San Francisco

Redevelopment cooked Lennar grant

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Officials with the San Francisco Redevelopment Agency admitted yesterday that they cooked a state grant application, by claiming that they needed the funds to fill a $25 million gap in the budget of a project that the City is developing with Lennar at Hunters Point Shipyard.

But what they really wanted the monies for, the agency claimed, was to boost a shrinking community benefit fund that was supposedly to be derived from development profits.

The admission came during a hearing into Lennar’s fiscal health. The hearing was requested by Sup. Chris Daly, following the discovery that the San Francisco Redevelopment Agency had applied for, but been denied, a $25 million grant from the state’s Department of Housing and Community Development to subsidize infrastructure costs.

The June 10 grant application discovery, coupled with Lennar’s June 7 bankruptcy filing at Mare Island, heightened concerns that Lennar was planning to mothball the Shipyard/Candlestick redevelopment project, even though voters had greenlighted an increase in the size of that project, just days earlier, on June 3.

Daly’s mothballing concerns were understandable, given that Stephen Maduli-Williams, SFRA’s Deputy Executive Director of Community and Economic Development had claimed, in a May 23 letter to the state that, “without the requested $25,021,079 Infill grant allocation, our infrastructure project faces a serious risk of being mothballed. The project would face increased costs from work stoppage, remobilization efforts and substantial change orders.”

At yesterday’s hearing, Maduli-Williams repeatedly denied that there was any hole in the project’s budget. Instead, he argued that he had manufactured the hole in an effort to increase funds to the project’s community benefit fund.

“This was one of the resources we felt compelled to apply for, because, if successful, it would be a direct benefit to the Legacy Fund,” Maduli-Williams said, noting that 60 percent of the profits from the development go to Lennar, while only 40 percent to the Redevelopment Agency, who will turn these funds over to the Bayview.

Maduli-Williams noted that had the agency received the grant, “it would, if anything, have been a pass-through to the agency, not Lennar.”

As for the “hole in the project,” that these monies allegedly would have filled, Maduli Willians claimed he invented the hole after being turned down in the first round of applications, in which $1 billion worth of applications were vying for only $240 million in grants.

“Without this hole, we were told, we would not qualify,” Maduli-Williams said. “It’s part of our job to turn over every rock we can to benefit the Bayview.”

“Lennar is not in severe financial difficulty,” he added, observing that pursuant to the deposition and development agreement that Lennar signed, a developer is deemed to be in default, if its net worth falls below $400 million.

“Currently, Lennar has $900 milion in cash and has zero corporate debt,” Maduli-Williams claimed. “Yes, there is money to complete the project.”

Lawsuit challenges high-speed rail project

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Four environmental groups and two cities today filed a lawsuit in Sacramento Superior Court challenging the California High Speed Rail Authority’s recent decision to lay track over Pacheco Pass, rather than going with the Altamont Pass option preferred by the plaintiffs.

The lawsuit isn’t likely to directly affect this November’s Proposition 1, the $10 billion bond measure that would allow work to begin on the San Francisco-Anaheim high-speed rail project. Yet the language in the bond measure could be updated to include new fiscal oversight and other provisions if Gov. Arnold Schwarzenegger signs Assembly Bill 3034, which this week broke through a logjam in the Assembly and appears likely to win Senate approval next week.

The lawsuit was filed by the Planning and Conservation League, Transportation Solutions Defense and Education Fund, California Rail Foundation, Bay Rail Alliance, and the cities of Atherton and Menlo Park.
A press release from CRF says, “The environmental and transit groups advocate a well-planned, cost- effective, and environmentally sensitive high-speed rail system in California. They want high-speed trains along the Altamont route, to help commuters from the Central Valley and Sacramento, who currently clog up Interstates 80 and 580. This route would divert millions of regional trips annually to electrified rail, yielding extremely significant air quality, greenhouse gas reduction, and energy savings benefits.”

CHSRA staffers and board members argued that Pacheco was a cheaper, faster route that eliminated the need for a costly and logically difficult bay crossing to reach San Francisco. South Bay political leaders also threatened to oppose the project if Altamont was chosen. Yet CHRSA is also working on a regional rail connection over Altamont that would eventually tie into the high-speed rail system, which is at least a decade away from being operational.

The flak over Newsom’s hack

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The word that Gavin Newsom is taking to campaign consultant Garry South is suddenly big talk on the blogs.

It started that way a growing number of political stories are starting these days, with an enterprising blogger catching someone in what was supposed to be a private meeting. In this case, Zuma Dogg of Los Angeles spied Gavin Newsom at a Starbucks (with his SUV parked in a fire lane) chatting with the prominent (and notorious) South.

Now Newsom is getting denounced on Calitics and is facing an (admittedly insider) threat that some progressives may abandon him as he moves to the political center.

A couple of thoughts on this.

1. Garry South isn’t running Newsom’s campaign. That’s still the job of Eric Jaye. In fact, Jaye tells me that South hasn’t been hired yet: “We’re taling to him,” Jaye said. “We’re putting together a team. But nobody’s been hired yet.” Not saying that Jaye is going to advise against a move to the center or anything, but if South does come on, it will be as a senior advisor.

2. I get the problems with Garry South, and I’m not defending him here, but anyone who thinks Newsom will run for governor as a San Francisco progressive hasn’t been paying attention to the mayor’s history and career. He ran for mayor the first time as a pro-business moderate, and that’s how he’ll run for governor. He won’t deny promoting same-sex marriage (which, frankly, won’t be a big issue in the Democratic primary anyway and can only help him) and will try to be an environmentalist (isn’t everyone these days?), but he won’t be talking about raising taxes on the rich. Isn’t going to happen.

3. What this really means is that Newsom’s “exploratory” campaign is getting a little less exploratory and a little more serious. No doubt Jaye has been doing polls to see if Newsom’s record would fly in a statewide race, and no doubt he’s found that his man can be sold to the voters will the proper packaging. And now Team Newsom is getting into gear. Even Jaye admitted that “the exploratory campaign is stepping up its efforts.”

So look for Newsom to pay even less attention to City Hall and even more to vote-rich Southern California in the next few months.

Photo Issue Q&A: Heather Renee Russ of Cutter Photozine

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By Johnny Ray Huston

Every photo has a story, and the one behind Ace Morgan’s in this week’s Photo Issue is worth telling. “I was documenting and photographing my friend Chris in Detroit who was a male-to-female prostitute,” Morgan tells Sara Seinberg in the first issue of Cutter Photozine, where the image is part of a section devoted to his work. “Chris’ lover was this guy named Tony. And so Tony was in the pictures, too…Months down the road, the headlines in the Detroit Free Press said Tony was the Highland Park Serial Killer.”

One of ten artists or groups in this year’s Photo Issue, Cutter Photozine views San Francisco from the same candid, instinctive perspective that Morgan brought to Detroit’s streets. Along with Seinberg, Alison O’Connell, Jesse Rose Roberts, and Cole Blevins, Heather Renee Russ is on Cutter‘s staff. I recently emailed her to ask about influences, experiences, pros, cons, and the future.

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Photo of Jimmy Shotwell by Heather Renee Russ

SFBG: What zines and photo magazines do you like? How about favorite photographers?
Heather Renee Russ: Hamburger Eyes. Scam zine by Erick Lyle. The Fader. Ration zine by Arwen Curry. Sad Kids. Mega Words. Emergency by Ammi Emergency.

Kicking back with Pacifika

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Pacifika
July 21, Yoshi’s San Francisco

By Kevin Lee

I caught the Vancouver group Pacifika when they dropped into Yoshi’s San Francisco for a relaxed, intimate set on July 21. The cozy confines and friendly crowd helped spur the improvisation-friendly band, known for their sophisticated acoustic downtempo. Peruvian-born Silvana Kane, who sung mostly in Spanish, impressed with her breathy tones and guttural inflections that have drawn comparisons to chanteuses Bebel Gilberto and Shakira. Early on, the crowd bathed in the lush warmth of “Sol” and the acoustic pop of “Sweet,” where syllables took on a viscous quality, dripping out of Kane’s lips.

Performing from their new CD, Asunción (Six Degrees), Pacifika kept things loose by playing off the cuff. Through the soaring “Paloma,” the serene and tranquil “Chiquita,” the contemplative intonations from “Más y Más,” and the yearning from “Libertad,” the quartet – which includes guitarist Adam Popowitz, bassist Toby Peter, and percussionist Elliot Polsky – displayed a stylish variety of musical directions and exhibited a playfulness between tracks. While balancing acoustic, classical, and electronic guitars, Popwitz still found time to shake it to the delight of the audience.

When the crowd wooed the band back onstage for an encore, Kane coyly responded, “An encore’s a difficult thing to define.” The band followed with the unreleased “Cruces,” a vigorous and emphatic track that had the crowd nodding with pleasure. Upon its final chords, Popowitz began strumming again, while a surprised Kane took it in stride. Recalling the passing of her grandmother eight years ago (as she did on a previous track “Cuatro Hijas”), Kane launched into “Vida Lleña,” a moving tribute and the highlight of the night.

We be clubbin’? Just barely

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› a&eletters@sfbg.com

One night around 11 this spring, I stepped out of a cab at Sixth and Mission streets, only to enter a chaotic scene. Enhancing the block’s usual charms — destitute dudes in wheelchairs, crack enthusiasts, an old man in a denim skirt clutching a baguette — was a row of police cruisers parked in the street. Officers roamed the block, herding people around.

Had I stumbled onto a grim tragedy? Nope. I was just trying to catch a hip-hop show. Like the other 150 people waiting outside Club Six, I was hoping to get into KUSH, a party hosted by the Demolition Men. My chances seemed slim. I was on the guest list, but the list was "closed." So I stood in the long but well-behaved line. Security yelled at us to keep on the sidewalk, though the sidewalk ended well before the line did. Finally a guard bellowed at us to leave.

Half the line drifted away. The rest remained, texting friends inside the club and trying to devise a way in. Soon, with a combination of threats and cajolery, police and security began clearing the sidewalk around the club. A short, powerfully built man pleaded with stragglers, the way tough guys plead with you not to force them to kick your ass. Someone addressed him. He was Angel Cruz, Club Six’s owner, whom I’d interviewed for this story by phone. I introduced myself. He signaled a guard, and suddenly I was inside.

If this was New York City or Los Angeles, I might have felt the smugness engendered by such special treatment. But this was San Francisco, and all I felt was weariness. The club had devoted two rooms to the party, yet only one was full. Still, the vibe was friendly, and Jacka tore it up with his radio smash, "All Over Me." Although I heard some dudes got salty over the guest list, there were no arrests.

Sadly, such scenes are typical. Actually, we were lucky: I’ve seen cops shut down shows entirely over trifling incidents, usually ones occurring outside the club. This state of affairs affects more than the club-goers. Owners make less at the bar, promoters make less at the gate, and performers have fewer places to perform. Hip-hop, in its myriad forms, is one of the most popular genres on earth, and San Francisco is a world-class city. Yet this town seems hostile toward this musical nightlife with such revenue-generating potential. Why?

Naturally there’s no simple answer, and even investigating is difficult. Owners don’t want to alienate the police, promoters don’t want to alienate owners, and the San Francisco Entertainment Commission wants cooperation among all concerned. Few people I interviewed would name names or particular events, and some would only speak off the record, due to the delicate web of professional relationships involved. Even so, common issues emerge.

"Hip-hop is synonymous with fights and shootings, to authority figures," said Desi Danganan, whose Poleng Lounge is one of the few venues committed to the music. "The police are very hesitant about any club that plays hip-hop. That was one of the first things that came up, ‘Are you playing hip-hop?’<0x2009>"

The association between hip-hop and violence is nothing new: violence is the theme of many raps. Yet this is hardly the case with all hip-hop. The Bay Area in particular has produced an abundance of progressive, nonviolent lyricists, from veterans Hieroglyphics to up-and-comer Trackademicks. Yet the distinction is lost on the city and the police, according to Fat City general manager Hiroshi Naruta. "They don’t know the difference between hyphy and backpacker," he said.

Unlike the Panhandle-based Polang, Fat City is in the SoMa District, a longtime site of contention between police and clubs. As a result, the venue is shying away from booking hip-hop. "I want to," Naruta said. "But I don’t want pressure from the city or SFPD."

"Pressure," of course, is a nebulous concept and hard to substantiate, but according to John Wood, political director of the SF Late Night Coalition, there are typical tactics. "If the police feel your venue is creating a nuisance, they show up every night, check your permits, walking into your venue, upsetting your customers," he said. "They do frequent inspections with the fire department and the building department, and get you for every little violation. Short of suspending permits and filing lawsuits, there’s lots of ways city bureaucracy can make it difficult to do business."

But just how much of a "nuisance" do hip-hop shows create? Are they really that violent? No more than other genres, according to Robert Kowal, whose Sunset Promotions has brought everyone from Grandmaster Flash to Jurassic 5 to SF. "The city has safety as its primary concern," he acknowledged. "Occasionally some shows have problems the police have to deal with. Almost without exception that label gets thrown at hip-hop, when most events, including hip-hop, are very cool."

"Right now there’s a gun problem in SF," Kowal continued. "Instead of addressing that, the city wants to blame entertainment and specifically hip-hop. But violence is rare inside the venue itself."

Wood concurred with this assessment. "There have been incidents where there were shootings," he said, "not in the clubs, but a block away, that may have possibly involved people who were at the club. Frequently police will blame the club for incidents in the neighborhood."

An SFPD spokesman, Sgt. Steven Mannina, wouldn’t respond to this contention. It’s worth noting that much of SoMa can get rough, even during the day. To the contrary, Kowal believes venues like Club Six have improved the tone of the neighborhood: "Angel Cruz deserves a lot of credit. That Club Six is open four nights a week has enabled other bars and restaurants to open around it. That area has been somewhat revitalized."

Wood suggests an influx of new neighbors may, in fact, be the main issue. "The city’s changing," he explained. "It’s older demographically, wealthier, more harried, and professional. Aside from hip-hop and violence, people are less tolerant about noise young people create." Yet that lack of tolerance among the condo crowd may also be rooted in fear. "Neighbors sometimes freak out when a club is bringing large groups of minorities into the neighborhood," Wood added, "whether they’re behaving or not."

That assessment was echoed, mostly off the record, by many I interviewed. But veteran hip-hop commentator Davey D didn’t pull punches. "They just don’t want black people there," he said. "For a city that prides itself on being progressive, when it comes to nightlife, it has the most reactionary policies that seem based around race, using words like ‘urban’ as cover."

Regardless of hip-hop’s alleged role in violence, this spring the city attempted to deal with the issue via two pieces of legislation: one required a hefty $400 permit per show, and the other was an anti-loitering law, empowering police to clear the area around a club. Both proposals were bad ideas: the former threatened to stifle local entertainment, and in an era of eroding civil liberties, the latter promised to give police discretion to arrest people just for being in the club’s vicinity. Even more disturbing is Sgt. Mannina’s assertion in April that "this is an enforcement strategy around clubs that field operations have already launched." How can this be, if it was not yet a law? "I thought it was already in place," he said.

Clearly the police act as though it is, given what I witnessed outside Club Six. In the meantime, it’s tough to understand why SF hip-hop fans must, for instance, travel to Petaluma to see local acts like Andre Nickatina. "You want to know the solution?" a club owner asked, off the record and out of frustration. "There is no solution."

The Gysin file

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› johnny@sfbg.com

I associate the dreamachine with Christmas. The first and only time I’ve directly encountered a version of the device was a holiday five or six years ago. My friend Julien used a turntable to set up a homemade dreamachine in a corner room of his family’s cabin. I took a turn sitting with my eyes closed in front of its stroboscopic play of light and darkness. I didn’t have an epileptic fit; nor did I go into a hypnagogic state. It wasn’t a drugless high, but it was a mind’s eye stimulus. I’d try the dreamachine again.

"I don’t think [the dreamachine] really works unless you’ve smoked a pipe of hash," Kenneth Anger declares during FlicKeR, Nik Sheehan’s documentary about the device and its chief creator, the writer, painter, and mystic Brion Gysin. "I think it’s too dangerous if you’ve taken acid," he adds. You get the feeling Anger is speaking from experience, even if he doesn’t face a dreamachine in front of Sheehan’s camera. Such a meeting isn’t necessary, because FlicKeR‘s first 15 minutes serves up a Who’s Who of dreamachine enthusiasts in action: Marianne Faithfull, Sonic Youth’s Lee Ranaldo, and Genesis P. Orridge of Psychic TV are among those Sheehan captures sitting and staring — with eyes closed — before the contraption’s oscilutf8g light.

The dreamachine makes for potent visual imagery, but distilling or truly conveying its effect is a tougher task for a filmmaker, even if Sheehan’s camera briefly stares directly into one (and later, incorporates Tony Conrad’s 1965 film The Flicker, a potent projector-based dreamachine corollary). For Sheehan, the mechanism provides a kinetic introduction to or threshold into, a portrait of the late Gysin. Though Gysin — who invented the Cut-Up literary methods popularized by best friend William S. Burroughs — is a shadowy figure to hang a feature-length film portrait on, FlicKeR‘s hopping, skipping, and jumping approach to his life at least energizes his enigma.

In Victor Bockris’ 1981 interview collection With William S. Burroughs: A Report From the Bunker (Seaver), Burroughs — who also says, typically, "[Gysin] taught me everything I know about painting" — relates Gysin’s description of a milk bar just after a terrorist blast: "People were lying around with their legs cut off, spattered with maraschino cherries, passion fruit, ice cream, brains, pieces of mirror and blood." Without a living subject, Sheehan must turn to various vivid Gysin acquaintances — mirror man Ira Cohen and a spry John Giorno, for example — to bring across similar illustrations of anarchic spirit. In the process, offhand observations come to mind: Genesis P. Orridge has transformed herself into a sisterly peer of rad auntie Faithfull (who praises Gysin’s warmth in her autobiography, where she’s largely disdainful of all men), for one. It’s easy to lose sight of Gysin amid such colorful characters, but FlicKeR is steadfast in its belief that Gysin is influential; a variety of academics use Gysin as a gateway to discussions of everything from the changing nature of terrorism to iPods.

He may not be the center of 20th-century history, but Gysin’s influence on the present is undeniable. This is partly due to another wave of ’60s resurgence. FlicKeR kicks off "Stoned Apocalypse," a Joel Shepard–curated Yerba Buena Center for the Arts series that includes a program devoted to the legendary light shows that overtook late-’60s music concerts. While most people associate such light shows with rock music, the new collection, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde (University of California Press, 322 pages, $27.50), explores its links to avant-garde cinema and music in the Bay Area.

The dreamachine-like notion and practice of live cinema is building momentum in recent years, thanks to practitioners such as Bruce Fletcher, a new surge of interest in Conrad, and a 2007 San Francisco Cinematheque series that inspired an anthology of writing on the subject. Last year at the San Francisco Museum of Modern Art, Anthony McCall’s installation You and I, Horizontal filtered Conrad’s and Gysin’s ideas about pure light into a communal rather than individual experience so potent it was akin to near-death or first-moments-of-life. That which flickers still illuminates, and it may soon turn into a piercing beam of light.

FLICKER

Thurs/7, 7:30 p.m., $8

Yerba Buena Center for the Arts Screening Room

701 Mission, SF

(415) 978-2700

www.ybca.org

SFPUC shuffle

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› sarah@sfbg.com

The San Francisco Public Utilities Commission is arguably the city’s most important commission. It provides water to 1.6 million customers in three Bay Area counties and handles sewage treatment and municipal power for San Francisco. But right now, it lacks a governing body.

Until recently there were no minimum job requirements for its five commissioners, who are all appointees. The only way the Board of Supervisors could block the mayor’s picks for these all-important posts was through a two-thirds vote (that requires eight supervisors) made within 30 days of the selection.

That changed June 3 when voters approved Proposition E. The board placed this legislation on the ballot in response to Mayor Gavin Newsom’s "without cause" firing of SFPUC former General Manager Susan Leal last year, and his reappointment this spring of Commissioner Dick Sklar, a former SFPUC general manager whose anti–public power tirades and rudeness to SFPUC staff was at odds with the goals and values of the board’s majority.

Prop. E’s passage required that the current SFPUC be disbanded by Aug. 1, set minimum qualifications for future nominees, and stipulated that new commissioners cannot take office until at least six supervisors confirm the mayor’s picks.

Newsom responded by renominating Sklar, along with two other incumbents—former PUC President Ann Moller Caen, and F.X. Crowley, who works for the International Alliance of Theatrical Stage Employees.

Newsom also nominated two newcomers — Nora Vargas, executive director of the Latino Affairs Forum, a statewide nonprofit advocacy group, and Jell-O heiress Francesca Vietor, director of the city’s Department of the Environment from 1999 to 2001.

Kicked to the curb in this preliminary shuffle was David Hochschild, a solar advocate who steered the SFPUC away from building peaker plants and toward retrofitting the aging Mirant power plant. Also ousted was E. Dennis Normandy, whom Mayor Frank Jordan appointed in 1994.

On July 29, the board unanimously approved Caen and Crowley, and seemed inclined to favor Vietor, though she has yet to appear before them to answer questions.

But they rejected Vargas after Sups. Tom Ammiano, Chris Daly, and Bevan Dufty expressed misgivings about her lack of experience with local politics and the SFPUC, not to mention concerns about the $150,000 worth of community grants PG&E gave to Vargas’ Latino Issues Forum between 2004 and 2006.

And Sklar withdrew his nomination before the board could vote on it, apparently aware that the seven votes against his nomination last time meant he was destined to fall short of the new requirement.

These initial changes have led Leal to believe that Prop. E is already having the desired effect. "The rules before meant that the supervisors had 30 days to come up with eight votes, and that’s a very tough thing to do," Leal told the Guardian. "The fact that Dick Sklar had to get six votes, when he barely got four votes in February, is why he withdrew his name. And if you look at the way the supervisors handled the process last time around, this time they seem more vested in it."

Newsom has not yet forwarded any more picks to the Board, so the makeup of the body that will govern the SFPUC until August 2012 is still undecided. But it’s likely that the first matter of business for the new SFPUC will be responding to board recommendations that are sure to flow from an August hearing into CH2M Hill’s study on the feasibility of retrofitting Mirant’s Potrero units 4, 5, and 6.

Leal believes the retrofit plan is "sketchy at best."

"I think that trying to retrofit a 1973 plant is like one former PUC commissioner thinking you can repair the 50-year-old digesters out at the southeast wastewater treatment plant," Leal told the Guardian, referring to Sklar’s equally unpopular attempt to block a costly but necessary rebuild of the SFPUC’s sewage digesters.

"To me, this is Mirant and PG&E still deciding whether there will be something polluting in the air," Leal added.

On July 22, at its last meeting before being disbanded, the Sklar-led SFPUC voted to rescind its former plan to build a new peaker power plant in the city’s southeast sector, and to instead pursue the Mirant retrofit.

Sup. Bevan Dufty notes that a retrofit of this kind "hasn’t been done anywhere else in the world." Board President Aaron Peskin observes that, "unlike the peaker plan, which was subjected to thousands of pages of analysis, the retrofit plan was cooked up behind closed doors with no public hearings."

Noting that Mirant only needs a building permit to keep operating at the site, Peskin says that is why he joined Sups. Sophie Maxwell, Jake McGoldrick, and Dufty in introducing legislation to require conditional use permits of future power plants.

"ATM machines, bakeries, and restaurants need conditional uses, so why not power plants?" Peskin said.

Sup. Ross Mirkarimi believes the peakers and retrofit are competing as the lesser of two evils, which is one reason why he and Ammiano wrote the fall ballot measure called the Clean Energy Act, which would create ambitious goals for renewable power. Mirkarimi told us, "There needs to be a robust campaign for a third plan that combines a transmission-only mandate and a strong renewable energy mechanism that compensates for the Mirant shutdown."

Cleaner power, cleaner money

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OPINION Nine months ago neighborhood leaders from the Potrero Hill and the Bayview districts were invited to stand and applaud at a press conference at Mirant’s Potrero Power Plant. As reported in the San Francisco Chronicle: "One of the state’s oldest and dirtiest power plants … could shut down as soon as 2009, city leaders announced…. The mayor said the signing represented ‘an important day in the history of the city.’<0x2009>"

But now that signed agreement to close Mirant — through a decade-long effort to have the city run its own power-generating "peaker plants" as a replacement — is itself on the verge of extinction. Mayor Gavin Newsom, a probable candidate for governor and choosing political expediency over cleaner air, reversed field and claimed that the cleanest way to close Mirant … is to keep part of it running. And a number of environmental activists backed him up, claiming that the city-owned peaker plants would bring more pollution to southeast San Francisco than retrofitted combustion turbines at the Mirant plant.

How can that be, when even conservative estimates admit that the newer city-owned turbines run 30 to 35 percent cleaner than the 40-year-old Mirant turbines?

The answer is money.

The argument goes like this: the city-owned peaker plants are funded by $273 million in revenue bonds and a contract with the state’s Department of Water Resources that runs until 2015. After that, the debt remaining on the bonds would require the city to run the peakers for more hours and many more years of operation than retrofitted combustion turbines at the Mirant plant. The Mirant proposal would be financed by reliability contracts from the state’s Independent System Operator (Cal-ISO) that essentially pay for the turbine capacity, not actual operation. That means fewer running hours, and no potential cost to the city’s budget. Therefore, the Mirant retrofit is less polluting, and the generators can be shut down sooner.

That’s been a persuasive argument so far, and it has stopped further consideration of the city-owned peakers. But the argument misses one important fact and one critical question. The fact is that the city-owned peakers don’t cost $273 million anymore; Cal-ISO agreed in June that the fourth peaker plant (to be located at the airport) wasn’t necessary, leading to savings of more than $110 million.

There’s an even more important question: why don’t we finance the city-owned peaker plants using Cal-ISO’s reliability contracts instead of the bonds and the DWR contract? Apparently no one at the Mayor’s Office, the Public Utilities Commission, or the environmental groups supporting the Mirant retrofit has asked this question. Yet it provides the cleanest answer to the dilemma of the peaker plants — it would give us the cleanest machines, under city control and policy, so they can only run when absolutely necessary and we can shut them down as soon as possible.

At the end of the day the proposal for a Mirant retrofit isn’t really about a retrofit at all — it’s a proposal to keep the city’s energy future in the hands of others. The choice facing us — at City Hall, in the environmental community, and in the neighborhoods — is between being smart about our energy policy or handing over that policy to a corporate boardroom in Atlanta.

Tony Kelly

Tony Kelly is president of the Potrero Boosters Neighborhood Association.

PG&E’s first big lies

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EDITORIAL The San Francisco Chronicle reported Aug. 2 that Pacific Gas and Electric Co. is almost certain to miss the state’s deadline for increased renewable energy generation. It’s a pretty modest goal: 20 percent of the company’s electricity is supposed to come from renewable sources by 2010. But PG&E is nowhere near on track.

But the company is well on its way to spending a record amount of money to block San Francisco voters from passing the Clean Energy Act, which would allow the city to develop renewable energy on a schedule that would meet much more aggressive goals. A political front group funded by the utility has already mailed out or paid operatives to place on doorknobs tens of thousands of flyers packed full of lies about the proposal. It’s the earliest we’ve ever seen a full-scale ballot campaign get underway — the election isn’t until Nov. 4. By then the barrage of PG&E misinformation will reach a fever pitch.

So it’s not too early to start evaluating the campaign rhetoric and exposing the most ridiculous of the lies.

PG&E is starting out with four basic themes that will probably form the center of the fall campaign. The main attack will be economic — the measure, PG&E will say, is too costly for these tough economic times.

The information the company’s flacks are putting out is so blatantly inaccurate that it’s hard to take any of it seriously. Here’s what the utility is saying:

•<\!s> The Clean Energy Act will cost $4 billion and raise electric rates by $400 per household. That’s based on two complete fallacies, and even by PG&E’s standards, this has to go down as one of the worst lies in local political history. For starters, PG&E is assuming that the city will decide to buy out its old local distribution system (that’s not mandated in the Clean Energy Act; there may be smarter ways to get into the renewable energy and public power business). But even if the city did buy the system, there’s no way it would cost close to $4 billion. The state Board of Equalization appraises utility property every year, and PG&E’s own appraisers participate in the discussions. Last year the BOE concluded that all of PG&E’s local property — including a big downtown office building — was worth about $1.2 billion. PG&E, to our knowledge, has never attempted to have that figure (and thus its own tax bill) increased to $4 billion. Without the office building, which the city would have no need to buy, the actual distribution system is probably worth closer to $800 million — putting PG&E’s number off by a factor of five.

The $400 per household figure is based on the cost of paying off $4 billion in bonds — but all the Clean Energy Act does is give the supervisors the ability to issue revenue bonds. Unlike typical general obligation bonds, the revenue bonds would not be backed by taxpayers, and would be repaid by the money the city would make selling retail electricity. And the only way the supervisors would move to take such a dramatic step as an eminent domain action to seize PG&E’s distribution system is if the figures show that the city can pay off the bonds without raising electric rates.

•<\!s>The act would give the supervisors a blank check to issue bonds without voter approval. Actually, it would just give the board the same authority the Port Commission and the Airport Commission already have — the ability to issue revenue bonds — just revenue bonds — to fund renewable energy and utility projects. If the projects make no sense economically, investors won’t buy the bonds anyway. So only well thought-out projects with a clear revenue stream are even possible. Lots of public agencies have this authority, and it’s rarely misused.

•<\!s>Electric rates would go up. Nonsense — every public power city in Northern California has lower electric rates than San Francisco. PG&E has some of the highest rates in the nation. Public power is always cheaper.

•<\!s>The city will lose $20 million in tax revenue. Yes, if the city were to take over PG&E’s distribution system, the city would no longer collect the tiny pittance it currently gets as a franchise fee. The fee is the lowest in the state and among the lowest in the nation (and is set in perpetuity). The revenue from a public power system would more than make up for that loss.

PG&E is terrified by this proposal, so nervous that it started a massive campaign months before the election. There will be more lies coming, most of them attempts to scare the voters into thinking that the Clean Energy Act is expensive and risky. We’ll debunk them as they come along. In the meantime, the supervisors ought to hold hearings on these issues, particularly the cost issue, and ask the Board of Equalization’s experts to come and testify — so that PG&E’s lies can be exposed to the broadest possible audience.

Editor’s Notes

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› tredmond@sfbg.com

They’re tearing up Bernal Heights. I came back from vacation and all the streets around my house were blocked off with "no parking" signs and the heavy equipment was ripping the pavement open. We’re getting new sewer pipes, which is a fine thing. Your neighborhood will be in the queue pretty soon; it’s a citywide project, and in the end it will cost $4 billion.

A lot of that money will go for digging trenches in the streets. Trenching and backfilling is pricey, tens of thousands of dollars a block. And it’s making me crazy that we’re spending all that money on excavation contractors and we’re not taking advantage of the opportunity.

Every ditch I see, every detour sign, every annoyed resident who can’t find a place to park, makes me want to scream. We’re doing all this work for the sewer lines, which are a crucial part of the civic infrastructure. Why aren’t we using the same money, the same equipment, the same holes in the streets to lay electrical and fiber optic cable?

Fiber’s cheap — compared to the cost of bringing all the gear out, hiring the people to operate it, putting the dirt back in the holes, and pouring new blacktop. The thin wires that could carry the world’s information system directly and cheaply to every house in the city is on the order of what Sup. Ross Mirkarimi likes to call "decimal dust." Electrical conduit, which will one day be the backbone of a city-owned power system, costs a little more, but not that much.

Face it: we’re going to do all this at some point anyway. I’m an optimist (about San Francisco, anyway), and before long Gavin Newsom will be gone, and we’ll have a mayor who believes in the public sector, and public power and public broadband will be the order of the day. And running those utilities underground makes perfect sense in a city where earthquakes make elevated electrical wires a visible hazard.

But since nobody at City Hall is putting up a modest amount of cash to do this now, in a few years we’re going to have to spend a whole lot of cash to dig up all the streets all over again.

Am I the only person who thinks this is insane?

I was way off on the St. Lawrence River, in a place that had no Internet access and only spotty cell phone reception, so I missed the news that Sen. Dianne Feinstein was sorta, maybe, kinda thinking about running for governor of California. It was a chilling little welcome-home message for me. Anyone who lived through the days when Feinstein was mayor of San Francisco ought to share my revulsion at the idea of her running the entire state. She’s a Democrat only in name; on economic issues, she’d be as bad as Gov. Schwarzenegger. She’s also an autocrat — and with term limits, there’s nobody in the Legislature who could stand up to her.

The deals are already in the air; Willie Brown just floated out a key one in the Chron. Maybe Gavin Newsom would drop out of the governor’s race, and Feinstein would give him her US Senate seat if she wins.

What a rotten concept. If Feinstein runs, she needs real competition. Feinstein vs. Jerry Brown would be fascinating, and Newsom ought to stay in too. I’m not terribly impressed with the way he’s run the city either, but in the end, I think she was a lot better at being bad than he is.

It’s good to be home.

Charitable cash cow

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› gwschulz@sfbg.com

Nonprofit charities in the Golden State should have been raking in the cash in 2004. Gracious Californians gave $60 million more toward fundraising campaigns that year than they did in 2003, totaling almost $293 million. The following year, donors gave even more: $332 million.

Yet despite the increasing generosity of Californians, the percentage that nonprofits actually took away from those campaigns steadily decreased from 2003 to 2005.

Most of the gains went to private, for-profit fundraising companies hired to conduct telemarketing services and coordinate special benefit events like gala dinners, rodeos, and variety shows.

Such companies charge steep fees and commissions that frequently leave charities, especially smaller or less experienced ones, with little or even nothing at all, according to state disclosure records.

Commercial fundraisers collect millions each year relying on the public image of selflessness projected by nonprofits devoted to promoting cultural literacy, saving lost or exploited children, finding cures for deadly diseases, or improving the welfare of defenseless animals.

Some desperate nonprofits elect to allow commercial fundraisers to take a percentage of the money they raise, at times as much as 80 to 90 percent. Alternately, larger charities may agree to set costs and fees associated with the campaign, but that strategy can also prove costly.

For example, the San Francisco Museum of Modern Art hired the Los Angeles company SD&A Teleservices in 2004 for a phone solicitation campaign that raised $12,000. But because the company’s fees were greater than the contributions received, the museum had to pay $19,854 more to cover the venture. Similarly, the San Francisco Ballet lost $3,400 in 2005 to the same company after SD&A raised $12,745 from donors, thousands less than what it charged.

Several people we interviewed said the benefits of a fundraising campaign might not materialize until later if contributors eventually become long-term supporters. But unless the typical donor has time to find out how much ultimately makes it to the cause they care so much about, they’re unlikely to be aware of the extraordinary costs involved in nonprofit fundraising.

"The charity agrees to it because they want the easy money that they don’t have to do any work for," Daniel Borochoff, president of the American Institute of Philanthropy in Chicago, told the Guardian. "Then the person goes out and spends $1 million to get that $200,000, and the charity tries to rationalize it by saying ‘Well, it’s money we wouldn’t normally have. We don’t have staffing for fundraising.’ But they’re ripping off the public and disrespecting the intentions of the people who gave that money."

The Los Angeles Times published a months-long investigation July 6 that examined required forms submitted to the California Attorney General’s Office showing the total revenue generated from 5,800 nonprofit fundraising campaigns and how much of that money went to the charities.

Between 1997 and 2006, the paper discovered, 430 campaigns raised a total of $44 million — but in each case, every dime went to the fundraising company. Charities lost money in 337 more cases. In hundreds of instances, charities entered into contracts that assured them only 20 percent or less of the funds raised, regardless of how successful the campaign turned out to be. The AIP recommends spending no more than 35 cents on each dollar raised. The Times also pointed out that donors enjoy tax deductions from their contributions, even if huge portions go to for-profit companies.

"Nonprofits spend a lot of money attracting donors and then they fall away the next year, so they have to reach out and attract even more donors," Elizabeth Boris, director of the Center on Nonprofits and Philanthropy in Washington, DC, told us. "So there’s a lot of churning that goes on, because a lot of the same people don’t give to the same organization year after year. It is an expensive process of getting the names and contacting people."

Because California is behind in processing the required disclosure forms, the Times had to specially request records from 2006, meaning more recent figures aren’t available. The Guardian took a far less extensive look at the records, but we still found plenty of examples of charities earning astonishingly low rates of return.

In 2004, Campbell-based TBS Productions raised $418,377 for the San Francisco Police Officers Association and its annual "Parade of Stars" event held at the Palace of Fine Arts. But just $87,094 made it into the union’s nonprofit Community Services Fund, which redistributes it in small increments to a variety of causes.

"I’ve wrestled with this since I’ve come on," said POA President Gary Delagnes. "There are two ways of looking at it. Do we really want to lend our name to an outfit that’s taking 80 percent off the top? … The decision we made was: you know what, we’re to do so much good with the charitable money that it’s worth it to us."

That same year the Oakland Police Officers Association also hired TBS for its "Cavalcade of Stars" event. The company raised $402,515 on behalf of the East Bay union for charitable purposes, but only $88,603 remained after covering the event’s costs, a return to the union of 22 cents on the dollar.

That year, TBS coordinated events for at least 16 groups across the state representing law enforcement and emergency personnel, from the San Jose Firefighters Burn Foundation to the Fresno Deputy Sheriffs Association. But almost no one received a better return rate than 20 percent, and two raised just 15 cents on the dollar after accounting for the for-profit company’s take. No one at TBS was available for comment when we called.

More than 250 fundraising campaigns in California netted 20 cents or less from each dollar raised for charities in 2004, according to figures maintained by the state.

Rich Steinberg, a longtime scholar of nonprofits at Indiana University, said several factors mitigate all this. He explained that the United States Supreme Court has been reluctant to permit heavy regulations on charity fundraising because a seemingly poor cost ratio isn’t necessarily bad for a nonprofit.

"Big charities could do everything wrong but still have a good cost ratio" because their support is widespread, Steinberg said. The San Francisco Ballet and SFMOMA, for example, have done much better in some telemarketing campaigns, earning from 54 percent to 81 percent in return rates despite other times losing money.

Could it be that there are too many small, inefficient nonprofits with similar missions, each created in the belief that government wasn’t filling some need? Perhaps. But attempting to curtail them could undermine the democratic spirit that leads to their creation.

"We should make it legitimate for any group of idiots to get together and try to do something good," Steinberg said.

If they want to succeed, he said, charities should not accept terms that give fundraisers a percentage of the donations. Instead they should establish fixed fees so that every dollar beyond that amount goes toward services. Second, to ensure more favorable rates, they can require competitive bidding among fundraisers.

Ken Larson, director of public policy for the California Association of Nonprofits, said that few of the tens of thousands of charitable organizations registered in California use commercial fundraisers to attract donors, a fact confirmed in reports compiled by the attorney general. Many hire full-time professional fundraisers to seek foundation and government grants or relationships with repeat donors, intangible benefits that can go beyond immediate fundraising goals.

As for telemarketing, Mike Smith, chief operating officer of New Jersey-based Charity Navigator, suggests that when donors receive a call, they can just hang up and cut a check directly to the nonprofit.

The debate over nonprofit fundraising costs is nothing new, but with information increasingly available on the Web, consumers are in a much stronger position to give wisely.

The San Francisco AIDS Foundation publicly and angrily parted ways with its commercial fundraiser, Pallatto Teamworks, in 2001 due in part to a dispute over how much the company charged to operate the California AIDS Ride. The charity has since created its own fundraising arm, steadily improving its rate of return from an average of 54 percent over the past seven years to 66.5 percent last year.

The foundation uses another company, MZA Events, to manage its annual AIDS Walkathon, which has averaged a healthy 63 percent return since 1999 with improved results over each of the last three years.

But officials with the SF AIDS Foundation believe telemarketing has enabled it to achieve greater public awareness. It also began moving the task in-house during the past six months and anticipates greater savings.

"Every dime we save in production is a dime that can go to our clients and our programs and our services," said Dave Ellison, spokesperson for the foundation. "We’re always extremely aware of how important it is to keep the costs down because we see the benefits every day in the lives of our clients."

Cash from cabbies

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› news@sfbg.com

The largest taxicab company in San Francisco is trying to squeeze more money from its drivers, who say they’re already being hit hard by increased gate fees and rising fuel costs.

Yellow Cab has ordered its drivers to prepay for the privilege of driving each month, amounting to thousands of dollars for full-time drivers. Compounding that financial hardship is the apparent intention of the company to use prepaid gate fees to change the employment status of its drivers from employees to independent contractors who are no longer entitled to unemployment insurance and workers’ compensation coverage.

While local officials say Yellow Cab’s new policy is illegal, they have little power to compel the company to abandon the plan, which was supposed to go into effect Aug. 15 but has now been moved to December under pressure from city officials and the United Taxicab Workers union. Drivers are also threatening to bring legal action to stop Yellow Cab, relying on a past ruling barring the company from requiring deposits from its drivers and misclassifying drivers as independent contractors.

Repeated attempts by the Guardian to contact Yellow Cab representatives were unanswered, but they had to talk to Jordanna Thigpen, executive director of the San Francisco Taxicab Commission. She found Yellow Cab’s prepayment plan to be in violation of the Superior Court’s decision. "I was not persuaded that the prepayment was not a deposit," Thigpen told the Guardian. "What they are actually doing is asking for a security deposit again under the guise of an Employment Development Department requirement. But the EDD guidelines are just that — guidelines."

The EDD sets work rules and standards in California. According to its Taxicab Industry information sheet, taxi drivers classified as independent contractors "prepay to lease a taxicab for a period of at least 28 days." Yellow Cab used the line, which is posted prominently for employees to see, to justify requiring that all its drivers prepay up to $1,930.

Bud Hazelkorn, cab driver and chairperson of United Taxicab Workers, said UTW has "been talking to an attorney and hopes to bring an injunction against Yellow Cab." He takes little hope from Yellow Cab’s recent decision to push its prepayment deadline from Aug. 15 to December, though he does think it was a response to the UTW’s outcry.

For Hazelkorn, it matters little whether the deadline is a week or six months from now. "Any kind of prepayment policy is against the Tracy decision," he said. "They are trying to make themselves look better by pushing back the deadline. But the fact is that Yellow Cab wants to establish a precedent of prepayment and that is illegal."

The 1996 ruling in Joseph Tracy vs. Yellow Cab barred cab companies from demanding security deposits from drivers. The order, issued by Judge William Cahill of the San Francisco Superior Court, "permanently enjoins the defendant [Yellow Cab], from classifying plaintiffs and similarly situated drivers as independent contractors for purpose of denying such drivers any benefit under California law with respect to workers’ compensation, unemployment insurance, and paying a cash bond to defendants as a condition of driving a taxicab."

The 1996 case also found that Yellow Cab drivers were being unlawfully misclassified as independent contractors, and ruled that the necessary control Yellow Cab exercises over its drivers requires that they be considered employees. For example, drivers have no control over the amount charged to passengers in fares, and often rely on dispatchers to notify them of potential customers. In addition, Yellow Cab keeps personnel files on each of its drivers, conducts orientation programs for new hires, and does not allow its drivers to advertise their services. The Superior Court also found drivers to be "an integral part of [Yellow Cab’s] business," further solidifying cab drivers’ status as employees.

Yellow Cab driver John Han explained that the prepayment fee is based on the number of shifts a driver works. He offered himself as an example: Han works eight shifts per month. Multiplied by the average daily gate fee of $96.50, Han’s prepayment equals $772. Since Han said that cab drivers make between $100–<\d>$150 per day, most of his earnings are eaten up by the end of his shift — or before the shift even begins.

To coax its drivers into compliance, Yellow Cab posted a sign in its San Francisco office that reads, "Do not delay in completing your prepayment or you will be subject to being held out of service." Han says that being held out is equivalent to being a benched baseball player who is technically still on the team.

"We won’t be fired, but we will be prevented from being able to work," Han said, noting that such threats constitute the exercise of control over the drivers by Yellow Cab. "Forcing drivers to do anything is having control over its workers, which is a employer-employee relationship."

EDD spokesperson John Stroot told the Guardian that the information sheet Yellow Cab uses to justify this policy does not compel companies to do anything new. What it does contain are guidelines for different taxicab business models: one for companies that have employees and another for companies that use independent contractors.

"These are not laws," Stroot said. "Cab companies can operate any way they choose. They are just guidelines for companies to follow to figure wage, hour, and tax issues." If Yellow Cab wanted to make drivers independent contractors, it would have to fulfill all requirements on the sheet, not just the one specifying prepayment. For example, drivers would be required to perform their business without any form of control from Yellow Cab, including foregoing the use of Yellow Cab’s dispatch services. But Stroot said most drivers are employees under common law in California "because the company directs and controls the way drivers provide their services."

Misclassifying employees as independent contractors has become a national issue, particularly after Rep. Lynn Woolsey (D-Marin County) and Rep. Rob Andrews (D-N.J.) introduced a bill intended to crack down on the practice. If passed, the bill would impose penalties on employers who misclassify employees and inform workers of their right to challenge that classification. The bill also would require state unemployment insurance agencies to conduct audits to identify employers guilty of employee misclassification. In addition, the Department of Labor would be required to perform targeted audits of employers in some industries.

The UTW is currently working with Thigpen and Sup. Chris Daly’s office to achieve some form of justice for drivers. "My office is very concerned by this policy," Thigpen said. "It couldn’t have happened at a worse time for drivers. These guys are good people, and they work hard every day." Thigpen said Taxi Commission member Tom Oneto asked her to draft new rules that would apply to such policies. Other than imposing fines and revoking permits, however, there is little her office can do.

"We need serious overhaul of our penalties," Thigpen said. "Right now I can only charge them $25 in fines, which is pathetic. They know they are breaking the law and ripping people off. But how do you begin?" she asked. "We need to get legislation passed that would overhaul the rules." The strongest weapon city officials have against Yellow Cab is to seek an injunction. "Only the courts can decide if this is legal," Thigpen said.

Thigpen and Oneto met July 25 with Lena Gomes, one of Daly’s legislative assistants, to discuss how the Board of Supervisors might take action. "We are creating a resolution urging Yellow Cab not to charge the drivers the fee," Gomes told us. "Yellow Cab appears to be trying to change their drivers classification to avoid certain financial responsibilities. This is one of their strategies."

If Yellow Cab succeeds in its plan, other cab companies may follow suit. "Right now they’re just hanging back to see what Yellow Cab will do," said Han, who estimates that Yellow Cab stands to gain at least $2 million per year from this policy. For Han, not knowing what the company will do with the money is unnerving. "They should be investing it in a health care plan for drivers. But I can only assume the money will be used to buy a sailboat for the top management."

While Hazelkorn said that drivers are "100 percent opposed to this kind of extortion," some disagree. Tariq Mehmood, a Yellow Cab driver for eight years, believes most drivers would rather be independent contractors "because of the freedom it provides us to set our own hours." Mehmood said the UTW’s fight against Yellow Cab is just another ploy to bankrupt the company, which "would be devastating to drivers. I would love to not pay anything — not even gate fees — and still be an independent contractor, but that’s not the reality."

Regardless of how they feel about the policy, some have already begun making payments, while others are quietly saving money just in case. Han refuses to do either, hoping that Yellow Cab can be defeated if enough drivers join him. But 80 to 90 percent of Yellow Cab drivers are immigrants, Han points out, and many are still unacquainted with their rights. "They are afraid to defy the company," he said. "Yellow Cab is setting a trap for those who will fall for it."

Optic nerve

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› johnny@sfbg.com

This is the second year that the Guardian has devoted an issue to local photographers. I’ll wait until it happens a third time before deeming the project an annual endeavor. It’s easy to believe in that possibility, because the range of photography in the Bay Area right now is exceptional. This great state of affairs is partly due to spaces and organizations such as SF Camerawork, RayKo Photo Center, and PhotoAlliance. It’s also due to more do-it-yourself street-level groups such as Hamburger Eyes and one of this issue’s 10 contributors, Cutter Photozine.

Last year’s photography issue focused on portraiture, but this year I’ve opted for a survey approach that allows for spontaneous connections. Jessica Rosen and Sean McFarland both utilize collage, but with vastly different results. Keba Konte’s collage aesthetic adds objects to imagery and links history to autobiography. Investigative work leads to political or societal exposure within Trevor Paglen’s and David Maisel’s photography. Adrianne Fernandez and Bayeté Ross-Smith focus on youth as they bring new twists to traditions such as the family album and the prom portrait. Dustin Aksland’s portraiture also includes teenagers, sometimes plopped onto or stopped within American landscapes, while Mimi Plumb likens rural landscapes to the backs of horses.

August may be when summer winds down and a portion of SF prepares to camp elsewhere, but it’s an important time for local photography. This issue coincides with PhotoAlliance’s and the San Francisco Arts Commission Gallery’s annual exhibition of local photographers. Two of the 10 artists on the following pages are part of that show. American photography also will be playing a major role at the San Francisco Museum of Modern Art next year, when that space presents an exhibition devoted to Robert Frank and his classic monograph The Americans (Steidl).

In honor of an old adage or clichéd truth, there aren’t a lot of words next to the pictures that follow. But the text does include Web site information. In most cases, these photographers’ sites function as another gallery of sorts, one that lacks the tactile nature and dimensions of an actual photograph but at least suggests the variety of a body of work to date. Scope them out, and scope out Pixel Vision, the Guardian‘s arts and culture blog, for interviews and other photography-related pieces this week. Last, before you look, some thanks are due to Glen Helfand, Chuck Mobley, and Mirissa Neff for their help in the selection process, and to Kat Renz for a last-minute idea.

Also in this issue:

>>Killer shots from the bowels of rock

>>Before stalkerazzi, there was Gary Lee Boas

>>Q&A with Heather Renee Russ of Cutter Photozine

>>Q&A with Jessica Rosen

>>Molly Decoudreaux looks beneath local nightlife
———-

NAME Adrianne Fernandez

TITLE Daddy Sends His Love

BACKGROUND In my "Alternative Album" project, the interplay of social and personal history is essential. It yields a complex tension between irony and nostalgia for the so-called family album.

SHOUT OUTS My influences include artists such as Larry Sultan and Elinor Carruci, who have worked with their prospective families to create intimate images that provide a compelling look into family dynamics.

SHOWS "Gender Agenda," through Sept. 14. The Gallery Project, Ann Arbor, Mich. www.thegalleryproject.com. Also "Not Your Mama’s World," Fri/8 through Sept. 9. Washington Gallery of Photography, Bethesda, Md. www.wsp-photo.com

WEB AlternativeAlbum@aol.com

———-

NAME Jessica Rosen

TITLE I Could See the Amazon from the 5th Floor of the Robert Fulton Projects
BACKGROUND This work is a large-scale photo collage installation made from cut-up, layered C-prints of my original photographs. It measures about 10 feet by 12 feet. Because this scale relates to human scale, it allows the viewer to experience the image as an environment rather than as an isolated image.

SHOUT OUTS My work stems from a fascination with people. Over the years my art practice has continually focused on portraiture. Although my newer collage works may seem quite fantastic, most are truly portraits in the traditional sense.

SHOW "Jessica Rosen," through Oct. 1. Open 24/7 (storefront window). Keys That Fit, 2312 Telegraph Ave, Oakl., http://www.xaul.com/KEYS/home.html

WEB www.jessicarosen.com

———-

NAME Cutter Photozine

TITLE Top to bottom, untitled photos by (1) Ethan Indorf; (2) Keith Aguiar; (3) Ace Morgan; (4) Darcy Sharpe

BACKGROUND Cutter is a San Francisco documentary photo magazine. Founded by Heather Renee Russ and Alison O’Connell, it has a DIY ethic and is eco-positive (it uses recycled paper and soy-based inks). Cole Blevins, Jesse Rose Roberts, Sara Seinberg, and Rachel Styer also worked to put out the first issue, which includes 20 photographers and spotlights Ace Morgan’s uncanny blend of rage, longing, joy, and punk rock.

SHOUT OUTS Cutter is dedicated to people telling their stories and documenting their existence. We seek to undo traditional voyeurism toward the "other" and place the power of sight in the focused home of the author.

SHOW The first issue can be purchased at local shops such as Needles & Pens. They’re currently accepting submissions for the second issue, due this fall. There will be a release party and photo show in late November.

WEB www.cutterphotozine.com

———-

NAME David Maisel

TITLE 1165 (from Library of Dust)

BACKGROUND The large-scale photographs of the "Library of Dust" series depict individual copper canisters, dating from 1913 to 1971, which contain unclaimed cremated remains of patients from Oregon’s state-run psychiatric hospital.

SHOUT OUTS Robert Smithson, NASA photographs, 19th-century exploratory landscape photographers (especially Timothy O’Sullivan), and the New Topographics photographers from the mid-1970s.

SHOW "David Maisel: Library of Dust," Sept. 4–Oct. 4. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Haines Gallery, 49 Geary (suite 540), SF. (415) 397-8114, www.hainesgallery.com. Library of Dust (Chronicle Books, 108 pages, $80) will be released in October.

WEB www.davidmaisel.com

———-

NAME Keba Konte

TITLE Detail from "888 Pieces of We"

BACKGROUND The eighth day of the eighth month of the eighth year is approaching, and in alignment with this auspicious moment I have created this exhibition of 888 photographs printed on wood, copper, and vintage books. I’ve had to select from thousands of images spanning 42 years in order to choose 888 that reflect my journey: there are protests and portraits, street moments and political movements; freaks, friends, and family members. As a documentary and portrait photographer, one observes the beautiful strangers. However, looking at this large body of work, another story comes into focus: my own.

SHOUT OUTS Roy DeCarava, Gordon Parks, Sebastião Salgado, Ruth Bernhard, Kimara Dixon.

SHOW "888 Pieces of We: A Photo Memoir," Fri/8 through Sept. 8. Oakland Art Gallery, 199 Kahn’s Alley, Oakl. (510) 637-0395, www.oaklandartgallery.org

WEB www.kebakonte.com

———-

NAME Sean McFarland

TITLES Untitled (park)

BACKGROUND I work from an archive of photographs I’ve made, along with images gathered from print and other media. Through collage, new pictures are formed. Recently my work has focused on weather, nighttime, and the ocean.

SHOUT OUTS For now, two books: National Audubon Society Field Guide to North American Weather, (Knopf, 1991), and Gerhard Richter’s Atlas (D.A.P., 2007). Also, students, friends, and just about any archive.

SHOWS "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org. Upcoming: "Johanna St. Clare, Paul Wackers, Sean McFarland, Dan Carlson," October. Thurs.–Sat., 1–5 p.m. Eleanor Harwood Gallery, 1295 Alabama, SF.

WEB www.sean-mcfarland.com

———-

NAME Dustin Aksland

TITLE Paso Robles, CA (2005)

BACKGROUND This was shot during a trip to Paso Robles. My friend and I pulled off the highway to take the back roads into town. As soon as we pulled off, we passed this man sleeping in his car. We went about a half-mile and I made my friend turn around. We pulled up in front of the car and I shot two frames out of the passenger window.

INSPIRATION "Useful pictures don’t start from ideas, they start from seeing." — Robert Adams.

SHOWS "States of Mind," September. TH Inside, Brussels, Belgium. "States of Mind," November. TH Inside, Copenhagen, Denmark.

WEB www.dustinaksland.com

———-

NAME Bayeté Ross-Smith

TITLE Here Come the Girls

BACKGROUND This is part of a series that documents high school students in Berkeley, east Oakland, San Francisco, and Richmond as they mark their ascension from childhood to adulthood through the celebratory rite of passage known as prom. Taking a cue from traditional prom photos, the portraits allow for seriousness and playful flamboyance, depicting a vast array of budding identities.

SHOUT OUTS Walter Iooss, the Magnum photographers, and James Van Der Zee.

SHOW "Pomp and Circumstance: First Time to Be Adults," Sept. 4–Oct. 11. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Patricia Sweetow Gallery, 77 Geary (mezzanine), SF. (415) 788-5126, www.patriciasweetwogallery.com. Upcoming: "Off Color," Sept. 19–Nov. 1. RUSH Arts Gallery, New York.

WEB www.patriciasweetowgallery.com

———-

NAME Mimi Plumb

TITLE Harley

BACKGROUND These photos are part of an ongoing series that began about 10 years ago when I photographed a herd in the John Muir Wilderness of the Sierra Nevada. The horses in this new series live in Petaluma.

SHOUT OUTS Horses’ backs embody the landscape. They become the horizon and horizon line, at times transforming into the rolling hills of the California landscape where I grew up, before tract houses and strip malls became the norm.

SHOW "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org

WEB www.mimiplumb.com

———-

NAME Trevor Paglen

TITLE KEYHOLE 12-3 (IMPROVED CRYSTAL) Near Scorpio (USA 129), 2007

BACKGROUND This is a photo of reconnaissance satellite, taken from the roof of my house in Berkeley. It’s part of a series of photos of American spy satellites.

SHOUT OUTS I got interested in photography because I was working on projects that were nonfiction allegories, projects that played with notions of truth and what we can and can’t see. To me, photography is the medium that does that best. It captures reality and at the same time doesn’t. I like that tension. I also became interested in photography post-9/11 because photography became an aggressive gesture in a way that it wasn’t before — people could be arrested for photographing the Brooklyn Bridge. The act of taking photographs outside became an exercise in civil rights.

SHOWS "The Other Night Sky," through Sept. 14. Wed.–Sun., 11 a.m.–5 p.m. Berkeley Art Museum, 2626 Bancroft, Berk. (510) 642-0808, www.bampfa.berkeley.edu. Upcoming: Taipei Biennial, Sept. 13–Jan. 11, 2009; Istanbul Biennial, 2009; "2008 SECA Art Award Winners," Feb.–May, 2009, SFMOMA.

WEB www.paglen.com

No borders!

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› a&eletters@sfbg.com

For all the criticism we could justifiably plop down on the mighty feet of globalization, perhaps one of the few upsides worth positing as the world keeps shrinking is that cross-cultural exchange in the arts is at an all-time high. Purists can grumble at the arrival of the "world music" phenomenon and even accuse some of its Western practitioners of engaging in Colonialism 2.0, but how about a counter-argument: hasn’t the rise of the global groove fostered a greater understanding between cultures? Isn’t this what Bob Marley meant when he sang "One World, One Love"?

Singer-songwriter Rupa Marya makes a compelling case for such counter-arguments as the leader of local — but thoroughly global — culture-jumping, genre-colliding fusionists Rupa and the April Fishes. Switching gracefully between English, French, Spanish, and Hindi vocals while leading her bandmates on breathless journeys from Parisian chanson to Indian ragas, Marya offers a thrilling vision of globalization-gone-good. On their debut, XtraOrdinary rendition — originally self-issued but recently remastered and rereleased by Cumbancha — the nature of boundaries is called into question, not just in terms of nations but also in terms of musical traditions. By drawing upon so many influences — in addition to the aforementioned, we can also add Latin alternative, polka, Romani dance, tango, and American folk into the mix — they share the same mix-it-up mettle as such intrepid travelers as Manu Chao. Hardcore traditionalists they are not.

Over lunch at a Castro teahouse, Marya expresses her dual embrace of and resistance to the oft-used world music tag applied to her band’s sound. "Someone at the label came up with ‘global agit-pop’ — I kind of like that," she offers, chuckling. "’World music’ sounds meaningless, whereas at least ‘global’ is more inviting, more inclusive, to me. After all, we are playing music from all over the world! Really, though, ‘folk music’ makes the most sense to me."

Certainly the folk description does ring true. Their sound sports a distinctly populist bent, and the bulk of the songs originally started off as solo compositions — Marya alone on her acoustic guitar. Peel away the Left Bank accordion waltzes and the sweltering trumpet fanfares, and at their core these are singer-songwriter compositions designed to inspire, motivate, and comfort. This singularly folksy concept — the healing capacity of music — segues with Marya’s other profession, as a doctor. Having deftly orchestrated a schedule that allows her to concentrate on music for part of the year and on her medical practice for the other, she has realized that the seemingly disparate careers are ultimately compatible. "I’ve definitely seen how my work in one setting inspires what I do in the other," she says. "My drive to help and empower my patients often finds its way into my songwriting."

Yet the music goes beyond healing balms. EXtraOrdinary rendition‘s title should be a tip-off that Marya knows how to lead a battle cry: it refers to the torture-by-proxy tactics employed by the current administration in its so-called War on Terror. The ensemble is also passionate about raising awareness of the dubious acts perpetrated by our government in its other ongoing fixation: the US-Mexico border. "Poder," for example — a rousing Spanish-language thumper peppered by clicking castanets and a sprightly trumpet melody — meditates on the arbitrary essence of borders. "In spite of this border," Marya sings, "life is like water / It must run."

The songwriter became acutely political aware at an early age. Marya was born and raised in the Bay Area, but at age 10, moved with her family to the south of France, where she lived for a few years before returning home. The experience left a lasting impression: in addition to cultivating a love for Gallic culture, the relocation brought up issues of cultural identity and prejudice. As someone of Punjabi Indian heritage in a country with relatively few South Asians but sizable populations of largely marginalized Roma and Arab immigrants, Marya found herself on the receiving end of plenty of preconceived notions: "It was then that I began thinking more about race, about inequality, about people treating each other differently over such things. About people creating borders between each other."

Asked about the significance of borders to the band’s platform, Marya observes: "You know, I think the best comments we can get from listeners are when they tell us, ‘When I hear your stuff, I don’t know where I am.’ That’s exactly what we’re trying to do here. We want to get rid of time and space! We want them to be lost for a little while. No borders!" It’s a feat the two-year-old group — which includes Marcus Cohen on trumpet, Isabel Douglass on accordion, Aaron Kierbel on drums, Safa Shokrai on upright bass, and Pawel Walerowski on cello — manages to pull off seamlessly, whether by pairing French tales of longing with a sultry Southwestern desert groove ("La Pecheuse") or evoking sepia-toned photos of ships and sailors in a swaying folk ballad ("Wishful Thinking").

Such versatility is vital to a defiantly non-purist point of view. "This is deliberately a mélange, a smashing of things and ideas. In order to impart a feeling of freshness — and hopefully create a little confusion along the way — we don’t want to simply do what’s expected," Marya explains. "That’s what’s so great about being here in San Francisco, why we identify so closely with here. This city encourages people to get rid of their mental borders." As Rupa and the April Fishes hit the Outside Lands stage this week, their message will surely connect with a new batch of listeners, with new sets of eyes and ears willing to temporarily lose themselves among the tangos and the waltzes.

Rupa and the April Fishes play at 1:40 p.m., Sat/23, at Outside Lands Panhandle stage, Speedway Meadow.

Dinosaur tattoos are the new tramp stamp: Meet Sam Kehl

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Intrepid reporter Justin Juul hits the streets each week for our Meet Your Neighbors series, interviewing the Bay Area folks you’d like to know most.

Sam Kehl is a singer/producer/DJ from Seattle who I randomly met on a camping trip in Morrow Bay. He was wearing a pink hat, a leather jacket, and really really cool sneakers, which was odd because all his friends were decked out in REI gear. Obviously the dude had never been camping before, and I don’t think he’ll ever go again. I mean, a man can drink whiskey and use his shoes for a pillow right here at home can’t he?

I’ve gotten to know Sam pretty well over the past few months and although he may suck at camping, I can say without a doubt that he rules at being weird. Oh and his music is really rad too. Check him out at The Eagle Tavern on August 7th at 10pm where he’ll be performing as both Samuelroy and Samnation. Listen to his tunes here. X-Ray Press and No New York will also be performing.

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SFBG: So what’s your deal?
Sam Kehl: Hi, my name is Samuel Kehl. It’s spelled K-E-H-L. So I’m not related to the face products, Kiehl’s, or whatever. Sometimes people put me on flyers and spell my name like the face product. I hate that. Kehl is a German name, but I’m from Seattle.

SFBG: Why did you move to San Francisco?
Kehl: Well, San Francisco has a particular history of being queer and open-minded and there’s always been a lot of electronic music here. Seattle just got boring and I had already lived in New York so I decided to check out SF, mostly for the music.

SFBG: Any bands in particular?
Kehl: Well, I know there’s a lot of really really early experimental stuff here and all those Drum-&-Base people like UFO and DJ Abstract. There are others too, but I can’t remember. And um, Safety Scissors, Eats Tapes. Tiger Beats records. OK, so, not all the people I like are from SF, but I had already done New York and Seattle and I’m petrified of LA, so, well, I came here to do my music.

SFBG: So what’s up with your music anyway? How’d you develop your sound?
Kehl: I’ve been doing music for a really long time and I’ve been deejaying for exactly ten years. I don’t have any musical training, but I had choir and I sang in college. Oh and I played cello too. So I had all these different musical interests and then bands like the Postal Service and The Blow came out and I was like oh God, why don’t I do that? Why don’t I sing and make electronic music? Most of the electronic music that had vocals at that time was really bad. I was more into bands like Plaid and Aphex Twin, and Boards of Canada, like Warp Records stuff, you know? It didn’t really have vocals, but then those other bands came out, and I was like, Oh of course. What the hell? I should do that.

Aerobiqueen

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PREVIEW There ought to be a name for the ecstatic genre of drag where the drag queen whirls and twirls more than she lipsynchs, points, or occasionally stalks across the stage. I’m thinking of when the svelte Varla Jean Merman swings from the rafters or any number of Southern man-belles ringading-ding a song home in a whirlwind of wig-tossing backflips. Acrotranny? Choreodrag? Whatever it is, the fabulously kinetic Edie has made it her own. She’s not only the aerobiqueen It Girl — she’s That Girl with a puffed-out Marlo Thomas ‘do, ass-high spangled shifts that showcase extraordinary legs in blurry strut-kick action, and a forest-fire smile that says "No!" but means "Yes?" Edie’s style can best be described as showgirl cocktail hour, a wry martini with a fruity umbrella that blends Audrey Hepburn cigarette-holder chic, frantic backup dancer shimmy, and occasional bursts of Cyd Charisse and Doris Day. (Yes, she sings.) After her act’s several breathless climaxes, you’re never sure whether to offer her an Eames chair or a Twister mat. It all comes on with a slightly demented edge: Mama misses her barbiturates. Edie’s Internet Boom–era run of performances at Mecca are now legendary — she was the perfect drag avatar of those status-drunk, screwy ultralounge times. After a successful stint with Cirque Du Soleil’s sensuous Zumanity in Las Vegas, she’s popping back into town to blow our Web 2.0 fedoras off. Grab your gimlets.

EDIE Rrazz Room, Hotel Nikko, 222 Mason, San Francisco. Fri/8, 10:30pm. $25. (415) 394-1189, www.therrazzroom.com

New wave reunion

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PREVIEW I’m too young to know for sure whether or not it’s normal that so many older bands are re-forming to record novelty albums and go on reunion tours, but it certainly does seem strange. I mean, sure, there’s the money (just check the inflated ticket prices) and the thrill of seeing thousands of aging fans sing along to all your songs — but at some point it must get kind of depressing to realize they would probably rather be teleported back to 1981 when they could see you for $10 in a small club when everyone was 40 pounds lighter.

But nostalgia is a powerful thing, and the reunion-industrial complex keeps chugging on. This summer’s Regeneration Tour unites all the best new wavers — the Human League and ABC included. Unfortunately, it’s bypassing San Francisco, so we’ll have to settle for back-to-back shows at smaller venues. On Saturday night, Sheffield, England synth pioneers the Human League performs at the Mezzanine. The band, which never officially broke up, put out its last album of fresh material in 2001, the much-overlooked Secrets (Ark 21). On Sunday, ABC plays the Independent, drawing material from its first batch of new songs in 11 years, 2008’s Traffic (Vibrant).

But, hey, who am I to judge? I’m sure one day I’ll shell out $150 to see the Strokes at the Greek Theatre so I can experience two hours of joy before rushing home to pay the babysitter. I only hope they play "12:51."

HUMAN LEAGUE With DJs Skip and Shindog. Sat/9, 8 p.m., $40. Mezzanine, 444 Jessie, SF. (415) 625-8880, www.mezzaninesf.com. ABC With DJ Funklor. Sun/10, 8 p.m., $27. Independent, 628 Divisadero, SF. (415) 771-1421, www.independentsf.com

2008 Cuervo Black US Air Guitar Championships

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PREVIEW For those about to air (guitar), we salute you. All it takes is viewing the big-hearted 2006 doc Air Guitar Nation or a few minutes in a sweaty club with the contestants to sample the craft, sass, and brash fearlessness needed to risk making a royal air-guitar-noodling ass of yourself in front of hundreds of sodden, mouthy armchair air-ax-slingers who believe — nay, know — they can kick as much as air-ass as you.

So kudos to San Francisco winner Awesome, a.k.a. Shred Begley Jr., a.k.a. comedian Alex Koll, for making the transition from the bedroom to the national 2008 Cuervo Black US Air Guitar Championships Aug. 8 at the Grand Ballroom. So what’s with the multiple monikers? Mob rules: it was chosen for him at the sold-out June 25 regional finals at the Independent by the all-too-ready-with-the-boos crowd.

"I was in a sleeveless tank top that said, ‘AWESOME!’, which is my name and my way of life," Koll says by phone. "The audience responded the only way they could. It chanted, ‘Awesome, awesome,’ until it became my official stage name." Attempts to "melt faces" culminated in a second-round performance that, well, continued the hype. "I rode my friend’s face into the crowd, which was very popular," Koll says. In return, the crowd "paid the ultimate price to get me back onstage — I had to use a couple as human shields. Then I had to do more ceremonial headbanging, and the stage started to crack in half, but I was able to pull it together — with my feet."

Sure, and we all know Koll can’t be held responsible for the recent Los Angeles quake, though he admits he was practicing at the time. Meanwhile he’s refining the awesomeness for the national bout — the winner goes to the world air-off in Finland — since the event includes Brooklyn winner Bettie B. Goode, who severed her toe in competition. "She still won," Koll moans. "These are the kind of people I’m up against. In light of that, I’m stepping up my game: I bought six new tassels."

2008 CUERVO BLACK US AIR GUITAR CHAMPIONSHIPS Fri/8, 8:30 p.m., $20. Grand Ballroom, 1290 Sutter, SF. www.apeconcerts.com

Extra! Extra! Exposing PG&E’s Big Lies

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By Bruce B. Brugmann

For connoisseurs of PG&E’s Big Lies in political campaigns, the company’s early massive carpet bombing against the Clean Energy Initiative is most revealing. They are panicked.

Most likely, PG&E will not attack the fundamental premise of the pioneering measure (after all, clean and renewable energy is in this year). But, as our editorial this week notes, PG&E’s theme is to try and scare voters into thinking that the Clean Energy Act is too risky and too expensive in these difficult times. (The last time out, PG&E just used the phrase “too risky, too costly.”)

And they use just plain Big Lies, repeated endlessly in mailers, ads, astroturf campaigns. The reason they often get away with the ads is that they spend millions of dollars to push them and the local media retails them allegro furioso and does little to correct them. and even, in the case of the San Francisco Chronicle, just leaves the initiative out of the news and has yet to do a decent story or insert the local clean initiative angle on their energy stories.
For example, take David Baker’s otherwise creditable front page story in the Saturday (Aug. 2) Chronicle, “”Utiliies To Miss Energy Deadline, PUC says providers are failing to harness 20% from sun, wind.”

Baker doesn’t says nothing about the initiative, which sets ambitious goals for renewable energy. He didn’t quote its sponsors (Sups. Ross Mirkarimi and Aaron Peskin). He didn’t talk to any of the campaign leaders (chair Julian Davis, the Sierra Club’s John Rizzo et al). He didn’t point out that other studies, including one for the California Energy Commission, gave higher marks to public utilities. Why did he ignore the hottest issue on the fall ballot that tied directly into his story? I put the question to him in an email. No answer.

The point: since the local mainstream media don’t correct PG&E’s Big Lies, we’ll do so on a regular basis. .
Let us know if you spot one we haven’t covered. On guard, B3

P.S. A Potrero Hill martini to Matthew S. Bajko, who corrected a PG&E whopper in the Bay Area Reporter blog.
He noted that PG&E got “glowing media coverage” for its $250,000 shareholder donation to the campaign to defeat Proposition 8, the anti-gay marriage ban on the November ballot. The news, he said, was “just the latest in a string of pink steps the company hs taken this summer.”

However, he reported that the pro-gay moves “strike some San Francisco officials as suspect, as the company is locked in a fierce battle with state and local officials over two similar clean energy bills on the fall ballot.”
Some are questioning “PG&E’s altruism in the marriage fight” to shield it from the company’s “homophobic smear campaign” this spring against openly gay Assemblyman Mark Leno in his successful primary victory and that PG&E was behind the mayor’s ouster of Susan Leal as general manager of the PUC.

And he did what Chronicle reporters have not done: called the Clean Energy Campaign for comment. Spokesperson Julian Davis had a good one, “I think addition to greenwashing, PG&E is engaged in gay washing.”

Aloha SF! Aloha Fest chills out — pics

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By Ariel Soto

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Twirling hips, shaved ice and the aloha spirit filled the Precidio this weekend for the 14th Annual Aloha Festival. Hula dancers of all ages took to the stage to perform the fluid and precise dance famous of the tropical islands of Hawaii. Everyone seemed to be wearing flowers in their hair (appropriate not only for a Hawaii festival, but also perfect for a San Francisco event) and even a few canine friends got into the aloha mood. Visitors to the festival enjoyed munching on authentic Hawaiian fare and browsed amongst the numerous booths selling everything from bolts of blooming cloth, to cookies packed with macadamia nuts and even hula dancing dolls. What a perfect way to welcome in the misty Indian summer of an SF August than with such a sunny celebration as the Aloha Festival!

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SPORTS: Roberto Kelly has plenty to tell the kids

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By A.J. Hayes

Roberto Kelly had all the ear-marks of a pre-fab Yankee Legend when he broke in with the Bronx Bombers in the late 1980s.

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As a NY Yankee

Scouts drooled over the young center fielder, touting him as the next great “Five-Tool Player.” Kelly hit for high average; whacked home runs; he was a graceful fielder; possessed a killer arm and ran like the wind.

In other words, the Panama native – who is currently a San Francisco Giants coach – was stacking up to be the next Joe DiMaggio or Mickey Mantle.

In his first game in the majors in 1987, a 22- year old Kelly walked out to center field at Yankee Stadium and was greeted by 45,347 fans. Despite knocking knees, Kelly brashly stole two bases and scored a run in New York’s 4-0 win over the visiting Royals. The speedy outfielder quickly became a fan favorite.

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As a Cincinnati Red

“The first day I made it to the big leagues was unbelievable,” Kelly told us recently. “You’re talking about a kid coming from Panama who didn’t know if he was going to make it, and then you walk out and see a packed Yankee Stadium. It was that defining moment for your career.”

It didn’t seem outlandish at all to believe that that Kelly world star for the Yankees for the next dozen seasons and end his career in pinstripes – just as Mr. Coffee and the Mick had done before him.

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As an Atlanta Brave

Well, technically all that did occur – but it didn’t exactly play out as scripted.

Friends of Chet celebrate his 66th birthday

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By Bruce B. Brugmann (Scroll down for a picture of the Friends of Chet)

Lee Housekeeper, the worthy keeper of the flame for Chet Helms, sent out the word to the Friends of Chet.

“This Saturday (Aug. 2) we would have celebrated Chet’s 66th birthday with him at the Great American Music Hall. Some of you would have shared a meal with him at Lefty O’Doul’s. Alas, Chet’s ashes are stashed at the Columbarium but that won’t stop us from celebrating our brother.”

And so 22 Friends of Chet showed up on a beautiful Saturday afternoon on the top floor of the Columbarium in San Francisco to celebrate the legendary rock impresario and symbol of the Summer of Love who died on June 25, 2005.

It was a a lively little group, who talked and joked as if Chet were with us, wearing flowing white robes and looking like Jesus Christ. That is how I remembered him when he appeared at Guardian parties in the late l960s at the time he was energizing the old Avalon Ballroom and rock music. Then it was Chet Helms and the Family Dog and he was at the top of his game.

Carole Vernier was there, looking as if she were still gathering items for Herb Caen (she was Caen’s last assistant). And there was Boots Houston, who did a benefit to pay off Chet’s debts and promoted the 40th anniversary of the Summer of Love in memory of Chet in Golden Gate park); Eugene (Dr. Hip) Schoenfeld and his wife Lonie (Dr. Hip wrote a famous column on sex and drugs for the old Berkeley Barb and the Guardian); Robert Altman, of the famous last name, but a fine photographer in his own name, who arranged the group photo; and Julius Karpen, who managed Janis Joplin, Chet’s find from Texas, and Big Brother and the Holding Company, her group.

Jose Angel Najera, who used to throw free block parties on Mullen Avenue in the l960s/70s with Chet, Janis and their d his rock star friends, did a beat on Chet’s memorial glass. Everybody chimed in with the beat. Jose’s son Eloy Cipriano Najera (aka CIPRE) let out a freestyle rap in honor of Chet.
“Chet was loving and giving and music is what kept him livin.'” (Full rap below.) Then everyone headed to Lefty O’Douls where even more Friends of Chet were gathered to continue the festivities.

Chet, you inspired another jolly good show. B3

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Top row standing left to right: Julius Karpen, Sydney Minnerly, Jose Najera II, Jose
Najera, Lee Houskeeper, Bruce Brugmann, Steve Sodokoff, Scott Mize, Boots Houston, Karen Albin, Jon Diamante, Robert Altman

Middle row seated left to right: Tom Soto, Steve Somerstein, Jose Najera, Carol Vernier

Bottom row seated left to right: Eugene Schoenfeld, Lanie Schoenfeld, Judith Davis, Darice Murphy, Jerilyn Brandelius, Ann Pierson

Eloy’s rap on Chet:

“Chet Helms was born in Texas, and hitch hiked with Janis, she always wanted a Mercedes Benz but now we ridin in a Lexus!

“I remember him and my pops, smokin on chops, around the table, and gettin much props! Passin the wine, and enjoyin the time, and Cipriano raps with a rhyme! That was pulled off the grape vine

“He was good friends with my mother, and he was like a brother to my parents, and he was even the manger for Jimmy Hendrix. So we are all here to give respect thats just, due to a great man from the Family Dog, while your gone we are all in the Fog, but I goin to rise a bay HOG!,

“But Chet was loving and giving and music is what kept him livin’! SO we’re all here to give honor and respect to a man that gave the Hippies a reason for wishin for Peace, and love, and to shine bright like the stars above, and I to be free like a dove! One love! Chet Helms!”

Eloy says check out his websites:

myspace.com/Cipre
Ursession.com/Cipre
Ursessoin.com/BERNALBEAT

City bidding out Slaytanic goatherding

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You might think the Web site of San Francisco’s Office of Contract Administration is the wrong place for a reporter to go hunting for story ideas. You’re wrong. Look at this gem. The Laguna Honda Hospital is competitively bidding out the task of brush clearing and lawn mowing. But the job won’t go to some landscaping outfit you’re imagining, one with a truck full of big sweaty guys wearing sleeveless shirts and washing down 7-11 hot dogs with hilariously large refill cups of Mountain Dew. The city wants a professional goatherder to take care of it. Sounds brilliant ecologically, but just reading the bid documents, it was still hard to see it the first time without spitting our afternoon coffee all over the monitor. Do you have several goats available for the city to use, perhaps left over from a failed indie horror flick? Are you looking to make some extra money on the side? Are you prepared to accept that the City and County of San Francisco can’t be held responsible if your goats are stolen and/or damaged? Then you’re in luck. Here’s the description:

7/29/2008
Bid Number/Type: ITSF09000054/MQ
SVC-Landscaping/Maint

Clear brush, shrubs, plants, weeds from 22 acres of property at Laguna Honda Hospital, 375 Laguna Honda Blvd. Clearing must be performed by goats and supervised by goatherders who will stay on site with the goats to monitor cutting activity, moving fences and goats. This price to include all transportation, fencing, monitoring, herders, and all other charges pertaining to proper care and handling of these animals. The city to be held harmless for any loss of goats, theft or otherwise.

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