We’ve been saying for a while now that statewide cable franchising agreements are problematic and now the chickens are coming home to roost. In Los Angeles, Time-Warner Cable is seizing all 14 public access channels, to be replaced by only 4 government-only channels which will leave no public access broadcasting in the nation’s 2nd largest metropolitan area. And here in San Francisco, Access SF is having to fight to retain funding the city is planning to return to the General Fund from the 5% cable franchise fees. SF residents, please put your supes on alert that stripping public access television of franchise fee funding is unacceptable.
San Francisco
Artist’s mural used by Clean Energy foes
by Amanda Witherell
Actually, this artist disagrees.
Once art is out in the public domain, it’s fair game for all kinds of abuse, but we got the following message today from artist Chris Lux, who’s perturbed that his mural served as a backdrop in a recent anti-Clean Energy Act advertisement.
Lux said:
“Recently a No on Prop H ad caught my eye.
“There is a shot of Richard Ventura, CEO of the Hispanic Chamber of Commerce, in Lilac Ally speaking out against Prop H. He is standing in front of a mural that I painted there with another artist, Leslie Kulesh, in what looks like an attempt to show how he is ethnic, or whatever.
“As a big supporter of Prop H, as well as many progressives in San Francisco, I am appalled that my work was used as a backdrop for this sleazy and expensive ad campaign. This is one of the most important propositions that has come to San Francisco in a long time.
“I recently did a mural for the John Avalos Campaign Headquarters in District 11. I feel it is really important for artists to give what little they have to help make changes here in SF. I would hate for someone to see the ad and then go to Johns Avalos’ headquarters and see the same work and think there was any relation.
“As the text above reads, “SF Citizens Agree- No on Prop H” — I just wanted to speak out and say that as the person who painted the mural you are using, as a San Francisco citizen, as an artist, and someone who was born and raised here, Vote YES on Prop H.”
Here’s the original video, parroting PG&E’s tired old lies about Prop H.
Saturday rally to support Proposition H
WHAT: Hundreds of California students who are participating in the 6th Annual Fall Convergence of the California Student Sustainability Coalition (CSSC) will be rallying to show support for Proposition H – The San Francisco Clean Energy Act – at the MUNI stop on 19th Ave/Holloway St. next to San Francisco State University. Prop H will bring 100% clean energy to San Francisco. Students will first hear a speech by “Yes On H” Campaign Chair Julian Davis about why he supports Prop H and what it means for the future of San Francisco and the movement for clean energy. Everyone will move out to the MUNI stop to perform call-and-response with about 75 students standing on the MUNI platform and the rest on campus across the street, chanting, “What do we want? Clean Energy! When do we want it? Now!”
WHEN: Saturday, Oct. 25 from 9:45 am to 10:45 am.
WHERE: Jack Adams Hall at 9:45am, then photo opportunity and speakers at 19th Ave/Holloway St. MUNI platform at 10:15am – 10:45am.
WHO: 400 students from 30 California colleges, Lieutenant Governor John Garamendi, Assemblywoman Fiona Ma, San Francisco Supervisors Ross Mirkarimi and Aaron Peskin
VISUALS: Hundreds of students with a 12 ft. windmill dressed in green shirts, green hard hats, coveralls, and bearing signs supporting Prop H standing on campus across the street from the MUNI platform. When the 10:41am MUNI pulls up, the students on the platform will distribute information to riders.
WHY: Proposition H will convert San Francisco’s energy sources into 100% clean and renewable energy, and will make San Francisco a leader in the clean energy revolution. Prop H is a local link to Power Vote, a project of the Energy Action Coalition, of which the CSSC and Global Exchange are founding partners. Power Vote is a national, non-partisan campaign to harness the political power of young people by collecting 1 million pledges to vote for clean and just energy. “Millennial Voters” comprise about 25% of the electorate and the Power Vote platform reflects the priorities of young voters.
For more information, visit
www.sustainabilitycoalition.org
http://www.globalexchange.org/
http://www.powervote.org
Ane Brun
Fall is San Francisco’s most gothic and recognizable season. In contrast to our drab winter skies, unpredictable spring showers, summer microclimates, and endless foggy afternoons, autumn arrives in a snap, with crisp air, long shadows, and dramatic full moons. Stockholm-based Norwegian singer-songwriter Ane Brun’s introspective music is perfect for fall: she thoroughly explores uneasy moods on her aptly named fifth full-length, Changing of the Seasons (Cheap Lullaby).
The album’s hushed title track includes gently picked acoustic guitar work and a spacious arrangement where Brun muses about the moment when one contemplates leaving a lover for someone else. "It’s hard to be safe," she sings, "difficult to be happy." Tension and uncertainty is ever-present in Brun’s writing. She excels at exposing love’s contradictions and disappointments with a delicate emotional perception that, despite all the heartbreak, doesn’t wallow in self-pity.
Whatever her poetic narratives are about, Brun sounds fantastic singing them. She’s a rare talent who wields an arresting falsetto that’s both classic and modern. She’s been compared to Dolly Parton, Carole King, and Nico as well as Björk, Adele, and K.D. Lang. Excellent phrasing and austere lyrics invite the listener to contemplate, debate, and empathize with her subjects and material, which is often intimately autobiographical. Listening to Brun’s work, it’s tough not to feel like a guilty eavesdropper sneaking a look in a friend’s diary while house-sitting. Not that Brun would mind.
She isn’t afraid to sound vulnerable, barely holding on to her emotional composure on songs like "The Fall," in which she croons, "We were wrong, to stay this long / Let me go, let me fall to the ground." Like other numbers on Seasons, the track is laced with tasteful string accompaniment, arranged by Denmark’s Malene Bay-Landin and New York City’s Nico Muhly.
Although the "strings and sad singing" motifs conjure Nick Drake in his Bryter Layter (Island, 1970) period, Seasons also showcases inventive, percussive numbers like "The Puzzle" and "The Treehouse Song," which gallop, swing, and accentuate Brun’s cadence. "Armour"’s heavenly harmonics could support a scene from the 2001 French movie Amelie.
At the wonderfully cozy Café Du Nord, listeners will have an excellent chance to hang on Brun’s graceful notes, which trapeze playfully through compositions like "My Star" and "Linger with Pleasure." One hopes she’ll touch on selections from 2004’s masterful A Temporary Dive (DetErMine/V2), a putf8um seller in Scandinavia, and with drummer and vocal accompaniment in tow, Brun will usher us effortlessly into autumn’s dark, hopeful moments.
ANE BRUN
With Tobias Froberg
Tues/28, 8 p.m. $12
Café Du Nord
2170 Market, SF
(415) 861-5016
Cosmic backlash
> johnny@sfbg.com
Everyone agrees that disco is alive and proliferating. But is it devolving from au courant status into something that deserves the 21st century version of a stadium vinyl bonfire? Genres are vague in the realm of electronic music, and disco has become almost as ubiquitous and generic an overarching tag as techno. The neo-disco banner now stretches from the Fire Island revivalism of Hercules and Love Affair, and Escort to the cosmic expeditions of Lindstrom and his disciples. Clearly, it must be made of something synthetic.
Between the flaming diva pageantry of Hercules and the heterosexual prog geekery of Hans-Peter, one finds the languid romantic intellectualism of Morgan Geist. In recent interviews, Geist questions contemporary disco’s existence, though his rarity compilation Unclassics (Environ, 2004) and his work with Metro Area have played a major role in its formation. Yet technically speaking, he’s right. His new Double Night Time (Environ) kicks off with "Detroit," where instead of disco, the North American home of techno is evoked. Still, austerity aside, "Detroit" is a techno track as much as it’s a disco track, meaning not very. It is new romantic: an effete little brother of butch post-punk and femme disco, with a Motor City radio DJ heart that belongs to Mike Halloran as much as the Electrifying Mojo.
The late avant-disco pioneer Arthur Russell is often invoked in relation to Geist, but Double Night Time is cooler and more reserved. Guest vocalist Kelley Polar doesn’t croon with the mannered zeal that defines his own 2008 venture away from Metro Area, I Need You to Hold on While the Sky Is Falling (Environ). In fact, he’s hard to differentiate from the album’s other mannered vocalist, Jeremy Greenspan of the Junior Boys. While Russell’s music is cerebral, his tenor never seems detached. In contrast, when Greenspan declares that he wants to cry during "Most of All," it comes across as a come-on. That doesn’t mean it isn’t seductive, though, and Geist’s chiming sound reaches a chilly peak on the low-key yet bravura relationship post-op "Ruthless City."
Lindstrom’s first proper solo album after a compilation, and a full-length collaboration with Prins Thomas is a different neo-disco creature. Whereas Geist presents nine pop-inflected compositions in less than 50 minutes, Where You Go I Go Too (Smalltown Supersound) stretches three tracks to nearly an hour. Where exactly does Lindstrom go on the 29-minute title track? To my ears, he disappears into a Tangerine Dream and reemerges as Cerrone: a whirligig melody that echoes the motif of Cerrone’s 1978 disco classic "Supernature" adds whimsy to wave upon wave of arpeggio. But what do I know? One local music shop detractor has compared Lindstrom’s latest to the sounds of Paul Lekakis, the actor-model-vocalist who brought the world "Boom Boom (Let’s Go Back to My Room)."
On Hatchback’s Colours of the Sun (Lo Recordings), San Francisco’s Sam Grawe steers clear of any Lekakis-isms, though arpeggio for arpeggio, there’s a definite Lindstrom-on-ludes feel to the penultimate track, "White Diamond." Hatchback drives right up to the exact spot a couch at the edge of a dancefloor? where disco slips off the term cosmic disco. Grawe knows krautrock and cosmiche music inside out, but like his pal Daniel Judd of Sorcerer, he’s at his best crafting soundtracks for cheesy movies that don’t exist but should. "Closer to Forever" is exquisite, and "Jetlag" is a slab of montage funk that could make Harold Faltermeyer jealous and even get David Hasselhoff to stop eating burgers off the floor.
If neo-disco and its cosmic substrata are courting a backlash the size of Paul Lekakis’ glutes, it’s because of an onslaught of opportunistic comps with "space" or "disco" in their titles. Especially when placed in close proximity to one another, those words along with "Balearic" are surefire groan inducers. Yet there are always a few exceptions to the rule. One is Cosmic Disco?! Cosmic Rock!!! (Eskimo), a mix co-created by the man who invented cosmic disco, Italian DJ Daniele Baldelli. While it doesn’t approach the euphoria of Baldelli’s 2007 Baia degli Angeli mixes, its strictly ’80s sources further proof that neo-disco is new romantic include some eccentric pleasures, especially "Ulster Defense," perhaps the world’s first and only pro-IRA dancefloor anthem.
Likewise, Alexis Le Tan and Jess’ Space Oddities (Permanent Vacation) transcends a generic title through a combo of irreverence and dedication that’s as rare as any of the European library grooves it rediscovers. The bloodless boogie of a track titled "Cloning" is hypnotic. Better still is "Black Safari," an electronic answer to Moondog’s jungle-sound freakout "Big Cat." If a 1977 disco track can cast its net wide enough to capture Moondog and roaring elephants and growling tigers, then surely a 2008 neo-disco track can find a sense of humor within its vast cosmic or retro-homo space. In fact, that’s exactly what 21st century disco will require to escape the hipster equivalent of a stadium bonfire. *
Wildildlife by numbers
Whether we’re talking about the volatile US economy or the amount of CD-R releases Wildildlife has produced to date, the base-10 numeral system is a useless reference point.
"Three or four, five or six let’s call it ‘medium-four.’ Or ‘five-esque.’" This is the disc count consensus from the Seattle group, whose membership is definitely three: Andy Crane on bass guitar, Matthew J. Rogers on guitar, and Willy Nilz on the drums. All provide vocals, and their collective tune was chortle-laden as they chatted via speakerphone from their tour van, parked on Bainbridge Island, Wash., a short ferry ride from Seattle, before the opening show of their present West Coast tour with Mammatus.
It would be frivolous to assign integers to Wildildlife’s whacked variety of superjams: their psychedelic weird-metal gets mad heavy, but they kick terrific pop hooks when, you know, they feel like it. "We’re super poppy it’s almost lame," one exclaims before another threatens that they’re "gonna drop it like Kid Rock!" Eh. That frighteningly high-pitched live vocal effect they often use isn’t that pop. Pop or not, the heaviness has gelled into something that has allowed Wildildlife to survive two radical geographic relocations: from Boston to San Francisco, and, earlier this year, to Seattle. Originally named Wildlife before a group called the Wildlife sent them a threatening letter about it, the band started after the three had been jamming together as college students in Boston. Although more restrained at that time, they now dish out a spaced acid-sludge that only medium-four years of epic practice sessions could have wrought.
What brought them to SF in September 2006? "It was a three-way commitment ‘you guys all want to move?’ We pointed it out on a map and headed there. Sorta like Coming to America,” is the answer.
Crane describes their one-time dream of starting a pancake van in Dolores Park with Nilz’s family recipe. What kind of cakes?
"Cornmeal pancakes."
"Weed pancakes."
This truck never came to fruition, but the combo quickly came to feel at home alongside such newfound, freaky rock brethren as the New Thrill Parade, Tulsa, and Shellshag. They recorded their 2007 debut, Six (Crucial Blast), shortly after their arrival, laying down tracks as long as 18 minutes in the process. One number, "Kross," has a slowly strummed guitar and vocal passage that gives way to delicate Steve Hackett-reminiscent trilling (circa Lamb Lies Down on Broadway [Atco, 1974]) before the metal hammer smacks down again, while "Tungsten Steel/Epilogue," with that scary effect-ed vocal leading the way, is hot as that doorknob that Joe Pesci grabs in Home Alone.
The closest you’ll get to a precedent for the Wildildlife sound is Atlanta, Ga. band Harvey Milk, which the group opened for on HM’s first West Coast dates earlier this year an experience Wildildlife were especially excited about in a year that, despite the move, has been pretty damned productive. They’ve produced a CD-R out of a WFMU live set recorded earlier this year, and a new EP, Peas Feast, will soon be released by Crucial Blast on 12-inch, along with a dropcard for a new EP, The Drongalet Demos. Their songs have been shorter lately, but to no detriment: tracks like Peas Feast‘s "Shining Son" beckon circle pits unlike any before it. Plans are also afoot for an old EP re-ish and a remix 12-inch.
Why is their album called Six if whole numbers don’t suit them? "It’s spelled in letters," they point out. There are also seven songs on there, alas if inexactitude reaps such brutal greatness as that of Wildildlife, may we never file taxes again.
WILDILDLIFE
With Mammatus and Three Leafs
Sat/25, 9:30 p.m., $8
Hemlock Tavern
1131 Polk, SF
(415) 923-0923
Freeze! You’re … just browsing
>a&eletters@sfbg.com
While the bankers who took your money were grabbing even more of it last weekend, a different sort of highbrow crowd those whose investment, whether financial or personal, rests mainly in art weren’t quite sure what to do. At the Frieze Art Fair in London’s Regent’s Park, the theme was non-commitment. "It feels like the old days," gallerist Jack Hanley said on the second evening of the four-day international fair. "Instead of buying up everything in the first 15 minutes, everyone is taking their time." Hanley, whose eponymous gallery has branches in New York and San Francisco’s Mission District, represented the only Bay Area gallery at either Frieze or the Zoo Art Fair, an equally significant affair that took place nearby.
At Frieze, the shift from a seller’s to a buyer’s market wasn’t necessarily a bad thing. Gallerists were obviously nervous about waiting to see if all of the expressed interest would translate into sales in the post-fair follow-up. But with the power shifting back to the consumer, there were a lot more intriguing discussions. The resulting atmosphere was suggestive of a free music festival where expectations are actually higher than they would be otherwise, since everyone is out for a damn good time, rather than just looking to get their money’s worth.
I had set out to see how collectors and other fair visitors perceived the Bay Area contemporary art on view, but it turned out that Frieze, a sight in its own right, had a different idea regarding how it should be covered. With sales slow and the mood contemplative, visitors were seemingly uninterested in where a particular artist hailed from and more concerned with smaller spectacles: illusions, dazzling techniques, and pieces that changed before their eyes.
A spectacle, art theorists will tell you, is a social relationship mediated by images. In other words, spectacles become a part of you and demand a certain sense of critique. At Frieze, in the wake of the incessant camera clicks following celebs like Gwyneth Paltrow, George Michael, Kate Bosworth, and Russian billionaire Roman Abramovich (who apparently took to Nobuyoshi Araki’s latest photos of bound women), there was a noticeable return to direct experience. Numerous fair projects took advantage of this need for interaction, including Dan Graham’s dimension-shifting Rectangle Inside 3/4 Cylinder and Norma Jeane’s three glass cubes where smokers could experience isolation in the midst of the fair’s chaos (check out the online video at www.friezefoundation.org/commissions/detail/norma_jeane/). In the first two days of the fair, almost 400 smokers lit up in the booths.
Work by SF’s Colter Jacobsen and SFMOMA SECA Art Award prize-winners Tauba Auerbach and Leslie Shows, all represented by Hanley, drew a constant stream of visitors. Conversations with gallerists, art students, browsers, and collectors at Hanley’s booth revealed a fascination with technique, in particular Shows’ hypnotic use of collage to create unnerving landscapes. "There’s a whole universe in there," said one art student from London about Shows’ Cross-Bedded Texts (The Magnetic Dynamo). Two gallerists from Manchester paced back and forth in front of Shows’ Elise (White Bile), Rachel (Blood), Phoebe (Yellow Bile), engrossed in the triptych’s color combination. Shows had a black piece, too, but there was no room for it in Hanley’s crowded booth.
In focusing on living artists and global undertakings, the fair’s directors Matthew Slotover and Amanda Sharp (who also own Frieze magazine) deserve props for supporting a personal environment. At Hanley’s booth, Home Country by Londoner-turned-Berliner Simon Evans left visitors discussing their individual experiences of particular London neighborhoods. The piece, a black-and-white subway map with puns, personal statements, and anecdotes carefully placed at many of the tube stops, also left some visitors wondering "why he never went to certain places," which were left curiously blank.
Props also should go to whoever controls the weather, for Frieze was blessed with uncannily sunny days in a city known more for fog than for illumination. Following talks by Yoko Ono, Scottish writer/artist Alasdair Gray, music critic Simon Reynolds, and contemporary Renaissance man (most recently of Edible Estates fame) Fritz Haeg, the crowd was buzzing about what might come next not necessarily about which lines would next be blurred between auction houses, dealers, curators and buyers, but about which flashy sculpture they would encounter in the garden. As happens every year at Frieze, the talks will be made available for free (at www.friezefoundation.org/talks/), so put away your checkbook, put on your earphones, and don’t forget to write.
Little Delhi
› paulr@sfbg.com
Manhattan joke: a part of Murray Hill, along Lexington Avenue in the ’20s, is known as Curry Hill because of its profusion of Indian and Pakistani restaurants. Even if you hadn’t heard the joke, you would probably recognize the neighborhood’s scent: no cuisine I’m aware of has a stronger or clearer olfactory signature. (Backyard barbecuing might deserve an honorable mention.)
We have our own Curry Hill, but it’s on Nob Hill, which pretty well mutes the word play, if not the scent. A major curry locus can be found on Jones Street south of Geary Boulevard, where the perfumed air is reminiscent of a spice market. But there is another node not far away, although perhaps to vitiate the pun utterly not on Nob Hill at all. I speak of the corner of Mason and Eddy streets, just a few steps from Union Square, the theater district, and the glamorous Westfield San Francisco Centre, and even fewer steps from the Tenderloin. If you’ve ever wondered what economic stratification, third world-style, might look like in a big American city, a brief reconnoiter of this largely flat area would give you a pretty good idea.
As for the corner itself: the air is redolent of curry, and for some of us, that means seduction. On one side of the street stands Punjab, wonderfully fragrant but with no table service, while on the other we find Little Delhi, an Indian restaurant that’s as comfortable as a pair of well-worn shoes, with table service.
As someone who bears witness to a great many restaurants that seem to have entered the world fully-formed under the godlike guidance of some designer, I warm to a place whose interior isn’t designed so much as accreted. Little Delhi has a well-lived-in look; its creamy walls are hung with portraits, tapestries, a map, and a flat-panel screen showing sports. The crowd is equally ad hoc: we noticed several tables full of what appeared to be (non-English-speaking) tourists, several more of possible neighborhood dwellers, including students (CCSF and Academy of Art College have campuses nearby), and a generous smattering of people who could have been of south Asian descent. This last convergence suggests, to me, a degree of authenticity. If people who grow up eating a cuisine later turn up in a restaurant serving the cuisine, there’s a reasonable chance the restaurant is turning out creditable versions of the food.
And Little Delhi is doing that at moderate prices. Most of the menu consists of dishes that cost less than $10, and portions are generous. There are plenty of familiar faces in the crowd, including a notably good saag paneer ($7.99) spiced spinach with cubes of white cheese whose mild seasoning let through more spinach flavor than is usual. We were vaguely reminded of the creamed spinach that is a fixture of many a holiday repast in our part of the world.
A preparation I hadn’t seen before was badami chicken ($9.99), boneless chunks of tandoori-roasted meat in a curry (and yogurt-thickened?) sauce laced with slivers of pistachio and cashew nuts. It was a near, and crunchy, relation to that lovable stalwart, chicken tikka masala, but what most impressed me was a smokiness in the meat that managed to be heard through the assertive saucing.
Quite similar was lamb tikka masala ($9.99), cubes of tandoori-roasted lamb in another sensuous sauce, this one a bit redder, sweeter, and more tomatoey than its badami cousin, due perhaps to the presence of ketchup. (Ketchup English ketchup in particular plays a central role in the evolution of tikka masala.) Lamb’s gaminess stands up to strong saucing, though I caught no hint of smoke here as I had with the chicken.
As is typical at south Asian restaurants, the list of meatless possibilities is extensive, and this is good news for vegetarians, even us flexos. We were particularly impressed with chana masala ($6.99), a classic dish of chickpeas, enlivened here with slices of tomato and whole cardamom pods. These softened some from being braised and, when chewed on, gave off their refreshing woody flavor, with its hints of cinnamon and ginger. Cardamom is rich in a substance called cineole, a natural antiseptic that can fight bad breath. FYI.
From the oven: perfectly good naan ($1.50), cut into triangles for ease of use in sopping up all those irresistible sauces. For whole wheat aficionados, there’s roti (also $1.50) virtually the same thing, except made from whole grain. Also useful for sauce-soppers is rice pillau ($2), a sizable dish of basmati rice. "Pillau" looks suspiciously like "pilaf," which would mean rice cooked in some kind of stock. This rice appeared to have been cooked in plain water, which didn’t do much for its color it looked like a gritty heap of corn snow but did show its wonderful nutty flavor to clearest effect.
Basmati is so tasty, in fact, that demand for it has been surging in India and throughout the Middle East. According to a story published in July in The Wall Street Journal, its price has risen between 100 and 200 percent in the past two years. So let’s count ourselves lucky to be able to enjoy this modest luxury for so little a treat that won’t break the bank, not that there are all that many banks left to be broken. May the Fed be with you. *
LITTLE DELHI
Daily, 11:30 a.m.11 p.m.
83 Eddy, SF
(415) 398-3173
Beer and wine
AE/DC/DS/MC/V
Moderately noisy
Wheelchair accessible
Editor’s Notes
› tredmond@sfbg.com
Our 42nd anniversary issue is all about creating a sustainable San Francisco. So, in many ways, is the Nov. 4 ballot.
Think about it. If you were going to design a blueprint for a sustainable city, it would have to include a clean-energy policy. That’s Proposition H. It would include provisions to make sure that a diverse population could afford to live here. That’s Proposition B. It would shift some of the tax burden off the smallest businesses and make sure the rich pay their fair share (that’s Props. N and Q). A sustainable city would need progressive leaders who understand that land-use planning can’t be run by developers. Electing Eric Mar in District 1, John Avalos in District 11, David Chiu in District 3 would keep the Board of Supervisors in progressive hands.
And of course, you’d want a mayor who makes sustainability a hallmark of his administration. So why is Gavin Newsom against every single ballot item that would take the city in a more environmentally sound direction?
He’s against Prop. B because he says he doesn’t want to tie his hands when it comes to future budgets. But this is a mayor who has refused to spend the affordable housing money the supervisors have allocated, and who insists that plans to add more than 50,000 new housing units, 85 percent of which will be affordable only to the top five percent of San Franciscans, is a sign of progress. He isn’t promoting a sustainable city; he’s promoting a city for millionaires.
Newsom’s against Prop. H because … wait, why is he against it? He’s never really explained himself except through his proxy, Eric Jaye, who also happens to be running the $5 million Pacific Gas and Electric Co. campaign against H. Newsom doesn’t want a sustainable city; he wants a private-power-monopoly city.
He’s against the progressive supervisorial candidates and the progressive tax measures because, I think, he wants to keep the current power structure, controlled by downtown and landlord money, safely in place. That’s not a move toward a sustainable city; that’s leaving in charge the very same people who got us into environmental trouble in the first place. *
Anniversary Issue: The money at home
"You need to shrink the distance between the people who visit the private economy and the people who run it."
David Morris. Institute for Local Self-Reliance
› tredmond@sfbg.com
Back in the early 1980s, when the word "sustainable" was barely a blip in the environmental vocabulary, the mayor of Saint Paul, Minn. brought in a consultant named David Morris to help him figure out how to revive the city’s economy.
Saint Paul was facing the same challenges as many other northern cities old industry was dying, the downtown was decaying, and population was declining as more affluent residents moved to the suburbs. Mayor George Latimer didn’t want to do what some of the other cities were doing and beg companies to move into town: he wanted to see what could be done with the resources the city already had.
Morris, who now runs the Institute for Local Self-Reliance, started by contacting the US Patent Office and getting a list of everyone in Saint Paul with a recent patent. He eliminated corporations and universities and wound up with a list of a few hundred people inventors, thinkers, folks who had come up with something new. About two dozen had created gizmos or technologies that solved a real problem. Most of the stuff was sitting in basements and in old notebooks.
"Latimer called them all together," Morris recalled, "and he said, ‘We believe in you, and we’re going to help you start a business and market your invention.’" The mayor helped the would-be entrepreneurs find the capital and support they could never have gotten by themselves from a private sector not terribly interested in small business start-up loans. He encouraged them to open companies and market their products. The results were remarkable lots of new locally-owned companies, creation of good jobs, and the beginning of a revitalization plan that made Latimer a national figure.
That principle look locally and use the resources you have remains the heart of a sustainable local economy.
"A sustainable place can feed, power, and house its citizens with local resources," explained Michelle Long, executive director of Bellingham, Wash.-based Sustainable Connections. "You need to generate new innovations with local innovators."
The late urban thinker Jane Jacobs made that notion a centerpiece of her life’s work. Starting with The Economy of Cities in 1969 and later in Cities and the Wealth of Nations in 1964, Jacobs argued that urban economies are like ecosystems they are healthiest when they are diverse, with many different niches, and they thrive when energy cycles through the system. The cities throughout history that have done best have been those that figured out how to replace imports with locally produced goods and services.
It’s not that complicated, really. A sustainable local economy, like a sustainable ecosystem, needs lots of players, needs the energy of the system money to stick around through numerous economic cycles, and needs to use local resources to grow.
An economy that doesn’t depend too heavily on any one sector will not only do better in good times but will be much hardier. As farmers know, a monocrop system not only needs far more sustenance (fertilizers, irrigation, etc.) but is far more vulnerable to catastrophic failure. Diverse local economies, with thousands of small businesses offering a wide range of goods and services, can survive bad times better than communities that depend on just a few big industries.
As the Guardian has shown through a series of studies we did years ago ("The end of the high-rise jobs myth," 10/23/85) and which research done since then has proved small, locally-owned businesses create the majority of new jobs in San Francisco. And money spent in small businesses circulates in the local economy; the proprietor of the local hardware store takes his or her revenue and spends it on shoes for the kids. The shoe store owner takes that money and buys groceries at the local market. Every dollar goes around several times; and each time, it adds economic benefit what economists call the multiplier effect.
A dollar spent in a chain store leaves town within hours, wired to a central corporate headquarters where executives care nothing about San Francisco save as a place to extract wealth from.
Jacobs was brilliant, but she had her libertarian leanings. She often argued that it was best for government to get out of the way and let economies grow organically. That may have made sense to someone who came of age fighting the old-fashioned redevelopment programs and top-down urban planning of the 1960s and ’70s. But the modern urban economy not only needs help from policymakers, but clear direction particularly in unsettled times like these. As William Greider wrote in The Nation Oct. 20, "only government has the leverage to get the money moving again."
In fact, modern progressive economic thinkers say that the public sector has a huge, perhaps defining role to play in building a sustainable local economy.
"The city needs to emphasize the public over the private," Morris told me. A sustainable economy, he said, is "a society where the public commons grows and the private shrinks." Taking public programs and services and turning them over to private business which is all the rage in the Mayor’s Office these days is about the worst thing a community can do.
So what could City Hall do to create a more sustainable local economy? Start, Morris says, by reducing the need for money. "The things that are most valuable in a sustainable economy are those that are free," he said. That means keeping libraries open, making more public space accessible, offering free public events and encouraging people to reuse even the basics. "There’s no need for most people to buy new clothes, especially for kids. Sustainability starts with people substituting free things for costly things."
That could mean, for example, city-run clothing exchanges (and toy exchanges and places where used construction materials could be traded). It also means leadership by example: Mayor Gavin Newsom isn’t as big on conspicuous consumption as his predecessor, Willie Brown, who bought new imported Italian suits by the rack. But he’s hardly been known for promoting a low-consumption lifestyle. "The mayor could announce, for example, that he is going to reduce his consumption of imported goods by 75 percent in the next year," Morris suggested, "and show everyone how he’s going to do it."
Then there’s distance both physical and psychological. Obviously, reducing commutes and the need for long-distance shopping trips is a factor, but it’s not enough. "You need to shrink the distance between the people who visit the private economy and the people who run it," he said. The owners of businesses need to live in the community. They need to interact with their customers and neighbors, to see the local schools where their tax dollars go.
In Bellingham, Long’s group worked with local government on a large-scale marketing campaign with the slogan "think local, buy local, be local." Their effort involved an advertising campaign, a coupon book, and even a mascot. "We have a bee who goes around to events; it’s the Be-local Bee," she said. It’s more than just shopping; it’s about thinking about your community first.
The impact: more than 60 percent of Bellingham residents in a recent poll reported that they now think about finding local sources for their goods and services.
One key to all this, Doug Hammond, executive director of the Business Alliance for Local Living Economies, told us, is access to community capital. "If that’s not available, you never get out of the gate," he said.
BALLE, a seven-year old organization with headquarters in San Francisco, works with 20,000 members to promote small, locally-owned businesses and initiatives to sustain healthy economies and healthy communities.
Community capital means "financing to support innovation," Long said, "from people who are willing to look at what we call living returns something that works for the lender and for the borrower."
There are, Hammond notes, "almost no resources for locally-owned, independent businesses. It’s a disproportionately-tilted playing field."
Hammond, who took over as BALLE’s director this month, was startled to learn that San Francisco puts all its money its payroll accounts, tax accounts, and so forth in North Carolina-based Bank of America. That’s not a local bank. It’s not an institution that supports local businesses, and the money it makes doesn’t circulate in San Francisco.
Cities that want sustainable economies, he said, need "locally-owned common-good banks" that will invest in small loans to local businesses and be willing to accept fair, but not excessive, returns. "If the city was willing to put some of its working money into that kind of a business, it would be a huge start," he told us. "That kind of thing is the low-hanging fruit."
The mayor has spent a lot of money on staff and programs that promote his image as environmentally conscious. But what he really needs, Hammond said, is a "local-first czar," someone at City Hall who has the mandate and the authority to promote a sustainable economy.
"There has to be a baseline for local procurement," he said. "How much of the city’s resources go back into the local community? What are the ways to make those resources community controlled again?"
San Francisco is a peninsula, but it isn’t an island. The city can’t operate entirely independent of the rest of the world. But at a time when global capital is in crisis, and fossil fuel use is threatening ecological catastrophe, and few people in Washington or Sacramento are offering true progressive solutions, San Francisco should be leading the way toward a model for a locally sustainable economy.
It’s not impossible. It’s not even that hard. It just takes political will.
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Following the money, made easy
By Steven T. Jones
The San Francisco Ethics Commission takes a lot of heat (some of it from us), but the employees there have created a great resource for easily following the independent expenditures that are seeking to buy the Board of Supervisors on behalf of the city’s wealthy interest groups, an effort that bodes ill for the San Francisco’s workers and renters.
Groups that include the Building Owners and Managers Association, Citizens for Responsible Growth (a new conservative group formed to counter “the left” that in an August letter pledged “an all-out attack with other like minded groups”), the Association of Realtors, and the Police Officers Association have spent more than $363,000 attacking progressive candidates and supporting their candidates in the swing districts of 1, 3, and 11. As the Guardian reported last week, some of that money originally came from other downtown players, including the Chamber of Commerce, Committee on Jobs, and Pacific Gas & Electric.
The groups aren’t legally supposed to be coordinating their “independent” efforts, either with each other or with the candidates, but the timing of their expenditures seems to suggest they are ensuring a steady, unrelenting drumbeat of political propaganda.
As the chart shows, the progressive supervisorial candidates — Eric Mar, David Chiu, and John Avalos — are also receiving some helpful independent expenditures from the San Francisco Labor Council and the San Francisco Democratic Party. So forget all these distracting nonsense involving Chris Daly, Gavin Newsom, JROTC, and prostitution — who are you going to vote for, the candidates backed by Democrats, environmentalists, and workers, or those pushed by Republicans, landlords, and big corporate interests? The choice is yours.
Streetsblog is joining SF’s transportation intellegencia

By Steven T. Jones
San Francisco is filled with brilliant transportation visionaries, people who can see how to reach a future in which we’re less dependent on automobiles and the system not only continues to function, but it’s better, cheaper, and more efficient than what we have now.
I talked to many of them for my story this week on sustainable transportation, which was part of our larger Sustainable San Francisco anniversary package. And if you’d like to hear more from some of the sources that I assembled into a round table discussion, you can download the audio of that session here.
There’s also some other good news on the alternative transportation front in San Francisco: StreetsBlog and StreetsFilms – which do some of the best work in the country highlighting progressive innovations in getting around – have announced that they’re coming here.
That’s great news for those who prefer innovative, action-oriented approaches of our transportation future, rather than the mayor’s approach of issuing press releases and then failing to follow through, or waiting for entrenched transportation planners to make progress on important priorities. And if you’re one of those brilliant transportation wonks, consider applying to be the local editor of Streetsblog.
Ill Bill talks family ties, metal and hip-hop mixes, and Slayer swastikas

By Ben Richardson
Brooklyn MC Ill Bill, a.k.a., William Braunstein, recently passed through San Francisco, touring to support his new LP The Hour of Reprisal (Uncle Howie).
The album showcases Ill Bill’s formidable microphone talents, and the ex-Non Phixion MC spits hellfire over 18 martial sounding tracks, taking full advantage of production by such luminaries as DJ Premier, Cypress Hill’s DJ Muggs, and DJ Lethal of House of Pain and more recently Limp Bizkit. In addition to appearances by hip-hop household names like Wu Tang princeling Raekwon, Immortal Technique, and B-Real, the recording includes contributions from artists better known in metal and hardcore circles: Howard Jones of Killswitch Engage, H.R. and Daryl Jenifer of the Bad Brains, and Max Calavera of Sepultura.
Reached by phone from a stop on his continuing tour, Bill discussed the disc, being a new father, and the state of music and the world.
New projects: Ill Bill’s “Glenwood Projects.”
Archie Shepp and Cecil Taylor
PREVIEW The 2008 San Francisco Jazz Festival’s Vanguard Series is screaming. There, I said it. Both neophytes and adepts need to turn out this week for what will be personal milestones those moments of "aha" and inspiration you’ll want to crystallize in something stronger than words starting with mystic saxophonist Archie Shepp at Herbst Theatre Thursday. Considered one of the inventors of avant-garde jazz, Shepp blended blues, spirituals, and free-form music into a sound that transcends classification. Those who are familiar with his recordings are not getting the full message. Bearing witness is the only way to truly see.
Bearing witness is the only apt term for Cecil Taylor playing at Grace Cathedral on Friday. Taylor, one of the most prolific, experimental, and daring pianists in jazz or any other music, attacks the keys, coaxes polyrhythmic twists out of the music, and chisels chords from the dissonant, while traveling to the sublime and back again. Mix Grace Cathedral’s seven-second reverberation and Taylor’s inviting, deflecting, infuriating, and always inspiring compositions, poetry, and persona, and you get a religious experience. Go now or regret later.
ARCHIE SHEPP Thurs/23, 7:30 p.m. (pre-concert talk at 6:30 p.m.), $25-$65. Herbst Theatre, 401 Van Ness, SF. 1-866-920-JAZZ, www.sfjazz.org
CECIL TAYLOR Fri/24, 8 p.m., $30$50. Grace Cathedral, 1100 California, SF. 1-866-920-JAZZ, www.sfjazz.org
Missing pieces
NEWS/REVIEW At this point, any review of Gallery 16’s fifteenth anniversary show "These Are the People in Your Neighborhood" must revolve around its missing pieces. On the morning of Wednesday, Oct. 15, two paintings by Margaret Kilgallen were stolen. Of the 68 works on display, they were among only a handful not for sale. When one takes the exhibition’s layout into consideration, it appears that Untitled and Easy a pair of small enamel-on-wood works that Kilgallen had given to gallery owner Griff Williams were part of a behind-your-back theft.
Rough ironies are left in their wake. The first is the friendly title of the exhibition itself. "Please stop stealing the stemware," asks one page of Tucker Nichols’ line-drawing zine Fifteen Yrs Give or Take: A Commemorative Guide to Gallery 16. "One bad day in like 15 years," says another. With a show by Lydia Fong reaching the end of its run in San Francisco, and Barry McGee (whose work has also been stolen: check out a Luggage Store interview in an old issue of ANP Quarterly) one of the main focuses of a recent Artforum issue dedicated to "Art and its Markets," the Kilgallen theft is a high-priced mystery.
What remains at Gallery 16? For starters, I like: Michelle Grabner’s update of op art’s love affair with the circle; Gay Outlaw giving form to inversion with uncharacteristically Mission-like materials; a number of unassumingly beautiful watercolors by Cliff Hengst; Jim Isermann’s brash ’90s version of the understated loom pieces Ruth Laskey is making today; Alice Shaw’s hypnotic lenticular photos; Lauren Davies’ Dirtballs with Snow (a deal at $350 each); the Jerome Caja-eseque shrinky dink humor of Andrew Romanoff’s Ipod Sucks Brain Out; and Alex Zecca’s and Wayne Smith’s amazing ink-on-paper screens or patterns.
Regarding the Kilgallen pieces, here’s a message from Gallery 16’s Vanessa Blaikie and Griff Williams: "There is very little of Margaret’s original work out there for sale, if any, and so we are asking that everyone please keep their eyes and ears open with respect to these two works. Should they resurface for sale, or should you see these in a private residence, we ask that you please contact us immediately. Any information would be much appreciated."
THESE ARE THE PEOPLE IN YOUR NEIGHBORHOOD Through Nov. 7. Mon.-Fri., 10 a.m.-5 p.m.; Sat., 11 a.m.-5 p.m. Gallery 16, 501 Third St., SF. (415) 626-7495, www.gallery16.com
