San Francisco

Cream-colored slumbers

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Thank you, Brian Martinez. Were it not for this mutual friend, guitarist-vocalist Laura Weinbach and violinist Sivan Sadeh may have never met, and Foxtails Brigade — perhaps best but weakly described as experimental folk — may never have formed. And the two 25-year-old, classically trained musicians would miss the synergy they possess playing à deux. As Weinbach raved over the phone while the pair drove around San Francisco: "What’s really cool about violin and Sivan in particular is it’s really like having two to three vocal lines. She totally harmonizes with me, melodically, through the violin. Every song she’s been a part of becomes 100 times better."

The duo met last September and immediately began performing: they’ve already logged about 35 shows, entertaining everyone from sweet old folks in Santa Barbara convalescent homes to Weinbach’s surrogate high school students (she’s a substitute teacher). Sadeh’s rocked the violin nearly her entire life, playing in ensembles as diverse as mariachi to garage, while Weinbach studied creative writing and music at the University of California, Santa Cruz, which is obvious in both her seemingly effortless classical fingerpicking and her lyrical storytelling.

"Porcelain" is how their friend Uni, the one with the ukulele, dubs their unmatched sound. She’s right: the pretty melodies and flower-strewn stories conjure memories of playing dress-up in vintage finery. Yet a sharp, almost violent edge is ever-present, saving the music from sugary-sweet, indie-folk doldrums. Foxtails’ consistent intensity and experimental theatrics — think Faun Fables, an oft-cited influence — are largely due to the tension created by Sadeh. Her violin melodies dance around Weinbach’s vocal ones, taunting and tiptoeing, until they collide at each song’s climax, an act that often is as beautifully dissonant as it is gracious. "I like to screech on my violin when I have a chance, and get that kind of whiny sound that people really don’t want to listen to but are attracted to for some reason," Sadeh said, adding that she’s learning to play the similarly eerie-sounding saw.

Weinbach’s lyrics never fail on the storytelling front, whether she’s channeling a scary doll that comes alive in the dark of night or writing about a psychotic student. In the latter song, "For Leo," she sings, "But I have known your kind before / You’re linked by paper cuts and sores / Rotten green banana eyes / With chocolate milk and hungry flies." Creepy yet compelling, Foxtails dare you to turn away.

FOXTAILS BRIGADE

July 20, 8 p.m., call for price

Knockout

3223 Mission, SF

(415) 550-6994

Get the Drift

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If you haven’t caught wind of the Drift, maybe you should take that coat off. This San Francisco outfit’s instrumental rock creeps deftly outward and upward into an exhilarating, rapidly unfolding sprawl, channeling dub and old school jazz fusion in its whirring excursions.

Over the phone from SF, Danny Grody, the group’s guitarist and keyboardist, happily talked about the band’s inception and recording their second album, Memory Drawings, released in April on Temporary Residence. The Drift began as a trio — including Grody; drummer Rich Douthit; and Trevor Montgomery, who later left to focus on his main project, Lazarus — coalescing tangentially to the buzzing prog-scape of Tarentel into a group with a more contemplative and spacious jazz-like dynamic. Thanks to trumpeter Jeff Jacobs’ entrance through an ad on Craigslist and the upright bass playing of Safa Shokrai, the lineup that produced 2005’s Noumena (Temporary Residence) and Memory Drawings came together.

"With our older songs, parts tended to linger a bit in the ether before they settled," said Grody, who points out that the trumpet and guitar carry the melody in tandem this time out, while the whole ensemble tightened the shifts between the "more structured elements and the more amorphous, abstract spaces" of their music. Tracks like "Golden Sands" are delightfully reminiscent of the sighing final two albums from Talk Talk: brushed drums and airy, delayed guitar work are overlaid with ghostly trumpet smears and keyboards that could have been on Terry Riley’s Rainbow in Curved Air (Columbia, 1967).

Recorded with Jay Pellicci at Tiny Telephone in SF, Memory Drawings sports a title inspired by Donal Mosher’s sleeve art, which depicts a Colter Jacobsen photograph of a moon-flash on a dark ocean at two levels of remove — a pencil drawing in an LP sleeve composed from memory of the photograph, and a second drawing rendered from a memory of the prior memory. These "memory drawings" are eerily similar to, as Grody points out, the band’s own approach to recording and live performance: their collective memory of their songs, free-form in length and in varying stages of completion, ultimately determines their recorded and performed shapes. Boasting an "arsenal of fragments" alongside more finished grooves, Grody explains, the Drift "tried to cover the spectrum from really defined pieces to things that are more skeletal" in laying their efforts to tape. These songs remain in continual drift, highlighting the beauty possible when music forges new space within the sometimes serendipitous gaps of memory.

The Drift

With Christopher Willits, Mi Ami, Tussle, and Eyes

July 17, 9 p.m., $8

Gray Area Gallery

1515 Folsom, SF

www.mcmf.org

Can’t knock the Tussle

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› johnny@sfbg.com

Playing name-that-tune with Tussle isn’t easy. The San Francisco group makes instrumentals. As founding member Nathan Burazer puts it, they’re "not very word-oriented." And neither am I, it turns out, when faced with the challenge of matching the eight out of nine songs I’ve heard from their propulsive Cream Cuts (Smalltown Supersound) with the album’s final track listing. For a minute, I try to get new member, bassist and electronics player Tomo Yasuda, to ID songs based on my descriptions, but noting that one number — "Transparent C" — has a beep-beep motif, not unlike that of a Road Runner cartoon, only gets us so far. There’s some merriment when another song with handclaps that a mutual pal describes as the "gay one" turns out to have the title "Rainbow Claw." But in the end, it’s easiest to discuss and define Cream Cuts while listening to it.

Which is fine with me, because from first listen I’ve considered Cream Cuts one of the best albums of the year — a metamorphosis in which the band’s rhythmic core becomes more sinuous, its atmospherics more expansive, and its overall sound both deeper and more party-ready. Though the foreboding planet-of-the-vampires ambience of "Third Party" would not be out of place on Cluster’s underrated Cluster 2 (Brain, 1972), Burazer is clear that he and fellow original member Jonathan Holland are striving to move beyond the "File under: ESG" or "File under: Can" download dog-tags sometimes attached to their 2004 debut Kling Klang (Troubleman Unlimited) and 2006’s Telescope Mind (Smalltown Superound). In fact, "File under: Wu-Tang" would be a more interesting — and correct — frame of reference for the new release’s downtempo moments. "We listen to a lot of hip-hop," Burazer says. "A lot of Wu-Tang, Ghostface, Lil Wayne, and J-Dilla."

The cover art for Cream Cuts, by Simon Evans and Lart Cognac Berliner, uses hand-woven colored paper. The music inside is bathed in moonlight. This nighttime resplendence is apt, since all four current members of Tussle — including Holland’s fellow drummer Warren Huegel — are fans of the blind street musician and compositional visionary Moondog. But whereas Moondog’s old stomping ground was Sixth Avenue in NYC, Tussle is creating a SF city sound. It’s a sound that can be traced back to North Carolina in 1994, when Burazer and Holland first turned one room in a shared apartment into a place to make music. On new tracks such as "ABACBA" and "Titan," the jam session intuitiveness at the core of Burazer’s and Holland’s bond takes on a new finesse, momentum, and flair for drama.

All of the above reach anthemic immediacy on Cream Cuts‘ "Night of the Hunter." There, the chunkiness of past Tussle recordings gives way to a more fluid and formidable funkiness. It takes a certain nerve to give a song the same name as a classic film, but Burazer has an innate understanding of the Southern menace and beauty within Charles Laughton’s 1955 masterwork. The electronics player’s childhood in Carolina included time spent in a cult. "My parents and I were full-time volunteers in this hospice in the mountains [that turned into a cult]," he explains. "There was a guru, everyone met on the full moon, and there was wife- and child-swapping. There were no drugs or sexual violence — it was mild. But it was a cult."

The experience — one I relate to somewhat — left Burazer "allergic to holier-than-thou authority figures." Instead of a follow-the-leader dynamic, he and Holland built Tussle on a foundation of cooperative intuition, and they’ve discovered another level of open, even-handed collaboration with the group’s newest member, Yasuda. "Tomo puts me at ease," Burazer says. "He’s so easy to work with and so brilliant. He has a calming quality. Things are light with him, even though he’s carrying the low end musically. As a person, he’s playful." This playfulness is just as fruitful in another of Yasuda’s current projects, Coconut, where he and visual artist Colter Jacobsen create meandering folk and jazz improvisations that Arthur Russell might appreciate.

Tussle in 2008 aren’t without a sense of humor or adventure, whether it involves playing under the influence of natural hallucinogens in a Museum of Natural History or bringing a Gay.com Frisbee in their percussion bag to a show at CellSpace. In the end, naming what they do or attempting to define it is beside the point. "Some of the [song] titles come from [playing] Mad Libs on tour," Burazer offers when I ask how this group of instrumentalists deals with words. It makes sense: Cream Cuts is Tussle’s mad liberation from past constraints, a ‘shrooming world of sound that offers pleasure right now, and hints of greater possibilities to come.

TUSSLE

With Christopher Willits, Mi Ami, the Drift, and Eyes

July 17, 9 p.m., $8

Gray Area Gallery

1515 Folsom, SF

www.mcmf.org

COCONUT

With Waters and Hollers, and Shygrape

July 17, 9 p.m., $5

Argus Lounge

3187 Mission, SF

www.mcmf.org

Orphan storm

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› a&eletters@sfbg.com

The orphan was a staple figure in silent cinema. She or he evoked the pathos required in sentimental melodramas, and also highlighted a prevalent social problem. The predicament wasn’t that orphans existed so much as that orphanages did. Dickensian clichés of wicked minders profiting from the ill-keeping of abused and undernourished charges were often not far from the truth.

The notion that flowers of pure innocence might spring from this kind of environmental mire was a popular dramatic conceit. It floated entire careers for such variably waiflike or plucky Pollyannas as Janet Gaynor, Lillian Gish, Mary Miles Minter (until she went down in a murder scandal), and of course, Mary Pickford, who was still playing foundlings in 1926, at 34. Their male counterparts were generally allowed to be scrappier: sad from being misunderstood, but gosh-darn-determined to prove the haters and snobs wrong.

One of the least-known titles in the 13th San Francisco Silent Film Festival, The Soul of Youth is a small delight that hews to and transcends the reigning tropes of screen ragamuffinery circa 1920. It opens on a note of heavy moral correctitude, as titles inform us that "A woman, who pray God there be no more like, has offered for sale her unborn child. Think of it: a helpless little baby, before its eyes have opened on the world, labeled ‘unwanted’ and sold!" Framed only to call the mother’s character into question, it’s no matter that this woman is impoverished, or that she dies after giving birth, or that she was initially tricked into the exchange by an addict who had the goods on her errant politician boyfriend.

Little Ed is then dumped into the nearest orphanage, a cruel place where — when next encountered at age 14, as played by 17-year-old Lewis Sergant — he is considered incorrigible and unfairly blamed for thefts and other misdeeds. His rescue of an imperiled black babe (cringingly named Rastus) goes unappreciated. It’s only when he secretly takes in a fellow underdog — a stray canine named Simp — that "for the first time, love enters Ed’s life." When this uninvited boarder is discovered, the pair must escape the orphanage and then the police, landing on that "Mecca of the homeless — the streets."

Meanwhile it turns out the sleazebag who rejected him as a son is now a corrupt mayoral candidate angling to defeat a terribly upstanding one. Ed’s accidental involvement in that race — by risking his neck to preserve the respectability of virtuous rich folk and becoming a hero — proves his ultimate salvation. In classic wish-fulfillment fashion, he ends up (à la Little Orphan Annie) rewarded via adoption by the morally superior luxury class. But Soul of Youth is savvy enough to contrast Ed’s new family with a wealthy neighbor who thinks she can replace her beloved lap-cat with a cherub sporting "blue eyes and golden curls." Just like Paris Hilton and her impulse-buy menagerie!

Soul of Youth was directed by William Desmond Taylor, whose yet-unsolved 1922 murder destroyed the futures of actresses (and intimates) Minter and Mabel Normand. The lovely work he does here makes one lament his too-short career. His protagonist, the floppy-banged, spunkily adorable Sargent, played Huckleberry Finn the same year. He subsequently suffered the usual post-juvenile career slide, resurfacing as a pal of Tarzan in mid-’30s serials and exiting as an unidentified thug in Miss Mink, a beyond-obscure film from 1949. He spent the next 20 years as a California state probation officer.

During Taylor’s youth as a performer, Victorian morality still targeted his own lack of a parent — as well as his outright illegitimacy — as inherently morally suspect and something to be overcome. Simultaneously prim and liberal in teaching its big lesson, Soul of Youth winds up firmly on the side of nurture over nature. "The kind of man this boy will make depends on his surroundings. It’s up to us, dear," the film’s virtuous tycoon tells his vain socialite wife.

Alongside the poorhouse and the asylum, the orphanage was a widespread 19th-century American public entity later disgraced/dismantled by reformists. The orphanage helped usher in the "welfare" era — stressing economic support where parents couldn’t manage rather than pushing abandoned, "bastard," or otherwise problematic kids into warehouse institutions. (Those group and foster homes they were shunted toward hardly fixed all historic problems, however.) Soul of Youth retains charm for insisting class, economic, and other social divisions might well tumble before the sheer force of Ed’s nascent Boy Scout–dom.

THE SOUL OF YOUTH Sat/12, 11:40 a.m., Castro

THE 13TH SAN FRANCISCO SILENT FILM FESTIVAL runs July 11–13 at the Castro, 429 Castro, SF. Advance tickets (most shows $12–$17) are available by calling 1-800-838-3006 or visiting www.silentfilm.org

McGoldrick’s privatization betrayal

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OPINION This isn’t the first time it’s happened. Most politicians break promises. That’s the nature of politics. But when someone signs a pledge — twice — saying he won’t privatize city services, when he holds himself out as a champion of anti-privatization and then goes directly against that stand —well, it kind of makes you wonder.

That politician is San Francisco Sup. Jake McGoldrick. In the past, he stood against privatizing services. He has fought for golf courses, for the Internet; heck, he even fought for horses when Mayor Gavin Newsom threatened to privatize the stables. During the Service Employees International Union endorsement process, he signed a pledge that he would not privatize work currently done by city workers. We endorsed him and even fought against the effort to recall him. But when the rubber hit the road for people, he screeched out of there.

Newsom has proposed contracting out the work of the Institutional Police, a group of workers represented by SEIU Local 1021. Institutional police officers work primarily at San Francisco General and Laguna Honda hospitals, but they also provide security at health clinics throughout the city. That security — not only for the workers, but for the community that these institutions serve as well — might soon be gone.

If you have ever been in SF General’s emergency room during a violent incident, you know exactly how bad a decision that would be. A nurse who met with McGoldrick described how bad it got on her shift one night. A man who had been shot was being transported to the ER, and the shooter was following closely behind, hoping to finish off the job. When the victim and assailant pulled up to General, the institutional police were there waiting with guns drawn. They disarmed the shooter and arrested him.

The nurse who told this story looked McGoldrick squarely in the eye and told him that the community would know immediately when the ER was staffed by private security officers, and that would endanger the workers and the patients there.

Even the union that represents the private security officers — whose members would get the jobs — told McGoldrick the work should remain with the institutional police.

Training for private security officers is minimal and inconsistent. Turnover is rapid. When private security officers are transferred to new buildings, they’re often not trained on its specific emergency procedures. There is little oversight to enforce existing state training requirements.

This shouldn’t be about money. A couple of weeks ago, during public hearings on the budget, the Controller’s Office reported on the exponential growth of six-figure salaried executive positions in the past few years; 55 new management jobs were created this year alone. McGoldrick, who heads the Budget and Finance Committee, could easily have moved some of that money around, as SEIU 1021 advocated, rather than leave the city’s health care facilities at risk. But he didn’t.

Unfortunately, it only takes one bad incident to expose the false "savings" of contracting out security to inexperienced and less-trained guards. Six supervisors appear to agree. What happened to Jake McGoldrick?

Robert Haaland

Labor activist Robert Haaland works for SEIU Local 1021.

The gruesome twosome

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HORROR SEQUEL If you know Monsturd, you love Monsturd. If you don’t know the 2003 horror comedy by San Francisco filmmakers Rick Popko and Dan West, imagine a tiny town menaced by a mad scientist-created shit monster, with clueless cops, a no-nonsense FBI agent, and a climax that unfolds around a chili cook-off.

Doesn’t appeal? Don’t read on. But fans of homespun exploito-stravaganzas will want to know that Popko and West have finally finished Monsturd‘s sequel (the making of which I chronicled in "Blood Brothers," [05/30/06]). It’s called Retardead, and it returns to that same tiny town soon after the events of Monsturd. This time, the stakes are both higher (zombies!) and lower (zombies spawned from special education students!), and there’s way more of everything: gore, off-color jokes, cursing, and totally random moments, like an LSD freak-out scene, an exploding helicopter, second-unit footage contributed by horror fans across the country, a saucy appearance by dance theatre troupe the Living Dead Girlz, and a cameo by Jello Biafra.

Popko and West, who reprise their Monsturd roles as goofy deputies, realize they’ve created something rather crazy — and with all the technical problems they encountered in Retardead‘s post-production (from editing on outdated software to the disasters they overcame while working on the film’s first batch of DVDs), are now a little crazy themselves.

"The movie’s cursed — I think it’s karma because of the title," Popko theorized. "The karma gods are like, we’re gonna let you have this movie, but it’s gonna cost you in terms of pain and suffering all the way through till the very end. Monsturd took us two years, and we thought that was forever. And here we are five years after starting Retardead, and we’re finally seeing the end of the tunnel."

Though the movie is completed, "we’re still kind of shell-shocked," West said. "We still have the premiere to go through, and we don’t trust this thing. If it can fuck with us, it will fuck with us. It’s like the Frankenstein monster that has its own life, and we’re its bitch."

For better or worse, the monster is at last ready to terrorize audiences. West is excited: "The movie’s good. I love the movie. It’s weird, it’s 10 times better than Monsturd — cinematically, it’s much better. The special effects are just insane. We love the weird factor of this one. We were able to get our sense of humor and get a lot of non sequiturs in there. We love that stuff."

"I love how different it is," Popko agreed. "Dan and I are big fans of the horror genre, and the comedy genre, and there are a million friggin’ zombie movies out there. We didn’t want to fall into that trap of just being another zombie flick. So the thing I’m most proud of with Retardead is that this is gonna be a different experience. Yes, it is a zombie movie, but it’s like no other zombie movie that has ever been made before."

After the premiere — at which they’ll pass out barf bags in homage to their idol, Herchell Gordon Lewis, who did the same for 1963’s Blood Feast — the duo hopes to self-distribute their film over the Internet. They are also already planning a third collaboration, "a movie about making a sequel," West revealed, which will likely include pirates, Satanists, space vampires, "a werewolf thing," and more Biafra.

In the meantime, the pair hopes to greet a raucous crowd this weekend at the Victoria Theatre. "Ideally we’d like to see audiences going wild and crazy at a few of these key scenes that we’ve got in there that will hopefully surprise and shock people," Popko said.

"Specifically, that vomit scene," West chimed in, and the codirectors chuckled with delighted pride.

RETARDEAD

Fri/11–Sat/12, 7 and 9:30 p.m.; Sun/13, 5:30 and 7:30 p.m., $10

Victoria Theatre

2961 16th St., SF

(415) 863-7576

www.victoriatheatre.org, www.4321films.com

Real money, false arrest

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› gwschulz@sfbg.com

The false arrest of an elected official in San Francisco for using a $100 bill that police wrongly thought was counterfeit has evolved into a potentially precedent-setting legal struggle over police accountability.

The San Francisco City Attorney’s Office is seeking to appeal the case all the way to the conservative-dominated US Supreme Court, an expensive fight that could overturn what would seem a welcome ruling in liberal San Francisco. The Ninth Circuit Court of Appeals last August affirmed in the case that citizens have the right to sue police officers after being unreasonably arrested for a crime they didn’t commit.

After a federal district judge refused to grant qualified immunity to the officers and throw out the lawsuit, City Attorney Dennis Herrera’s office insisted on repeated appeals argued by deputy city attorney Scott Wiener, rather than settling for a few thousand dollars and accepting that the cops simply screwed up.

"There are some people who would say ‘Why don’t you just pay a little money to settle it?’<0x2009>" Wiener told the Guardian. "But we have to take a broader institutional perspective, because if you start settling cases that don’t have merit, you’re going to wind up with a lot more cases like that than you would have otherwise."

At the center of the story is attorney Rodel Rodis, a Filipino activist and elected trustee of City College of San Francisco, who was arrested in the spring of 2003 and dragged to a police station for supposedly trying to buy a handful of items from a Walgreens with a counterfeit $100 bill. The bill turned out to be real.

But by the time the officers came to that conclusion, Rodis had suffered what he regarded as the terrible embarrassment of being shoved into a squad car with his hands behind his back in front of neighbors and constituents. It also occurred just around the corner from his longtime law practice and the main campus of City College, where he’s been an elected trustee since 1991.

Rodis promptly filed a $250,000 claim against the city, former Police Chief Alex Fagan Sr., and two officers at the scene alleging false arrest, excessive force, and the negligent infliction of emotional stress, among other things. He later offered to settle the suit for $15,000, but the City Attorney’s Office refused to accept the deal.

Five years and innumerable legal bills later, the case just keeps getting worse for the city — even before it lands in front of a jury to determine if indeed the police should compensate Rodis.

"Part of my mind was saying … ‘I’m not going to argue. I’m not going to resist,’<0x2009>" Rodis said of the arrest. "I put my hands behind my back but I’m thinking ‘This has got to be a mistake. Somebody here has to have some sense.’<0x2009>"

Rodis was suffering from minor allergy symptoms on Feb. 17, 2003, when he headed to a Walgreens on Ocean Avenue he’d been going to for 20 years. It was located near his Ingleside home and a law office he’s had in the neighborhood since 1992.

He picked up some cough syrup, Claritin, toothpaste, and a few other things. The total came to $42 and change, so he tried to pay with a $100 bill.

"I just happened to have it in my wallet," Rodis said.

The drugstore clerk used a counterfeit detection pen to be sure the bill was legit. It was, according to the marking, but the bill was printed in the 1980s before watermarks and magnetic strips were used to help stop counterfeiting.

The young clerk was unfamiliar with the bill’s design and called a manager to be sure. He, too, used a counterfeit pen to confirm that it was real. But the manager told Rodis he was still going to call the police, fearing it was fake. That’s when things turned surreal. Two officers showed up and almost immediately placed Rodis in handcuffs before trying to ascertain if he’d actually attempted to defraud Walgreens.

"They made no effort to determine what the situation was … they just assumed," Rodis said. "When she said ‘Put your hands behind your back,’ I thought I was in some Twilight Zone moment."

A third ranking officer on the scene, Sgt. Jeff Barry, had known Rodis for years as a local lawyer and City College trustee. Their sons were classmates. But Barry allegedly failed to step in and question whether Rodis was likely to be a fraud artist.

Another officer, Michelle Liddicoet, told Rodis she knew who he was and that he "should be ashamed of himself," according to the suit.

Feeling humiliated as other Filipinos he knew looked on, Rodis was put into the back of a patrol car and taken to Taraval Station, where he was handcuffed to a bench. There he waited another 30 minutes or so until the police officers were able to reach the Secret Service, which investigates currency for the US Treasury Department. A federal agent confirmed that the bill was likely genuine. The whole ordeal lasted about a couple of hours and Rodis was driven back to the drug store.

"This wasn’t a situation where Mr. Rodis was held in jail overnight or for a week or had to post some large amount in bail," Wiener said.

Fagan sent out a department memo shortly afterward stating that suspects have to know the currency they’re using is counterfeit before being arrested, and in any event, if they insist it’s real, the officer can book the bill as evidence for later examination and give them a receipt without arresting anyone.

But by then the damage was done and the hasty reaction of police would lie at the heart of the case that Rodis subsequently filed.

Rodis is an unlikely champion of police accountability. Known for his cantankerous personality, he all but accused the secretary of the San Francisco Veterans Equity Center last month in his regular column for the Philippine News of supporting a band of communist guerillas in the Philippines known as the New People’s Army, a charge the man angrily denied.

He bitterly responded with a string of e-mails last year when the Guardian reported he was several months late in sending legally required campaign disclosure forms from his 2004 reelection to the Ethics Commission (see "At the crossroads," 07/17/07).

But the city’s police academy also has invited Rodis to lecture recruits about San Francisco’s Filipino community as part of the department’s sensitivity training. A week after the incident involving Rodis, an elderly Filipino man who sold the San Francisco Chronicle downtown was savagely beaten and robbed of $400. He never found a police officer while walking to his Tenderloin home, where he died. The two incidents, one following on the heels of the other, enraged the city’s Filipino population of 36,000, and Rodis believes it proves the police department continues to have trouble with discrimination.

"The fact that it happened to me meant that I was in a position to do something about it," Rodis said of his dust-up. "For many [Filipino immigrants] … they wouldn’t have had the resources or the knowledge of the procedures to fight back. Even up to now, five years later, I still bump into people who appreciate the fact that I filed the action."

The case was assigned to Wiener, who is coincidentally the elected chair of the San Francisco Democratic County Central Committee and a longtime party activist in a city that’s famously wary of any perceived threat to civil liberties.

In his capacity as a lawyer for the city, though, Wiener tried to have Rodis’ suit tossed using a common courtroom maneuver known as summary judgment. Civil defendants request them from a court by arguing that a claim is so lacking in merit that they shouldn’t have to endure a costly, time-consuming jury trial.

He also made the standard claim that city employees — in this case police officers — are shielded by what’s known as qualified immunity, a legal argument designed to allow them room to make honest mistakes without facing an endless barrage of expensive litigation.

In March 2005, federal district judge Maxine Chesney granted the request in part, throwing out Rodis’ claim of liability against the city and county. But she allowed the part of the suit involving the two officers to move forward, arguing the arrest was illegal because they didn’t have probable cause that Rodis intended to defraud the store.

So Herrera’s office turned to the Ninth Circuit Court of Appeals, and in a move that surprised Wiener, the panel ruled 2-1 that public employees are entitled to qualified immunity, but not when they fail to act on their considerable law enforcement powers in a reasonable way and take into account all factors present at the scene.

To put it bluntly, cops sometimes make an error in judgment but they still have to use their brains for establishing probable cause. The panel also argued that even if the bill was counterfeit, Rodis did nothing wrong if he wasn’t aware of it.

"Even without knowledge of Rodis’ identity and local ties," the majority wrote, "based on the totality of the other relevant facts, no reasonable or prudent officer could have concluded that Rodis intentionally and knowingly used a counterfeit bill."

Now Herrera had on his hands published legal precedent that his staff believed imposed a new requirement on police officers to not only conclude that perpetrators passed counterfeit currency but also that they intended to defraud their victims. The decision, city officials claim in their pleading to the Supreme Court, could hamstring local and federal law enforcement investigating counterfeit currency and some other types of fraud.

"They said it was clearly established that probable cause is a fluid concept," Wiener said of the ruling. "Well, that’s a meaningless statement. Of course probable cause is a fluid concept. But the point of qualified immunity is that officers are entitled to rely on the current state of law about what the requirements are and shouldn’t have to predict what a judge is going to do down the road."

Lawrence Fasano, a lawyer for Rodis, counters that Fagan’s memo to the department reinforced the court’s opinion. Considering that the police and people in the neighborhood had known Rodis for years, the officers on the scene should have concluded that it was out-of-character for him to pass a counterfeit bill.

"All the evidence that was looked at by the police officers at the time indicated that he did not intend to pass counterfeit currency, including the fact that he had other $100 bills in his pocket that were genuine," Fasano said.

Fasano argued, too, that case law in California made clear the issue of intent cannot just be set aside by police.

Other cities and counties in California so fear the case’s impact that two interest groups representing them, the League of California Cities and the California State Association of Counties, filed a joint friend-of-the-court brief after the Ninth Circuit’s ruling, arguing that digital counterfeiting was a "threat to the nation’s fiscal health" that could grow in the future, and if allowed to stand, "the panel majority’s decision would eviscerate the doctrine of qualified immunity to the detriment of the public."

Wiener filed the Supreme Court petition in May after a larger panel of Ninth Circuit judges rejected a request for rehearing earlier this year. While the Supreme Court accepts only a fraction of the thousands of cases it receives annually, Wiener believes there’s a chance it will be accepted because of another such case it’s examining from the Tenth Circuit. The city won’t know for sure until the fall.

He adds that it’s extraordinarily dangerous for police to be forced to consider a citizen’s status as an elected official before concluding that probable cause exists for an arrest. The City Attorney’s Office won’t disclose how much has been spent on the case until it’s resolved, but Rodis estimates he’s spent more than $50,000.
The US dollar may be losing value internationally, but a $100 bill from the 1980s could cost San Francisco big bucks.

A rictal dysfunction

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According to Peter Bogdanovich, 1928 remains unique in film history as Hollywood’s greatest year. The latter-day American director cites landmark silent film contributions such as King Vidor’s The Crowd, Victor Sjöström’s The Wind, and Buster Keaton’s Steamboat Bill Jr. as evidence that synchronized sound — first used in 1927’s The Jazz Singer — initially limited rather than expanded the cinematic medium. Alongside those celebrated pictures, Bogdanovich also praises a 1928 German Expressionist classic produced in the United States: Paul Leni’s macabre mutilation drama The Man Who Laughs.

Based on an 1869 novel by Victor Hugo, The Man Who Laughs is a mordant and often morose satire about a deformed clown in the Stuart Court. It follows the sad character of Gwynplaine, the son of a British duke who is orphaned and forsaken to die at the command of the British sovereign.

Gwynplaine survives, but with a horribly butchered mouth permanently twisted into a smile, He grows up amid a wandering freak show, becoming its main attraction. His only pleasure comes in the form of his adopted family — carnival mountebank Ursus the Philosopher and the blind beauty Dea, who loves Gwynplaine and remains unaffected by his strange visage. But when word reaches Queen Anne that an heir to the dead duke remains alive, she commands that Gwynplaine be installed as a lord and made to marry the reigning duchess Josiana. Forced to leave Dea and Ursus for the royal court, Gwynplaine soon bears the brunt of a royal freak show whose insidious machinations are alien to the golden-hearted clown.

The Man Who Laughs was produced by Universal in the wake of its increasingly popular horror pictures, particularly the 1925 blockbuster The Phantom of the Opera. Budgeted at the then-unprecedented amount of $1 million, Leni’s film became a flamboyant melding of costume melodrama and Expressionist mise-en-scène. It stars Mary Philbin as the blind heroine Dea and Conrad Veidt — a German Jewish actor featured in Robert Wiene’s The Cabinet of Doctor Caligari (1919) — as the mutilated clown. Without reliance on dialogue, and beneath a rictus held in place by prosthetic hooks, Veidt produces an extraordinary gamut of emotion through little more than a lachrymose stare. Often mantling his disfigurement with a cape and moving with the rigid gait of a trauma victim, his Gwynplaine becomes a kind of paralytic, living and communicating only from his goitered eyes. He is a casualty of what Hugo declares "an art/science of inverted orthopedics." The film’s image of Veidt influenced comic book writer Bob Kane when he created Batman’s arch-nemesis The Joker.

Leni’s film hasn’t enjoyed the immediate critical attention of Expressionist classics such as Fritz Lang’s Metropolis (1927) or F.W. Murnau’s Nosferatu (1922). But its anticipation of the horror genre’s waves of mutilation — from Georges Franju through to David Cronenberg — is remarkable.

THE MAN WHO LAUGHS

Sat/12, 7:45 p.m.

Castro Theatre

429 Castro, SF

(415) 621-6120, www.castrotheatre.com


THE 13TH SAN FRANCISCO SILENT FILM FESTIVAL runs July 11–13 at the Castro, 429 Castro, SF. Advance tickets (most shows $12–$17) are available by calling 1-800-838-3006 or visiting www.silentfilm.org

Our personal Mission

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"Smaller and better and more underground" is how Mission Creek Music and Arts Festival founder Jeff Ray describes the event’s 12th annual go-around. Now immersed in his MFA studies at San Francisco State University, Ray has turned to such curators as Smile’s Neil Martinson, Numbers’ Eric Landmark, Extra Action Marching Band’s Ben Furstenberg, and the Fucking Ocean’s Marcella Gries to cast MCMF’s net wider while tightening its focus to a compact five days. Expect a new Latin series and renewed commitment to local artists and Collision programming, which mixes experimental music, sound art, dance, performance, and video. Unrest assured, Ray says: "We still have a really good ear." (Kimberly Chun)

For a complete schedule go to www.mcmf.org




>>Can’t knock the Tussle
The San Francisco instrumentalists turn mad liberation into Cream Cuts
By Johnny Ray Huston


>>Get the Drift
Sonic Memory Drawings and outward instrumental rock creeps
By Michael Harkin


>>Resurrection blues
Lazarus passes around Hawk Medicine
By Kimberly Chun


>>Dye, dye, darlings
The smile-inducing shades of Bleachy Bleachy Bleach
By Michael Harkin


>>Noise to go
Nancy Garcia unleashes her sense of play
By Kimberly Chun


>>Sketches of Spain
Peter Walker communes with a new muse
By Max Goldberg


>>Feeding the fire of Mountainhood
Delicate rusticity straight outta Almaden
By Kimberly Chun


>>Cream-colored slumbers
Foxtails Brigade float beyond experimental folk
By Kat Renz


>>I’m here with lonesome
Copping the White Buffalo stance
By Kat Renz

>>Sneaky Creek: More Mission Creek highlites

>>PLUS: Touch the Mochipet! Touch him!

Millennium

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› paulr@sfbg.com

Considering that San Francisco is the center of the vegetarian universe and home to one of the country’s first, greatest, and most durable vegetarian restaurants — Greens — it has long seemed faintly odd to me that we don’t have more Greens-like places: restaurants that reconcile the vegetarian impulse (with its complex ecological and ethical components) and high style. We do have Millennium, at least, and maybe its sustained excellence has scared off would-be copycats and competitors.

Millennium isn’t as old as Greens, which turns 30 (!) next year, but it’s been around the block a few times — in fact, it’s even changed blocks. The restaurant opened in 1994 in a modest Civic Center setting; its neighbors then included, a few steps away, Ananda Fuara, a cheerfully plain spot whose curry-scented asceticism embodied what many people might have thought was a fundamental quality of vegetarian restaurants. But about five years ago, Millennium moved into much more sumptuous digs in the Hotel Savoy (now the Hotel California) at the edge of the theater district. In doing so, it displaced a French restaurant I’d long liked, Brasserie Savoy, but this sin can be pardoned, if only because there are plenty of good French restaurants in this city, but only one Millennium.

Millennium is special — but why? The setting is handsome, certainly — and not too different from its Brasserie Savoy days — but it doesn’t call attention to itself beyond a gracious spaciousness, gently partitioned with drapings of gauze and lit by netted cylinders that dangle from the high ceilings like hemp hams being air-cured. Noise is carefully controlled despite the hard tiles of the checkerboard floor. The space tells people: this is a nice place, a serious restaurant, and we want it to look good, but we spend most of our resources of money and energy on the food.

And the food is marvelous. It is elegant, nuanced, interesting, and is the kind of food you would be sorely tempted to offer to a meat-eater without disclosing there’s no meat in it — nor butter, eggs, cream, or any other animal product — to see if the meat-eater noticed. (My bet would be, probably not.) It’s also the kind of food you’d never make at home, even if you knew how; the wealth of emulsions, purées, essences, and flavored oils is a triumph of saucing and reflects an investment of time and skill that make the best restaurant kitchens what they are and reminds us that some gastronomic experiences remain unique to restaurants. (Millennium’s chef, Eric Tucker, has been running the kitchen from the beginning.)

One of the few dishes, perhaps the only one, I might have had a hope of recreating at home was a platter of seared romano beans ($5.75) — flat green beans — sprinkled with a mince of sundried tomato and dabbed with a rich black-olive tapenade. The gnocchi ($10.25), too, might just be within reach; these swam (with a cohort of similarly sized white beans) in a creamy morel mushroom sauce, with swatches of whole mushroom laid on top. (Morels are often described as resembling honeycombs, but they can also have the look of tiny brains.)

On the other hand, I would never attempt a dish like the black bean torte ($10.25), a disk-shaped layering founded on a whole-wheat tortilla and including caramelized plantains, a ladling of smoky black-bean puree, and some cashew sour cream. Rolling away from the torte’s front door was a carpet of habañero-pumpkin salsa verde, while a salsa of strawberries and jicama completed the ensemble. At last, somebody using the tartness of seasonal strawberries in a savory rather than sweet sense!

As at many places around town lately, Millennium’s menu offers excellent mix-and-match possibilities: you can make a nice little dinner for yourself with a couple of the smaller courses. But the main dishes do not disappoint; they’re substantial and satisfying, and because they don’t rely on meat, they’re neither heavy nor oversimple. While the best meatless cooking, for me, involves dishes that traditionally don’t have meat and don’t bother with substitutes, we were impressed by the meatiness of spice-rubbed tempeh torpedoes ($22.95), blackened and plated with smashed potatoes and a mélange of summer squashes in a lemon-caper sauce of cashew cream. Also good was a napoleon ($22.95) of polenta-crusted zucchini spears, surrounded by white beans, braised baby carrots, and a corn-zucchini hash in a coconut-milk sauce.

The flavor palette draws on a world of influences. The kitchen has been known to use zatar, a spice blend common in the Middle East, and the value of seasoning practices from south and southeast Asia is certainly recognized. But the dominant flavorings are from the Mediterranean basin. This is particularly true of the dessert menu — but this is particularly not a criticism of the dessert menu, since making any sort of dessert at all without cream or butter is a formidable undertaking, and making a dessert that would be exceptional at any restaurant is nothing short of astounding.

Millennium offers such a dessert. It is the lemon trifle ($8.25), a slice of rum-soaked walnut cake, topped with lemon cashew cream and capped off by a helmet of basil ice cream (also made with cashews) that reminded me of a pesto that had died, gone to heaven, and been reincarnated as a sweet. Its strange and alluring radiance half-obscured an equally worthy panna cotta ($8.25), a pearly disk of coconut milk and rosewater served with raspberries, an intense apricot emulsion, and a pat of chocolate-raspberry sorbet.

The patronage is surprisingly and pleasingly heterogeneous in age and affect. Having developed a mild case of hipster fatigue from Mission restaurants, I was relieved to see even younger people dressed nicely but unaffectedly at Millennium. They, like we, came for the food, stayed for the trifle, and left happy.

MILLENNIUM

Dinner: Sun.–Thurs., 5:30–9:30 p.m.; Fri.–Sat., 5:30–10 p.m.

580 Geary (in the Hotel California), SF

(415) 345-3900

www.millenniumrestaurant.com

Full bar

AE/DC/MC/V

Pleasant noise level

Wheelchair accessible

How Quickly they forget

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› sarah@sfbg.com

When former Sup. Ed Jew resigned in January 2008, he did so amid allegations that he wasn’t living in the Sunset District when he ran in the 2006 District 4 race, and that he had tried to extort thousands of dollars from the owners of Quickly, a bubble drink chain that has 13 franchises in San Francisco and thousands of stores worldwide.

Although Jew is headed to federal court Nov. 10 on charges of bribery, mail fraud, and extortion — including trying to extort $80,000 from Quickly’s owners for help obtaining city permits — Quickly still hasn’t secured those trouble-triggering permits.

The Small Business Protection Act, which San Francisco voters passed in November 2006, requires chain stores with more than 11 franchises to apply for conditional use permits before opening new outlets, to allow small businesses the opportunity to voice concerns they may have about chain store competition.

"But Quickly thinks they can flout the law," Sup. Jake McGoldrick claimed June 17, when he called for a Land Use Committee hearing into why a Quickly store at 331 Clement Street has been operating without a conditional use permit for a year.

City Planner Scott Sanchez told the Guardian that Quickly owners appealed a notice of violation that the Planning Department issued last summer. Sanchez said the 331 Clement store’s argument was that it was not a Quickly, "even though the store had the Quickly name, its colors, its beverages, and was listed on its Web site." He noted that Quickly eventually withdrew its appeal and opted in March to file a conditional use application instead.

Sanchez also explained that, thanks to a grandfather provision in the Small Business Act, only four of the San Francisco stores listed on Quickly’s Web site require such permits because the other nine opened before the act passed.

With hearings on those four stores scheduled in August, city zoning administrator Lawrence Badiner recalls that it was Jew, not the Planning Department, that first asked about the Quickly stores shortly after he was elected in November 2006.

"I said, ‘It sounds as if they are in violation,’<0x2009>" Badiner recalled. "I’d never heard of Quickly. But when we looked into it, I said, Jesus, yes, it does seem to be a violation of the planning code.’<0x2009>"

"Jew then did with that what he did," Badiner added. "We had no clue that he was in contact with them and proposing to help them. But when a supervisor asks about something, we keep them informed. But we had no clue, until it hit the papers, that he was doing anything with money."

Badiner says it will cost Quickly $1,000 to $2,000 per store to come into compliance. After the Jew allegations hit, Badiner said his department continued to hold discussions with Quickly’s business owners.

"I don’t think we talked about Sup. Jew," Badiner said. "We were trying to be scrupulously fair. Some said we acted too slowly; some say we persecuted them. But we just tried to go through the process."

Jew’s lawyer, Stuart Hanlon, accuses the Quickly stores "of having always been in violation."

"And they are still doing it," Hanlon told the Guardian. "They have one in [board president Aaron] Peskin’s district that Peskin has done zero about. I don’t know how they do it, but they seem to get by without getting the permits."

"What Ed did or didn’t do is a subject of a court case. But why is Quickly allowed to be here in violation of statutes? How are they doing it?" Hanlon asked. "They are clearly a chain store that gets supplied by and delivered to by a main store, and more of them have opened up since Ed had this problem."

Peskin replied to Hanlon’s comment by telling us that "Stuart Hanlon can go fuck himself. The guy shouldn’t be using my name as he does, and if he and his client had any idea how law worked, Ed would not be in a deep pile of trouble. The Planning Department is fully aware of all the violations of Quicklys throughout San Francisco, including my district. The fact that the Planning Department is not doing their job with speed and alacrity has nothing to do with us lawmakers."

When we called the Quickly franchise, a woman gave us a nonworking fax number for the 331 Clement store. When we asked to speak to the relevant Quickly owners, she told us, "Stores are individually owned, so we are not sure about that."

Support SF’s Clean Energy Act

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EDITORIAL The long-awaited charter amendment that would transform San Francisco’s energy policy will come before the Board of Supervisors within the next few weeks. The measure, known as the Clean Energy Act, deserves strong support.

The proposal is fairly simple, but far-reaching. It includes ambitious targets for reductions in greenhouse gas emissions and a mandate that the city shift to entirely renewable electricity by 2040. That would turn Mayor Gavin Newsom’s green city rhetoric into enforceable reality and put the city where it ought to be — in the forefront of global efforts to end reliance on fossil fuels.

And the sponsors of the charter amendment, Sups. Ross Mirkarimi and Aaron Peskin, realize that the only way the city will ever get serious about sustainable energy programs is to get rid of Pacific Gas and Electric Co.’s monopoly and shift to a publicly-run local utility.

The measure would, for the first time, create a detailed municipal energy policy and put control of the city’s energy future in the hands of city officials, not those of a private corporation. The San Francisco Public Utilities Commission would have a mandate to ensure that by 2017, 51 percent of the electricity used in the city came from renewable sources. By 2030 that number would rise to 75 percent, and by 2040 the city would be seeking a 100 percent renewable portfolio. (Energy from the city’s existing Hetch Hetchy hydroelectric project would count as renewable power, and since Hetch Hetchy already covers a significant percent of the municipal load, the targets are entirely reasonable.)

The PUC would have to prepare a report every two years advising the supervisors on how it is moving to meet the targets.

The measure also directs the PUC to come up with a plan to put San Francisco into the business of retail electric power. That’s something activists have been pushing for since the 1920s. The federal law that gave the city the unique right to build a dam in a national park additionally mandated that San Francisco use the electricity from the dam to establish a public power system. The city has been in violation of the Raker Act for some 90 years now. As we’ve reported in numerous stories going back to 1969, the city built the dam in Yosemite and managed to construct a world-class municipal water system — but PG&E, through bribery, corruption, and political influence, hijacked the dam’s electric power. Although San Francisco is the only city in the nation with a federal public-power mandate and one of the few that owns and operates a major public hydroelectric project, residents and businesses are still stuck with PG&E’s soaring rates and lousy service.

And PG&E — which uses fossil fuels for much of its power and operates a nuclear plant — won’t make even the state’s mild mandate of 20 percent renewable energy by 2010.

Public power cities all over California have lower rates and better service. The Sacramento Municipal Utility District, one of the largest public power systems in the state, is a national leader on renewable energy and conservation efforts. And public power makes tremendous economic sense: a municipal utility would bring tens, maybe hundreds of millions of dollars per year into the city’s coffers. That money could be invested in solar, wind, and tidal energy, and some could go to reduce the structural budget deficit that haunts City Hall every year.

PG&E is already nervous about the prospect of a renewable energy and public power measure passing this fall, and has cranked up a campaign of lies and misinformation. The news media are already starting to pick up the pro-PG&E stance — the San Francisco Business Times is running a "poll" on public power that leads off with the tired old claim that "San Francisco can’t make the buses run on time. But it can find power to keep the lights on?" (A bit of reality here: urban bus systems are tough to run because they lose money. Public power systems make money. The lights stay on in Sacramento, Palo Alto, Los Angeles, Alameda, Santa Clara, and a lot of other cities — and the people who live there pay less, get more reliable service, and are more likely to see reductions in greenhouse gas emissions.)

Six votes are needed to put the Clean Energy Act on the ballot. Any supervisor who doesn’t support it will forever be known as someone who puts the interests of PG&E ahead of the needs of San Francisco, the nation, and the planet.

Editor’s Notes

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› tredmond@sfbg.com

I was dreading the drive home from Lake Shasta. Sunday afternoon. The end of a major holiday weekend. Every car in Northern California would be converging on the Bay Bridge right around the same time I got there. Figure two hours from the Carquinez Bridge to the toll plaza. Hot weather. Tired, hungry kids who have to pee. Nowhere to go, no way to move. An impatient driver (me), who can’t stand waiting five minutes in a grocery store line, stuck in an endless, hellish queue with no outlet for the anger except to crab at my long-suffering partner. It wasn’t going to be pretty.

We did what we could. We got up early Sunday morning, de-fusted the boat, pulled into the dock by 11 a.m., and got on the road by noon. But still: 210 miles to San Francisco. We’d hit the Bay Area right about 3 p.m., along with every other auto-mad idiot who drove somewhere for the Fourth of July.

But a funny thing happened: we cleared Vacaville, and Crockett, and Vallejo, and I kept waiting for the traffic to hit. And then Albany and Berkeley and … whoa: we were on the bridge approach at 3:15, not one single stop-and-go spot, and the bridge was no worse than a typical pre-rush-hour weekday afternoon. It seemed as if nobody was driving.

Nobody is a bit too strong of a term — there were still plenty of people on the road. But for the first time in a decade, the California State Automobile Association reported a decline in car use over the holiday. "Less disposable cash and an overall increase in travel expenses have caused Californians to postpone or downsize their holiday getaways," CSAA spokesperson Cynthia Harris announced.

You could see that up at the lake, where rows of empty houseboats sat at the dock. Part of it was the incessant media coverage of the fires (in fact, Shasta was fine). But the biggest factor was the price of gas. At $4.50 a gallon, people don’t drive as much.

This is good.

For the first time in many, many years, people are talking about fuel efficiency again. I’m obsessed with it: change the oil, keep the car tuned and the tires inflated, and our utterly uncool Saturn wagon, with two-wheel drive and a small, weak four-cylinder engine, gets almost 40 mpg on the highway. We burned maybe 12 gallons round trip, which cost a little more than $50. Twice what it cost a few years ago, but not a deal-breaker. All of a sudden, the SUVs are grounded, and we’ve got the trick ride.

And I started to think: imagine what would have happened if courageous politicians in California had put a $2-a-gallon tax on gas five years ago. The SUVs and Hummers would be long gone. Public transit would be booming. And with 1.5 billion gallons of gas sold per year in the state, there would be $3 billion more each year in new revenue. Enough to fund huge improvements in urban transportation systems. The high-speed rail line to Los Angeles would be well underway. Traffic (and pollution, and global warming) would have dropped dramatically.

Yeah, the price of gas hits hard on working-class people who have to drive. I get that. It’s not the world’s most progressive tax. But the price has gone up anyway (as we all knew it would eventually) — and now all of that money is going into private oil company profits instead of going into public benefits. Something to think about.

SOS: Vote here on phony PG&E poll

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By Bruce B. Brugmann (Scroll down to vote against PG&E and for the Clean Energy Act)

Already, even before the supervisors approve the new San Francisco Clean Energy Act, PG&E operatives are down the poles like firemen and women.

Their first strike is a poll in the July ll edition of the San Francisco Business Times, a link in the American City Business Journals chain, the nation’s largest publisher of metropolitan business journals, headquartered in Charlotte, North Carolina. The Business Times did a poll for PG&E, a major advertiser, that poses these questions right out of the PG&E playbook with the same tired old PG&E arguments.

“Should voters be asked–for the fourth time in a decade–whether San Francisco should take over the city’s electric utility?

“”Yes. As Supervisor Mirkarimi says, San Francisco voters should finally back ‘removing the profit motive from the private sector delivery of electric service.

“”No, no, no…No. San Francisco can’t make the buses run on time. But it can find power to keep the lights on? Yeah, and maybe it could finance buying out PG&E by selling the Golden Gate Bridge.”

As attentive Guardian readers know, this is nonsense and the Business Times, as a paper that purports to write seriously about business and consumer issues, to act as the voice of PG&E so quickly and so cravenly even before the initiative is approved. Public power is the only new large potential revenue source for the city, would be much cheaper and cleaner than PG&E power, and would be locally accountable to the local public. More, it would finally bring the city into compliance with the federal Raker Act, which mandates public power for San Francisco because the Raker Act allowed the city a major concession to dam Hetch Hetchy Valley in Yosemite National Park for our water and power supply.

Cast your vote below. For early evidence of PG&E’s emerging campaign of lies, misdirection and astroturfing, read last week’s Guardian by Amanda Witherell. For the case to “Support SF’s Clean Energy plan,” read the editorial below in the Wednesday Guardian.

Alert: The Supervisors’ rules committee will hold a critical hearing on the initiative at 2 p.m. Wednesday at City Hall, Room 273, item eight on the agenda. Attend if you can and stay alert for more PG&E shenanigans. On guard, for the big battle ahead, B3, who is counting on the clean energy movement to knock out the Potrero HIll power plant tthat I see every day from my office window

Click here to vote in the San Francisco Business Times’ survey.

Click here for this week’s editorial, Support SF’s Clean Energy Act.

Click here to read last week’s article by Amanda Witherell titled, The dirty fight over clean power

Who will boycott the HRC dinner?

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The Human Rights Campaign, a national LGBT lobbying group, is holding its gala dinner in San Francisco July 26th, and the event is creating a political furor.

See, the HRC agreed to a deal last year that cut transgender workers out of the Employment Non-Discrimination Act. The HRC has been under fire ever since. Local queer activists, furious at the HRC sellout, are boycotting the dinner. And a long list of communithy leaders, including Carole Migden and Mark Leno, Tom Ammiano, Bevan Dufty and Mark Sanchez have signed on and announced they won’t attend.

Dennis Herrera, who was supposed to receive an award at the dinner for his work on same-sex marriage, just announced he won’t go. Good for him.

So who, exactly, WILL be attending this $350-a-plate dinner?

Well, I’m told Rep. Nancy Pelosi has been invited. She was, of course, part of the deal in the House that threw the trans people under the bus, but I don’t think she wants to be the only San Francisco elected official to defy the boycott. Then there’s Mayor Gavin Newsom; the HRC would love to celebrate same-sex marriage this year, since it diverts attention from the ENDA controversy, but will Newsom piss off a nearly unanimous queer community and attend?

Frankly, Pelosi and Newsom would be fools to go. If the HRC had any sense, the group would cancel the event; the group has lost so much credibility in San Francisco that the dinner’s going to be an embarassment.

Local Heroes

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Del Martin and Phyllis Lyon


Del Martin, left, and Phyllis Lyon
 

Del Martin and Phyllis Lyon have lived active lives — although “activist” would be the better word. One, the other, or both have been founding members of the Daughters of Bilitis, the Alice B. Toklas Democratic Club, the Council on Religion and the Homosexual, and Old Lesbians Organizing for Change. Martin, 87, was the first lesbian elected to a position in the National Organization for Women, where she was also the first to assert that lesbian issues are feminist issues. Lyon, 83, edited the Ladder, the first magazine in the United States devoted to lesbian issues. And together, it seems, there’s little they haven’t done, from coauthoring books to becoming the first gay couple in the nation to legally marry on Feb. 12, 2004, almost 50 years to the day they first became a couple.

Deemed void later that year, their marriage was reconstituted this June when the California Supreme Court ruled that same-sex marriage is, in fact, legal. Once again, Martin and Lyon were the first in line to tie the knot.

But gay marriage wasn’t the right they were fighting for when their relationship began back in 1954. “We had other, bigger issues. We didn’t have anything in the ’50s and ’60s,” Lyon recalls. “We were worried about getting a law passed to disallow people from getting fired or thrown out of their homes for being gay.”

Even something as simple as having a safe space to congregate was elusive. Before the mid-1950s, the only organizations that dealt with gay issues were run by and focused on men. So Martin and Lyon, along with a few other lesbian couples, founded the Daughters of Bilitis in 1955. “We would meet in homes, dance, and have drinks and so on, and not be subject to police raids, which were happening then in the gay and lesbian bars,” Lyon said. Those informal get-togethers eventually became the first lesbian organization with chapters nationwide.

They say their activism isn’t something that was sparked by their gender and sexuality, but came from being raised in politically conscious homes — Lyon in Tulsa, Okla., and Martin in San Francisco. When they met, working at the same company in Seattle, “both of us were already politically involved,” Lyon says.

“Really, ever since we were kids,” Martin adds. “You followed elections. You followed things like that. We wore buttons for Roosevelt. We couldn’t send money because we didn’t have any.”

“And then when we both moved in together, in San Francisco, the first thing we did was get involved with Adlai Stevenson,” Lyon says. They quickly got to know the major Democratic movers and shakers in the city, like the Burton family and later Nancy Pelosi, whom they would eventually turn to when there were gay issues that needed a push.

“We didn’t come out to everybody, but we came out to Nancy and the Burtons,” Lyon says.

These days age has tamped down the physically active part of their political activism, although they still donate money and were ardent Hillary Clinton supporters during this year’s Democratic primary race. They’re now backing Barack Obama over John McCain, though Martin expressed reservations. “I’m waiting to see how he handles the question about women and women’s rights. I’m not satisfied yet.”

Amanda Witherell

 

Local hero

Alicia Schwartz


Alicia Schwartz
 

Whether she’s demanding sit-down time with the mayor to discuss asbestos dust at Hunters Point Shipyard, offering to debate former 49ers president Carmen Policy over the need to develop 50 percent affordable housing in the Bayview, or doing the cha-cha slide on Third Street to publicize the grassroots Proposition F campaign, which fought the Lennar-financed multimillion-dollar Proposition G on the June ballot, Alicia Schwartz always bubbles with fierce enthusiasm.

“I absolutely love my job,” says Schwartz, who has been a community organizer with POWER (People Organized to Win Employment Rights) for four years.

Born and raised in Marin County, Schwartz graduated from the University of California, San Diego, with a degree in sociology and anthropology before returning to the Bay Area, where she is enrolled in San Francisco State University’s ethnic studies graduate program and works for the San Francisco–based POWER.

“It’s an amazing organization full of amazing people, united for a common vision, which is ending oppression and poverty for all,” says Schwartz. “In cities, the priorities are skewed to benefit folks who are wealthier and have more benefits. But the folks who keep the city running are not recognized or are suppressed.”

Prop. F wasn’t Schwartz’s first campaign experience. She had previously organized for reproductive justice, for access to health care and sexual-health education, and against the prison-industrial complex.

But it was the most inspirational campaign she’s seen so far.

“I saw the Bayview transformed,” Schwartz explains. “I saw people who’d lost faith in politicians come to the forefront and fight for the future. And I saw people across the city rallying in support, too.”

Schwartz acknowledges that Prop. F didn’t win numerically.

“But practically and morally, and in terms of a broader vision, Prop. F advanced the conversation about the future of San Francisco, about its working-class and black future,” Schwartz says. “Clearly, that fight isn’t over. It’s just beginning.”

Schwartz says she believes that the other success of Prop. F is that it raised the question of who runs our cities.

“And I think it was a huge victory, even being able to accomplish running a grassroots campaign, with no money whatsoever and where we had to up the ante, in terms of getting to know some of the political establishment.”

Most of all, Schwartz says she appreciated being able to work with people who hadn’t been part of POWER.

“And I appreciated being able to advance a set of demands that a broad range of people could support, while keeping the Bayview and its residents at the forefront,” she says.

While that particular campaign may be over, the battle for Bayview–Hunters Point continues on many fronts, says Schwartz.

“Are we going to allow it to be run by developers who don’t have our best interests at heart and who fool us with payouts and false promises?” she asks. “Are we going to allow San Francisco to become a place where people can’t afford to live, but surely have to come to work?”

Amanda Witherell

Local hero

James Carey, Daniel Harder, and Jeff Rosendale


From left, Daniel Harder, James Carey, and
Jeff Rosendale
 

It would be unfair to give any one person credit for stopping the state’s foolish plan to aerially spray synthetic pheromones to eradicate the light brown apple moth (LBAM). Thousands were involved in that struggle.

But there are at least three individuals we can think of who successfully fought the state with science, a tool that too often is used to dupe, not enlighten, the public.

They are James Carey, a University of California, Davis, entomology professor; Daniel Harder, botanist and executive director of the UC Santa Cruz Arboretum; and Jeff Rosendale, a grower and horticulturalist who runs a nursery in Soquel.

Together and separately, this trio used experience, field observation, and fact-finding tours to make the case that the California Department of Food and Agriculture (CDFA) would court disaster, in terms of lost time, money, and public goodwill, if it went ahead with the spraying.

And they did so at a time when UC, as an institution, remained silent on the matter.

“I felt like I needed to do this. No one was stepping up from a position of entomological knowledge,” says Carey, whose prior work on an advisory panel working with state agencies fighting the Mediterranean fruit fly between 1987 and 1994 led him to speak out when the state sprayed Monterey and Santa Cruz counties last fall.

Carey says the signatures of two UC Davis colleagues, Frank Zalom and Bruce Hammock, on a May 28 letter to the US Department of Agriculture also helped.

“All of us are senior and highly credentialed scientists,” Carey notes, “so our letter was taken really seriously by the agriculture industry.”

Rosendale and Harder had taken a fact-finding tour last December to New Zealand, which has harbored this leaf-rolling Australian bug for more than a century, to find out firsthand just how big of a problem the moth really is.

“We wanted to get the best information about how they were dealing with it, and what it was or wasn’t doing,” Rosendale recalls. What he and Harder discovered was that New Zealand had tried using organophosphates, toxic pesticides, against the moths — but the chemicals killed all insects in the orchards, including beneficial ones that stopped parasites.

“When they stopped using organophosphates, the food chain took care of the LBAM,” Rosendale says.

Like Carey and Rosendale, Harder believes that the state’s recently announced plan to use sterile moths instead of pesticides is a lost cause. He says it’s impossible to eradicate LBAM at this point because the pest is already too widespread.

“It’s not going to work, and it’s not necessary,” Harder says.

And now, Glen Chase, a professor of systems management specializing in environmental economics and statistics, says that the CDFA is falsely claiming that the moth is an emergency so it can steal hundreds of millions from taxpayer emergency funds.

“The widespread population of the moth in California and the specific population densities of the moth, when analyzed with real science and statistics, dictate that the moth has been in California for at least 30 to 50 years,” states Chase in a July 15 press release.

The state has put spraying urban areas on hold, but the battle isn’t over — and the scientists who have gone out on a limb to inform the public are still on the case.

Sarah Phelan

 

Local hero

Queer Youth Organizing Project


From left, Fred Sherburn-Zimmer,
Josue Arguelles, Jane Martin, Vivian Crocket,
Justin Zarrett Blake,
Joseles de la Cruz, and Abel-Diego Romero
 

The queer-labor alliance Pride at Work, a constituent group of the AFL-CIO, added a youth brigade last year, and it’s been doing some of the most inspired organizing and advocacy in San Francisco. The Queer Youth Organizing Project can marshal dozens of teen and twentysomething activists with a strong sense of both style and social justice for its events and causes.

Founded in March 2007, QYOP has already made a big impact on San Francisco’s political scene, reviving the edgy and indignant struggle for liberation that had all but died out in the aging queer movement. Pride at Work has also been rejuvenated and challenged by QYOP’s youthful enthusiasm.

“It really is building the next generation of leaders in the queer community, and man, are they kick-ass,” says Robert Haaland, a key figure in both Service Employees International Union Local 1021 and Pride at Work. “Pride at Work is now a whole different organization.”

QYOP turned out hundreds of tenants for recent midday City Hall hearings looking at the hardball tactics of CitiApartments managers, an impressive feat that helped city officials and the general public gain a better understanding of the controversial landlord.

“They have a strong focus on tenant issues and have done good work on Prop. 98 and some tenant harassment legislation we’ve been working on,” says Ted Gullickson, director of the San Francisco Tenants Union. “They really round out the coalition between tenants and labor. They do awesome work.”

In addition to the energy and numbers QYOP brought to the campaign against the anti–rent control measure Prop. 98, the group joined the No Borders encampment at the Mexican border in support of immigrant rights and turned a protest against the Human Rights Campaign (which angered some local queers for supporting a workplace rights bill that excluded transgenders) into a combination of pointed protest and fun party outside the targeted group’s annual gala dinner.

“It’s probably some of the most interesting community organizing I’ve seen in San Francisco,” Haaland says. “It’s really made a difference in our capacity to do the work.”

As an added bonus in this essentially one-party town, QYOP is reaching young activists using mechanisms outside the traditional Democratic Party structures, an important feature for radicalized young people who are wary of partisan paradigms. And its members perhaps bring an even stronger political perspective than their Party brethren, circulating reading lists of inspiring thinkers to hone their messages.

Haaland says QYOP has reenergized him as an activist and organizer: “They’re teaching me, and it’s grounding me as an activist in a way I haven’t been for a long time.”

Steven T. Jones

The Fourth of July in Rock Rapids, Iowa, 1940-53

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The good old days in Rock Rapids, Iowa,
the Fourth of July, l940-53

By Bruce B. Brugmann

(Note: In July of l972, when the Guardian was short a Fourth of July story, I sat down and cranked out this one for the front page on my trusty Royal Typewriter. I now reprint it each year on the Bruce blog, with some San Francisco updates and postscripts.)

Back where I come from, a small town beneath a tall standpipe in northwestern Iowa, the Fourth of July was the best day of a long, hot summer.

The Fourth came after YMCA camp and Scout camp and church camp, but before the older boys had to worry about getting into shape for football. It was welcome relief from the scalding, 100-degree heat in a town without a swimming pool and whose swimming holes at Scout Island were usually dried up by early July. But best of all, it had the kind of excitement that began building weeks in advance.

The calm of the summer dawn and the cooing of the mourning doves on the telephone wires would be broken early on July Fourth: The Creglow boys would be up by 7 a.m. and out on the lawn shooting off their arsenal of firecrackers. They were older and had somehow sent their agents by car across the state line and into South Dakota where, not far above the highway curves of Larchwood, you could legally buy fireworks at roadside stands.

Ted Fisch, Jim Ramsey, Wiener Winters, the Cook boys, Hermie Casjens, Jerry Prahl, and the rest of the neighborhood would race of their houses to catch the action. Some of them had cajoled firecrackers from their parents or bartered from the older boys in the neighborhood: some torpedoes (the kind you smashed against the sidewalk); lots of 2 and 3-inchers, occasionally the granddaddy of them all, the cherry bomb (the really explosive firecracker, stubby, cherry red, with a wick sticking up menacingly from its middle; the kind of firecracker you’d gladly trade away your best set of Submariner comics for).

Ah, the cherry bomb. It was a microcosm of excitement and mischief and good fun. Bob Creglow, the most resourceful of the Creglow boys, would take a cherry bomb, set it beneath a tin can on a porch, light the fuse, then head for the lilac bushes behind the barn.

“The trick,” he would say, imparting wisdom of the highest order, “is to place the can on a wood porch with a wood roof. Then it will hit the top of the porch, bang, then the bottom of the porch, bang. That’s how you get the biggest clatter.”

So I trudged off to the Linkenheil house, the nearest front porch suitable for cherry bombing, to try my hand at small-town demolition. Bang went the firecracker. Bang went the can on the roof. Bang went the can on the floor. Bang went the screen door as Karl Linkenheil roared out in a sweat, and I lit out for the lilacs behind the barn with my dog, Oscar.

It was glorious stuff – not to be outdone for years, I found out later, until the Halloween eve in high school when Dave Dietz, Ted Fisch, Ken Roach, Bob Babl, and rest of the Hermie Casjens gang and I made the big time and twice pushed a boxcar loaded with lumber across Main Street and blocked it for hours. But that’s another story in my Halloween blog of last year.

Shooting off fireworks was, of course, illegal in Rock Rapids, but Chief of Police Del Woodburn and later Elmer “Shinny” Sheneberger used to lay low on the Fourth. I don’t recall ever seeing them about in our neighborhood and I don’t think they ever arrested anybody, although each year the Rock Rapids Reporter would carry vague warnings about everybody cooperating to have “a safe and sane Fourth of July.”

Perhaps it was just too dangerous for them to start making firecracker arrests on the Fourth – on the same principle, I guess, that it was dangerous to do too much about the swashbuckling on Halloween or start running down dogs without leashes (Mayor Earl Fisher used to run on the platform that, as long as he was in office, no dog in town would have to be leashed. The neighborhood consensus was that Fisher’s dog, a big, boisterous boxer, was one of the few that ought to be leashed).

We handled the cherry bombs and other fireworks in our possession with extreme care and cultivation; I can’t remember a single mishap. Yet, even then, the handwriting was on the wall. There was talk of cutting off the fireworks supply in South Dakota because it was dangerous for young boys. Pretty soon, they did cut off the cherry bomb traffic and about all that was left, when I came back from college and the Roger boys had replaced the Creglow boys next door, was little stuff appropriately called ladyfingers.

Fireworks are dangerous, our parents would say, and each year they would dust off the old chestnut about the drugstore in Spencer that had a big stock of fireworks and they caught fire one night and much of the downtown went up in a spectacular shower of roman candles and sparkling fountains.

The story was hard to pin down, and seemed to get more gruesome every year – but, we were told, this was why Iowa banned fireworks years before, why they were so dangerous and why little boys shouldn’t be setting them off. The story, of course, never made quite the intended impression; we just wished we’d been on the scene.
My grandfather was the town druggist (Brugmann’s Drugstore, “where drugs and gold are fairly sold,” since 1902) and he said he knew the Spencer druggist personally. Fireworks put him out of business and into the poorhouse, he’d say, and walk away shaking his head.

In any event, firecrackers weren’t much of an issue past noon – the Fourth celebration at the fairgrounds was getting underway and there was too much else to do. Appropriately, the celebration was sponsored by the Rex Strait post of the American Legion (Strait, so the story went, was the first boy from Rock Rapids to die on foreign soil during World War I); the legionnaires were a bunch of good guys from the cleaners and the feed store and the bank who sponsored the American Legion baseball team each summer.

There was always a big carnival, with a ferris wheel somewhere in the center for the kids, a bingo stand for the elders, a booth where the ladies from the Methodist Church sold homemade baked goods, sometimes a hootchy dancer or two, and a couple of dank watering holes beneath the grandstand where the VFW and the Legion sold Grainbelt and Hamms at 30¢ a bottle to anybody who looked of age.

Later on, when the farmboys came in from George and Alvord, there was lots of pushing and shoving, and a fist fight or two.

In front of the grandstand, out in the dust and the sun, would come a succession of shows that made the summer rounds of the little towns. One year it would be Joey Chitwood and his daredevil drivers. (The announcer always fascinated me: “Here he comes, folks, rounding the far turn…he is doing a great job out there tonight…let’s give him a big, big hand as he pulls up in front on the grandstand…”)

Another year it would be harness racing and Mr. Hardy, our local trainer from Doon, would be in his moment of glory. Another year it was tag team wrestling and a couple of barrel-chested goons from Omaha, playing the mean heavies and rabbit-punching their opponents from the back, would provoke roars of disgust from the grandstand. ( The biggest barrel-chest would lean back on the ropes, looking menacingly at the crowd and yell, “ Aw, you dumb farmers. What the hell do you know anyway?” And the grandstand would roar back in glee.)

One year, Cedric Adams, the Herb Caen of Minneapolis and the Star-Tribune, would tour the provinces as the emcee of a variety show. “It’s great to be in Rock Rapids,” he would say expansively, “because it’s always been known as the ‘Gateway to Magnolia.” (Magnolia, he didn’t need to say, was a little town just over the state line in Minnesota which was known throughout the territory for its liquor-by-the-drink roadhouses. It was also Cedric Adams’ hometown: his “Sackamenna.”) Adams kissed each girl (soundly) who came on the platform to perform and, at the end, hushed the crowd for his radio broadcast to the big city “direct from the stage of the Lyon County Fairgrounds in Rock Rapids, Iowa.”

For a couple of years, when Rock Rapids had a “town team,” and a couple of imported left-handed pitchers named Peewee Wenger and Karl Kletschke, we would have some rousing baseball games with the best semi-pro team around, Larchwood and its gang of Snyder brothers: Barney the eldest at shortstop, Jimmy the youngest at third base, John in center field, Paul in left field, another Snyder behind the plate and a couple on the bench. They were as tough as they came in Iowa baseball.

I can remember it as if it were yesterday at Candlestick, the 1948 game with the Snyders of Larchwood. Peewee Wenger, a gawky, 17-year-old kid right off a high school team, was pitching for Rock Rapids and holding down the Snyder artillery in splendid fashion. Inning after inning he went on, nursing a small lead, mastering one tough Larchwood batter after another, with a blistering fastball and a curve that sliced wickedly into the bat handles of the right-handed Larchwood line-up.

Then the cagey Barney Snyder laid a slow bunt down the third base line. Wenger stumbled, lurched, almost fell getting to the ball, then toppled off balance again, stood helplessly holding the ball. He couldn’t make the throw to first. Barney was safe, cocky and firing insults like machine gun bullets at Peewee from first base.

Peewee, visibly shaken, went back to the mound. He pitched, the next Larchwood batter bunted, this time down the first base line. Peewee lurched for the ball, but couldn’t come up with it. A couple more bunts, a shot through the pitcher’s mound, more bunts and Peewee was out. He could pitch, but, alas, he was too clumsy to field. In came Bill Jammer, now in his late 30’s, but in his day the man who beat the University of Iowa while pitching at a small college called Simpson.

Now he was pitching on guts and beer, a combination good enough for many teams and on good days even to take on the Snyders. Jammer did well for a couple of innings, then he let two men on base, then came a close call at the plate. Jammer got mad. Both teams were off the bench and onto the field and, as Fred Roach wrote in the Rock Rapids Reporter, “fisticuffs erupted at home plate.” When the dust cleared, Jammer has a broken jaw, and for the next two weeks had to drink his soup through a straw at the Joy Lunch. John Snyder, it was said later, came all the way in from center field to throw the punch, but nobody knew for sure and he stayed in the game. I can’t remember the score or who won the game, but I remember it as the best Fourth ever.

At dusk, the people moved out on their porches or put up folding chairs on the lawn. Those who didn’t have a good view drove out to the New Addition or parked out near Mark Curtis’ place or along the river roads that snaked out to the five-mile bridge and Virgil Hasche’s place.

A hush came over the town. Fireflies started flickering in the river bottom and, along about 8:30, the first puff of smoke rose above the fairgrounds and an aerial bomb whistled into the heavens. BOOM! And the town shook as if hit by a clap of thunder.

Then the three-tiered sky bombs – pink, yellow, white, puff, puff, puff. The Niagara Falls and a gush of white sparks.

Then, in sudden fury, a dazzling display of sizzling comets and aerial bombs and star clusters that arched high, hung for a full breath and descended in a cascade of sparks that floated harmlessly over the meadows and cornfields. At the end, the flag – red, white and blue – would burst forth on the ground as the All-American finale in the darkest of the dark summer nights. On cue, the cheers rolled out from the grandstand and the cars honked from the high ground and the people trundled up their lawn chairs and everybody headed for home.

Well, I live in San Francisco now, and I drive to Daly City with my son, Danny, to buy some anemic stuff in gaudy yellow and blue wrapping and I try unsuccessfully each year to get through the fog or the traffic to see the fireworks at Candlestick. But I feel better knowing that, back where I come from, everybody in town will be on their porches and on the backroads on the evening of the Fourth to watch the fireworks and that, somewhere in town, a little boy will put a big firecracker under a tin can on a wood porch, then light out for the lilacs behind the barn.

P.S. Our family moved in l965 from Daly City to a house in the West Portal area of San Francisco. There are, I assure you, few visible fireworks in that neighborhood. However, down where we work at the Guardian building at the bottom of Potrero Hill, the professional and amateur action is spectacular.

From the roof of our building at 135 Mississippi, and from any Potrero Hill height, you can see the fireworks in several directions: the waterfront fireworks in the city, fireworks on the Marin side of the Golden Gate bridge, fireworks at several points in the East Bay, fireworks along the Peninsula coast line.

And for the amateur action, parents with kids, kids of all ages, spectators in cars and on foot, congregate after dusk along Terry Francois Boulevard in San Francisco along the shoreline between the Giants ballpark and Kellys Mission Rock restaurant.
The action is informal but fiery and furious: cherry bombs, clusters, spinning wheels, high flying arcs, whizzers of all shapes and sizes. The cops are quite civilized and patrol the perimeter but don’t bother anybody. I go every year. I think it’s the best show in town. B3.

Alejandro Escovedo is a ‘Real Animal’

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Alejandro Escovedo recently performed “Always a Friend” with Bruce Springsteen.

By Todd Lavoie

How about some good news for a change? Alejandro Escovedo’s comeback keeps getting stronger.

When the singer-songwriter collapsed post-show back in 2003 after contracting Hepatitis C, the outlook was pretty grim – as it turned out, he had had the disease for several years, and his body was in greatly compromised condition. Consequently, his musical career had to be back-burnered for a few years, to allow time for recovery – surely a painful option for the musician, who had more or less been playing nonstop ever since forming San Francisco punk legends the Nuns back in the mid-’70s.

His return to recording, 2006’s The Boxing Mirror (Back Porch), was a triumphant, frequently touching announcement of recuperation, but the just-released Real Animal (Back Porch/ Manhattan/Blue Note Label Group) resolves any fleeting doubts about the state of Escovedo’s health after his brush with death.

Local Artist of the Week: Praba Pilar

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praba.jpg

LOCAL ARTIST Praba Pilar
TITLE Performance still from The Church of Nano Bio Info Cogno
THE STORY Reverend Praba Pilar of the Church of Nano Bio Info Cogno travels the world offering fantastical prophesies, outrageous sermons, incantations, neorituals, and a freshly minted techno-communion with emerging technology. Inverting phobic cries for a precautionary principle, the church proclaims a liturgy that drives these technologies: Nanotechnology, Biotechnology, Information Technology and Cognitive Neuroscience — forward into the neoteric millennium.
BIO A Bay Area/Colombian multidisciplinary artist, Praba Pilar explores the intersections of art, science, technology, and community through site installations, performances, street theater, and Web sites. Her wildly diverse work has been presented at museums, galleries, universities, and on streets around the world while winning multiple honors, including the Creative Capital award and the Creative Work Fund award.
SHOW “Bay Area Now 5,” opening July 19 (performance: Aug. 10, 2 p.m.). Yerba Buena Center for the Arts, 701 Mission, SF. $3–$6, (415) 978-2787, www.ybca.org. “We Remember the Sun,” through Sept. 13 (performance Sept. 11, 7 p.m.). Walter and McBean Galleries, San Francisco Art Institute, 800 Chestnut, SF. Free, (415) 749-4563, www.sfai.edu
WEB SITE www.prabapilar.com

Domestic unrest

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› a&eletters@sfbg.com

Survival often depends on one’s ability to scurry around. Dancers and smaller-scale presenters must use their wits if they want to show their audiences more than homegrown fare. For the most part, the process at SCUBA — a presenters’ network that shares companies out of Seattle, Minneapolis, Philadelphia, and San Francisco — works. Sometimes, however, there is a glitch. Such was the case June 26–28 with one of the two dance installations presented as part of "ODC Theater Festival 2: Local Heroes/Big Picture," Kate Watson-Wallace’s House and Karen Sherman’s Tiny Town.

Watson-Wallace has made something of a reputation for herself in her home city of Philadelphia, where she takes over physical locations and transforms them through performance. Since these are acutely site-specific works, traveling with them is difficult. At Theater Artaud, she was confronted with a huge space that has a strong personality of its own. It proved particularly problematic during the first of two performances on opening night when the soft light of dusk streamed through the huge, history-crusted windows of Artaud’s loading dock. She also had to deal with memories (at least this audience member’s) of Lizz Roman, Joanna Haigood, and other artists who have presented their own — and stronger — interpretations of Artaud. Watson-Wallace works best with intimacy, and her production simply needed more confinement than the space or the budget allowed.

House consisted of what probably were three excerpts from the original piece, performed in the theater’s loading dock and lobby. To create the dining room, she placed a long table and six chairs in a corner, which afforded some sense of enclosure. This first part was choreographically the richest, and well performed by Watson-Wallace, Megan Mazarick, and John Luna with local dancers Sebastian Grubb, Jocelyn Lee, and Marisa Mariscotti. Shifting relationships — on, over, and under the table, as well as up the wall — flowed with the inevitability of clock time, yet they were filled with nuanced little fits and starts. An emotional climate redolent with suggestions of love, rebellion, and fatigue recalled tense moments around anyone’s family dinner table. People came and went, hands tentatively touched, looks were exchanged, support was given and withdrawn.

In the living room — suggested by a sofa, rug, and coffee table nailed halfway up a wall — Mazarick’s slow-paced solo had to deal with gravity as she slithered, climbed, and hung over the furniture. This was bland. Two pillows attached to Artaud’s lobby served as Watson-Wallace and Luna’s bedroom. A live video projected their movement onto a lumpy mattress. The duo’s well-danced intimacy — tender, playful, troubled — suggested two people used to each other in bed and out. I kept wondering whether an element of voyeurism was supposed to be at play between the real and the virtual performance. If there was, I didn’t see it.

Sherman resides in Minneapolis but was born in St. Louis. The person sitting next to me at the show was familiar with the choreographer’s birthplace and caught local references that escaped me. Tiny Town was a sardonic but curiously affectionate portrait that peeled away the layers of what the program described as a "Midwestern landscape," yet this could be any small town. It’s a place where everyone minds everyone else’s business, where residents frantically try to keep up and fit in — and woe to those who can’t.

Tiny was meticulously crafted with rich production values. It ran a little flat toward the end, but showcased fine performances from dancers Sherman, Joanna Furnans, Megan Mayer, Morgan Thorson, and Kristin Van Loon. You knew that not everything was right behind the set’s picket fences when a rising cloud revealed two atomic reactors and a woman with her legs tied literally turned herself upside down to "walk." She ended headfirst in a stack of pancakes, and that was just for starters. In this world of superficial prettiness — flowers stuffed in mailboxes, glittery party dresses — tomboys get beaten up and toothy housewives are indeed desperate.

The dancing was appropriately stiff-legged and fractured, full of moments infused with a dogged persistence. It spoke volumes about discomfort within one’s skin, if not outright self-hatred. And all of it was presented with pasted-on smiles.

Centiclubs

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› kimberly@sfbg.com

SONIC REDUCER "It’s like an old ship. Things break, things fall apart, and you just keep bailing water and hope you hit land someday!"

That’s Guy Carson, Café Du Nord owner and ex-Hotel Utah booker, on owning a 100-year-old club. Yes, there are the inevitable aches and pains attendant with a structure erected just two years after the great ‘quake, as well as eerie little trap doors and escape hatches from the Prohibition era. But, oh, the stories the Du Nord, House of Shields, and Hotel Utah — a troika of oases overflowing with libation and live music that have all hit the century mark in the past year — could tell. ‘Member the time PJ Harvey played a not-so-secret show at the Utah, triggering round-the-block queues? Or the first San Francisco show by rock legends the Zombies at the Du Nord? Or the rumored gunfight played out by Comstock Lode robber baron William Sharon in front of his then-men’s social club, now known as the House of Shields?

‘Course you don’t. So much has been lost in the mists of Bay Area mythology and Barbary Coast conjecture. But there’s always word of mouth — in full effect at the shambling, loving June 19 celebration of the Utah’s centennial, as Birdman Records’ David Katznelson presented witnesses like owner Damian Samuel, a ukulele sing-along by music writer Sylvie Simmons and Bart Davenport, and tributes by artists who have stomped Utah’s boards, including Paula Frazer and Greg Ashley.

Since its days as Al’s Transbay Tavern (name-checked in 1971’s Dirty Harry) through the years owned by screenwriter Paul Gaer (who brought in Robin Williams and puppet shows), the venue has not only been instrumental in establishing a beachhead for local bands — Cake was considered a resident outfit in the 1990s and Counting Crows, Jewel, and Tarnation were onetime regulars ("For a while I used to say that the Hotel Utah was Geffen’s A&R department," recalls Carson). Its communities include "open mic–ers, the regulars, and the people who live in the building," Samuel offers. "It’s a live amoeba of sorts that has its own direction." He says the UK’s Noisettes now call the Utah its home base, and past staffers include ex-booker Mike Taylor (Court and Spark), Cory McAbee (Billy Nayer Show), and Shannon Walter (16 Bitch Pile-Up). One of Samuel’s fave tell-alls: in 1997 he had to walk future Guns N’ Roses guitarist Buckethead around the block so he could make a dramatic entrance onstage. "Here I am walking him around in SoMa, a chicken bucket on his head," Samuel recalls. "He kept saying, ‘I didn’t realize this block was so long.’<0x2009>"

Uptown, a century ago, the House of Shields also threw open its doors — in a much more hush-hush way: the venue began life as a men’s social club, and the only women permitted in until the ’70s were, says owner Alexis Filipello, "working girls." These days, the venue that got its name from its ’30s owner Eddie Shields is more likely to see indie artists like Sean Smith and Beam than highly establishment swells sneaking a stiff drink, but the crowd remains raucous, gathered around the elegant bar originally meant for the Pied Piper watering hole in the Palace Hotel across New Montgomery. When artist Maxfield Parrish made his Pied Piper of Hamelin mural (1909) far too long for the piece, the bar was sent over to Palace cobuilder William Sharon’s other nightspot. After Filipello bought the watering hole in 2003, she restored the natural wood, refurbished the moldings, reupholstered the booths, and jettisoned the "funky" taxidermy. "It was just such a beautiful old location, a piece of San Francisco’s history," she recalls. "We did a lot of work to get it back up to its beauty." No plans, however, for the firmly closed underground passage that links House of Shields to the Palace. Persistent rumors have it that in 1923, President Warren Harding died, not in the Palace as officially reported, but in the Shields’ speakeasy, and was transported through the tunnel back to his suite to avoid Prohibition-period scandal.

The ground is still shaking, happily, around Café Du Nord, which hit its 100th in October. In the next year Carson hopes to create a coffeehouse/art space upstairs next to the club, where performers can show their work, then play a show upstairs at the Swedish American Hall — which has hosted performers ranging from Cat Power to Michael Hurley — or downstairs at the Du Nord. He also plans to install an elevator where the Du Nord women’s room now sits, renovating the space so he can do the unique, one-off shows he prefers.

Carson is striving to continue nurturing the creative spirit of the Utah. "The difference between then and now is that everything costs so much. Our overhead here is so high, you can’t fail," he says. Back in ’90 when Gaer hired him at the Utah, he adds, "it wasn’t a big financial nut to crack, and we ran it like a living art experiment. I really miss those days. It was fun!"

QUESTION AUTHORITY?

MEGAFAUN


Backwoods Table of the Elements crustastic jams? The Durham, N.C., trio also joins Akron/Family at the High Sierra fest for a Mega-Akron set. Wed/2, 8:30 p.m., pay what you can. 21 Grand, 416 25th St., Oakl. www.21grand.org. Also Thurs/3, 9 p.m., $8. 12 Galaxies, 2565 Mission, SF. www.12galaxies.com. Fri/4–Sat/5, check Web site for times, $30–<\d>$168. High Sierra, Quincy; www.highsierramusic.com

BATTLEHOOCH


Kooky, crunchy spazz-tastic moves for kids? The SF band dons Baagersox guise for the first anniversary Lazerdance dance-off Thursday, then goes into seven-piece mode Saturday. Thurs/3, 10 p.m., $5. Knockout, 3223 Mission, SF. www.theknockoutsf.com. Also Sat/5, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

RETRIBUTION GOSPEL CHOIR


All-boy rock testimonials from Low’s Alan Sparhawk? Tues/8, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Hirocks

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"We’re like a cockroach," explains Hirax vocalist Katon W. De Pena early on in our lively recent phone interview. "You can’t kill us." De Pena founded Hirax in Los Angeles in 1984, and if his enthusiasm is any indication, the enemies of metal better start stockpiling Raid. Although they never achieved the towering reputation of the bands they rubbed shoulders with in the 1980s, De Pena’s newly reinvigorated outfit is working harder than ever, deep in the once-underground thrash trenches including gradually disinterred, now-ascendant old-schoolers like Death Angel, Exodus, and Testament, and eager newcomers such as Municipal Waste, Hatchet, and Merciless Death.

Hirax has second billing behind Exodus at the 11th Tidal Wave Festival, a free outdoor metal concert taking place July 5 and 6 in John McLaren Park. Way back in 1984, the band got its first big break with a feature in Tim Yohannon’s influential Bay Area zine, Maximum Rocknroll, and De Pena overflows with appreciation for the support San Francisco has shown his group over the years: "Playing free is like giving something back to the movement that helped spawn thrash metal. We have a lot of great memories from playing San Francisco."

The outfit has always had a fiercely independent streak, which served them in good stead when a bunch of guys in flannel hacked down the tent pole at the metal big top in the early ’90s. Since parting with Metal Blade in 1986, Hirax’s members have been the masters of their headbanging domain, releasing albums through their own label and distributing them around the world through licensing deals with major players like Relapse and Century Media Records.

This uncompromising approach has won them widespread respect, and relentless touring has uncovered dormant thrashers desperate for something to rock out to. De Pena has become a connoisseur of the American metal heartland. "In the US, there are cities that are just amazing, like Allentown, Penn.," he says. "We meet these fans, and it puts it in perspective why you do it. They believe in you. That they care so much keeps you caring."

It looks like a new dawn for thrash in America, and De Pena thinks his band is ready to capitalize. Crediting his natural stubbornness and the support of his "total metalhead" wife who saw him through the dark days of the ’90s, the ebullient frontman sees a bright future ahead. "I think people are looking for something exciting, and thrash metal has that," says De Pena. "It always was very exciting. Over the last 10 years, music has gotten pop-y or emo or nü metal, and people have wanted something with more edge to it. It’s just gotten better and better [for Hirax] every year."

TIDAL WAVE FESTIVAL

With Exodus, Psychosomatic, Havok, Ludicra, Saros, and others

Sat/5–Sun/6, noon–6 p.m., free

Jerry Garcia Amphitheater

John McLaren Park

45 Shelley, SF

www.thetidalwave.org

The dirty fight over clean power

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› amanda@sfbg.com

A charter amendment for renewable energy and public power appears headed for the November ballot, and already Pacific Gas and Electric Co. is rounding up front groups and touting inaccurate figures in an attempt to scuttle the plan.

The San Francisco Clean Energy Act, introduced by Sup. Ross Mirkarimi, would mandate that the San Francisco Public Utilities Commission "produce a comprehensive plan for providing clean, secure, cost-effective electricity for city departments and residents and businesses."

If passed, San Francisco would exceed state standards by requiring 51 percent clean, renewable energy by 2017; 75 percent by 2030; and 100 percent by 2040. Workforce development is also part of the plan, and if it’s determined that public ownership of the grid is the way to go, any employees fired by PG&E will be hired by the SFPUC.

"The San Francisco Board of Supervisors is talking about taking over PG&E," Brandon Hernandez, the corporation’s manager of government relations, said at a June 27 Rules Committee hearing on the legislation. "PG&E’s system is not for sale," he asserted. He then went on to say a takeover would cost the city "at least $4 billion."

PG&E spokesperson Darlene Chiu told the Guardian: "That’s our estimate for what our system costs in San Francisco."

But the California State Board of Equalization says all of PG&E’s state-assessed San Francisco property was worth $1.2 billion in 2007. The board’s appraisers assess PG&E’s property for tax purposes and their final figure includes millions of dollars of property that San Francisco would not want to own.

PG&E threw other punches at the city. Hernandez threatened the loss of as much as $29 million per year in taxes and charitable giving. "We no longer will be contributing to San Francisco’s nonprofits and service organizations," he said of groups that received $5 million from PG&E last year.

That money buys some political loyalty. The only organizations that spoke against the measure — the San Francisco Chamber of Commerce, the Bay Area Council, and the A. Phillip Randolph Institute — all received bucks deluxe from PG&E. Between 2004 and 2006, the Chamber of Commerce Foundation received $166,000 from the utility; the Bay Area Council and Economic Forum grossed $132,500; and APRI banked slightly more than $100,000.

The Chamber’s vice president of public policy, Rob Black, criticized the move toward municipalization because it would make San Francisco, like other municipal utilities, exempt from the state-mandated 20 percent renewable energy by 2010. "The Los Angeles utility is at 48 percent coal. That’s not green, that’s not renewable. That’s something we need to be very careful about," he told the committee.

According to the Los Angeles Department of Water and Power, their power mix is actually 44 percent coal. But Black didn’t bother to check; he just took his figures from PG&E moments before, while conferring with Hernandez and Chiu. When questioned by the Guardian, Black said, "They didn’t come to me. I went to them."

He reiterated the concern that municipally-owned power isn’t required by the state to be clean and green, and becoming so could increase rates. "If we’re creating cheaper energy, where’s the incentive to do conservation?" he asked.

According to statistics from the meeting, the average PG&E household spends $74.55 per month on electricity, with 12 percent of the energy used hailing from renewable resources. An equivalent customer in the Sacramento Municipal Utility District has a bill of $46.60 for 18 percent renewable.

APRI’s James Bryant said his Bayview community group has issues with the costs and the idea that former PG&E employees would be hired by the city and subsequently receive worse retirement plans.

When asked if he was there because his organization gets money from PG&E, Bryant said, "Not really." He added, "I don’t have anything to do with their decisions. They don’t have anything to do with my decisions.

"Of all the amoral things PG&E does, they fund very worthy grassroots organizations and then lean on them to speak against things," Sup. Tom Ammiano said when expressing his support for the legislation. "Not only is San Francisco going to have public power, the state of California is going to have public power."

Other public comments overwhelmingly supported the measure. Some energy activists have been concerned that the legislation would derail or delay efforts to move toward renewables through the community choice aggregation (CCA) program.