San Francisco

Boxer wants to be shipyard clean-up’s “fair broker”

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Text by Sarah Phelan

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Sen. Barbara Boxer’s office forwarded me a letter yesterday that highlights Boxer’s concerns regarding the cleanup and redevelopment of Hunters Point Naval Shipyard.

“As Chair of the U.S. Senate Environment and Public Works committee, I am focused on protecting the health and environment of the Bay Area, including the Bayview Hunters Point community,” Boxer stated in the May 18, 2009 letter that she sent to Power’s Alicia Schwartz, who, incidentally won a Guardian’s Local Hero award in 2008, for working to improve the future of San Francisco’s black and working class communities.

Boxer’s letter landed after my deadline for this week’s story about the Navy dissolving the main body for community involvement in the shipyard clean-up, as that effort enters its most critical phase.

So, I’ve included her letter here, so folks can see what Boxer’s main concerns are. And also because it suggests that things may improve, at least in terms of working with the US Environmental Protection Agency, now that Lisa Jackson has taken the helm.

As Boxer writes, “Under Administrator Lisa Jackson, the EPA is returning to its mission of protecting American families and communities from environmental threats.”

Boxer’s communications director Zachary Coile told me today that as chair of the Senate Environment and Public Works Committee, Boxer has oversight of the US EPA, and wants to play the role of “fair broker” at the shipyard.
That sounds like a worthy goal. So, here’s hoping that Boxer can pull it off in a way that’s truly equitable.

Dave Cummings: the oldest American in porn

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By Juliette Tang

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69-year-old Dave Cummings, the oldest active porn star in America, has filmed over 500 movies and performed over 1,200 sex scenes in his 15-year career in the adult entertainment industry. He swears he doesn’t use Viagra, and when he’s not filming hardcore sex scenes in movies like Screw My Wife Please 32: And Make Her Sweat Like A Pig, Dave works as an educator and speaker, offering online classes on getting into the porn industry. Dave will be giving a seminar at the Cybernet Expo (1500 Van Ness) on June 27 called “Producing and Directing Adult Videos with Dave Cummings,” and spoke with the SFBG about sex, life, and his career in ‘old man porn’.

San Francisco Bay Guardian: First of all, congratulations on being 69! You are at arguably the most apropos numerical age for doing pornography and not many porn stars stay in the game long enough to get there.

DC: Thanks! I love my present life and age, and wouldn’t alter my past or present life at all!

SFBG: Nice name by the way! It can’t be your real name, right?

DC: No, it’s a stage name. Almost everyone in the porn industry uses a stage name.

SFBG: When did the idea of doing porn first occur to you?

DC: It happened as part of my swinging experience, specifically while Playboy Television was including me in a segment they were filming about swinging; that led me to a husband-wife team that filmed amateur porn, and my very first day as a crew member I was forced into doing a “stunt” money shot for the actor who was unable to do it that day. Subsequently, I performed in a few amateur movies, and then decided to try becoming a porn actor. I liked the fun of having sex with hot girls, AND getting paid for it. It was Heaven!

SFBG: What’s the market like for the kind of pornography you make?

DC: Aside from the present financial challenges foisted upon us by rampart piracy and copyright infringement, the market for my porn is unlimited. Although I’m a “niche”, people of both genders and of all ages seem to patronize my movies. The fantasy is that if an old, wrinkled, overweight, bald guy like Dave Cummings can have sex with such beautiful young actresses, then viewers can more easily envision that they themselves could indeed also have sex with the woman if they ever had an opportunity to meet her.

SFBG: Describe the sort of fan base you have.

DC: Mostly men looking for women to masturbate to while fantasizing that they are actually the one in the sex scene (not Dave Cummings!); couples looking for movies that show respect and caring for women; gays who appreciate older males (although I am heterosexual, I fully support their right to enjoy whatever sexual preference they want with other consenting adults); women who want to assert their right to get turned on sexually; and, women into the “daddy thing”.

SFBG: A lot of your titles have words like “Daddy” in them. “It’s a Daddy Thing,” “Sugar Daddy,” and “Dirty Dave’s Sugar Daddy”. You also have sex with much younger women in some of your movies, like “Barely Legal”. Your website talks about “teens getting drilled by Dave Cummings”. Yet the people you have sex with are, obviously, of legal age, and basically you’re just playing out a fantasy for viewers of an older man sleeping with younger women.

SF’s sexy queer film festival explodes

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By Juliette Tang

Frameline, the San Francisco LGBT Film Festival kicks off tomorrow and a quick glance through the festival schedule reveals that we are in for some sexy little treats. I have not seen any of the films, so I can only conjecture at their artistic or cinematic value. I did, however, sit through the trailers, and after doing so, I now know which films offer sex scenes.


Trailer for And Then Came Lola.

And Then Came Lola is the gay, San Francisco version of Run Lola Run. Because of the allusion to its German predecessor, in And Then Came Lola, Lesbian Lola is by plot’s invisible hand, forced to run – rather than cab – all over San Francisco in order to save her relationship with a girl named Casey. The film is described as a “fun-filled lesbian rom-com of 2009 complete with SF inside jokes and sexy bedroom scenes”.


Still from Boy

Boy is a Filipino movie about a young, rich lad who pays a gogo dancer at a party to go home with him, upon which they fall in love (and will forever have a great story to regale polite company at dinner parties when asked how they met). In the blurb on Frameline’s Web site, Michael Fox ambitiously alliterates: “lengthy, lovely, languid love scene”.


Trailer for Lollipop Generation.

According to its description, The Lollipop Generation offers these things: a bathroom blowjob, masturbation scenes, hooking, punks making porn, and lollipop licking. Shot on Super 8 film, the images might be too grainy to see all the dirty stuff, but at least you know its there.


Still from Dirt and Desire

Dirt and Desire is a set of dirty short films starring “sexy, hot, and porn-arific queers of all genders”. If something is described as “porn-arific,” you can bet there will be sex involved. Featuring shorts with titles like The Leather Daddy and the Unicorn, Kat-I’s Sex Toy Stories, and Tour de Pants, Dirt and Desire offers a feast of naked people doing, you know, all sorts of things.


Trailer for Greek Pete.

Greek Pete is a sexually explicit documentary about a year in the life of Pete, a rent boy in London who jumped in the game because he wanted to make fast money, and hooking was, in his own words, “the quickest and bestway to make loads of publicity”. Well, at least we feel less bad, in that case, for not feeling sorry for him.


Still from Thundercrack

Thundercrack is an underground porno/horror flick from 1975 that maintains the healthy cult following automaticlaly entitled to any movie of that description. The film stars 4 men, 3 women, and a gorilla, and “will arouse, challenge and question you through every torrid moment of solo, gay, bisexual and straight couplings, voyeurism and more”. Though not scary for a horror film, the scarily bad dialogue is truly something to fear. But hey, at least Thundercrack is funny, and there’s lots of sex.


Still from Shank

Sensitive, secretly gay thugs at so hot. In Shank, a sensitive, secretly gay thug named Cal drops trou in a “a sweet patio seduction scene” with a guy named Oliver.


Trailer for Champion

Champion, a film by Pink & White Productions (famous for the series) is, like Million Dollar Baby, a sexy film about a boxing lesbian — except this one features, in addition to the fighting, some rough lesbian sex. Angelique Smith at Frameline describes in more detail: “sweet, sweet pain of scratching, hair pulling, bondage, slapping, anal, choking and biting, with some unexpected FTM action thrown in!”

Appetite: Burmese delights flower in a SoMa alley

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By Virginia Miller

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Yellow Pa Taut’s Burmese chicken curry with lemongrass

After a little jaunt to nearby Hall of Justice (wait, let’s hope that’s not the case), you might want to take notice of the unusual: Burmese food in an alley across the street. Though it’s been around awhile, it’s remained quietly under the radar. And it’s good, too. Yellow Pa Taut, named after a Burmese flower, is a small, welcoming SoMa restaurant lit with twinkling lights, serving curries, salads, noodles and a range of vegetarian dishes. Standard Burmese salads like the tea leaf or ginger ones ($9.95 each) are fresh and bright, curries are mild (some a little oily) and chicken tenderly falls apart. There’s also eggs with okra ($7.25), rice-based biryani dishes, samosa salad ($8.50 – with shredded cabbage and mint leaves) and Burmese curry pork belly ($9.95). Next time your friends want to try something new and cheap, win points by suggesting a Burmese spot they haven’t tried yet.

15 Boardman Place (between Bryant Street & Fargo Place)
San Francisco, CA 94103
415-701-8188
www.yellowpataut.com

The cops and the carpetbaggers

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By Tim Redmond

The Chron’s Marisa Lagos got a nice little snipe in at the bombastic leader of the San Francisco Police Officers Association, Gary Delagnes, who was blasting the supervisors for asking cops and firefighters to share some of the financial burden of the budget deficit.

Police Officers Association President Gary Delagnes went even further, specifically attacking Avalos, the board’s budget committee chair.

“I’m sick and tired of carpetbaggers coming into this city and making decisions about how we live our lives and how we’re protected,” said Delagnes, who now lives in Novato. “I grew up here, I care about this city. It’s about time these idiots over here start caring about this city.”

What the fuck right does Delagnes, who doesn’t live in the city, doesn’t pay property taxes in the city, doesn’t even get to vote here, have to complain about Avalos (who has lived here for years and been an active part of the community)?

The truth is, a lot of the cops who whine about the supervisors don’t live here. They’re off in the suburbs, where there aren’t as many homeless people, poor people, people who need city services … and that’s the attitude these carpetbagger cops bring to City Hall.

Hello sailor

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By Matt Sussman


a&eletters@sfbg.com

Revolution seems to be on the minds and in the hearts of many in LGBT folk these days. The desire for change is palpable at the marriage equality marches that have now become regular occurrences, even if one isn’t marching under the banner of marriage equality. Indeed, the large and sustained outpouring of grassroots activism that has sprung up since Proposition 8 "passed" last November has been hailed, however ill-fitting the comparison, as "Stonewall 2.0."

Stonewall is undoubtedly a milestone — and its resonance with our current historical moment is underscored by the fact that Frameline 33’s closing night happens to fall on the 40th anniversary of the New York City riots. But Stonewall is not our only example of queers taking power into their own hands (San Francisco’s own Compton Cafeteria Riots of 1966, in which transgender people fought for their right to occupy public space, immediately comes to mind.) Nor are the social justice movements and underground film culture of the Stonewall era — both subjects touched on in a swathe of ’60s and ’70s-related films at this year’s festival — our only historical models for envisioning and enacting change. There are other histories, other battles, and other scenes to explore.

Local filmmaker Cary Cronenwett’s Maggots and Men — a stunning black and white historical fantasia on the possibilities, pleasures, and perils of revolution — proposes such another scene. Set in a mythologized postrevolutionary Russia but based on actual historical events, Maggots marshals early Soviet cinema, the gutter erotics of Jean Genet, and what at times seems like a transgender cast of thousands to build its case for the necessity of queer utopias. "I made a school boy movie, Phineas Slipped [under the name Kerioakie, in Frameline 26], so the next logical step was to make a sailor movie," says Cronenwett, explaining the germ for his film over the phone. "I wanted to make a film that created another world."

Maggots dramatizes the events of 1921, when the sailors of the seaport town of Kronstadt (whose failed 1905 revolution would be immortalized by Sergei Eisenstein in 1925’s Battleship Potemkin) drafted a resolution that supported the factory workers on strike in St. Petersburg. Deeming the sailors’ declaration of solidarity and demands for food and greater autonomy as "counter-revolutionary," the Bolshevik government launched a propaganda campaign against them, eventually sending the Red Army to take their island stronghold by force. The Bolsheviks eventually won the two-week long battle, in which both sides suffered heavy losses, killing or exiling the remaining sailors.

Told through the fictionalized letters of sailor Stepan Petrichenko (played by dreamboat Stormy Henry Knight, aptly described by Cronenwett as "the transgender Matt Dillon") to his sister and the performances of agitprop theater group Blue Blouse, Maggots repurposes the aesthetics of socialist realism to both pay tribute to the Kronstadt sailors’ quashed communal experiment and to use that same history as a means to engage with contemporary transgender lives and radical politics. "I’m wrapping together my different fantasies," explains Cronenwett. "There’s the sexual, kinda homoerotic utopia and then there’s this sort of communal utopia, where you have a society based on mutual respect."

If Maggots were a poem, it would undoubtedly take the form of an idyll. The sailors engage in a bucolic routine of communal farming and exercise, angelically sleeping in hammocks, carousing with the local ladies, and occasionally engaging in some alcohol-fueled sex with their fellow mates. Flo McGarrell’s gorgeous production design and composer Jascha Ephraim’s accordion-rich original score certainly contribute to the film’s reverie-like passages, but much of what is beautiful about the film is due in no small part to the handsome chiaroscuro visages of the film’s primarily trans-masculine actors. Cronenwett is as quick to cite Genet’s Un Chant d’Amour (1950) and James Bidgood’s Pink Narcissus (1968) as he is Eisenstein, as influences — and it shows.

But Cronenwett has other things, aside from "dirty sailor beefcake," on the brain. As he points out in a follow-up e-mail to our conversation, the trans actors in Maggots don’t just rewire the long history of the sailor as subject of homoerotic image-making in terms of gender, but also reframe the homosocial world of Krondstadt in terms of anarchist politics. "It’s not just cute butts that turn me on — it’s also ideas, and people’s politics. Not politics, like chatting about Obama or whatever, but people that are into creative ways of living and aren’t into non-consensual domination."

These politics were put into practice, as much by necessity as design, over the course of the four years it took to make the film. Shooting sporadically in rural Vermont (a frozen Lake Champlain uncannily summons the wintertime Baltic captured in photos of the Red Army’s 1921 advance); San Francisco backyards and gallery spaces; and Battery Boutelle in the Presidio and Battery Mendell in Marin, Cronenwett describes making Maggots as a "highly collaborative" process that involved the talents of friends, DIY artists, political organizers, nonprofessional actors, and anyone else who could be tapped via word-of-mouth (the film also received financial support from the Frameline Film and Video Completion Fund). At times, the filming even started to take on the communal can-do atmosphere of Kronstadt itself. "People slept on the floor and took cooking shifts, and helped make costumes," remembers Cronenwett of the Vermont shoot.

As much as Maggots is a homoerotic pastoral, the film doesn’t shy away from exploring the difficult, sometimes painful, realities attendant to any act of self-determination. As its very title — itself a reference to the rotting meat that sparks the sailors’ mutiny in the first act of Potemkim — suggests, the consequences of our actions can fester within us. "The sailors are still lugging around the violence from the revolution with them," writes Cronenewett. "Even in the salad days the violence is there just under the surface."

This violence takes on a different cast in the context of transitioning genders, something which the actors’ own mixed gender expressions continually underscore. "Transitioning is, hopefully, a liberating, positive experience. But it can also have some elements of violence associated with it. That can be a literal kind of violence — like chopping off body parts — or can be something more ethereal, like squashing aspects of ourselves to fit into either gender category."

The film is careful, though, not to hold up the sailors’ bloody defeat as a cautionary example of revolutionary hubris, just as it stylistically evokes Russian cinema of the ’20s and ’30s while avoiding that period’s penchant for egregious hero worship (flirting with martyrdom can be a slippery slope when engaging with the Soviet realism). In a sense, Maggots‘ restaging of history captures the full allegorical meaning of "utopia" — a social ideal that doesn’t exist and yet, nonetheless, remains an ideal. But, as Maggots also proves, film gives us the means to envision such ideals. At a time when our "revolutionary" moment seems blinded by tunnel vision — and has largely become defined by terms we never dictated — Maggots‘ kino eye reminds us that our past and our present are full of radical possibilities. *

MAGGOTS AND MEN

Sun/21, 1:30 p.m., Castro


The 33rd San Francisco International LGBT Film Festival runs June 18–28 at the Castro, 429 Castro, SF; Roxie, 3117 16th St., SF; Victoria, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. Tickets (most shows $8–$10) are available at www.frameline.org.

Kucharmania!

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johnny@sfbg.com

PREVIEW I was going to review It Came from Kuchar, Jennifer Kroot’s documentary about George and Mike Kuchar, but a combination of exhaustion, absent-mindedness, and deep innate logic got the best of me. Instead of writing a straightforward appraisal of a movie about two filmmakers who are anything but straight, I’ve decided to pay tribute to a pair of brothers whose filmography and videography is longer and larger and (sorry!) more freely imaginative than all of the pictures in this year’s Frameline festival put together.

For sure, there is an irony at the heart of Kroot’s dedicated endeavor, just as there was one at the core of Mary Jordan’s equally appreciative Jack Smith and the Destruction of Atlantis (2006). Underground filmmaking as preached and practiced by Smith and the Kuchars is too wild to be summarized by a stadium of talking heads, let alone condensed into one of 21st century cinema’s most common manias, the feature-length documentary portrait. In 1997, when George and Mike published the midlife autobiography Reflections From a Cinematic Cesspool (Zanja Press, 182 pages, $19.95), they’d already created at least 300 films and videos. Just as Smith’s unfinished projects tease and outright mock any neat categorization or traditional definition of art work, how could a single film or commentator do justice to the myriad lovely warts and hidden undersides of such a gargantuan filmography? Most likely, Kroot has fashioned an introduction, so I will try to as well, using words instead of a camera.

If you’re a movie-lover in San Francisco, you have some Kuchar memories, and maybe even some bonds forged partly through an admiration of George and Mike Kuchar. I remember planning to wear an ape suit to a Roxie Cinema screening of Curt McDowell’s Thundercrack!, which is scripted by George. I remember how one friend’s private screening of George’s Color Me Shameless (1967) helped jostle me out of a deep depression rooted in embarrassment about past shameless behavior. However silly they might seem on the surface, many Kuchar movies tap into truths about life, and for that I’m thankful.

Another vital aspect of cinema Kuchar is its continued influence on contemporary San Francisco creativity. Kroot’s movie spotlights the Kuchars’ influence on cult icons and iconographers such as John Waters, Bill Griffith, and Guy Maddin. But name a local moviemaker you like, and that person is probably a Kuchar devotee, or even — like Kroot — a former student from one of George’s San Francisco Art Institute classes. When I enjoy a movie by Sam Green, David Enos, Martha Colburn, or the late, great (and currently resurgent) McDowell, I sense the spirit and essence of Kuchar. When I take note of Sarah Enid’s behind-the-camera direction and before-the-camera emotion, I see a Kuchar heroine beginning to tell her own story. Meanwhile, George keeps making whirwlind star-wipe video diaries and cooking up scripted genre goulashes that possess a singularly strange flavor. A couple of months ago, someone near and dear enthusiastically showed me a recent paradisical movie by Mike, and I was blown away by the potent high it derived from the beauty of its male lead actor. Secondhand smoke? Yes please.

It Came From Kuchar is an apt title not just because George and Mike Kuchar take their inspiration from B-movies, but because something about the Kuchar brothers as a phenomenon is not of this world — so of the world as to be almost too good for it. It came from outer space, and it came from beneath the sea, but not until it came — goopily — from the creative intestines and pleasure centers of George and Mike Kuchar did cinema truly phone home.

IT CAME FROM KUCHAR

Sun/21, 6:30 p.m., Castro

Quickies

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FRI/19


The Lollipop Generation (G.B. Jones, Canada, 2008) To truly appreciate G.B. Jones’ decades-in-the-making solo follow-up to her 1991 queer punk classic collaboration with Bruce LaBruce No Skin Off My Ass, you probably have to be a fan of Doris Wishman. Jones is on record as a major admirer of the woman behind Bad Girls Go to Hell (1965) and the Chesty Morgan vehicle Double Agent 73 (1974), whose singular directorial style had no need for dramatic momentum, synced-up dialogue, or sensible camera angles. (In a scene with dialogue, Wishman was more likely to lavish close-ups on nearby furniture than on the humans involved.) Lollipop Generation skewers the lust for youth at the rotten core of pop culture through its look at a loose gang of candy-licking teen and preteen trick-turners and the suckers who would like to prey on them. The cast includes writer Mark Ewert and Calvin Johnson, but Vaginal Davis steals a sizeable portion of the movie by throwing her all into a molester role in a sequence that shifts back and forth between Super 8 and video. My favorite aspect of Lollipop Generation is Jones’ eye for funny or dirty signs or landmarks, from giant smiling balls on the sides of freeways to sites with double entendres for names. By placing what story there is within this framework, she creates her own world with no need for special effects. (Johnny Ray Huston) 10:45 p.m., Roxie.


Making the Boys (Crayton Robey, USA, 2008) Whether you adore it as a nostalgic, pre-HIV throwback or despise it for its self-loathing and slew of gay stereotypes, The Boys in the Band was revolutionary for its time as the first play to revolve around a homosexual circle of friends and to present an honest examination of the gay community. In director Crayton Robey’s compelling and insightful new documentary, Mart Crowley, the playwright of Boys, recounts his days rubbing shoulders with the Hollywood elite as a burgeoning screenwriter only to be cast aside after a failed Bette Davis pilot and a film deal fell through. New York theater proved to be his salvation as he struggled with perceived personal and professional failure as well as alcoholism. With nothing to lose, he bravely penned Boys, secured the producer from Edward Albee’s equally controversial Who’s Afraid of Virginia Woolf?, and released it off-Broadway on April 14, 1968 to commercial acclaim. Robey interviews both Broadway and Hollywood mainstays such as Albee, Terrence McNally, Robert Wagner, and Dominick Dunne, who reflect on the impact of Boys, for better and for worse, and its role in challenging mainstream opinions of homosexuality as a mental illness and in jumpstarting the gay rights movement. In the middle of the film, I started wishing Robey had interviewed more of the cast of Boys. After all, they were the ones who experienced the highs of being in an exciting and subversive new play as well as the lows of later being essentially blacklisted from Hollywood. Then it dawned on me that five of the nine original cast members of Boys have since died from AIDS. Ultimately though, their cause to validate the gay community’s presence in society is forever immortalized with the legacy of Boys, the play that Vincent Canby hailed "a landslide of truths." (Laura Swanbeck) 7 p.m., Victoria. Also Mon/22, 1 p.m., Castro.

SAT/20


Greek Pete (Andrew Haigh, U.K., 2009) A deadpan serving of real-life drama, this night-and-day portrait is a 21st-century update of Andy Warhol’s Flesh, the 1968 movie that made Joe Dallesandro a star. In Flesh, Dallesandro is a hustler named Joe in New York. Here, Peter Pittaros is an escort named Pete in London. In Flesh, we see Joe school comparatively naïve and weak street corner boys on the tricks of rough trade. Here, Pete is a responsible breadwinner in comparison to his drug-spun chicken boyfriend. Both Flesh‘s Joe and the title character of Greek Pete hang with trannies, though Candy Darling and Jackie Curtis are more camera-ready than Pete’s goth gal pals. But whereas a strange optimism radiates from Flesh, which is understandably too smitten with its charismatic star to knock the hustle, Greek Pete has a strong undertow of melancholy. Its sadness doesn’t stem from a moral tut-tut stance about whoring but from a sense of modern emptiness that haunts Pete whether he’s with friends, alone in his apartment, or watching footage of himself winning a competition that’s the male escort equivalent of Miss America. Well-shot and anchored by a performance that’s just deep and ordinary enough to remain compelling, Greek Pete isn’t just easy meat. (Huston) 10 p.m., Victoria. Also Tues/23, 2:30 p.m., Castro.

SUN/21


Training Rules (Dee Mosbacher and Fawn Yacker, USA, 2009) Homophobia in sports is, depressingly, still an enormous issue. But compared to the macho world of the NBA, you’d think that women’s college basketball would be a comparatively safe realm for queer players. In the case of Penn State, you’d be dead wrong. For 27 years, coach Rene Portland intimidated and harassed players who were lesbians — and those she thought might be lesbians, or who had lesbian friends. As players from past teams recall (often through tears), Portland was an outspoken homophobe who revoked scholarships as she pleased and made basketball a joyless pursuit for those she targeted. In 2006, former player Jennifer Harris, a star athlete and standout student, sued the school for discrimination. Though Harris can’t speak at length due to the terms of her settlement (and of course Portland, who resigned in 2007, did not agree to an interview), Training Rules is an eye-opening document, exposing not just the ugly truth about one coach, but a systemwide crisis that those in power (athletic directors, the NCAA) have been painfully slow to address. (Cheryl Eddy) 3:30 p.m., Castro

TUES/23


City of Borders (Yun Suh, USA, 2009) Forty-five minutes away from Middle Eastern "gay mecca" Tel Aviv lies Jerusalem, ancient religious center and, unfortunately, bastion of equally time-tested attitudes toward homosexuality. Many Tel Aviv gays don’t even see the point of living, let alone fighting for rights, in Jerusalem. Yet Jerusalem’s sole gay bar, Shushan, was one place where Jews and Muslims, Israelis and Palestinians, mingled as equals. Yun Suh’s documentary focuses on a few diverse patrons, plus Shushan’s owner Sa’ar Netanel, who became Jerusalem’s first openly gay elected official (as a city councilman) on the same day it elected its first ultraright Orthodox mayor. He endures routine death threats, Gay Pride parades attract violent protest, and the other principals here have their problems and flaws too: lesbian couple Samira and Ravit try to stay together despite major cultural differences; Palestinian youth Boddy fears he’ll eventually have to leave for his own safety; Adam, an Israeli activist since being queer-bashed, doesn’t see any ethnical conflict in building a house on occupied territory with his boyfriend. Borders is a vivid snapshot of a gay rights struggle that is still very much an uphill slog. (Dennis Harvey) 7 p.m., Roxie

Patrick, Age 1.5 (Ella Lemhagen, Sweden, 2008) Freshly settled in suburbia, gay couple Goran (Gustaf Skarsgard) and Sven (Torkel Petersson) are eager to adopt a child — or at least Goran is, with Sven reluctantly caving in. But when against the odds they’re informed a native-born boy is available, a misplaced bit of bureaucratic punctuation means they get not the 18-month-old toddler expected but 15-year-old Patrik (Tom Ljungman). He’s a foul-tempered foster home veteran who makes it clear he’s no happier cohabiting with two "homos" than they are with him. Nevertheless, they’re stuck with each other at least through the weekend, allowing a predictable mutual warming trend to course through Ella Lemhagen’s agreeable seriocomedy. While formulaic in concept, the film’s low-key charm and conviction earn emotions that might easily have felt sitcomishly pre-programmed. (Harvey) 7 p.m., Castro

JUNE 24


Prodigal Sons (Kimberly Reed, USA, 2008) When Kimberly Reed (who studied film at UC Berkeley and San Francisco State University) set out to make Prodigal Sons, she was probably pretty certain the doc would be deliberately self-focused. The film’s first act takes place in Helena, Mont., at Reed’s 20-year high school reunion — amid former classmates who remember Kimberly Reed as Paul McKerrow, a football star who was voted "Most Likely to Succeed" (and, indeed, a success she has been; though she alludes to a difficult period during her transition, she’s clearly arrived at a happy and confident place in life). But Prodigal Sons is plural for a reason, and not because of brother Todd (who happens to be gay). Instead, it’s adopted brother Marc — who is given to terrifying rages as a result of a personality-altering brain injury; remains eternally resentful of Kimberly’s high school-era smarts and popularity; and (as is shockingly discovered) the grandchild of Orson Welles and Rita Hayworth — who becomes Prodigal Sons’ focus. He is the most heartbreaking figure in an intimately personal (sometimes uncomfortably so) film that’s ultimately about identities lost and found. (Eddy) 7:30 p.m., Castro

JUNE 27


Off and Running (Nicole Opper, USA, 2009) Teenager Avery, an African American, was adopted as an infant by a single white mom, who soon afterward meets another single white mom who had recently adopted an African American baby boy. Before long, a family (nicknamed "the United Nations," especially after a Korean child joins the mix) was formed. A track star who dreams of running in college, Avery loves her moms, but she’s curious about her biological parents. She knows she’s from Texas and was originally called Mycole Antwonisha, facts that hint at a cultural experience far removed from her upbringing as a Brooklyn Jew. After a few letters are exchanged with her birth mother, Avery is crushed when the woman mysteriously ends communication. A profound identity crisis ensues. "It’s like something really traumatic happened to her, and nothing did," Avery’s caring if clueless adoptive mother says. But Off and Running suggests otherwise. The doc may not speak for every adopted child’s experience, but it’s eye-opening nonetheless, and is blessed with a subject who is sensitive and articulate even in her darkest moments. (Eddy) 2:15 p.m., Roxie

Pop Star on Ice (David Barba and James Pellerito, USA, 2009) Yay, Johnny Weir! If you don’t share my sentiments about the sassy, sparkly, outspoken (but not on-the-record out) figure skater, then you might want to skip this documentary, which was filmed over a two-year period and offers an up-close-and-personal (like, you see him in a tanning bed) look at the three-time national champ. Or maybe not, actually — haters might come around after realizing how hard he’s worked to achieve his ice-rink dreams, born after watching Oksana Baiul win Olympic gold on TV and learning to skate (at the ancient age of 12) on the frozen-over cornfield in his Pennsylvania backyard. Competition footage backs up claims by longtime coach Priscilla Hill (with whom he breaks up over the course of the film) and others of Weir’s extraordinary talents; backstage clips and off-the-cuff interviews establish the fact that he’s one of the sport’s most fun personalities, probably ever. Weir pouts, jokes, struts in a fashion show, speaks in a Russian accent, discusses his collection of furs, and lands quadruple jumps with ease. Gay or (ahem) nay, he’s clearly 100 percent comfortable with who he is. (Eddy) 11 a.m., Castro

Rusty never sleeps

0

johnny@sfbg.com

I’ll be honest: interviewing Rusty Santos was a last-minute thing. I just found out that Santos’s group the Present is coming to SF. And let me tell you, I’m bummed. While Santos and bandmates Jesse Lee and Mina are making music here, I’m going to be across the country in their hometown of New York City. One listen to Santos’ production for Panda Bear’s sublime Person Pitch (Paw Tracks) is all it takes to recognize his special studio grace, and based on the spacious beauty of World I See (Lo Recordings, 2008) and the new Way We Are (Lo Recordings), the Present is one of the few contemporary bands I’m eager to see live. So if you check out one of the shows, tell me how good it was for you.

SFBG What are some of the first sounds you remember?

RUSTY SANTOS The sweet potato salesman’s song I heard as a kid in Japan. A lot of the vendors there sing these jingles that have probably been sung for generations and remind me of hymns. I lived in Nagoya for a few years when I was growing up, and my earliest sonic memories are from there.

SFBG What were some of your favorite musical experiences as a kid, in terms of listening to music and making it?

RS Playing in hardcore bands in high school was my most formative musical experience. Also singing in chorus in elementary school was important. My life was changed the first time I heard Michael Jackson.

SFBG You’re from Fresno and you’ve also lived in the Bay Area. What things did you love and not love about both?

RS I love how Fresno rests in the valley at the foot of an immense mountain range. Being at sea level but separated from the ocean felt pretty isolated, but there’s also this sense that the sky’s the limit. San Francisco has a lot more history, and is of course more worldly, so that was my introduction to the kinds of cultural activities I would pursue after moving to New York.

SFBG The Present is the Present, and as Rusty Santos you have songs or titles such as "Eternity Spans" and "Moving Time." What is it about time that interests or compels you?

RS Time has always fascinated me because I kind of feel like it doesn’t exist or at least doesn’t behave in exactly the same way recording equipment captures it. I feel that with music it’s possible to change the way people perceive time and help [them] appreciate it more.

SFBG Did you see that Alan McGee of Creation Records fame named the Present as one of his favorite groups?

RS Someone showed me that. I like a lot of Libertines and Babyshambles songs, and of course My Bloody Valentine. And Felt.

SFBG What’s the strangest or best description you’ve heard of your music?

RS That would have to be Alan McGee comparing it to [Wolfgang Voigt’s project] Gas. He’s wrong, but that’s a huge compliment.

SFBG Panda Bear’s Person Pitch is one of my favorite albums of recent years. You recorded it in Lisbon, and I’m wondering about your impressions of that place and how it might have influenced you.

RS Portugal is amazing. My last name is Portuguese and the first time I traveled there I felt like there was some lost family connection.

SFBG In an interview I did with him around the time of Tilt (Fontana, 1995), Scott Walker said he doesn’t like the compression of most modern recordings. Would you agree with his view?

RS Yes, I completely agree, except for when I disagree. Most of the time new music sounds flat and over-compressed, but in some cases it’s used to genius effect.


SFBG What are you looking forward to doing while you’re in the Bay Area?

RS I’m looking forward to checking out the bands we’re playing with and seeing old friends. It will also be nice to get some coffee and visit Golden Gate Park.

THE PRESENT

With Queens, Religious Girls, Our Brother the Native, New Future

Thurs/18, 9 p.m., $7 (21 and over)

The Knockout

3223 Mission, SF

(415) 550-6994

www.theknockoutsf.com


With Queens, Railcars, Egadz

Fri/19, 9 p.m., $8 (21 and over)

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

Adventureland, ho

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a&eletters@sfbg.com

SONIC REDUCER I’m in the mood for adventure — and so are you, apparently. Something off the beaten down and battered tourist path, something wild and glee and free to be you and me. And who is "me," anyway — when "me" is perpetually in flux, in free fall, riding the rapids of the collective unconscious? Don’t fear the reaper, the creeper, the negative creeps, the swine flu, the digital, the Burner, the busted, the Man, the dude who defecates on your doorstep (especially if he cleans up after himself like a responsible pooch owner).

Maybe that’s why adventure is the underlying theme, streaming willy-nilly, in talks with two very different guitarists and vocalists, generating very different sounds: Aaron Turner of Isis (and founder of Hydra Head Records) and Charlie Saufley, frontperson for San Francisco’s Assemble Head in Sunburst Sound (see below) You know it’s in the air when players working in such varied modes of music-making as Isis and AHISS start talking about taking it off-road. Ask, for instance, Seattle resident Turner what he looks for as the sole A&R guy (and de facto art director) of Hydra Head, and he says, somewhat reluctantly because, "at the moment we’re trying to cut back on what we take in — sort of because our boundless enthusiasm has led us take on too much. But if I were to summarize what we look for, it’s an adventurous spirit."

Isis’ latest album, Wavering Radiant (Ipecac) feels boundless, too: as clean and deep as a dive into a wooded swimming hole. Richly melodic passages, with unexpected ambient hues, make me picture the band is listening widely, beyond thrash and forebears (and Hydra Head like-mindeds) like the Melvins. From "Hall of the Dead," a layered, seven-minute-plus opus that brings to mind a more symphonic Neurosis or Mono, to "Ghost Key," which is at moments almost frothy and airy in its interplay of electronics and guitar and at others ascending and falling with loud, earthy thunder, the album, engineered by new producer Joe Barresi (who presently happens to be working with Saviours), seems to step back from crushing aggression and toward more nuanced arrangements tinged with post-rock and mathcore elements associated with Dillinger Escape Plan, Explosions in the Sky, and Mogwai.

And now that Isis has made inroads into the Billboard 200 — Wavering Radiant arrived at No. 98 — I wonder whether the group’s sense of adventure may be contagious. "I don’t think our music is inaccessible," Turner muses. "There’s enough melody there, and certainly there’s an energy that a lot of people will latch onto. But when it boils down to it, there’s an element to the music that will make that a stretch in the mainstream realm." Hold on.

ISIS

With Helms Alee and Mamiffer

Tues/23, 9 p.m., $16

Great American Music Hall, 859 O’Farrell, SF

(415) 885-0750, www.musichallsf.com

———–

ASSEMBLE HEAD IN SUNBURST SOUND’S ‘GLORIOUS RESIGNATION’

You’d never suspect Assemble Head in Sunburst Sound was on a similar tip as Isis, but if you chat with guitarist-vocalist Charlie Saufley, he’ll stop what he’s doing — namely caring for his ailing father in Mountain View — and ponder the phenomenon, and yes, the adventurous vibe, of the current psych/stoner rock scene in the Bay Area. "The common thread of this newer generation of what we loosely call psychedelic bands is that I think they’re running with what the first generation forgot," he explains good-naturedly. "A lot of them turned into a cliché, self-indulgent dinosaur bands. Now maybe everyone is carrying on the spirit of what those bands had when they were young and didn’t know better and just fueled by that feeling of creating something new."

New for ASHISS: the kudos it’s fielded for its new When Sweet Sleep Returned (Tee Pee), a successful cosmic-cowboy-derived marriage of Floyd and country-fied Byrds, as Saufley describes it, with a drizzle of Revolver-esque pop. Still, he’s not sure what to make of the attention. "I haven’t stopped aspiring to the dream of making a living doing this. I think someone might sneak through the cracks and break through. Aspirations exist but I do think there’s a glorious resignation, like, ‘Fuck it, I’m not going to see dollar one, so why not do what I want to do. There is that democratization of music creation: people who are really psyched if you put out a record on your own and make 500 of them. But I do also think people rally around that spirit — ‘I’m never going to make money, so I’m just going to be prolific and put it out there.’ It’s the hardcore ethic come to life."

WITH SLEEPY SUN, SPINDRIFT, AND DJ WET BURRITO

Fri/19, 9 p.m., $13

Great American Music Hall

Juicy gotcha krazy

0

superego@sfbg.com

SUPEREGO Oh, who the hell cares what I think this week? It’s summer and our party hormones — partymones — are totally going apeshit. Before I get into the upcoming party musts, though, I will leave you with one quasi-abstract musing. The thing I’ll miss most about analog TV, besides the term "vertical hold," is the sound of someone frantically banging the top of the box to stabilize the picture. If anyone’s thinking of sampling that in a killer track, now’s the time. Slap that bitch!

NINJA TUNE


It’s been a coon’s age since the forward-thinking label threw one of its freaky bashes here in San Francisco, and despite some questionable recent signings (Thunderheist? Er, pass), it’s pulling out its new big guns with this one. Before he brought down the house on the Brainfeeder tour last year, I couldn’t look at foppish L.A. synth-master Daedelus without flashing back to my more ill-starred ’80s sartorial choices. But he proved himself up to the minute with edgy future bassism and over-the-top Beethoven-like symphonic flourishes. New New Romantic? Sure. Montreal dancehall warper Ghislain Poirier is back as well, and will benefit from Mighty’s mighty bass boost. Opening up is Daly City’s underground patron saint, Mochipet.

Thu/18, 9 p.m., $10 advance. Mighty, 119 Utah, SF. www.mighty119.com

"THE CREATIVES"


There’s nothing more terrifying to me than a drag queen out of drag. Here I’ll be all gossiping tipsily with someone and say something like, "Oh gurl, that Ambrosia Salad mess truly sucked a big one with her number last Friday." And then he’ll say in a deep voice, "I’m Ambrosia Salad, asshole" — and I’ll have to backtrack faster than Scooby and Shaggy from Bluebeard’s tacky ectoplasm. Luckily, hottie photographer Molly Decoudreaux provides a key with her new exhibition, "The Creatives: Daytime Portraits from a Queer Nightlife," in which she ingeniously snaps notorious movers and shakers in their casual home habitats. Who knew these queens had homes? The opening party should be darling.

Sat/20, 7 p.m.–10 p.m., continues through July 10, free. A.Muse Gallery, 614 Alabama, SF. www.yourmusegallery.com

SUREFIRE


That lively Bay nexus for all things dubstep, Surefire Sound, has gone monthly at Triple Crown (yay) and has a stellar June lineup planned. Distance, a hurricane force from the U.K. whose "Night Vision" track on Planet Mu pummels the darkness into submission, brings his streetwise wobble to the tables. Toronto’s XI gets gnarly, his ragamuffin moments reflective of Canada’s simmering melting pot. And much-admired local DJ Antiserum possesses the just-right combination of longtime jungle and breaks experience and wild viral style to crank the party up madly.

Sat/20, 10 p.m., $10. Triple Crown, 1760 Market, SF. www.triplecrownsf.com

GREEN VELVET


True eccentricity is still a rarity on the techno scene, which tends to forego stand-out personalities in favor of mix-friendly assimilation. This can be a good thing: we don’t need another Prodigy, surely. But Green Velvet, the wacky track producer also known as house pioneer Cajmere, gets the balance between dance floor motion and the conceptually bizarre perfectly. The influence of his earworm cuts like "The Stalker," "Flash," and the oddly Eminem-summoning "La La Land" is strongly felt on recent underground Berlin styles and throughout the goofy Dirty Bird label technoverse. He’ll be in town with bonkers duo Designer Drugs, who manage to make electro-sleaze still relevant-sounding, to help celebrate the birthday of one of my favorite SF DJs, Richie Panic.

Sat/20, 9 p.m., $15 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

DJ SAID


A decade ago, when the Internet was still booming, Said Adelekan brought some serious dance floor spirit to that oft-soulless go-go period with his local Afro-House movement, his Fatsouls label, and his lovely Atmosphere parties. I’m absolutely delighted that he and Fatsouls have resurfaced — goddess knows we could use a little more Afro-injection — to release a new full-length Fatsouls joint, Sun of Gao. Joining Said (and many familiar friendly faces from those days, I hope) will be the luminous DJ Dedan of the great Brothers and Sisters party in Oakland. Expect everything deeply felt, from Afrobeat to minimal techno — oh, and Nigerian legend Rasaki Aladokun on the talking drum.

Friday, June 26, 10 p.m., free. Otis, 25 Maiden Lane, SF. www.otissf.com

PG&E attacks consumer choice

0

rebeccab@sfbg.com

A ballot initiative backed by Pacific Gas and Electric Co. could amount to a death sentence for community choice aggregation (CCA) and expanded public power in California.

Dubbed the Taxpayers Right to Vote Act, the proposed initiative would require a two-thirds majority vote at the ballot before any local government could establish a CCA program, use public funding to implement a plan to become a CCA provider, or expand electric service to new territory or new customers.

The new hurdle would make it very difficult for a local government to move forward with a CCA, while at the same time making it much easier for a utility to defeat public power at the ballot.

Signed into state law in 2002, CCA allows local governments to buy up blocks of power to sell to residents, making it possible for cities and counties to set up alternatives to private utilities such as PG&E and, in many cases, to offer electricity generated by clean, renewable power sources.

The initiative is in its earliest stages, and it likely would not be placed on the state ballot until the June 2010 election. At this point, "it’s unclear how much of a campaign it’s going to be," according to Greg Larsen of the Sacramento public relations firm Larsen Cazanis, a spokesperson for the effort. "It’s a long way off."

That hasn’t stopped local CCA supporters from sounding alarm bells. "Urgent/Bad! PG&E State Ballot Measure To Kill Public Power & CCA," public power activist Eric Brooks wrote in the subject line of a widely disseminated e-mail last week. "It’s red alert time boys and girls," he wrote, saying the proposal "will kill all new Public Power and Community Choice Aggregation projects statewide."

Brooks isn’t alone: everyone the Guardian spoke with who is involved in the creation of San Francisco’s CCA voiced concern that the proposal could kill any future community choice efforts.

The proposed initiative was submitted to the California Attorney General’s office May 28 with the contact listed as the Sacramento law firm Nielsen, Merksamer, Parrinello, Mueller & Naylor, a powerful player with a long history of working with PG&E on ballot initiatives. Larsen confirmed that PG&E had provided the $200 filing fee, the only amount spent so far on the embryonic proposal.

The official proponent of the initiative is Robert Lee Pence, apparently the same person who was listed as an opponent of Proposition 80, a 2005 ballot measure that dealt with utility regulation. Opposition to Prop. 80 was heavily funded by PG&E and other utilities, and the initiative failed by a wide margin.

Pence’s group, Californians for Reliable Electricity, listed Steve Lucas as a contact on 2005 campaign documents. Lucas is also listed as the point person at Nielsen, Merksamer, Parrinello, Mueller & Naylor for questions regarding the Taxpayers Right to Vote Act.

The address listed for the organization is the same as that of Townsend, Raimundo, Besler and Usher — a Sacramento political consulting firm that also has a long history of working with PG&E on political campaigns. When asked about the PR firm’s role in the Taxpayer Right to Vote Act, Larsen acknowledged that they "may be involved as the campaign goes forward," but cautioned that any discussion so far has been preliminary.

The rationale behind the initiative is to protect taxpayers, Larsen said, because CCA programs "are major issues that communities undertake and require millions or billions of public dollars." The proposed initiative, he said, seeks to "ensure that voters — and frankly, their descendents — who will wind up being responsible for these programs have a say." If the measure passes, Larsen added, voters could still approve CCA programs — but with two-thirds of the vote, a supermajority that he contends is "staying in line with many other California requirements."

California Sen. Mark Leno, however, has a very different opinion. "I would hope that Californians would have come to understand that two-thirds vote thresholds are probably more responsible for damage to the state of California in the past 30 years than any other single factor," he said. "To hand a small minority controlling power is anti-democratic. This must be defeated." Leno also said he believes that the initiative would have drastic consequences for CCA programs if it passes.

Meanwhile, local CCA supporters say there is more to this than merely sticking up for taxpayers’ rights. If programs like Clean Power SF — the CCA initiative currently being developed in San Francisco — are fully implemented, then PG&E, which makes good money from its monopoly status, would face some actual competition. Naturally, the powerful utility would have an incentive to eliminate the alternative altogether.

Under the current system, PG&E "has to rely on the elected officials to kill CCA, and its much harder … to do that," says John Rizzo of the San Francisco Bay Chapter of the Sierra Club. But if the Taxpayers Right to Vote Act is enshrined in state law, "they could just pour in money and spread propaganda. Particularly the two-thirds requirement is just outrageous — it basically makes it impossible" to secure approval for any step toward CCA implementation.

"It’s a nasty ballot initiative," Mike Campbell, director of San Francisco’s CCA at the Public Utilities Commission, told us. "I think it’s clearly aimed at the heart of CCA." Campbell added that while he has been in discussion with SFPUC staff and others involved in hammering out Clean Power SF, he wasn’t at liberty to discuss a strategy for fighting the proposed initiative just yet.

Ross Mirkarimi, who chairs the city’s Local Agency Formation Commission — the body tasked with working in tandem with the SFPUC to implement San Francisco’s CCA — called the proposal "heinous — and yet I expect nothing less from PG&E.

"They can try to win by well-funded misinformation blitzkrieg," Mirkarimi noted. "If they’re able to spend $10 million without blinking here in San Francisco [on defeating a public power measure], they’re poised to spend tens of millions on this. As a state battleground, this elevates the fight that much more. We have to act in solidarity with other municipalities. We should be well-armed in repudiation of this effort."

There may be ways to attack the initiative in advance. The CCA legislation bars private utilities from seeking to undermine local CCA efforts. Assembly Member Tom Ammiano told us that the Legislature should look at how PG&E could be blocked from mounting a statewide effort to kill CCAs. "I think there’s some potential there," he said.

Julian Davis, who chaired the Prop. H campaign for public power last year, said he found the proposal very worrisome. "If you shut down community choice, you’re shutting down one of the major vehicles for clean energy," he said. To Davis, the initiative highlights "a disturbing trend of corporate America finding ever-more clever ways of tying the hand of local government in general. You know they’ll dump millions into this," he added. "The ultimate irony here is that none of us have the right to vote on anything PG&E does. None of us has a seat at the PG&E board table. It’s doublespeak."

Rachel Buhner contributed to this report.

Is there hope?

0

steve@sfbg.com

GREEN CITY They agree global warming is happening, that it’s caused by the overuse of carbon-based fuels, that its impact on the planet and its myriad life forms will be devastating, and that Congress is failing to properly address the crisis. But the environmentalist and the oil executive disagreed about the most important issue: whether there’s any hope of saving the planet from the worst impacts of climate change.

Chevron CEO David O’Reilly and Sierra Club executive director Carl Pope squared off June 10 at the Hotel Nikko ballroom in San Francisco for a truly historic Commonwealth Club event titled "Drilling for Common Ground." And they did find some, including agreeing publicly to jointly lobby Congress for an energy policy that more quickly phases out coal, the worst of the fossil fuels.

But the more telling exchanges between these two giants highlighted a fundamental disagreement: can we do something about this, or are we simply fucked? And by fucked, I mean doomed to simply accept official predictions of rising seas creating a billion refugees by 2050, the extinction of a million plant and animal species, severe water shortages in California and many other regions, and an unpredictably unstable new world ravaged by severe weather and exotic diseases.

To avoid much of that (but not all — it’s already too late for that), Pope said the scientific community consensus is that we need to stop all coal burning by 2030 (unless emissions can be sequestered, which isn’t technologically possible yet) and reduce our consumption of oil and other carbon-based fuels by 90 percent by the year 2050. "You can’t meet the targets any other way," Pope said.

And he thinks that meeting those targets is not only possible, but it would help the U.S. economy. "The rapid changes in the telecommunications field were good for the economy, and a similar change in the energy field would be good for the economy," Pope said. "We have lots of options if we start moving like it’s a crisis."

But O’Reilly doesn’t think that’s possible. "Even with the best of intentions, we’re only going to get part of the way there," O’Reilly said, quickly adding, "I think we’ll be lucky if we can get 20 to 25 percent by 2050."

At a press conference after the forum, I asked the two men about the implications of only reducing our fossil fuel consumption by 20 percent. Pope cited impacts ranging from "Florida will be a lot smaller" to severe water rationing in San Francisco. "It’s not an acceptable risk to take," he said. O’Reilly didn’t disagree, but he avoided specifics, saying, "I do fear that we have to plan for some adaptations."

It was a remarkable admission, one that most media coverage buried far beneath angles focusing on the common ground they found. But if the oil industry isn’t willing to diligently address the crisis — or worse, if it hinders political efforts to do so, as it has done for decades — does it really matter that it acknowledge the problem?

That core conflict created the sharpest exchange of the forum. "This is the 21st century. We can move much faster than we ever have before," Pope said.

"Well, if you can get the government to move faster, good luck," O’Reilly replied.

"It would help if you would get out of the way," Pope retorted.

Indeed, it is aggressive lobbying by Chevron and its industry trade group, the American Petroleum Institute, that created the energy situation that O’Reilly now finds so intractable. But Pope said he’s happy to work with O’Reilly on policies that support their areas of agreement, which even includes instituting a carbon tax.

Their clash didn’t just focus on global warming; it also focused on the oil industry’s wanton exploitation of people and ecosystems around the world, from propping up despotic regimes and sponsoring human rights abuses in oil-rich countries to leaving toxic messes in Ecuador and elsewhere.

Pope called for the oil industry to set aside 10 percent of its profits to create a global trust fund for dealing with its impacts and for international operating and cleanup standards that would prevent oil companies from exploiting weak or corrupt governments. "Chevron has to come to the table with the global community." Pope said.

O’Reilly never responded directly to the suggestion.

Eliminating dissent

0

sarah@sfbg.com

For years, the Hunters Point Shipyard Restoration Advisory Board has served as the Bayview-Hunters Point community’s main voice in the U.S. Navy’s environmental cleanup plans for the toxic former naval station. But the committee is suddenly being disbanded just as the cleanup enters a crucial phase.

Used for shipbuilding and submarine maintenance and repair, and the decontamination, storage, and disposal of radioactive and atomic weapons testing materials, the shipyard was added to the Superfund national toxic site cleanup list in 1989. But it is also at the heart of where Mayor Gavin Newsom has partnered with Lennar Corp. on the city’s biggest development proposal, involving 10,500 homes and a new stadium for the 49ers.

As the Navy prepares to release a series of important studies and reports concerning the cleanup of the dirtiest parcels on the former shipyard, community members were outraged by the Navy’s announcement in late May that it is preparing to dissolve the RAB in the next 30 days.

In July the Navy will release draft feasibility studies for the cleanup of Parcel E, along with a final remedial investigation/feasibility study for Parcel E2, the dirtiest parcel on the base, and a radiological data-gathering investigation in the sediment surrounding Parcel F, which is the underwater portion of the base.

Some insiders say the announcement was not unexpected, given an escautf8g series of confrontational RAB meetings with the Navy over the last two years. But they fear the community will lose its ability to give the Navy direct, timely, and meaningful feedback, even if many believe the Navy wasn’t listening.

"The Navy fully supports the need for open, meaningful dialogue with the diverse Bayview-Hunters Point community regarding our environmental cleanup actions and decisions. However, the RAB is not fulfilling this objective," the Navy’s Laura Duchnak wrote in a May 22 letter to the RAB.

In her letter, Duchnak said the RAB meetings no longer provide community input on the Navy’s environmental cleanup program, that their atmosphere is not productive to effective public discourse, and that Navy attempts to improve the process have failed. "The revised community involvement program may include community environmental forums, including using Internet-based technologies to more easily reach a diverse audience, expanded monthly progress reports and fact sheets, and hosting technical discussions and tours of cleanup sites for interested community members," Duchnak wrote.

Duchnak’s announcement followed a tense January meeting in which RAB members reacted with horror when the Navy announced it was moving forward with controversial plans to cap radiologically-affected areas on the shipyard’s Parcel B instead of digging and hauling them, which the community preferred (see "Nuclear Fallout," 07/16/08).

Led by RAB co-chair Leon Muhammad, who teaches at the Nation of Islam’s Center for Self Improvement, which has been repeatedly dusted by unmonitored asbestos (see "The corporation that ate San Francisco," 03/17/07), and joined by newly sworn-in members Archbishop King, Marie Harrison, and Daniel Landry, the board voted to seek a civil grand jury investigation into whether local truckers are getting their fair share of the Navy’s shipyard contracts.

Members then voted to remove the city’s public health representative Amy Brownell from the RAB, and to call for the stoppage of all work on the yard until the Department of Defense, the Navy, and the city can prove, as Muhammad said, "where the ongoing dust exceedences are coming from."

The final straw, insiders say, occurred in February when members voted to remove the Navy’s RAB co-chair Keith Forman from the advisory board. Eric Smith, who was sworn onto the RAB in January but did not vote to remove Brownell and Forman, said the Navy’s dissolution response wasn’t surprising.

"The dissolution of RAB is not a good thing in terms of what it is supposed to do. But it was also doing things that were dysfunctional," Smith said. "The bitter irony is that the folks who caused the trouble were trying to get the Navy to sit up and take notice."

Smith said there is frustration with the Navy’s communication style, which the community feels is patronizing. "But the RAB was naïve to think the Navy would allow a forum over which it has unilateral authority to become a platform for attacks," Smith said.

RAB member Kristine Enea, who missed the RAB’s last two meetings, confirmed that the atmosphere got increasingly confrontational but added that the Navy ignored suggestions her calls for wider community involvement.

"It’s ironic that the Navy had decided to respond to criticisms, which include the charge that it is a poor communicator, by cutting off communications with the community," said Enea, who works at the India Basin Neighborhood Association. "Dissolving the RAB is a drastic step. There is so much going on, and so much that we need to know."

But Enea hopes IBNA can help fill that void, noting that the association has applied for a US Environmental Protection Agency technical assistant grant to review shipyard clean-up documents, provide fact sheets, and host community meetings.

The Sierra Club’s Arthur Feinstein said that his group’s main concern around the dissolution is that Parcel E2, which contains an industrial and radiologically-impacted dump that burned for six months in 2000, and Parcel F are both coming up for analysis.

"These are some of the most significantly contaminated areas on the shipyard, so the timing is terrible," Feinstein told the Guardian, observing that some RAB members did not appear to be looking for solutions and were so aggressive they destroyed meetings.

"Unfortunately there weren’t enough forceful people to say ‘shut up and sit down,’" Feinstein said. "But without a RAB, there will be no public forum where folks are able to get and read materials ahead of the meeting, and then ask and submit questions."

Harrison, a member of the environmental justice group Green Action, believes the Navy’s intent is that there be no meaningful interaction with the community. "When you don’t toe the line and play like good little children, the Navy shuts you down," said Harrison, whose group, along with the Nation of Islam and the Caravan for Justice, are planning a June 30 demonstration at the shipyard to protest the move.

In another point of controversy, Sen. Mark Leno has legislation that seeks to trade 25 percent of Candlestick Point State Recreation Area, the only major piece of open space in the Bayview, for small strips on the shipyard so Lennar can build condos on the parkland.

Noting that Sen. Leland Yee and Assembly Members Tom Ammiano and Fiona Ma oppose the parks-for-condos plan (see "Going Nuclear," April 29), Harrison said, "What possessed anyone to believe that we’d say, okay, take the only open space in the Bayview, and in exchange we’ll accept contaminated land scattered around on the shipyard?"

Environmental advocates believe the Sierra Club intends to fight Leno’s legislation with a challenge under the California Environmental Quality Act, but Leno told the Guardian that he is "continuing to work and meet with the lobbyists for the Sierra Club here in Sacramento to see if there are any additional amendments we can take that would get them to a neutral position on the bill.

"I think there is a good possibility we can get there," Leno said.

In February, Arc Ecology released a 133-report titled "Alternatives for study" that recommended the removal of the Parcel E2 landfill and explored changes in land use arrangements in the current redevelopment proposal to avoid environmental impacts (see "Concrete Plans," Feb. 4). Unfortunately, they were largely ignored by the Mayor’s Office of Economic and Workforce Development, which is working with Lennar on the public-private development deal.

Arc Ecology executive director Saul Bloom remains undaunted, recalling how 87 percent of voters citywide supported Proposition P, an advisory measure he wrote and that then-Sups. Ammiano, Leno, Michael Yaki, and the late Sue Bierman placed on the ballot in 1989 to establish community acceptance criteria for the shipyard, under federal toxic cleanup guidelines.

"The Navy had offered their opinion that voters in San Francisco, and especially in the Bayview, would accept a nonresidential industrial level cleanup for the shipyard because they were primarily interested in jobs," Bloom recalled. "We said that this was a mischaracterization and we’d go ahead and prove them wrong."

He believes the current struggle with the Navy over the RAB, and with the city and Lennar over Arc’s alternatives, are "emblematic of the problem facing the Bayview with regard to accessing good information and being told the straight story on health and development issues."

Wild Thing!

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This year’s Frameline — a.k.a. the San Francisco International LGBT Film Festival — is one of the strongest in the event’s 33-year history. The Frameline Award, annually handed over to someone “who has made a significant contribution to lesbian/gay/bi/transgender film,” is being bestowed on George and Mike Kuchar, who in addition to meeting the criteria noted above, have also made significant contributions to filmmaking in general, and San Francisco filmmaking in particular. The Kuchar kudos mesh well with Frameline’s focus on 60s and 70s-themed films, including Guardian cover boy Joe Dallesandro (profiled in the doc Little Joe). Our coverage also includes a look at a long-awaited local project, Cary Cronenwett’s Eisenstein-inspired, transgender-populated Maggots and Men; nostalgic edu-tainment kid pic Free to Be … You And Me; and short takes on festival films, including Centerpiece selections Patrik, Age 1.5 and Prodigal Sons. (Cheryl Eddy)

The 33rd San Francisco International LGBT Film Festival runs June 18–28 at the Castro, 429 Castro, SF; Roxie, 3117 16th St., SF; Victoria, 2961 16th St, SF; and Rialto Cinemas Elmwood, 2966 College, Berk. Tickets (most shows $8–$10) are available at www.frameline.org

>>Hello sailor
Cary Cronenwett’s Maggots and Men (re)stages a revolution
By Matt Sussman

>>Kucharmania!
It Came from Kuchar is a splash of foam within a whirling cinematic cesspool
By Johnny Ray Huston


>>The man from camp
Movie maker Gary Gregerson likes guys with chaka hair
By Johnny Ray Huston

>>The man from camp
Little Joe reveals the real Joe Dallesandro — plus: a special appreciation
By Louis Peitzman and Johnny Ray Huston

>>When we grow up
’70s relic Free to Be … You and Me still resonates
By Dennis Harvey

>>Quickies
Our short, opinionated takes on several featured Frameline flicks

This one’s ugly

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news@sfbg.com

The most painful and divisive city budget season in many years was just getting under way as this issue went to press, with dueling City Hall rallies preceding the June 16 Board of Supervisors vote on an interim budget and the board’s Budget and Finance Committee slated to finally delve into the 2009-10 general fund budgets on June 17.

Both sides have adopted the rhetoric of a life-or-death struggle, with firefighters warning at a rally and in an advertising campaign that any cuts to their budget is akin to playing Russian Roulette, while city service providers say the deep public health cuts proposed by Mayor Gavin Newsom will also cost lives and carry dire long-term costs and consequences.

Despite Newsom’s pledges in January and again on June 1 to work closely with the Board of Supervisors on budget issues, that hasn’t happened. Instead, Newsom’s proposed budget would decimate the social services supported by board progressives, who responded by proposing an interim budget that would share that pain with police, fire, and sheriff’s budgets — which Newsom proposed to increase.

Rather than simply adopting the mayor’s proposed budget as the interim spending plan for the month of July, as the board traditionally has done, progressive supporters proposed an interim budget that would make up to $82 million in cuts to the three public safety agencies and use that money to prevent the more draconian cuts to social services.

“It’s the start of a discussion to figure out what that number should be. I don’t know where we’re going to end up,” Sup. David Campos, who sits on the budget committee, told us.

Board President David Chiu said Newsom did finally meet with him and Budget Committee chair John Avalos on June 15 to try to resolve the impasse. But he said, “We didn’t hear anything from the mayor that would change where we were last week.” They planned to meet again on June 19.

“What we proposed represents the magnitude of the challenge we face this year,” Chiu said of the interim budget proposal, seeming to indicate that supervisors are open to negotiation.

The real work begins the morning of June 17 when the Budget and Finance Committee dissects the budgets of 15 city departments, including the Mayor’s Office, of which Avalos told us, “I don’t think the mayor has made the same concessions as he’s had other departments make.”

The next day, another 13 city departments go under the committee’s microscope, including the public safety departments that were spared the mayor’s budget ax and even given small increases, and the budget of the Public Defenders Office, where Newsom proposes cutting 16 positions.

“This creates a severe imbalance in the criminal justice system,” Public Defender Jeff Adachi told us. “Why is he cutting public defender services while fully funding police, fully funding the sheriff’s department, and essentially creating a situation where poor people are going to get second-rate representation?”

That theme of rich vs. poor has pervaded the budget season debate, both overtly and in budget priorities that each side is supporting.

 

BUDGET JUSTICE

Hundreds of people whose lives would be affected by cuts marched on City Hall under the banner Budget Justice on June 10. Some of San Francisco’s most vulnerable citizens, including homeless people, immigrants, seniors, and public housing residents, turned out for the march, chanting and waving signs asking the mayor to “invest in us.”

Sups. John Avalos and Chris Daly delivered resounding speeches mirroring the anger in the crowd, and promised to fix the budget by reallocating money to protect the city’s safety net. Daly charged that even as services to the city’s vulnerable populations are being slashed, “the politically connected and the powerful get huge increases.”

Avalos took the podium just before heading into City Hall to lead the Budget and Finance Committee meeting and implored the hundreds of people gathered out front to make their voices heard. “Mayor Newsom, he told us, he said, ‘We have a near-perfect budget.’ Do we have a near-perfect budget?” Avalos asked, and then paused while the crowd cried out, “Nooo!!!!!”

During an interview discussing Newsom’s budget priorities, Avalos twice made references to The Shock Doctrine, using the Naomi Klein book about how crises are used as opportunities to unilaterally implement corporatist policies. “We have a budget deficit that is real, but it’s being used to do other things,” Avalos said. “I look at it as a way to remake San Francisco. It’s a Shock Doctrine effect.”

He referred to the privatization of government services (an aspect of every Newsom budget), promoting condo conversions and gentrification, defunding nonprofits that provides social services (groups that often side with progressives), and helping corporations raid the public treasury (Newsom proposed beefing up the Mayor’s Office of Economic and Workforce Development by a whopping 32 percent).

“It’s things that the most conservative parts of San Francisco have wanted for years, and now they have the conditions to make it happen,” Avalos said.

Much of that agenda involves slashing services to the homeless and other low-income San Francisco and de-funding the nonprofit network that provides services and jobs. “There’s an effort to say nonprofit jobs aren’t real jobs, but they are an important economic engine of the city,” Avalos told us. Those cuts were decried during the June 10 budget rally.

“What people don’t realize,” Office & Professional Employees International Union Local 3 representative Natalie Naylor said, “is that everything that’s being proposed to be cut from the city is creating no place for homeless people to go during the daytime. I don’t think Newsom’s constituents realize that we’re going to see more homeless people on the street than ever before.”

Pablo Rodriguez of the Coalition on Homelessness told the crowd that he was furious that the mayor would make such deep cuts to social services. “Stop riding on the back of the homeless, and the seniors and the children and all the community-based organizations,” Rodriguez said. “Why make the poor people pay for the rich people’s mistakes? The poor people didn’t make the mistakes.”

 

WHOM TO CUT?

The public safety unions were equally caustic in their arguments. An announcement for the Save Our Firehouses rally — which was heavily promoted by members of the Mayor’s Office and Newsom’s gubernatorial campaign team — claimed that “the Board of Supervisors voted to endanger the progress that we’ve made in public safety by laying off hundreds of police officers, closing up to 12 out of 42 fire stations and closing part of our jail.”

Actually, all sides have said the interim budget probably won’t lead to layoffs, station closures, or prisoner releases, but those could be a part of next year’s budget.

Tensions temporarily cooled a bit in the days that have followed, but the two sides still seemed far apart on their priorities, mayoral spin aside. Asked about the impasse, Newsom spokesperson Nate Ballard told the Guardian, “The mayor has already included over 90 percent of the supervisors’ priorities in the budget. But he’s against the supervisors’ efforts to gut public safety. He’s willing to work with people who have reasonable ideas to balance the budget. Balancing the budget with draconian cuts to police and fire is unreasonable.”

Campos disputed Ballard’s figure and logic. “I don’t know where that number comes from,” Campos said. “A lot of the things we wanted to protect, the mayor cut anyway.”

Campos said Newsom’s slick budget presentation glossed over painful cuts to essential services, cuts that activists and Budget Analyst Harvey Rose have been discovering over the last two weeks. “I felt the mayor has done a real good job of presenting things to make it look like it’s not as bad as it really is,” Campos said.

 

COMMITTEE WORK

Avalos expressed confidence that his committee will produce a document to the full board in July that reflects progressive priorities.

“We’re going to pass to the full board a budget that we have control over,” Avalos said, noting that a committee majority that also includes Sups. Campos and Ross Mirkarimi strongly favors progressive budget priorities.

He also praised the committee’s more conservative members, Sups. Bevan Dufty and Carmen Chu, as engaged participants in improving the mayor’s budget. “I think the tension on the committee is healthy.”

Ultimately, Avalos says, he knows the board members can alter Newsom’s budget priorities. But his goal is to go even further and develop a consensus budget that creatively spreads the pain.

“Ideally, I want a unanimous vote on the Board of Supervisors,” Avalos said.

In the current polarized budget climate, that’s an ambitious goal that may be out of reach. But there are some real benefits to attaining a unanimous board vote, including the ability to place revenue measures on the November ballot that can be passed by a simply majority vote (state law generally requires a two-third vote to increase taxes, but it makes provisions for fiscal emergencies, when a unanimous Board of Supervisors vote can waive the two-thirds rule).

Avalos has proposed placing sales tax and parcel tax measures on the fall ballot. Other proposals that have been discussed by a stakeholder committee assembled by Chiu include a measure to replace the payroll tax with a new gross receipts tax and general obligation bond measures to pay for things like park and road maintenance, which would allow those budget expenses to be applied elsewhere.

But Avalos said Newsom will need to step up and show some leadership if the measures are going to have any hope of being approved. “To get the two-thirds vote we need to win a revenue measure in this bad economy is going to be really hard,” Avalos said.

“The mayor is open to new revenue measures as long as they include significant reforms and are conceived and supported by a wide swath of the community including labor and business,” Ballard said.

Sup. Sean Elsbernd — one of the most conservative supervisors — has repeatedly said he won’t support new revenue measures unless they are accompanied by substantial budget reforms that will rein in ballooning expenditures in areas like city employee pensions.

“Pension reform. Health care reform. Spending reform. One of the above. A combination of the above,” Elsbernd told the Guardian when asked what he wants to see in a budget revenue deal.

Avalos says he’s mindful that not every progressive priority can be fully funded as the city wrestles with a budget deficit of almost $500 million, fully half the city’s discretionary budget. “It’s a crappy situation, and we can make it just a crummy situation.”

Hightower, One in the Chamber, Futur Skullz

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PREVIEW Hightower is quite possibly the only prog rock group that could be accurately described as "gnarly" (sorry, Van Der Graaf Generator). Proving that complex compositions and unpretentious rock ‘n’ roll aren’t mutually exclusive, the San Francisco power trio mixes unpredictable tempos and spacey guitar shredding with beer- and weed-fueled skate thrash to create a style tailor-made for raging circle pits and blacklight poster stare-downs. With song titles like "Wizardhawk" and "I Am the Wallride," the band celebrates and pokes fun at some of the, er, imaginative concepts of their bell-bottomed forefathers. But even if you think the term "progressive rock" is shorthand for overly complex wanking, Hightower proves the genre can be surprisingly crucial.

I inadvertently stumbled into a show featuring local metal band Futur Skullz about a month ago and was blown away by how LOUD these guys play. There’s nothing about them that isn’t deafening — the thrash-meets-sludge guitar, buzzing bass, crusty-ass vocals, and thundering drums are ready to pummel, but with enough variation to keep their sets interesting. Like Hightower, Futur Skullz combine massive, arena-ready riffs with relatable garage band energy; it’s a case of powerhouse heavy metal filtered through punk rock sensibilities. Oakland-based One in the Chamber’s collage of punk, stoner metal, aggressively jazzy weirdness, and everything in between completes this bill, which should be a revelation to anyone whose nights out have been lacking raw power.

HIGHTOWER, ONE IN THE CHAMBER, FUTUR SKULLZ Sat/20, 9 p.m., $7 (21 and over) El Rio, 3158 Mission, SF. (415) 282-3325, www.elriosf.com

A bailout for the middle class

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OPINION I don’t need to remind you that our economy is in trouble. The current banking crisis has demonstrated to all of us just how fragile and susceptible to manipulation our current system is. President Obama has spent billions of dollars and untold hours trying to bail out our failing banks and financial institutions. Whatever your opinions about his efforts, I think we can all agree we should also be helping out American workers — the real engine of the economy. The Employee Free Choice Act, currently being debated in Congress, offers needed help.

In 1979, 23 percent of the American workforce earned the inflation-adjusted equivalent of $20 an hour. This level of pay, about $41,000 per year, is generally considered the minimum necessary for a family of four to live something like a middle-class lifestyle. I wish I could say that progress marched on, that every year after 1979 the percentage of workers earning the minimum to support a middle-class family grew. In fact, the opposite happened — today only 18 percent of American workers earn enough to support a family of four.

What happened to the other end of the spectrum during that time? In 1978, American CEOs earned 35 times what the average worker earned. Over the next 10 years, this ratio grew, so that in 1989 the average CEO was earning 71 times what the average worker was earning. By 2007, the ratio had grown to an unbelievable 275.

The causes of this imbalance are many, but one is declining labor union membership. In 1983, 17.7 million workers were members of unions, accounting for 20.1 percent of America’s workers. In 2008, only 16.1 million workers were unionized, accounting for 12.4 percent of our nation’s workforce. These numbers are critically important because union membership makes a large difference in the well-being of America’s workers. In 2008, the average union worker earned $886 a week, while the average nonunion worker was paid only $691.

With all the effort we’re putting in to a bailout of the banks, we need to be discussing a bailout of the middle class. We don’t have to wait for the Treasury Department to come up with the plan — it’s sitting there in Congress and is called the Employee Free Choice Act. The bill would give workers a fair, direct route to forming a union without illegal interference from corporations.

Unfortunately, the middle-class bailout is stuck in Congress. The U.S. Chamber of Commerce and the other shills for mega-corporations have turned up the pressure and succeeded in preventing the Employee Free Choice Act from moving forward in the Senate. Our own Sen. Feinstein recently said she wouldn’t vote for the bill because of the economic downturn, even though she cosponsored the legislation last year.

With the current state of our economy, we need a middle-class bailout — and we need it soon. Feinstein has the ability to make that happen. She should deliver the one bailout we all really need. *

Debra Walker is a San Francisco artist and progressive activist.

FOR THE RECORD


The caption for last week’s dine review should have referred to Fly, not Terzo.

Editor’s Notes

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Tredmond@sfbg.com

In the midst of all that is bleak in the state of California and the City and County of San Francisco, I am having fun specuutf8g about what will happen when Gavin Newsom is no longer mayor.

It’s a fascinating exercise — and trust me, I am by no means the only person engaging in it.

The broad outline is that the race to replace Newsom at this point bears no relation to the dynamic that brought him into office. Back in 2003, the race was the progressives against downtown; Tom Ammiano, Matt Gonzalez, and Angela Alioto were competing for the progressive vote, and Newsom was downtown’s darling, running on a platform of taking welfare money away from homeless people. The Newsom-Gonzalez runoff was about as clear and stark a choice over political vision as the city could ask for.

Six years later, I can count four people who are getting ready to run, and none is much like either Newsom or Gonzalez.

Sup. Bevan Dufty, who is sometimes with the progressives and sometimes with the mayor, told me last week that he’s definitely running. He’s part of the board’s moderate wing, but isn’t the downtown call-up vote that Newsom was and clearly isn’t counting on the big-business world for most of his support. Assessor-Recorder Phil Ting has made no secret of his political ambitions and is putting himself in the limelight with high-profile statements about Proposition 13 and taxing the Catholic Church. He sounds pretty liberal these days, although his chief political consultant is Newsom (and PG&E) operative Eric Jaye.

Just about everyone in local politics assumes City Attorney Dennis Herrera will be in the mix. He’s had the advantage of not having to take stands on local measures and candidates (as the city attorney, he’s not allowed to endorse), and while some progressives see him as the most appealing choice, he’s not Ammiano or Gonzalez. And then there’s state Sen. Leland Yee, who is utterly unpredictable, sometimes great on the issues and sometimes awful — and is almost certainly going to run.

And right now, other than Sup. Ross Mirkarimi, who might or might not run and isn’t putting together any kind of a pre-campaign operation, there’s no obvious progressive candidate in the race. If Mirkarimi’s serious, he needs to be moving.

But wait: There’s more.

Assume for a moment — and whatever you may think about the guy, it’s not a crazy assumption — that Gavin Newsom is the next governor of California. (How? He beats Jerry Brown in the primary by running future vs. past, then beats any Republican, who will be saddled with the Schwarzenegger mess. He isn’t remotely ready for the job, but that’s politics.)

Gov. Newsom would be sworn in Jan. 4, 2011. David Chiu, president of the Board of Supervisors, would be acting mayor — until he convenes the board and somebody gets six votes to finish Newsom’s term. That decision could be made by the current supes, who hold office until Jan. 8, 2011, if they can meet and decide in four days, or by the new supes — and we don’t know who they will be.

The person appointed doesn’t have to be a supervisor. Could be anyone. Could be Chiu. Could be Mirkarimi. Could be Dufty. Could be …. Aaron Peskin. Just takes six votes. And then that person could run as the incumbent.

Don’t go thinking any of this is just idle chatter. There are political consultants all over town having the same discussions, today. *

Stop PG&E’s alarming ballot measure

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EDITORIAL One of the greatest threats to public power in a generation is quietly working its way toward the California ballot.

As Rebecca Bowe reports on page 12, a proposed initiative that would require two-thirds of the voters to approve any sort of public electricity measure, including community choice aggregation (CCA), has been submitted to the state attorney general’s office. And Pacific Gas and Electric Co.’s fingerprints are all over it.

There’s no doubt whatsoever that this measure is designed to derail successful CCA efforts in places like Marin County and San Francisco, where the supervisors are moving forward to set up the equivalent of a buyer’s co-op for electricity. A San Francisco CCA would offer lower costs and much greener power — and would give the city far more control over its energy future.

The measure could also hamper the efforts of existing public power agencies to expand their territories or offer service to new customers.

The state Legislature approved a bill back in 2002 allowing California cities to replace private utility service with CCAs — and the bill included language barring PG&E and the other giant electricity companies in the state from spending money to undermine CCA efforts. In other words, it’s illegal for PG&E to use its immense resources and lobbying clout to try to block San Francisco’s efforts.

And PG&E has spent tens of millions of dollars in San Francisco, Davis, and elsewhere trying to block public-power programs.

So now the utility is going to the state ballot, where a campaign with enough money on an issue that’s sufficiently complicated can often pass. The law firm that filed the initiative papers, Neilsen Merksama (a political powerhouse that represents, among others, PG&E) won’t divulge much about the funding sources — except to say that the filing fee came from … PG&E. So there’s little doubt the measure will have the funds it needs to gather more than 600,000 signatures and mount a campaign of lies and disinformation.

That’s why supporters of CCAs and public power need to rally, now, to start planning to defeat this thing.

Mustering a two-thirds majority at the ballot for almost anything is difficult. Even in liberal San Francisco, bond measures requiring a two-thirds vote often pass only narrowly — and that’s if there’s no opposition. Even the most popular sorts of measures — say, for funding schools or libraries — can go down to defeat if anyone mounts serious opposition.

And PG&E, with its unlimited resources, would have the ability to kill the current CCA plans — or anything in the future that threatens the company’s illegal monopoly.

The two-thirds majority requirement is undemocratic and has paralyzed state government. Two-thirds mandates for new tax measures have made it almost impossible for cities and counties in this state to raise new revenue, even in desperate times like these.

The San Francisco supervisors need to immediately pass a resolution opposing the measure. Assembly Member Tom Ammiano and state Sen. Mark Leno have told us they oppose it, and they should see if there’s any way the Legislature can add language to the CCA bill to bar regulated utilities from spending money to undermine public power statewide. The San Francisco Public Utilities Commission should be talking to public power agencies all over the state and helping organize the opposition. If the measure makes it onto the ballot, the Sacramento Municipal Utility District, the Los Angeles Department of Water and Power, and every other municipal utility agency in the state will need to raise money — millions — and marshal forces against it.

This is a very serious threat, and the time to start defusing it is now. *

P.S.: Mayor Newsom has nominated Anson Moran, the former general manager of the San Francisco Public Utilities Commission, for a seat on the commission. This is a terrible idea. Moran had a notoriously anti-public power record when he was running the agency. In fact, in 1994, he tried to stop the city from bidding on the lucrative contract to supply electricity to the Presidio, saying that going up against PG&E would be "too political." And although he later said he would be willing to bid on the contract, he privately urged then-Mayor Frank Jordan to veto then-Sup. Angela Alioto’s measure pushing for public power at the Presidio. With all the battles over CCA and public power, the last thing the city needs is a PG&E call-up vote on the PUC. The Rules Committee hears the nomination June 18, and should vote to reject him.

Art listings

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Art listings are compiled by Johnny Ray Huston. See Picks for information on how to submit items to the listings. For complete art listings go to sfbg.com.

MUSEUMS

Asian Art Museum 200 Larkin; 581-3500, www.asianart.org. Tues-Wed, Fri-Sun, 10am-5pm; Thurs, 10am-9pm. $10 ($5 Thurs after 5pm), $7 seniors, $6 for ages 12 to 17, free for 11 and under. "In a New Light: The Asian Art Museum Collection." Ongoing.

California Palace of the Legion of Honor Lincoln Park (near 34th Ave and Clement); 750-3600. Tues-Sun, 9:30am-5pm. $8, $6 seniors, $5 for ages 12 to 17, free for 10 and under (free Tues). "Surrealism: Selections from the Reva and David Logan Collection of Illustrated Books." Work by surrealist poets and artists. Ongoing.

Cartoon Art Museum 655 Mission; CAR-TOON. Tues-Sun, 11am-5pm. $6, $4 students and seniors, $2 for ages 6 to 12, free for five and under and members. "The Art of Stan Sakai: Celebrating 25 Years of Usagi Yojimbo." Through July 5. "Watchmen." Illustrations, sketches, and comic book pages by Dave Gibbons. Through July 19. "The Brinkley Girls." Retrospective devoted to early 20th century illustrator Nell Brinkley. Through August 23.

Contemporary Jewish Museum 736 Mission; www.thecjm.org. Mon-Tues, Fri-Sun, 11am-5:30pm; Thurs, 1-8pm. $10, $8 seniors and students, free for 12 and under and members. "Chagall and the Artists of the Russian Jewish Theater." An exhibition of 200 works of art and ephemera. Through Sept 7. "Being Jewish: A Bay Area Portrait." Ongoing.

De Young Museum Golden Gate Park, 50 Hagiwara Tea Garden Drive (near Fulton and 10th Ave); 750-3600. Tues-Sun, 9:30am-5:15pm (Fri, 9:30am-8:45pm). $10, $7 seniors, $6 for ages 13 to 17 and college students with ID (free first Tues). "Signs: Wordplay in Photography." Thematic survey. Through Sun/14. "The Fauna and Flora of the Pacific." Mural by Miguel Covarrubias. Ongoing.

Legion of Honor Lincoln Park, 34th Ave and Clement; 750-3600. Tues-Sun, 9:30am-5:15pm. $20 adults, $7 seniors, $6 youths and students, free 12 and under. "Waking Dreams: Max Klinger and the Symbolist Print." Retrospective of the German Symbolist artist. Through July 4.

San Francisco Museum of Modern Art 151 Third St; 357-4000. Mon-Tues, Fri-Sun, 11am-5:45pm; Thurs, 10am-8:45pm. $12.50, $8 seniors, $7 students, free for members and 12 and under (free first Tues; half price Thurs, 6-8:45pm). "Austere: Selections From the SFMOMA Collection." Photography and architecture and design. Through July 7. "Otl Aicher: Munchen 1972." Graphic design. Through July 7. "Patterns of Speculation: J. Mayer H." German architectural studio. Through July 7. "Looking In: Robert Frank’s ‘The Americans’." Exhibition devoted to the photographic classic. Through August 23. "Georgia O’Keefe and Ansel Adams: Natural Affinities." Show dedicated to the two popular American artists. Through Sept 7. "Art in the Atrium: Kerry James Marshall." Monumental murals. Ongoing.

San Francisco Museum of Performance and Design War Memorial Veterans Bldg, 401 Van Ness, fourth floor; 255-4800, www.sfpalm.org. Tues-Fri, 11am-5pm; Sat, 1-5pm. Free. "Star Quality: The World of Noel Coward." Exhibition dedicated to the icon. Through August 29. "Maestro: Photographic Portraits of Tom Zimberoff." Portraits of national and international conductors. Ongoing. "150 Years of Dance in California." Ongoing. "San Francisco in Song." Ongoing. "San Francisco 1900: On Stage." Ongoing.

Yerba Buena Center for the Arts 701 Mission; 978-ARTS. Tues-Wed, Fri-Sun, noon-5pm; Thurs, noon-8pm. $6, $3 seniors, students, and youths, free for members (free first Tues). "Under a Full Moon: 30 Years of Perpetual Indulgence." Show devoted to the Sisters of Perpetual Indulgence. Through June 28. "Nick Cave: Meet Me at the Center of the Earth." Mixed media sculptural "soundsuits" by the Chicago dancer-turned-artist. Through July 5. "Through Future Eyes: The Endurance of Humanity." Contemporary work by ten artists, incuding six Young Artists at Work curators. Through July 5.

BAY AREA

Cantor Arts Center Lomita and Museum, Stanford University, Stanford; (650) 723-4177. Wed, Fri-Sun, 11am-5pm; Thurs, 11am-8pm. "Appellations to Antiquity." 19th and 20th century works from the museum collection. Through July 26. "Pop to Present." Survey from the 1960s to the present. Through August 16. "Contemporary Glass." Modern glass works. Ongoing. "Rodin! The Complete Stanford Collection." Ongoing.

Judah L. Magnes Museum 2911 Russell, Berk; (510) 549-6950. Mon-Wed, Sun, 11am-4pm. $4, $3 students and seniors. "Memory Lab." Interactive installation allowing visitors to make family albums from their documents, photographs, and memories. Ongoing. "Projections." Multimedia works from the museums archival, documentary, and experimental films. Ongoing.

Oakland Museum of California 1000 Oak, Oakl; (510) 238-2200. Wed-Sat, 10am-5pm (first Fri, 10am-9pm); Sun, noon-5pm. $8, $5 seniors and students (free second Sun). "Future of Sequoias: Sustaining Parklands in the 21st Century." Panoramic photos with commentary. Through August 23. "Squeak Carnwath: Painting is No Ordinary Object." A solo exhibition dedicated to the Oakland artist. Through August 23. "The Art and History of Early California." The story of California from the first inhabitants through the Gold Rush. Ongoing.

Phoebe A. Hearst Museum of Anthropology UC Berkeley, 103 Kroeber Hall, room 3712, Bancroft and Bowditch, Berk; (510) 643-1193. Wed-Sat, 10am-4:30pm; Sun, noon-4pm. $4, $3 seniors, $1 students, free for 12 and under. "From the Maker’s Hand: Selections from the Permanent Collection." An exploration of human ingenuity found in living and historic cultures around the world. Ongoing.

San Jose Institute of Contemporary Art 560 S First St, San Jose; (408) 283-8155, www.sjica.org. Tues-Wed, Fri, 10am-5pm; Thurs, 10am-8pm; Sat, noon-5pm. Free. "It’s Not Us, It’s You." Rejection-themed art. Through Sat/20.

UC Berkeley Art Museum 2626 Bancroft Way, Berk; (510) 642-0808. Wed-Sun, 11am-5pm. $8 adults, $5 seniors and young adults, free for members and 12 and under. "Galaxy: A Hundred or So Stars Visible to the Naked Eye." Museum survey curated by Lawrence Rinder. Through August 30. "Human Nature: Artists Respond to a Changing Planet." Collaborative exhibition. Through Sept. 27.

GALLERIES

ONGOING

Brian Gross Fine Art 49 Geary, fifth floor; 788-1050; Tues-Fri, 10:30am-5:30pm; Sat, 11am-5pm. "More Than Meets the Eye," metal collages by Tony Berlant. Through June 27.

Dolby Chadwick Gallery 210 Post, suite 5; 956-3560. "Suburban Birthday Party," new paintings by Douglas Schneider. Through June 27.

*Electric Works 130 8th St; 626-5496. Mon-Fri, 11am-6pm; Sat, 11am-5pm. "2012," slot machine by Enrique Chagoya. Through July 3.

Fraenkel Gallery 49 Geary, fourth floor; 981-2661. Call for hours. "A Survey: 1972-2006," photography by Bernd and Hilla Becher. Through July 3.

Gregory Lind Gallery 49 Geary; 296-9661. Call for hours. "Garden Ruin," new work by Bob Matthews. Through June 27.

Hosfelt Gallery 430 Clementina; 495-5454. Tues-Sat, 11am-5:30pm. "Cubic Drops," drawings and installation by Marco Maggi. Through June 27.

Italian Cultural Institute 425 Washington; 788-7142. Mon-Fri, 9am-5pm. "Giorgio Morandi: Works from the Estorick Collection," etchings and drawings. Through June 30.

Luggage Store 1007 Market; 255-5971. Call for hours. "Cultural Geometry," public art project by Rigo 23 and Fernando Cardoso. Ongoing.

Mark Wolfe Contemporary Art 49 Geary, second floor; 369-9404. Call for hours. Site-specific installation by James Sansing and paintings by Jared Walker. Through June 27.

Micaëla 49 Geary; 551-8118. Tues-Sat, 10:30am-5pm. "In Camera," photography by Douglass freed, Joshua Hershman, and Taliaferro Jones. Through June 27.

Modernism 685 Market; 541-0641. Tues-Sat, 10am-5:30pm. "The Murmur of the Innocents," work by Gottfried Helnwein. Through June 27.

*Oxenrose 448 Grove; 816-9530. Call for hours. "Nature’s Ladders," work by Tahiti Pehrson, sponsored by Arthur magazine. Through June 30.

Robert Koch Gallery 49 Geary, fifth floor; 421-0122. Tues-Sat, 10:30am-5:30pm. Photographs by Kenneth Josephson. Through June 27.

*Steven Wolf Fine Arts 49 Geary, suite 411; 263-3677. Tues-Sat, 11:30am-5:30pm. "You Feel Me?," work by Tim Sullivan. Through June 20.

*SFAC Gallery 401 Van Ness; 554-6080. Call for hours. "Trace Elements," group show curated by Meg Shiffler. Through July 3. *

Mayor’s Office targetted for cuts

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By Steven T. Jones
target.jpg
The Budget and Finance Committee tomorrow begins work on the 2009-10 budgets of 15 city department that are funded by the General Fund, and Budget Analyst Harvey Rose today released his annual recommendations, suggesting additional cuts to most departments to try to offset deep cuts proposed by the mayor that supervisors want to restore.

And it’s no surprise that the Mayor’s Office has a big, fat target on its back, particularly after progressives on the Budget Committee asked Rose to single out public relations positions and other fluff that serves Gavin Newsom the candidate more than the people of San Francisco.

So, in addition to the $444,415 in cuts to the Mayor’s Office that Rose recommends (a level consistent with his assessments of other departments), he also helpfully lists $2.12 million in areas singled out by supervisors. They are the Mayor’s Offices of Communications ($653,571), Criminal Justice ($361,855), Neighborhood Services ($789,652), and his education and greening directors that are largely funded by other departments, including Muni ($315,160).

As the supervisors today deliberate the interim budget and where to come up with $82 million to restore deep cuts to core city services, these Mayor’s Office plums are likely to be attractive targets for the progressive-dominated committee that convenes tomorrow.

PG&E’s new attacks on public power

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B3: ON guard! PG&E is quietly moving on several fronts to lock up its illegal private power monopoly in San Francisco and keep San Francisco from generating its own public power and moving to enforce the public power mandates of the federal Raker Act. Rebecca Bowe reports on PG&E’s ballot initiative that could kill community choice aggregation (cca) and kill public power moves in San Francisco Meanwhile, Mayor Gavin Newsom, who is running as the PG&E candidate for governor, put up Anson Moran, a callup vote for PG&E, to the San Francisco Public Utilities Commission. And the PUC is working with PG&E and Mirant to bring more dirty fossil fuel power into San Francisco on the Transbay Cable.

Tip: pin down Newsom and pin down the supervisors and everybody who is running for mayor on these critical PG&E moves. After all, in this budget crisis, public power is the largest potential source of new revenue for San Francisco (upwards of $300 million a year) and public power would stop the enormous financial drain of PG&E’s expensive private power (PG&E yanks upwards of $650 million a year out of the local economy in high rates.)

PG&E’s new attacks on public power

The ability of cities to switch to public power could be eliminated if a proposed state ballot initiative moves forward

By Rebecca Bowe
rebeccab@sfbg.com

A ballot initiative backed by Pacific Gas and Electric Co. could amount to a death sentence for community choice aggregation (CCA) and expanded public power in California.

Dubbed the Taxpayers Right to Vote Act, the proposed initiative would require a two-thirds majority vote at the ballot before any local government could establish a CCA program, use public funding to implement a plan to become a CCA provider, or expand electric service to new territory or new customers.

Click here to continue reading.

Editorial SOS: Stop PG&E’s alarming ballot measure

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And stop Anson Moran, a PG&E callup vote, from getting a Mayor Newsom appointment to the San Francisco Public Utilities Commission. (See footnote) And scroll down to see the Rebecca Bowe story disclosing how the Transbay Cable would bring dirty PG&E power from a PG&E substation in Pittsburg to a PG&E substation at Potrero Hill.

EDITORIAL
One of the greatest threats to public power in a generation is quietly working its way toward the California ballot.

As Rebecca Bowe reports, a proposed initiative that would require two-thirds of the voters to approve any sort of public electricity measure, including community choice aggregation (CCA), has been submitted to the state attorney general’s office. And Pacific Gas and Electric Co.’s fingerprints are all over it.

There’s no doubt whatsoever that this measure is designed to derail successful CCA efforts in places like Marin County and San Francisco, where the supervisors are moving forward to set up the equivalent of a buyer’s co-op for electricity. A San Francisco CCA would offer lower costs and much greener power — and would give the city far more control over its energy future.