such as the throbbing “Nausea” and the set-closing “The World’s A Mess, It’s In My Kiss.” (Sean McCourt)

Through Dec. 29

8 p.m., $31

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com 

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

 

Alerts

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news@sfbg.com

WEDNESDAY, DEC. 22

Floyd Westerman Retrospective

You may remember him for his role in “Dances with Wolves” as Chief Ten Bears and as a country western singer/songwriter. But Floyd Westerman, a.k.a. Red Crow, was also an outspoken activist for Native Americans and the environment. A new documentary by Steve Jacobson explores his later life and activism. Along with the film, there will also be a social hour at 6:30 and a discussion following the film.

7:30–9:30 p.m., $5 suggested donation

Humanist Hall

390 27th St., Oakl.

510-681-8699

Real Mercantile Holiday Bazaar

If you still have some holiday shopping to do and just can’t summon the will to hit the stores or feed the machine, you can get some great stuff while supporting the local arts community and underground economy at the Real Mercantile Holiday Bazaar. held at arts impresario Chicken John spacious home and performance space. Homemade gifts and food are all available in a festive and very San Francisco atmosphere.

5–9 p.m., free

Chez Poulet

3359 Cesar Chavez, SF

www.therealmerchantile.com

THURSDAY, DEC. 23

Festivus 2010

San Francisco’s legendary Sisters of Perpetual Indulgence and pot activist Ed Rosenthal’s Green Aid unite to present a night of fundraising for the Medical Marijuana Legal Defense and Education Fund. The bash features an airing of grievances, feats of strength, the annual meeting of Dessert First Club, and live music and entertainment including The Phat Fly Girls and burlesque. Creative dress and cross-dressing encouraged.

7:30–11:30 p.m., $50 presale, $60 at door

SomArts

925 Brannan, SF

415-515-7483

SUNDAY, DEC 26

Get Your Spawn On

Join Brent Plater on a stroll through Muir Woods National Monument to learn more about coho and steelhead salmon and how to help them survive. The walk also features a search for endangered salmon in Redwood Creek. Make sure to wear something warm and bring your hiking boots.

10–12 p.m., free with RSVP

Meet at the Dipsea Trail trailhead

Muir Woods National Monument, Mill Valley

www.wildequity.org/events/3166

TUESDAY, DEC 28

Castro Queer-in

Join concerned local resident ins protesting the recently passed sit/lie ordinance more formally known as Proposition L. Bring out any and all musical instruments, games, food to share, face-painting kits, and any items to barter. Everyone will gather outside of Harvey Milk’s former camera store.

Noon–2 p.m., Free

575 Castro

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Curtain calls

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arts@sfbg.com

THEATER Freud called dreams wish fulfillment; or reality, disguised, but basically as we’d like it to be. If you asked the Buddha and Heisenberg about reality, you’d get pretty much the same answer. Not that any of these guys went to the theater a lot in 2010. This year oscillated between quasi-documentary fidelity to facts and burrowing hallucinations like those induced by Gysin and Sommerville’s spinning stroboscopic Dreamachine. (A facsimile of one even graced The Burroughs and Kookie Show, Christopher Kuckenbaker’s Fringe Festival winner and definitely a peak stage encounter in 2010.) But it all amounted to an assault of some kind on the sleepwalking world outside. Dreaming in the theater can be much more lucid.

Best political theater riffs: In the Wake (Berkeley Rep) was not a perfect play, but Lisa Kron’s slightly lopsided new political dramedy had a way of upsetting some fundamental and suspect assumptions of mainstream liberals that was at times electrifying. Dan Hoyle’s The Real Americans, while not as politically provocative, also ventured outside the “liberal bubble” into red state territory, bringing back reportage in the form of deft rapid-fire characterizations, comedy, and music by the young but prodigious solo performer–playwright of Tings Dey Happen and Circumnavigator. And finally, the 51-year-old San Francisco Mime Troupe’s reaffirmed that its brand of agitprop is still a going concern. Posibilidad, or the Death of the Worker, set partly in the USA but inspired by the recent factory takeovers by workers in Argentina, was a shrewd, funny, tuneful plea for cooperatives against the grinning, co-opting tendencies of “capitalism with a human face.”

The most hyped production: Terrell Alvin McCraney’s trilogy, The Brother/Sister Plays. The only one that really worked for me was the second, The Brothers Size, which got a very strong production at the Magic under Octavio Solis. It was lean, focused, a small story with subtle, far-reaching reverberations. The other two plays reached consciously for the grandiose without finally grasping much. Nevertheless, the precedent-setting coordination between the Magic, Marin Theatre Company, and American Conservatory Theater in introducing these plays to the Bay Area was an exciting development.

Boldest venture: Berkeley Rep’s London import, Afghanistan: The Great Game, a seven-hour marathon of short scripts by 12 playwrights on the history and politics of this current critical object of U.S. imperial desire. A mixed bag theatrically, though impressively produced, but the historical perspective — boiling down to a dismal pattern of imperial design and hubris, infamy, and failure — was a point well taken. Indeed, the antiwar protest outside the White House on Dec. 16, where 131 arrests were made ahead of President Obama’s declaration of “progress” in Afghanistan, seemed its logical conclusion.

Best solo performances behind a large desk: Paul Gerrior in Krapp’s Last Tape (Cutting Ball); Joel Israel in Reluctant (Brava).

Best Pas de Donut: Howard Swain and Lance Gardner in Superior Donuts at TheatreWorks.

Best mise-en-scène as meaningful, mindful mess: This Is All I Need by Mugwumpin.

Best visiting productions: Japan’s Zenshinza Theatre Company at Zellerbach (Cal Performances); West Side Story at the Orpheum; Jane Austen Unscripted at BATS’ Bayfront Theater.

Best indefinable night in a theater: Dan Carbone at the Dark Room.

Best experiential fare: Etiquette by London’s Rotozaza (hosted by Yerba Buena Center for the Arts at the Samovar Tea Lounge).

Best extraterrestrial fare: Cynthia Hopkins’ The Success of Failure (or, The Failure of Success) at Yerba Buena Center for the Arts.

Best all-around design: The Tempest at Cutting Ball.

Best productions with death references in the title: Don’t Feel: The Death of Dahmer by writer-performer Evan Johnson; and when i die, i will be dead, a pair of dance/theater pieces by Alicia Ohs. Both Don’t Feel and when i die were nurtured and staged at the now-shuttered queer performance incubator Mama Calizo’s Voice Factory. Until some hoped-for resurrection, R.I.P. Mama Calizo’s.

Best (deconstruction of) Shakespeare: Juliet, directed by Mark Jackson at San Francisco State.

Best Bill Murray: Jody Frandle in Caddyshack Live! at the Dark Room.

Best debut by a new company: Symmetry Theatre with Show and Tell at the Thick House.

Best ensemble casts in a comedy: Learn to Be Latina (Impact Theatre); Shotgun Players’ production of The Norman Conquests (with a special nod to Richard Reinholdt in the title role); Man of Rock (Climate Theater); Scapin (ACT).

Best ensemble cast in a drama: Aurora Theatre Company’s Trouble in Mind (with a special nod to Margo Hall).

Best non-singing lead in a comic opera: Patrick Michael Dukeman in Jerry Springer, the Opera (Ray of Light Theatre).

Homelessness: Newsom’s real legacy

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OPINION His voice tinged with modest pride, Gavin Newsom recently announced that he has housed 12,000 people since becoming mayor. This is an absurdly high number, four times larger then any street count of homeless people since he has been in office, but it’s been accepted by the media and public.

Homelessness has been a key issue for Newsom. He first got elected in large part by taking it on, and has been celebrated in some quarters as a champion for homeless people.

But digging behind the veneer, removing bus tickets out of town, permanent housing his predecessor, Willie Brown, created, and temporary stays and duplication, there are 1,395 permanently affordable housing units that Newsom can truly take credit for. More frequently his administration has housed people (fewer then 2,000) by leasing residential hotel rooms from slumlords and charging homeless people unaffordable rents to live there.

Only 14 percent of the units have been for families, although they make up 40 percent of the homeless population.

Newsom put three different initiatives on the ballot that have spurred hatred against homeless people. His signature operation was mixing kindness with punishment. This way, he wooed conservatives who saw through the camouflage, and liberals who did not.

Care Not Cash was the first measure. That campaign focused on accusing homeless welfare recipients of spending all their money on booze and drugs. The proponents claimed they would take public assistance away, in return for housing and treatment. The treatment part never came to fruition, and of course proponents never mentioned they were counting shelter as housing.

Care Not Cash catapulted Newsom into the limelight. His self-deprecating charm conveyed the message: “The status quo simply isn’t working.” In the end, benefits were slashed and perpetual shelter vacancies were created while shelter-seekers were turned away. Food lines exploded.

Newsom could have used his power to raise the money to house people — without stealing it from other destitute people. He chose not to.

The next year Newsom ran for mayor and simultaneously put an anti aggressive panhandling initiative on the ballot. In classic Newsom strategy, the proposition loosely defined the term “aggressive” and bizarrely required, but did not fund, substance abuse treatment for perpetrators.

It was the meanest campaign in three decades. Several violent acts were wrongly attributed to homeless people. The Golden Gate Restaurant Association put out billboards claiming homeless people spread venereal disease. Once implemented, the initiative made no visible impact on the number of panhandlers in San Francisco.

Most recently, Newsom introduced Proposition L, an ordinance that could put people in jail for 30 days on a second offense just for sitting or lying on the sidewalk. It passed, and set the parameters for very nasty dialogue about poor people once again in San Francisco.

All three of these votes took place very strictly along class lines — affluent people supported them and poor people did not.

Homelessness is not a lifestyle choice; it’s a symptom of poverty. Yet Newsom’s legacy of hatred against homeless people has made it difficult to amass the public support needed to create true solutions. Overstating his accomplishments and spreading myths about homeless people sets us back. It gives San Franciscans the impression homeless people have the help they need but simply choose to remain out on the cold hard pavement.

In a city filled with thousands of destitute people, it is now illegal to sleep unsheltered. After Newsom’s plaster media façade crumbles, this will be his lasting legacy. *

Jennifer Freedenbach is executive director of the Coalition on Homelessness.

 

Page street

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Rebecca Solnit’s Infinite City: A San Francisco Atlas (University of California Press, 158 pages, $24.95) is one of the best ideas a writer has come up with in a long time. By combining private and public support, Solnit was able to give away portions of the atlas in full-color, full-spread map handouts. (My favorite tracked both famous/infamous queer public spaces and the migration of butterflies throughout the city.). In the process, she also gave lectures in public spaces, providing a public service in the name of history and inclusion before dropping this tome on the book-buying masses. Gent Sturgeon’s version of a city-fied Rorschach alone is worth the price of the ticket. From insect habitats to serial killers, Zen Buddhist centers to the culture wars of the Fillmore and South of Market that some call redevelopment; Solnit and her cadre of artists, writers, cartographers, and researchers — Chris Carlsson, Guillermo Gómez-Peña, and Mona Caron among them — give us the infinite depths and limitless potential that can be found in 49 square miles. (D. Scot Miller)

A lot of good and even great books came from the Bay Area this year, but one stands out: a book of poetry, Cedar Sigo’s Stranger in Town (City Lights, 100 pages, $13.95). He is a young writer who improves dramatically each time I hear him read, and his poetry and critical writing are among the wonders of our age. And of the age before, since through him speak the dead poets David Rattray, John Wieners, Robert Creeley, Denton Welch, Philip Whalen, Salvador Dali, Jean Cocteau, Eartha Kitt, Raymond Roussel, Lorine Niedecker, and Cole Porter. When new writers come to San Francisco, they ask me if I’ve met Cedar Sigo. If they don’t know Sigo’s work, then I hand them a copy of the new collection. Don’t have to say much, I just step back a little to avoid the stars and diamonds and apples popping out of their eyes like toast from a toaster, because this crazy work is that crazy good. (Kevin Killian)

Compared with the prosaic grind of the inner city, the Sunset can seem like a — albeit foggy — vacation. Wide streets, surf breaks, dunes fit to get lost in: the neighborhood is just right for an offbeat bohemian getaway. But maybe those are just the reverberations of the past, which western neighborhood historian Woody LaBounty has dug up in Carville-by-the-Sea (Outside Lands Media, 144 pages, $35). This coffee table book illustrates the lives of the Sunset’s first modern-day inhabitants, who constructed a seaside village of retired street cars to inhabit back in the days before the N-Judah. Colorized at times for an Oz-like effect, the photos LaBounty digs up to illustrate “Cartown” reveal a community of artists, families, and enthusiasts — even a women’s cycling club — amid an untamed, oscillating sandscape. Those converted SoMa warehouse apartments suddenly don’t seem quite so rugged, do they now? (Caitlin Donohue)

In a city that boasts literally hundreds of theatrical world premieres per year, it’s astounding how few make it to the printed page. Bravo, then, to EXIT Press, new publishing arm of the venerable EXIT Theatre, for helping to ensure that at least some of our local play-writing talents will be preserved for posterity. And who better to inaugurate the series than Mark Jackson, whose professional development has been closely tied to the EXIT, and to the San Francisco Fringe Festival, which it produces? Far from being merely a collection of “Fringe-y” experimentation, Ten Plays (EXIT Press, 492 pages, $19.95) is a testament to the tenacity of vision. From reimagined Shakespearean classics (R&J, I Am Hamlet) to Jackson’s breakout hit The Death of Meyerhold, the bleakly comedic American $uicide, and the stirring Kurosawa-esque epic The Forest War, what these plays have in common is an audacious commitment to the illimitable possibilities of live theater. Of which, giving these works an opportunity to reach a wider audience is but one. (Nicole Gluckstern)

By any good political standard, John Lescroart’s Damage (Dutton, 416 pages, $26.95) is awful. It’s all about how a criminal uses the technicalities of law to get released (damn liberal judges) and how his family — newspaper publishers with ties to the (damn liberal) political establishment — protects him even as he continues to rape young women. Reminds me of that atrocious movie Pacific Heights, which is supposed to convince you that eviction protection and tenants rights are unfair to the poor landlords. But Lescroart writes about San Francisco, and does a pretty good job describing the city, and his characters are so real and well-crafted that I’m able to set aside the politics. In this case, Ro Curtlee, the rapist, is such an evil, evil bad guy — but a plausible, privileged evil bad guy — that he comes to life in a way that makes you want to kill him yourself. And makes you understand why a cop might feel the same way. And in the world of crime fiction, making you feel pain is half the game. It’ll be out in paper this spring. (Tim Redmond)

What Carl Rakosi was to Objectivism — a significant poet who dropped out of sight only to reemerge an old master — Richard O. Moore is to the SF Renaissance. The 90-year-old Moore was active in Kenneth Rexroth’s libertarian-anarchist circle in the 1940s, but abandoned poetry publishing for the more efficacious mass media of radio and TV, cofounding both KPFA and KQED in the process (and shooting the only footage of Frank O’Hara to boot). But Moore never stopped writing, and his debut volume Writing the Silences (University of California Press, $19.95) offers a brief but tantalizing introduction to more than 60 years of poetic activity. Moore’s diction is spare but memorable; a hawk’s wings, for example, “balance on the blind/ push of air.” Yet his low-key tones are wedded to an experimental sensibility; witness 1960’s “Ten Philosophical Asides,” which might be the first poem in English riffing on Wittgenstein, more than a decade before language poetry. Writing the Silences is thus belated yet ahead of its time. (Garrett Caples)

I commissioned three of the works in Veronica De Jesus’s Here Now From Everywhere (Allone Co. Editions, 130 pages, $26). Her portraits of Michael Jackson and Jay Reatard ran in the Guardian, while I paid out of pocket for her to render a tribute to the poet John Wieners for my boyfriend. Along with just-announced SECA Award winner Colter Jacobsen, who published this book, De Jesus is my favorite creator of drawings in the Bay Area. Like Jacobsen, she delves into memory — her memorial portraits can be seen for free on the windows of Dog Eared Books, where this book is for sale. The charm and value of Here Now From Everywhere is immediate, but the book reveals more of its multfaceted personality with each return visit. De Jesus’ illustrated dictionary of inspirational icons ranges from superstars to half-forgotten pop heroes, from cultural figures to obscure female athletes. It’s a gift. (Johnny Ray Huston)

“I told Micah last night that my new book would be a haunted house.” Berkeley-based poet Julian Poirier’s El Golpe Chileño (Ugly Duckling Presse, 128 pages, $15) is filled with the ghosts of past and present. Essentially a bildungsroman, it tracks Poirier’s protagonist’s growth from youthful journeyman into adulthood though a kind of mixed-genre Theatre of the Absurd. Vaudeville, comics, memoir, film pitch, epistolary, failed novel, poetry, the carnival, and travelogue are all wielded brilliantly in the hands of Poirier, making for a phantasmagoric reading experience where the whole emerges defiantly greater than the sum of its parts. Poirier writes, “I turned my whole brain into a city and wrote down everything I saw happening there.” And indeed it certainly feels that way — the book is ripe with the names of places, of friends living and dead; with lists of dates and years; and with drawings and photographs, making up what Poirier somewhat obliquely labels “The Stolen Universe.” El Golpe Chileño is truly a success of form and content, of the high and low, of pop and elegy. (John Sakkis)

Look forward in anger

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arts@sfbg.com

HAIRY EYEBALL/YEAR IN ART The year in art is ending on a note both sour and defiant. On Nov. 30, Smithsonian Secretary G. Wayne Clough, caving to criticism voiced by conservative politicians and religious groups, ordered the removal of David Wojnarowicz’s 1987 video A Fire in My Belly from the National Portrait Gallery’s exhibition “Hide/Seek: Difference and Desire in American Portraiture.” It was a cowardly decision; one that ultimately has undermined the credibility of Clough and his institution.

It’s unfortunate that it took an act of censorship to get art — specifically, art by an openly gay artist responding to the darkest hours of the AIDS crisis — back into the national conversation, but the chorus of condemnation coming variously from journalists and critics, art museum associations, and even The New York Times editorial page, has helped to do just that.

Additionally, Wojnarowicz’s piece, which was uploaded to Vimeo by his estate and New York’s PPOW Gallery soon after it had been taken down in Washington, D.C., has undoubtedly been seen by more viewers in the past month than it had at the Smithsonian, or perhaps even in past installations (as of writing this column, the uploaded version has received more than 18,000 views).

This will probably continue to be the case as more galleries and museums across the country, in an impressive show of institutional solidarity, screen and/or install A Fire In My Belly. Locally, SF Camerawork and Yerba Buena Center for the Arts held screenings earlier this month. Southern Exposure will continue to show the piece through mid-February, and SFMOMA is scheduled to screen the full-length version of the video in early January.

While I agree with Modern Art Notes’ Tyler Green that SFMOMA’s commitment to screen A Fire in My Belly is “a turning point” in this whole debacle (New York’s four biggest art museums have remained silent on the matter), I find his characterization of SFMOMA as “America’s most conservative, play-it-safe modern-and-contemporary art museum” a bit harsh. Certainly, this year’s recently revealed SECA winners — three of whom, it must be noted, have been past Goldie recipients, including 2010 winner Ruth Laskey — attest to the fact that, for every groaner of an exhibit (“How Wine Became Modern,” anyone?), SFMOMA is also committed to supporting artists whose work cannot be dismissed as “play-it-safe.” For starters, the memory drawings of Colter Jacobson, one of this year’s SECA winners, certainly fall along the continuum of queer portraiture displayed in “Hide/Seek.”

This is not to encourage wishful thinking. While it’s hard to imagine a San Francisco art institution doing something along the lines of the Smithsonian, I don’t think anyone expected a reignition of decades-old culture wars, let alone in the very city where the Corcoran Gallery infamously canceled a Robert Mapplethorpe exhibit in 1989. The shorter our cultural memory, it seems, the greater is our propensity to repeat the lowest moments of our history.

So, over the past few weeks, I’ve been going over the works, exhibits, and events that I was thrilled did happen here, all glorious reclamations of our Convention and Visitors Bureau’s tagline, “Only in San Francisco.” Here is an in no way complete rundown of some of the art I didn’t cover in this column for a variety of reasons (scheduling conflicts, in-the-moment preference, critical laxity), save for the works themselves.

 

L@TE, BERKELEY ART MUSEUM, MOST FRIDAY NIGHTS

Turning staid-by-day museums into hip nightspots for hip young folks has been the hip thing for institutions to do for some time now. Thankfully, the Berkeley Art Museum knows how to do it right. Skip the catered canapés and light show, and focus on programming that is truly varied and more often than not, locally-minded — from Terry Riley celebrating his 75th to Xiu Xiu frontman Jamie Stewart improvising film soundtracks, from performance artist Kalup Linzy singing dirty love songs to outré Mexican B cinema— all for next to nothing.

 

CARINA BAUMANN, UNTITLED (2) (2008-09), 2ND FLOOR PROJECTS, JAN.–FEB.

At first I couldn’t see the woman’s face in Carina Baumann’s Untitled (2). I stared into the slate-like surface (actually, translucent white film developed on aluminum), incrementally adjusting my height, until the blackness stared back. The effect was not one of shock, as with the mirrors at the end of Disney’s Haunted Mansion ride, in which the holographic undead crowd in with your reflection. Baumann’s art asks for patience and slow adjustment, and in return, regifts your sense of sight.

 

“SUGGESTIONS OF A LIFE BEING LIVED,” SF CAMERAWORK, SEPT.–OCT.

Perhaps most germane to the issues about queerness, identity politics, and representation now being raised (again) by Wojnarowicz-gate and the “Hide/Seek” exhibit, this group show put together by Chicago-based curator Danny Orendorff and SF native Adrienne Skye Roberts took “queerness” out into the desert, helped it cast off the much-tattered coat of identity politics, and asked a group of artists, activists, and filmmakers to record its unfettered visions of things to come (many of which, as the resulting work testified to, are being lived out right now).

 

MATT LIPPS, “HOME,” SILVERMAN GALLERY, APRIL-JUNE; R.H. QUAYTMAN, “NEW WORK,” SFMOMA, THROUGH JAN. 16, 2011

Although Matt Lipps is a photographer and R.H. Quaytman is a painter, they tweak their respective mediums in these unrelated shows to arrive at a similar kind of flat sculpture, which flickers between abstract prettiness and representational heavy-lifting. Lipps’ densely layered photographs of assemblages — in which variously colored photographs of domestic interiors, cut into facets and taped back together to form the original image, become backdrops for cut-out reproductions of Ansel Adams landscapes — collapse foreground and background, personal space and photographic history. Quaytman, working in dialogue with the poetry of Jack Spicer and SFMOMA’s photo archive, silk-screens images from the museum’s holdings onto beveled, wooden panels of various sizes, augmenting them with flashes of Easter eggs-like color and glittering crushed glass.

 

ERIK SCOLLON, “THE URGE,” ROMER YOUNG (FORMERLY PING PONG), JULY–AUG.

Although nothing will top his porcelain casts of assholes that littered Ping Pong Gallery like so many discarded sand dollars for the 2009 group show “Live and Direct,” Eric Scollon’s more recent solo exhibit at the gallery, “The Urge,” continued to queer form and function. The 50 or so small porcelain works, painted in the blue and white style of Dutch Delftware and arranged in pun-laden groupings, smartly played off ceramics’ dual cultural status as both a “fine art” and kitsch object, while throwing shade at modern art’s conflicted relationship to ornament. Speaking of which, if only I had a Scollon for my tree.

 

ANDY DIAZ HOPE, “INFINITE MORTAL,” CATHARINE CLARK GALLERY, THROUGH JAN. 1, 2011

Diaz Hope’s dazzling sculptures owe as much to his engineering background as to, as he puts it in an e-mail, a “revisiting of childhood thoughts about mortality and infinity.” Their mirrored, crystalline exteriors yell “Gaga!” but once immersed in their kaleidoscopic guts, they are, much like Yayoi Kusama’s infinity boxes, meditation chambers built from carnival ride components. Simply beautiful stuff.

In a lonely place

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cheryl@sfbg.com

FILM A lonely Ferrari zooms around a deserted track, over and over and over again. The opening scene of Sofia Coppola’s latest, Somewhere, is such an obvious metaphor that at first I thought the director was joking. Actually, she’s not: Somewhere is indeed a repetitious movie about a very boring, very ennui-laden individual, who happens to be a movie star with the marquee-ready name of Johnny Marco (Stephen Dorff).

Now that you’ve been smacked over the head with metaphor, feel free to play spot the subtext: Johnny lives at Sunset Boulevard haunt the Chateau Marmont, legendary for its often-behaving-badly celebrity clientele. His life is an endless progression of blah (wake up, smoke, pop a Propecia, eyefuck and fuck random female admirers), broken up by job obligations — the tedium of a press conference here, the drudgery of a visit to the special-effects makeup studio there. Sigh.

Sorta like Bill Murray’s actor character in Coppola’s 2003 Lost in Translation, Johnny’s fame is approximately equal to Dorff’s. He’s had a steady career for the past 20-something years, with occasional high points (1998’s Blade, 2000’s Cecil B. DeMented) and interesting parts in smaller films (1996’s I Shot Andy Warhol), but nothing that elevated him to the A list. Mostly he’s known for appearing in throwaway titles and dating the likes of Pamela Anderson. One might be forgiven for assuming his home life quite resembles the bad boy he plays in Britney Spears’ “Everytime” video.

One might now suspect his home life resembles Somewhere. Can’t you imagine onetime hottie Dorff, well past scruffy and nearing haggard, hiring twin pole dancers to writhe along with Foo Fighters songs as he gazes on, barely registering amusement or a pulse? Coppola’s casting of Dorff is either totally inspired or totally lazy. We don’t know enough about the real guy, who is playing an actor much like himself, to know if he’s acting or not. Frankly, he’s such a blank, shallow canvas it’s hard to spend too much time wondering or caring.

Here’s another instance of subtext: would any director not as privileged as Coppola dare to focus on a character whose massive wealth can’t at all assuage his existential crisis? Money may not buy happiness, but it’s kind of hard to feel sorry for a guy whose depression plays out as he floats the day away at a luxury hotel. The pissy, anonymous text messages Johnny receives throughout the film (“Why are you such a fucking asshole?”) are either sent directly from his subconscious, or are a knowing nod to the feelings of the unwashed masses who spent all of Translation wishing evil on poor little rich girl Scarlett Johansson.

Fortunately, there is a bright spot in all this. Obviously Somewhere is Coppola’s “I have kids now and therefore will preach about the magical joys of parenting” film. Ergo, mostly-absentee dad Johnny has a kid, Cleo, a tween sprite played by the charming Elle Fanning. Cleo’s pretty blasé about the whole movie-star thing, but she is allowed a delighted squeal when she gets a peek at the swank-tastic hotel suite the pair is given during a promotional trip to Milan. She is the only meaningful thing in Johnny’s life, and the only interesting thing that happens in this glacially-paced, bellybutton-obsessed movie.

But, you say, Somewhere won the Venice Film Festival’s Golden Lion (due to the film’s Italy scenes and Coppola’s Coppola-ness, perhaps?). Surely it must have some merit beyond Fanning and the middling, voyeuristic pleasures of seeing exactly what a movie star does on his free time? Divergent tones and motives aside, Somewhere isn’t that far from Joaquin Phoenix’s agonizing faux-doc I’m Still Here. Neither place is any place I’d like to visit again.

SOMEWHERE opens Wed/22 in San Francisco.

 

How can you stay in the house?

0

arts@sfbg.com

YEAR IN DANCE Watching dance in the Bay Area is a privilege. With the constant influx of eager young talents, people who stick around and develop, and established artists who still manage to surprise year after year, the experience can be a ball. This celebration is boosted by the “travelers” from other cities and countries who come in for a day or two and keep local dance from becoming overly self-satisfied. There is a lot wrong with capitalism, but competition — in terms of ideas — can be a real quality booster.

Watching dance in the Bay Area can also be a chore. Performances bunch up on each other, making it difficult to schedule which shows to attend. No one seems to perform on Easter or Memorial Day, but everyone goes crazy on the adjacent weekends. What is this — do we all go to church on Easter or to the beach on Memorial Day? Kudos to the West Wave Dance Festival, which this year moved its schedule to Monday nights.

One consequence of the plethora of dance available all year round is my editor’s annual request for a retrospective of the past 12 months. It’s a useful exercise, I suppose, though I have yet to decide whether it’s a privilege or a chore. Here are a dozen highlights that rose to the surface.

1. I call them surprisers, because you think you know what to expect from them and then find out that you don’t. One example is long-term dancer Kara Davis. She’s unafraid to use large ensembles in increasingly complex choreography. Another is Katie Faulkner, who possesses wit in addition to a fine eye for form. Jazz choreographer Reginald Ray Savage took Stravinsky’s Agon and used it to choreograph for his tiny group. I still don’t know whether the result works, but it was great to see him daring to take on a ballet icon. Rajendra Serber and Stephany Auberville’s Dance for the Flies was an hour-long improvisation that thrilled, thanks to the dancers’ intensity and the contributions of equally good musicians Matt Davignon and Cheryl Leonard.

2. San Francisco Ballet. Helgi Tomasson is committed to stretching our notions about ballet. So he programmed John Neumeier’s visually stunning though choreographically problematic The Mermaid. Was the risk worth taking? Perhaps. SFB artists who still dance in my head: Sarah Van Patten as Juliet; Maria Kochetkova in Yuri Possokov’s Classical Symphony; Damian Smith in everything he touched; and Pascal Molat as Petrouchka.

3. Erika Chong Shuch Performance Project’s Love Everywhere in the City Hall rotunda on Valentine’s Day. Professional and community performers, plus a chamber ensemble, celebrated people’s commitment to each other in a work that was funny, humorous, and ever so gentle. It humanized the seat of power.

4. Lines Ballet. By now we may know choreographer Alonzo King’s choreographic language, yet he finds wondrous new ways to use it. For the gorgeous Wheel in the Middle of the Field, he interpreted European classical songs, putting the singers on stage with the dancers. With Zakir Hussein, he rethought both the music and the tale of Scheherazade.

5. In its reprise this year, Joe Goode Performance Group’s mesmerizing Traveling Light proved to be one of Goode’s most worthwhile journey in every way. Inspired by the Old Mint’s history and architecture, his company of seven and 15 additional dancers evoked 19th century ordinary folks, all of them recognizable.

6. Kuchipudi is one of the lesser-known classical Indian dance forms. It’s even more of a pity that Shantala Shivalingappa, a dancer of rare refinement and virtuosity, showed her Gamaka for one night only. Part of this evening’s appeal came from the ease and joy that she and her musicians brought to the performance.

7. In October, Zaccho Dance Theatre’s noble Sailing Away commemorated the exodus from San Francisco in 1858 of a whole segment of the African American community. When it was performed on Market Street, the contrast between the everyday crowd and the dignity and steely focus of the traveling performers (Anna Tabor-Smith and Antoine Hunter) created a high drama of its own.

8. If anybody still needed to be convinced, Socrates confirmed that the Mark Morris Dance Group is the finest modern dance company in the country. Based on Eric Satie’s astounding score, Morris luminously quiet meditation on death wove a spell that has yet to evaporate.

9. Ralph Lemon’s How Can You Stay in the House All Day and Not Go Anywhere? drew me in because of the many balls — formal questions about tonal nuances; juxtapositions of material; deeply-felt thematic concerns — that he had to keep afloat. He did so brilliantly. It was lovely to see — a major accomplishment by a gifted artist-thinker.

10. Carole Zertuche, artistic director of Theatre Flamenco of San Francisco, has reoriented flamenco to where it belongs: the soloist. For “Una Noche Flamenco,” the company’s 44th season, she invited dancers Manuel Gutierrez, Juan Siddi, and Cristina Hall, whose takes on flamenco could not be more different. They joined Zertuche and a group of equally strong, individualized singers and instrumentalists for an exceptionally well-balanced evening of powerfully performed dance.

11. This year also brought the inaugural — and much-needed — San Francisco Dance Film Festival. Greta Schoenberg assembled an impressive program of locally-made and imported works. The sheer number of perspectives that these dance/film artists brought to their work was inspiring. Good news: the festival returns March 25-27, 2011.

12. The collaboration between AXIS Dance Company and inkboat resulted in Odd — a work that was anything but odd. It was exquisite, fragile, and wispy. Taking his cue from Norwegian painter Odd Nordrum, choreographer Shinichi Iova-Koga worked with two groups of nontraditionally trained dancers. The result was a stunner. May it have a long and healthy life.

Weighing a landlord’s promise

8

rebeccab@sfbg.com

Emotions ran high at meetings held by the San Francisco Planning Commission about a massive overhaul of Parkmerced, a housing complex located next to San Francisco State University that is a neighborhood unto itself.

The plan envisions tearing down 1940s-era garden apartments and townhomes to make way for new low-rises and high-rises that would contain a mix of rental housing and for-sale units. Over the course of a construction project spanning three decades, Parkmerced would expand to 8,900 units — enough to triple the number of residents who can now be accommodated. Final approval for the project is expected in March at the earliest.

Some 150 residents turned out at a Dec. 9 special meeting held near Parkmerced to make it more accessible for seniors and people with limited mobility. Although commissioners had planned to open with a staff presentation, residents protested and demanded to speak first, and their request was granted. After listening to residents comment for hours, commissioners continued the discussion until the Dec. 16 meeting, which drew a smaller turnout.

While some residents were pleased by the plans, the majority who attended the first meeting expressed alarm and anxiety. People aired concerns about the long construction timeline, increased density, traffic congestion, and the impact the plan would have on a well-established, multigenerational community. Many of the speakers had been born at Parkmerced or raised families there. The comments portrayed an economically diverse neighborhood supporting close-knit circles of friends and family.

One question that seemed to have residents rattled most was whether they could trust the developer’s promise that their rent control would be preserved, even after their existing apartments have been torn down.

Among them was octogenarian Robert Pender, a founding member of the Parkmerced Residents’ Organization, who hobbled from his wheelchair to the podium to deliver his statement for the public record. “Parkmerced is my home, and I’m not going to be evicted because some landlord wants to make some more money,” he announced. After making his comments, Pender turned to face the audience, lifted his cane in the air, and issued a rally cry that captured the sentiment of the evening: “fight!”

Under the development plan, 1,500 apartments would be razed to make way for new residential units. The midcentury garden apartments open out to shared courtyards and patios. Many house tenants who’ve lived at Parkmerced for decades. For elderly residents or those who have disabilities, the exceptionally low rent makes it possible for them to stay in San Francisco despite limited income.

From the outset, Parkmerced Investors LLC and Stellar Management have promised existing tenants that they will be relocated to replacement units with roughly the same square footage, where they’ll continue to pay the same monthly rates and keep their rent control. The developer has even promised to keep the existing apartments intact until the new units are available so that none of the residents will have to move twice.

“Our promise to our residents is that we will preserve the rent control,” said P.J. Johnston, a spokesperson for the developer. “Our attorneys believe that the rent-control protections are absolutely ironclad.”

Johnston emphasized the big picture: “For decades, progressive San Francisco has been talking about the need for developing large chunks of affordable housing, for increasing density on the west side, and for creating more housing around transit. Here we finally have the opportunity to do all that while introducing major transit improvements and extending rent control.”

The landlord’s promise of continued rent control is written into a development agreement, a contract between the developer and the city that would be filed along with permits and entitlements for the property. Any subsequent owner would also have to adhere to the terms of the agreement.

Despite those assurances, tenant advocates speaking at the Dec. 9 meeting sounded the alarm that the guarantee could be called into question in court if the developer or a new owner ever sought to challenge it. The Costa-Hawkins Act, passed in 1995, prohibits rent control on newly constructed units, and San Francisco’s rent ordinance guarantees rent control only for units built before 1979.

“It is disingenuous for the Parkmerced landlord and for city staff to assure tenants that they will have rent-controlled replacement units after their units are demolished,” noted Polly Marshall, a tenant commissioner on the San Francisco Rent Board who spoke as an individual before the Planning Commission. “We simply don’t know if this will be the case.”

Marshall said the agreement could be susceptible to a legal challenge, given recent court rulings in Los Angeles and Santa Monica finding that the Ellis Act and the Costa-Hawkins Act preempted any contracts brokered with the municipalities. In each case, signed agreements between a developer and a city were dissolved in California courts.

“There’s nothing in state law that says that when you demolish rent-controlled housing, it has to be replaced with rent-controlled housing,” said Dean Preston, director of Tenants Together, a statewide tenant advocacy group. “I don’t think the city or the developer can make those guarantees.”

Preston added that the problem would be intensified if the property is conveyed to a new owner who didn’t make the same commitments, and acknowledged that he didn’t perceive a surefire way to guarantee enforceability. “It’s not the developer’s fault, and it’s not the city’s fault,” Preston added. “Ultimately this needs to be addressed In Sacramento.”

City staff and the developer seemed responsive to the concerns. In comments submitted to commissioners Dec. 9, Marshall said the development agreement should be amended to specify that the developer agreed to waive any rights to challenge the requirements of the agreement. The following week, at the Dec. 16 meeting, planning staff distributed revised copies of the agreement that had been changed to include that language.

During a staff presentation at the Dec. 16 meeting, mayoral development advisor Michael Yarne addressed the rent-control question in a detailed presentation. “The city wants to protect existing tenants,” Yarne told commissioners. “It is not the city’s intent to leave existing tenants vulnerable.”

Under Costa-Hawkins, Yarne said, exceptions to the rent-control prohibition apply in cases where a municipality has made a valuable contribution to a developer for a residential project in exchange for the waiver of rights under Costa-Hawkins.

Yarne ticked off a slew of contributions he believed would pass muster in a court of law as enough to qualify for the exception. Among other perks, maximum density controls for the site would be eliminated; the height and bulk for new buildings would be increased beyond what’s normally allowed; the city would not assess impact fees for the replacement units; the amount of permitted commercial mixed-use development for Parkmerced’s zoning category would be substantially increased; and the development rights would be frozen for 30 years with no required milestones.

“We believe this satisfies the public-assistance exception,” Yarne said. He noted that the document was drafted with feedback from City Attorney Dennis Herrera.

Tenant rights activist Calvin Welch, who had not yet seen the latest draft of the development agreement when the Guardian caught up with him, said “we’re agnostic” on the rent-control provision until having had a chance to carefully vet the final agreement. Yet he said the tenants were “absolutely right to be concerned,” given the recent legal precedent.

Sup. Sean Elsbernd, whose District 7 includes Parkmerced, said he tuned into the hearings though he did not attend. Elsbernd said he would feel comfortable moving forward with the plan as long as he had assurance from the City Attorney’s Office that the agreement was enforceable. “I don’t want to see that project go forward without certainty,” he said.

Christina Olague, vice president of the Planning Commission, acknowledged the strong concerns voiced by residents about the coming changes to the property. “We have to be sensitive to the emotions that we witnessed that day,” Olague said. “We have to balance out a lot of different needs.”

At the Dec. 16 meeting, more residents made comments echoing the furious opposition expressed on Dec. 9. At the same time, a small contingent of residents who favored the plan turned out to urge commissioners to approve it.

“I have witnessed consistent honesty from one source — the owner of Parkmerced, Rob Rosania,” Daniel Phillips, who identified himself as president of the Board of Directors of the Parkmerced Residents’ Organization, noted in written comments submitted to commissioners. “As long as I have known Rob Rosania and Stellar Management, they have made promises and kept them.”

Yet it was clear that many other tenants were not convinced, and on Dec. 9, several lamented the idea that their homes would be knocked down and their longstanding community impacted by the new development.

Residents who oppose the development recently formed a new residents organization called the Parkmerced Action Coalition. Members of that group are opposed to the wholesale demolition of the 1,500 garden apartments and would rather see them retrofitted and preserved.

“We are living in panic,” a woman who had lived in Parkmerced for many years told commissioners. “I am completely opposed to the tear-down of our community.”

Mayoral dynamics

5

steve@sfbg.com

Despite the best efforts of Sup. Chris Daly and some of his progressive colleagues to create an orderly transfer of authority in the city’s most powerful office, the selection of a successor to Mayor Gavin Newsom will come down to a frantic, unpredictable, last-minute drama starting a few days into the new year.

The board has convened to hear public testimony and consider choosing a new mayor three times, each time delaying the decision with little discussion by any supervisor except Daly, who pleaded with his colleagues on Dec. 14 to “Say something, the people deserve it,” and asking, “Are we going to take our charge?”

The current board will get one more crack at making the decision Jan. 4, a day after the California Constitution calls for Newsom to assume his duties as lieutenant governor — although Newsom has threatened to delay his swearing-in so Daly and company don’t get to the make the decision.

“I can’t just walk away and see everything blow up. And there are a few politicians in this town that want to serve an ideological agenda,” Newsom told KCBS radio reporter Barbara Taylor on Dec. 16, two days after praising the board for its “leadership and stewardship” in revising and unanimously approving the city’s bid to host the America’s Cup.

Newsom and his fiscally conservative political base fear that the board’s progressive majority will nominate one of its own as mayor, whereas Newsom told Taylor, “The board should pick a caretaker and not a politician — that’s my criteria.”

Some board members strongly disagree. “It’s not his to decide. Besides, what’s not ideological? That doesn’t make sense. Everyone’s ideological,” Sup. John Avalos told the Guardian, a point echoed by other progressives on the board and even many political moderates in town, who privately complain that Newsom’s stand is hypocritical, petty, and not in the city’s best interests.

The Guardian has interviewed a majority of members of the Board of Supervisors about the mayoral succession question, and all expect the board to finally start discussing mayoral succession and making nominations on Jan. 4.

But whether the current board, or the newly elected board that is sworn in on Jan. 8, ultimately chooses the new mayor is anyone’s guess. And at Guardian press time, who that new mayor will be (and what conditions that person will agree to) was still a matter of wild speculation, elaborate conspiracy theories, and backroom deal making.

 

GETTING TO SIX

A majority of supervisors say there’s a simple reason why the board hasn’t seriously discussed mayoral succession since it unanimously approved the procedures for doing so Nov. 23 (see “The process begins,” Nov. 30). Everyone seems to know that nobody has the required six votes.

Avalos said he thinks the current board is better situated to choose the new mayor because of its experience, even though he voted for the delay on Dec. 14 (in an 8-3 vote, with Daly and Sups. Ross Mirkarimi and David Campos in dissent). “I supported the delay because we were not closer to having a real discussion about it than we were the week before,” Avalos told us, noting that those who were pushing for Campos “didn’t do enough to broaden the coalition to support David Campos.”

For his part, Campos agreed that “the progressive majority has not figured out what it wants to do yet,” a point echoed by Mirkarimi: “I don’t think there’s a plan.” Sup. Sophie Maxwell, who made both the successful motions to delay the vote, told us, “There’s a lot more thinking that people need to do.”

“We do not yet have consensus,” Chiu said of his reasons for supporting the delay, noting that state conflict-of-interest and open government laws also make it difficult for the board to have a frank discussion about who the new mayor should be.

For example, Chiu is barred from even declaring publicly that he wants the job and describing how he might lead, although he is widely known to be in the running.

The board can’t officially name a new mayor until the office is vacant. Sup. Bevan Dufty, who is already running for mayor, told us the board should wait for Newsom to act. “I felt the resignation should be in effect before the board makes a move,” Dufty said.

Sups. Sean Elsbernd, Carmen Chu, Michela Alioto-Pier, and Eric Mar did not return the Guardian’s calls for comment.

 

PIECES OF THE PUZZLE

Adding to the drama of the mayoral succession decision will be the new Board of Supervisors’ inaugural meeting on Jan. 8, when the first order of business will be the vote for a new board president, who will also immediately become acting mayor if the office has been vacated by then and the previous board hasn’t chosen a new mayor.

While Newsom and his downtown allies are clearly banking on the hope that the new board will select a politically moderate caretaker mayor, something that three of the four new supervisors say they want (see “Class of 2010,” Dec. 8), the reality is that the new board will have the same basic ideological breakdown as the current board and some personal relationships that could benefit progressives Chiu and Avalos.

Daly said downtown is probably correct that the current board is more likely than the new one to directly elect a progressive mayor who might run for the office in the fall, such as Campos or former board President Aaron Peskin. But he thinks the new board is likely to elect a progressive as president, probably Campos, Chiu, or Avalos, and that person could end up lingering as acting mayor indefinitely.

“They really haven’t thought through Jan. 8. Downtown doesn’t like to gamble, and I think it’s a gamble,” Daly said. “There’s a decent chance that we’ll get a more progressive mayor out of the leadership vote for board president.”

Avalos said it “would be a disaster” for the board president to linger as acting mayor for a long time, complicating the balance of power at City Hall. But he wouldn’t mind holding the board gavel. “I think I would do a good job as board president, but I’m not going to scratch and claw my way to be board president,” Avalos said. “I’d be just as happy to be chair of the Budget Committee again.”

Avalos said he thinks it’s important to have a mayor who is willing to work closely with board progressives and to support new revenues as part of the budget solution, which is why he would be willing to support Chiu, Campos, or Mirkarimi for mayor, saying “All of them could do a good job.”

Given the progressive majority on the board, it’s also possible that there will be a lingering standoff between supporters for Chiu, a swing vote in budget and other battles who has yet to win the full confidence of all the progressive supervisors, and former Mayor Art Agnos, who has offered to serve as a caretaker. Some see Agnos as more progressive than the other alternatives pushed by moderates, including Sheriff Michael Hennessey and San Francisco Public Utilities Commission head Ed Harrington.

Moderates like Dufty are hopeful that a couple of progressives might break off to support Hennessey (“From the first minute, he knows everything you’d need to know in an emergency situation,” Dufty said) or Harrington (“I could see him stepping in and closing the budget deficit and finding a good compromise on pension reform,” Dufty said) after a few rounds of voting.

Mirkarimi is openly backing Agnos. “He has evolved, as I’ve known him, in the days since being mayor,” Mirkarimi said. “I think we’ve spent too much time on finding the progressive guy to be mayor than on setting up what a progressive caretaker administration would look like.” And then there are the wild cards, like state Sen. Mark Leno and City Attorney Dennis Herrera. Herrera’s a declared candidate and Leno has made it clear that he’d take the job if it were offered to him.

Given the fact that supervisors can’t vote for themselves, it’s difficult for any of them to win. “I don’t think it’s likely that a member of the Board of Supervisors will get enough votes to be mayor,” Avalos told us, although he said that Chiu is the one possible exception.

But to get to six votes, Chiu would have to have most of the progressive supervisors supporting him and some moderates, such as D10 Supervisor-elect Malia Cohen (whom Chiu endorsed), D8’s Scott Wiener, and/or Chu (who might be persuaded to help elect the city’s first Chinese American mayor).

That would be a delicate dance, although it’s as likely as any of the other foreseeable scenarios.

Editor’s Notes

3

tredmond@sfbg.com

When the talk comes around to budget politics these days — and these days, nobody in politics can talk about much else — there’s a pretty consistent line out there, from the mainstream left to the far right, and it goes like this:

Public employees have been riding high on great pay and benefits, and they’re going to have to accept that those days are over. We can do it nicely, and negotiate and all, but the people who work for the city and the state are getting a haircut. Pension reform. Health care premium hikes. Two-tiered wage systems. Sorry, folks — there’s no other choice.

And I understand the feeling. There are plenty of unemployed people out there who aren’t happy that they’re still paying taxes to support generous pay and health benefits for workers who are consistently maligned as lazy. There are small business owners who can barely afford minimally adequate health insurance for themselves and their employees. There are underpaid private-sector workers who get jealous when they hear what you make over at City Hall.

I get it, and in terms of political reality, public-sector pensions, pay, and benefits are going to have to be part of any budget resolution in Sacramento or San Francisco.

But let me say something else.

In the past 30 years, while public-sector unions were getting organized, becoming a political force and negotiating decent pay and benefits, the United States economy was shifting radically, in a way that we hadn’t seen since the turn of the Century. From Reagan on through Bush I, Clinton and Bush II, powerful forces in Washington launched a class war in this country, one that has as many victims as most of the traditional wars we’ve fought in the past century. The winners have been a small number of people and businesses that have grown impossibly rich — by taking money away from everyone else.

And they aren’t getting any cuts. In fact, their pay, pensions, benefits, and wealth aren’t even on the table. Which is profoundly unfair.

Of the 400 richest people in America (according to Forbes), 80 live in California. Their combined new worth is $231.8 billion — about 10 times the size of the state’s budget deficit. If they gave up just a modest amount of the benefits they get from living in this state and this country (and yes, the rich got that way in part because of the benefits they get from living here), we wouldn’t have a budget crisis at all.

The people who declared this war were smart enough to figure out how to divide the opposition, to turn us against each other. That’s why they keep winning.

The next district attorney

34

sarah@sfbg.com

By the time District Attorney Kamala Harris declared victory in the razor-close California attorney general race, two candidates had already filed to replace her. And their candidacies further complicate the delicate process of appointing a new district attorney when Harris gets sworn in Jan. 3 as the first woman and racial minority to become attorney general of California.

David Onek, a senior fellow at the Berkeley Center for Criminal Justice and a former police commissioner, filed in July and has raised $130,000 and collected 1,000 signatures.

Paul Henderson, a veteran prosecutor whom Harris tapped in 2007 as her chief administrator, filed Nov. 22 when his boss’ victory in the attorney general’s race looked assured.

And now Alameda County Assistant D.A. Sharmin Bock, a human trafficking expert, is reportedly mulling a bid.

Mayor Gavin Newsom has said that if Harris resigns before him, he’ll heed her recommendation for her successor. But whoever Newsom, or his successor, appoints will have a major advantage as the incumbent if he or she runs in November 2011.

Unlike the interim mayor, who will have to make unpopular cuts to balance the budget, the person who fills out Harris’ term will have a strong presumption of holding onto the office.

So far Harris has been silent on the topic of a replacement to the post she held since 2003, when she defeated two-term incumbent District Attorney Terence Hallinan.

A possible reason for Harris’ silence is that until recently San Francisco Superior Court Presiding Judge Katherine Feinstein, the only daughter of U.S. Sen. Dianne Feinstein, was thought to be a front-runner for the post. This perception was based on the assumption that Sen. Feinstein wanted her daughter appointed, that Newsom would obey the senator’s wishes, and that no one in Democratic circles would dare to challenge Judge Feinstein in November given her mother’s political influence.

But it turns out that Feinstein, 53, whose peers unanimously elected her to succeed James J. McBride for a two-year term effective Jan. 1, 2011 as the Superior Court’s presiding judge, couldn’t legally accept an appointment anyway and would have to run in the November race.

And Superior Court spokeswoman Ann Donlan told the Guardian that Feinstein does not intend to give up her position as presiding judge. “Judge Feinstein has told court employees and her judicial colleagues that she has no intention of relinquishing her judicial duties in San Francisco,” Donlan stated.

 

THE HEIR APPARENT

That leaves Henderson as Harris’ presumptive heir; Onek, who is married to the daughter of Michael Dukakis, is a political force to be reckoned with; and former prosecutor Bill Fazio and police commissioner and former prosecutor Jim Hammer are possible appointments.

District Attorney’s Office spokesperson Erica Derryck would say nothing on the record about the appointment other than that it’s the mayor’s decision to make. But former D.A. Office spokesperson Debbie Mesloh noted that Harris has outlined the qualities she is seeking.

“Kamala has mentioned publicly that she is looking for someone with integrity who understands how the office works and will take over in such a way that allows people to continue their work,” Mesloh said. “That may sound like small potatoes, but it’s a big deal given how many folks work in the D.A.’s Office.”

Public Defender Jeff Adachi told us he finds it interesting that neither Harris nor Newsom has issued an endorsement in favor of anyone. “The silence is deafening,” Adachi said, “But what’s absolutely missing is a process to select a new district attorney. The D.A’s job involves major responsibilities in terms of running and managing a large law office, so I think there should be some kind of process.”

Adachi said the most important qualification is an understanding of how the D.A.’s Office operates and the respect of line staff. “That’s where trial experience comes in. You want someone with experience of homicide trials and serious cases. You’re overseeing a staff of trial attorneys, investigators, and their support staff — who are all litigators.”

Adachi warns that having a caretaker in that office for 11 months would create havoc. “The best choice would be someone who would allow for a smooth transition and have the qualifications and interest in running for office,” he said.

Sup. David Chiu, who became the first Chinese-American Board of Supervisors president in January 2008 and previously worked as a criminal prosecutor in the D.A.’s Office, has often been mentioned as a candidate. He told the Guardian that he enjoyed his time as a prosecutor but wants to stay put, for now.

“Kamala Harris did a good job in terms of her prosecutorial approach, and I understand she is anxious to make sure her legacy is not repealed,” Chiu said. “I’m happy to serve wherever to further the public interest, and the board is in a fragile and unstable place.”

 

IT WON’T BE SUP. ELSBERND

Former D.A. Terence Hallinan, who served two terms as a supervisor before being elected D.A., thinks it’s a big advantage to come from the board. “I knew how to use the budget process to get what I needed,” he said. “I held the key to that door.”

But a city insider who asked to remain anonymous said that if Chiu is thinking D.A., he’d be setting his sights too low. “The brass ring is right there for Chiu as mayor,” the source said.

According to the city charter, the D.A. must be a San Francisco resident who has been licensed to practice law in all California courts for at least five years. Sup. Sean Elsbernd, who qualified for the bar in 2000, has been mentioned in some circles. But Elsbernd told us that the rumors that Newsom would appoint him as D.A. and Newsom’s Chief of Staff Steve Kawa as D7 supervisor are baseless.

“They are just saying that because I’m an attorney,” said Elsbernd, who worked as a law clerk with Nielsen, Merksamer, Parinello, Mueller, & Naylor and with the D.A.’s Office prior to his August 2004 appointment to the board by Newsom and his November 2004 election.

So now the money remains on Newsom to appoint Henderson, who is a gay African American. “It’s important to take the diversity of the city into account,” our City Hall source said. “And Henderson can do the job. He’s extremely capable; the lawyer types like him; he reaches out to all groups and political factions; and his appointment would be a signal to the Democratic Party that whoever appoints him takes diversity seriously.”

Hallinan said he thinks Henderson will get the nod. “I think Kamala wants to keep a hand in that office,” Hallinan said. “And Paul is a nice guy, very competent, a good administrator — though not real experienced at trying cases.”

The D.A. doesn’t have time to try cases because there are administrative matters to deal with every day, Hallinan noted. “But trial experience is good because, although the job is administrative, you are selecting who should try what case,” he said. “So unless you have experience, it’s hard to judge what resources you have to be devoted.”

Fazio, who lost to Hallinan in the D.A.’s race in the 1990s, says he wants Henderson to get the appointment. “Henderson has been a loyal deputy. Onek has never been in a courtroom, and he doesn’t even work in San Francisco,” Fazio said.

Fazio doesn’t think Henderson’s bid will be hampered by ongoing crime lab and prosecutorial scandals in the D.A.’s Office since he wasn’t directly involved in the crime lab and police misconduct cases. “The biggest challenge for Paul will be turning all that around and running for office,” Fazio said. Insiders agreed that unless something highly unusual happens, an incumbent Henderson would get widespread political support in November.

But Onek sounds like he’s in the race for the duration, and he downplayed his lack of trial experience. “The bottom line is that I’m not going to be the chief trial attorney,” Onek said. “The role of the D.A. is to set policy, have a vision for the office, manage the office, work collaboratively with the community and law enforcement agencies, and finally, bring resources in from outside.”

“I’m spending my time building a criminal justice movement and not focusing on the politics of it all,” he added. “It’s speculation and the winds change every day.”

Onek observed that his entire career has been about criminal justice reform. “Kamala Harris did a great job of starting on that reform, and we need someone who can step in and continue the reform.”