San Francisco

Pelosi talks hunger

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Nancy Pelosi with Paul Ash, executive director of the San Francisco Food Bank. Photo by Steven T. Jones

Speaker of the House Nancy Pelosi toured the San Francisco Food Bank today to highlight her concern with rising food costs and the need for a reordering of national priorities to address poverty. But she also showed how her party’s cautious approach to the issue has contributed to the grim reality that one in four San Francisco children are at risk of hunger.
“It’s an unthinkable notion that any child in the U.S. can go hungry,” Pelosi told the crowd of volunteers, care providers, politicos and journalists. She also stressed, “It’s important that we think of it one person at a time, or as I think of it as one child at a time,” peppering her address regularly with Biblical calls to feed the hungry. Personally, I would have rather heard an admission of how Congress helped oversee an unconscionable consolidation of wealth and how she plans to redistribute it to the families of these poor hungry kids.
Pelosi touted this year’s omnibus farm bill for new spending on nutrition and ethanol production, food safety improvements, and reductions in subsidies to corporate agri-business, a bipartisan bill that overcame a Bush veto. But many in the Bay Area’s growing food movement criticized the bill as basically business as usual, ignoring evidence that demonstrates the importance of moving from our heavily subsidized, industrial food production system to more local and sustainable models, criticism that I asked her about at the event.
Pelosi responded that, “I associate myself with the concerns that you represented,” noting that she signaled to Washington DC power brokers that this is the last farm bill that will so heavily subsidize big business. She would have hoped to do so this year — rather than three years from now when this bill expires — but that, “It was harder than I had hoped to go cold turkey.”
Similarly, she blasted President Bush with both barrels, particularly for the Iraq War and tax cuts on the wealthy, saying “The last eight years of the Bush Administration have done great harm to this country.”
Yet despite acknowledging this “grotesque mistake” of an Iraq War was sold with lies, and that top officials have violated the constitution, Pelosi has been unwilling to pursue impeachment or anything substantial to hold those officials accountable. But she is willing to intervene in the current presidential race to end the fight by next week and avoid letting it be worked out in August at the convention.
“I think if we take this to the convention, it will harm our chances in November,” Pelosi said, drawing her biggest applause of the morning.

Mayor uses Shipyard to announce budget, Monday

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It’s 4 PM on a Friday afternoon, that hour when most employees are counting the seconds to the weekend—and wishing that Monday morning wasn’t only 65 hours away.

But does the Mayor’s Office know what time it is?

And if so, why have we only just found out that Mayor Gavin Newsom is planning to make his Monday morning budget announcement, at 10: 30 am, June 2, at the Hunters Point Shipyard?

The announcement will be made at
View Larger Map“>606 Hunter’s Point Shipyard.
(Unless, Newsom is planning a repeat of his disappearing Olympic Torch stunt.)

The location happens to be the San Francisco Police Department’s Tactical Operations center. Press are being asked to present press credentials for entry.

Could it be that this announcement is being made at the very last minute because the choice of location gives Newsom the appearance of impropriety? Newsom backing Prop.G on the June 3 ballot, the measure that developer Lennar has spent over $3.5 million in an effort to grab even more of San Francisco’s waterfront real estate, adding highly desirable land at Candlestick Point to the shipyard’s wastelands, so it can develop even more luxury condos?

Or could it be because he didn’t want to tip of supporters of Prop. F, the competing measure on the June 3 ballot that requires that 50 percent of development in the Bayview is affordable to people who actually live there—households that tend to make $68,000 and under and can’t afford to buy $500,000 condos and million-dollar townhouses?

Whatever the reasons, the running dogs of the press weren’t the only ones left in the dark about the budget locale.

No one on the Board of Supervisors was informed until 4PM, Friday afternoon, either. That’s when a mayoral aide came by the office of Sup. Ross Mirkarimi, who sits on the Board’s Budget and Finance Committee, to deliver the news of this hitherto top secret location.

Normally, Board members get an invitation at least 10-14 days beforehand.

Mirkarimi calls the move “highly unorthodox and outrageous.”

“What’s really unforgivable is that we are facing the worst budget deficit in San Francisco’s history,” Mirkarimi said. “The Mayor needs to be fostering collaboration, and enlisting the support of everyone he can, especially those who have influence on the budget process. It’s unfortunate that the casualty in all this is our desire to work together.”

Big balls

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By Marianne Moore

My friend’s rich older boyfriend—well, rich relative to my friend, who makes her living pretending to be a fairy at birthday parties (Her fairy name is Ginger-Snap. We know it’s a stripper name. We’re over it.)—is taking her to the Black and White Ball on Saturday, and I’ve been drafted into shopping. We’re now faced with a pretty awkward question: what do normal people wear to the fancy-pantsiest occasion on the San Francisco calendar?

Other people must have faced this problem before. After all, tickets to the party are $200, not cheap by any means but still well within the reach of many modest-living San Franciscans. Maybe some are kept away by the event’s reputation; personally, even if I had $200 to throw around, I would be way too scared to go. Whatever the case, there’s no information out there about how to dress for the B & W if you’re not immensely rich. One thing we know for sure: the boyfriend, while he may be shelling out $400 for tickets, isn’t about to spring for a $10,000 gown. That leaves us to dress on a fairy’s budget.

I figure we have three options:
(1) try and find a cute discounted dress a la TJ Maxx,
(2) go completely casual, or
(3) go vintage.

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Why is PG&E attacking Leno on education?

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It’s not like schools are their business – at all. But the $13 billion utility company is the big money behind recent television ads depicting Mark Leno as a foe of children and schools.

“San Francisco Assemblyman Mark Leno claims that he’s for better schools,” the ad informs, according to a transcript provided by the California Teacher’s Association. “Yet in 2004, it was Leno who joined Republicans, and with one vote to spare, cut $3.1 billion from California schools.”

Actually, said CTA in a news release, “It distorts Leno’s support for a state budget in 2004 that temporarily reduced some funding for schools. The budget was approved by the Legislature with bipartisan support in that financially difficult year for the state.”

CTA, which represents 90 percent of the state’s educators, endorsed Leno in the District 3 State Senate race, and held a rally today in Mill Valley to affirm their support and criticize PG&E.

“Why is PG&E behind this?” CTA’s Mike Myslinski wondered when we spoke to him. “Leno has a strong education record and parents and teachers are very disturbed by this ad.”

The ad was attributed to a political action committee called “Protect Our Kids,” which late independent expenditure filings [PDF] with the CA Secretary of State show is heavily funded by CALIFORNIANS FOR A CLEAN ENERGY FUTURE, A COALITION OF ENVIRONMENTALISTS, TAXPAYERS, AND PACIFIC GAS AND ELECTRIC COMPANY. [PDF]

Looks like the San Francisco Police Officers Association, as well as a couple of out of state companies, also kicked in to cover the $100,000 in cash that’s been spent on anti-Leno propaganda that has nothing to do with energy – clean or otherwise. But, as CTA points out, “The PG&E-funded ad comes at a time when one of Leno’s opponents in the Senate race, Joe Nation, is being criticized for his huge financial support from business interests. PG&E is a supporter of Nation.”

It wasn’t all that long ago Leno was shaking hands with PG&E over at the LGBT center.

Woo-hoo, a planning party

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What are you doing after work tomorrow? Critical Mass? The Alterna-Mass that all the cool bikers are talking about? Maybe a happy hour somewhere, or heading home to get dolled up for the Bohemian Carnival?
Hey, how about the Market-Octavia Plan Party?
— cue the crickets —
OK, OK, maybe a party to mark the successful end of the years-long process to create and win political approval for a new Market & Octavia Neighborhood Plan is something that only a policy wonk can get excited about. But it is a very San Francisco type of plan, creating strict limits on new parking, good affordable housing incentives, and design standards promoting walkability. As plan participant and party promoter Jason Henderson said, “This is the plan that sets the precedent for a more sustainable, car-lite future for San Francisco.”
Not doing it for you? Try this quote from the party invite: “Munchies and partial hosted bar.” Better? It’s also at the Rickshaw Stop, the coolest bar in Hayes Valley, from 5:30-9:30. And it will feature speeches by Sup. Ross Mirkarimi, Planning Commission President Christina Olague and lots of others who helped bring this baby home.
So come on down…if you’re into that sort of thing.

March to stop the Moth Spray

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Photo courtesy of Vegan Reader

Moth spray activists are planning to walk across the Golden Gate Bridge on Saturday, May 31, to protest government plans to spray the Bay Area with moth pheromones.

Folks will gather at 9 am on the San Francisco side in the bridge parking lot, begin their walk at 10 am, and rally at 12 noon at the West End of Crissy Field, between Mason Street and the Marine Sanctuary Visitor Center. (Presumably, no one is going to try the Tibetan monks’ stunt of climbing the bridge, this time dressed as Light Brown Apple Moths.) You can find more information about the details of the march, here.

UC Davis scientists continue to challenge the United States Department of Agriculture and the California Department of Agriculture’s claims that the moth poses a severe threat to agriculture and that the aerial pesticides will effectively eradicate the pest.

But the CDFA is fighting back.

In a recent press release, the CDFA claimed that “aerially-applied moth pheromones have been used around the world for more than a decade with no indication of harm to people, pets or plants.”

“To date, the only impact on the environment or living things is confusion in male moths looking to mate with females,” CDFA officials claim.

3.26 million ways to reuse your Prop. G fliers

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As Prop. F supporters continue to liven up their shoestring campaign with dance, debate and rap songs,
yet another huge question is looming over the Prop. G campaign: What is San Francisco going to do about all the glossy Prop. G fliers that are choking up mailboxes citywide?

Since the Lennar-financed Prop. G campaign has already spent over $3.26 million to try and influence the June 3 vote, how about helping find 3.26 million ways to reuse the Prop. G mailers? (ways that don’t involve burning them, tempting as that may be, since that would make air quality worse)

We came up with the first three.

1. Wallpaper to cover the mold in your non-luxury dwelling.
2. Materials for your 2008 Halloween costume.
3. A year’s supply of bird cage liner.

‘REN’-membering Matthew Barney in LA

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Heave ho at Matthew’s Barney’s REN. Photo courtesy of www.lipsticktracez.com/reggie/.

By Glen Helfand

How any artist follows up a large scale, career-making project is accompanied by the same critical pressure that greets the sophomore album of a hot new band. Matthew Barney made it through his post-Cremaster days with Drawing Restraint 9, which took over a whole floor at San Francisco Museum of Modern Art a couple of summers ago, though many would agree that while it stayed the course, it was a film and exhibition that didn’t quite rival the five part film/sculpture extravaganza that preceded it.

In an interview before that show, Barney said his next works would be in the realm of live performance, and true to his word, he’s been mining that vein. He staged a typically perverse work at the 2007 Manchester International Festival, an adults-only performance that involved a bull, a self-fisting female contortionist and Barney wearing a live dog on his head. (The reviews were mixed.) Another performance, staged in New York, was shown as a video as part of an exhibition at Los Angeles’s Regen Projects last year.

I can’t say I wasn’t thrilled to get an invitation to a recent Barney performance, titled REN, that took place on May 18 in not so beautiful Norwalk, a south-of-LA suburban flatland populated by convenience stores and auto dealerships. Here’s some of what the invite promised: “’Ren’ represents the first stage of the soul in its journey through the afterlife in which its ‘Secret Name’ is revealed, and subsequently lost. REN will reference the Cremaster Cycle, linking Barney and [music collaborator Jonathan] Bepler’s earlier project to the iconography and mythology of ancient Egypt. REN will feature the return of the 1967 Chrysler Imperial and Aimee Mullins from Cremaster 3, a Southern California drum and bugle corps, ranchera singer Lila Downs, and British performance artist Mouse. Performance is approximately one and a half to two hours in duration.”

Prop 98 could destroy the next Kerouac

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By Jen Sullivan Brych

What if Jack Kerouac couldn’t find a cheap place to crash in San Francisco so he could drink at Vesuvio Café and bang on his typewriter? Would he have been forced to remain in the “sanitarium” of San Luis Obispo, as he referred to it? Would he have been forever missing what a biographer called the “feverish intensities” of San Francisco, never inspired to write again?

Even worse, what if the next generation of Kerouacs and Alice Walkers and Michelle Teas can’t afford to live in San Francisco anymore? The frightening Proposition 98 on the June 3 ballot would eliminate all rent control in California. If San Francisco loses rent control, it loses writers and its literary scene.

“If rent control goes, I know I’d lose my apartment soon enough,” said writer Peter Orner via email. Orner wrote The Second Coming of Mavala Shikongo, a finalist for the Los Angeles Times Book Prize and winner of the Bard Fiction Prize. He was also a Finalist for the Pen Hemingway Award for Esther Stories.

Orner has lived in the Mission for about five years. “They’d replace me with an investment banker in about forty seconds,” he said.

So why should people care if writers like Orner leave the city en masse? Richard Florida, University of Toronto business professor and author of the book The Rise of the Creative Class, argues that this group of people is creative, makes good money, and values diversity. The creative class includes writers of all genres, as well as educators, financiers, scientists and techies.

The group is attracted to urban areas like San Francisco, which ranked number one in Florida’s creativity rankings for large cities, because of its theater venues, its cafes and spoken word performances, its rock musicians and art galleries; in other words, because of its writers and artists and the quality of life they provide. Florida argues that cities which are successful in attracting this creative class are prospering, while cities that don’t are not. So, if rent control vanishes and the writers and artists disappear, our city by the Bay will suffer.

SF Weekly sneers at sex work

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Sex writer Violet Blue is one of the best things at the Hearst-run SFGate website, an authentic local voice singing the praises of sex-positive San Francisco. So of course, the soulless and snarky hacks over at the SF Weekly felt compelled to try to knock her down a few notches, sneering at the notion that many of us are accepting of sex workers. And for that, they have been rhetorically bent over and pegged by the lovely Mistress Blue in a blog post earlier today.
You’ve really got to read this thing, which is more investigative in nature than your average flame. She brings up the Weekly’s weird history of fake journalism on another sex story, and digs up some good dirt on the latest perpetrator, freelance writer Benjamin Wachs. Now, we couldn’t verify the rumors about Wachs’ efforts to start a right-wing news site in San Francisco (hey, Ben, good luck with that one). But our research does show the guy moved here a year ago from Rochester, NY, which might come as a surprise to the Brighton-Pittsford Post in New York, where he’s supposedly a local columnist.
Messages to Wachs and the Weekly went unanswered — no surprise — but I’ll update if I hear anything new. Or if you see Ben around town…
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…maybe you can ask him why he wanted to live in San Francisco if he has such a problem with our values.

Death metal’s best? Arch Enemy to dominate Slim’s

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By Kat Renz

These may be the enlightened days of reinvigorated heavy metal madness, but San Francisco hasn’t hosted a lineup of melodic death metal bands this hefty in a long time. On Thursday, May 29, at Slim’s, Sweden’s ever-fierce Arch Enemy leads the charge of sweeping arpeggios and throaty declarations on the second-to-last stop on their brief North American “Tyranny and Bloodshed” tour. Joining the brutal quintet are three Century Media label mates – compatriots Dark Tranquility, Divine Heresy, and Greece’s death metal offering Firewind. Insert a proper horned salute to Slim’s here for carrying the torch of loud, heavy music of late (Death Angel, Exodus, Slough Feg, and on Friday, May 30, Candlemass and Soilent Green).

Though hardly a household name, Arch Enemy has caught on with metal listeners. Their seventh full-length studio recording, Rise of the Tyrant (Century Media, 2007), debuted last September at no. 84 on the Billboard charts. It could have been higher had the genre’s fans not spent their audio allowance on another new release: Dethklok’s epic cartoon metal album, The Dethalbum, which clocked in at 34,000 copies during its first week out, making it purportedly the best-selling death-metal album to date.

Assembled in 1996 by former Carcass guitarist Michael Amott and ex-Carnage bandmate John Liiva, Arch Enemy’s infant days were especially notable for the technically devastating dual guitar work of brothers Michael and Christopher Amott. In 2001, the group replaced Liiva with a new vocalist, Angela Gossow. Arch Enemy’s since become lazily tagged as that band with the hot blonde Valkyrie who can growl as gutturally as any angry and seasoned death metal dude. Regardless Gossow holds her own in very male-dominated, aggression-fueled scene. (Fellow journalists with metal ambitions take note, there is hope: writing for a German metal mag at the time, Gossow landed the Arch Enemy gig after giving a demo tape to Christopher Amott during an interview.)

Matt Smith loves prop. 98

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I almost don’t know what to say about Matt Smith’s SF Weekly piece in favor of Prop. 98. I know Smith gets a little unhinged when it comes to housing issues, but his faith in the free market to lower the price of housing in San Francisco – against all odds and all evidence – is just looney.

He starts off with the typical landlord/libertarian argument against rent control, which is that it screws up the marketplace:

Tens of thousands of other apartments are kept off the market through “hoarding,” as individual tenants remain in cheap and cavernous three-bedrooms, hang on to their old $200-a-month apartments long after they’ve moved in with a spouse, or are otherwise motivated to cling to their leases.

Except that Prop. 98 would allow existing tenants to stay in existing rent-controlled apartments, which lose rent control forever when they’re vacated. So the rent-controlled units would be even more valuable, and the incentive to “hoard” even greater. As would be the incentive for landlords to evict long-term tenants.

But wait, there’s more:

Studies also show that rent control discourages construction of new rental apartments New housing construction fell by one third in the seven years after San Francisco’s rent control law passed in 1979. During the 1990s, meanwhile, the number of rental units actually decreased by 7,500.

Ah, but all newly constructed units are exempt from rent control anyway. So something else must be going on here. Perhaps the number of rental units decreased because developers, who care nothing for the city’s housing needs, realized there’s more money to be made selling condos. It’s the same reasons Lennar Corp. broke its promise to build rental housing in Hunters Point: There’s more money in selling units right now than in renting them.

And, of course, we’re losing rental housing – not to rent control but to condo conversions, another way property owners can make money.

Smith seems to think that without rent control

“it’s reasonable to surmise … that downtown apartment construction would accelerate. Rents would stabilize or decline. …. Businesses would flock to San Francisco, which would have ample new office space and more, cheaper homes for their employees.”

Sounds idyllic, if you want to live in Manhattan, which I don’t.

In fact, Matt Smith’s vision of a “great city” is by nature one that’s constantly growing and ever-more dense. He berates the urban environmentalists:

San Franciscans replaced what had been a metropolitan vision of the future with one best described as suburban. Rather than being a great city, it would instead be a tranquil place to live.

Matt, you have no sense of history. After World War II, the captains of industry who had completely taken over planning and development policy, in the military model of command and control, to make the West Coast war machine work, decided they liked that way of doing business. So a handful of them sat down and planned the future of the Bay Area. Low-cost South of Market housing would be demolished to make way for hotels and a convention center. Following the suburban model, BART would connect outlying bedroom communities with a dense downtown office core. High-rise buildings would hold the economic center of the Pacific Rim. A network of freeways would cross the city in a Los Angeles-style grid.

That’s what the master planners who Smith lauds had in mind. And the people who lived here decided that it wasn’t fair that nobody asked them about it. So they fought back, cutting off the freeways, down-zoning neighborhoods, fighting over-development (which, by the way, hurts city coffers more than it helps) and trying to keep this a decent place to live.

Rapid growth is not always good, not always desirable. Cities are places where people live, and keeping them livable is a noble pursuit.

And when it comes to housing in a city like San Francisco, the market will never, ever solve the problem. I’ve written about this over and over, but here’s the latest.

Regulation – treating housing not just like a fungible commodity but like a necessity of life that the market can’t fairly provide – is the only way to keep San Francisco affordable.

“Fuck Lennar!”

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I’ve witnessed my share of political rallies, but Prop. F’s “We Shall Not be Moved” event at 3rd Street and Palou in the Bayview takes the bumpin’-block-party prize.

Wedged between three cash checking stores, a beauty parlor, and a T-Third station, the rally was awash with multilingual “Yes on F” signs, edgy urban chic and fighting words.

But beyond the many powerful speakers who showed up to stir up the crowd, the afternoon’s three most memorable moments involved song, dance and the spoken word.

Turfaholics’ Johnal performed to a funky remix of “San Francisco (Be Sure to Wear Some Flowers in Your Hair).

Prop. F supporters put a smile on the crowd’s face with their soulful attempts at the Cha Cha Slide.

And last but not least was hiphop emcee Cobe Obeah

Stay with the following video for a minute and you’ll get to the part where Cobe announces that he doesn’t usually cuss, then gets the crowd joining in a “Fuck Lennar!” chant, before delivering a final FU to San Francisco’s Mayor Gavin Newsom.

Connecticut joins SF in charges against McKesson

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Reuters is reporting that the state of Connecticut today followed San Francisco’s lead in suing the McKesson Corp. over an alleged conspiracy to unfairly manipulate the price of prescription drugs. The Connecticut suit charges that McKesson, a multinational corporation based in San Francisco and ranked 18th on the Fortune 500 list, violated anti-racketeering laws by creating a scheme to artificially increase published figures related to what retail pharmacies pay to obtain prescription drugs from wholesalers like McKesson.

The alleged scheme involved the participation of a little-known company based in San Bruno called First DataBank, a subsidiary of media giant Hearst, owner of the San Francisco Chronicle. First DataBank maintains a sophisticated database of prescription drug prices that Medicaid administrators and private insurers use to determine what they’ll pay a pharmacy retailer to cover the cost of your drugs after you’ve made the co-pay.

Because so many prescription drugs exist, First DataBank’s figures are critical for understanding the true cost of pharmaceuticals as they move through market pipelines from the manufacturer to the wholesaler to the corner pharmacy. The suits allege that First DataBank and McKesson conspired to inflate those published prices so that everyone from Medi-Cal to Blue Cross paid far more to pharmacies than appropriate for the drugs. A big part of McKesson’s business comes from chain pharmacies, and if they saw McKesson going to bat for them, the suits claim, they were likelier to maintain those business relationships instead of turning to a McKesson competitor like AmerisourceBergen or Cardinal Health. Yes this stuff sounds sleep-inducing, but there’s a whole lot of money involved if City Attorney Dennis Herrera and others are right about this. Learn more about San Francisco’s lawsuit.

Lit: Erick Lyle on rehab for Newsom and SF, the awful flair of Willie Brown, book box mansions and life in the City

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This week’s Lit features a review of Erick Lyle’s new book On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95). Liam O’Donoghue recently talked with Lyle, who will be appearing at Get Lost Travel Books on June 4th and AK Press Warehouse in Oakland on June 5th:

By Liam O’Donoghue

SFBG: The phase “secret history” is in the subtitle of your book and the term “urban archeology” is used to describe it. Did it feel like an archaeological project — like you were digging up this buried history of the city — when you were compiling the book?
Erick Lyle: When I moved to San Francisco I was lucky enough to be around a lot of older folks who told me their stories about the city and I fell in love with this place instantly. I feel like I’ve got all those stories filed away in my mind, so that when I’m out, riding my bike around the city, if I’m at a certain intersection, for example, I’ll think, “Oh, this is where that punk club was in 1988, but it’s also where so-and-so broke up with her boyfriend in 1995 and there was that one time when a guy tried to hit me with a 2×4.” But I can see all these layers simultaneously in my mind, and for me, part of the enjoyment of living here for awhile is seeing how these layers fit together over time. It gives an added dimension to, for example, a protest event you might be doing, to understand how that event fits into the longer history of the area.

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Erick Lyle, in his secret mansion enjoying the high life

As far as thinking about it as archeology at the time, I wouldn’t say that we were so self-conscious that we would do generator shows in the street so we could say, “This is history.” But if we don’t write this shit down, no one is, it’s not making it in the Chronicle or anywhere else. The things that happen in the doorsteps of the Mission or on the dance floor at the punk club or are spray-painted on the walls: these are the things that make up our lives. That’s the fabric of life in the city.

Mixed doubles

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› a&eletters@sfbg.com

A new work by Robert Lepage is always a major event. In theater, the Quebecois director, actor, and filmmaker stands with the likes of Robert Wilson or Peter Sellars at the pinnacle of theatrical invention and global acclaim. Little wonder that, like Wilson and Sellars, Lepage has found opera a logical outlet for his extraordinary capacities and grand, all-encompassing visions. (His last Bay Area bow was in November 2007 at the San Francisco Opera, where he staged Stravinsky’s 1951 opera The Rake’s Progress.) But while he is a truly international force wielding the largest of canvases, there’s an intimate and personal side running through much of his work, perhaps nowhere more poignantly than in his stunningly staged solo plays The Far Side of the Moon (2003) and The Andersen Project (2005). The latter, which slyly folds layers of personal and cultural doubt (as well as biting cultural satire) into a glancing exploration of Danish storyteller Hans Christian Andersen’s troubled psyche, makes its local debut courtesy of Cal Performances.

As with Far Side, Andersen was developed with Lepage playing dual roles that together define a kind of split personality and serve as starting point for a series of thematic dyads. In this case, the main characters are a corrupt French opera director and a French Canadian musician-songwriter named Frédéric Lapointe, who arrives in Paris on a commission to write an opera based on an Andersen story. Also as with Far Side, Lepage eventually handed off the roles to Yves Jacques. An extremely gifted theater and film actor in his own right (probably best known to Americans through several Denys Arcand films), Jacques shares a history and affinity with Lepage (they’ve known each other since their twenties) that make him the best, and perhaps the only, person capable of stepping into these demanding, idiosyncratic solo shows, with their half-hidden strands of autobiography and fraught national identity. I recently spoke with Jacques by phone from Montreal.

SFBG Before Andersen, you took over another Lepage solo play.

YVES JACQUES It started with Far Side because it was a story very close to him. So he wanted someone with the same sensibility. I was able to understand his feelings about [the subject matter]. So afterward he said, ‘Why not continue with The Andersen Project?’

SFBG Was it at all intimidating to take over these plays from their originator?

YJ Oh, yes. I felt a big responsibility to be at least equivalent to Robert — just to reach the level of the acting he puts into the show. But he liked [what I was doing] and was very happy because for once he could see his own work. When you play in a solo show you don’t always understand what you’re doing. Now he could see himself, or himself through me.

SFBG How did you approach the part?

YJ I never feel I’m doing a one-man show; I’m doing a play. I’m doing the yin and the yang of the same character, in a way. Far Side was the story of two brothers, and this is quite the same. You have the director of the Paris Opera and then you have Lapointe. They’re very different but they’re played by the same actor. In a way, it’s the yin and the yang of the same personality, which is Hans Christian Andersen. Lepage is using two different characters to describe [the complexity of] Andersen. It’s very clever. You see Andersen only twice in the show but he’s not talking; he’s just a silhouette. The only way to know him is to understand the other two.

SFBG The assertion of a Quebecois identity against the dominant Anglo culture of Canada is a theme in much of Lepage’s work.

YJ Lapointe comes to Paris because he wants to be approved of by Parisians — [but] he says at the end, I came here for the wrong reasons. I came here for approval, and we shouldn’t do that. We should be proud of what we are. And Andersen had the same problem in his own country. People in Denmark loved his fairy tales but they didn’t take him seriously as a writer because he was writing for children. So he needed to come to Paris as well, and be approved of by Balzac or George Sand or Victor Hugo — just as we need to be approved of by the old country. It’s like being in a colony sometimes [laughs]. That’s why I’m very proud of working with Lepage, because he [raises] Quebec to another standard. His work is totally amazing. *

THE ANDERSEN PROJECT

Wed/28–Sat/31, 8 p.m.; Sun/1, 3 p.m., $62

Zellerbach Playhouse

Bancroft at Dana, UC Berkeley, Berk

(510) 642-9988

www.calperfs.berkeley.edu

Art Street Theatre

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PREVIEW The places we long to be often have the greatest hold on our imaginations. In Chekhov’s The Three Sisters, Olga, Masha, and Irina dream of returning to Moscow, believing it’s the only place they can be truly happy. Of course, in Chekhov’s version, they never do manage to reach the Promised Land. Their dreams unfulfilled, the sisters eventually must resign themselves to their respective quiet desperations. Mark Jackson’s Yes, Yes to Moscow, which makes its North American premiere at Dance Mission Theatre for the San Francisco International Arts Festival, imagines the long-awaited arrival of the sisters to Moscow and the pitfalls of getting what you wish for.

Jackson, whose focus on the physical has long been a hallmark of his work, collaborates with Berlin-based choreographer Sommer Ulrickson, American actor Beth Wilmurt, and German performance artist Tilla Kratochwil to create a multidisciplinary, multilingual, multifaceted production. A smash hit at the Deutsches Theater a continent away (leading to a commission for Jackson and Ulrickson to collaborate again in 2009), Moscow‘s San Francisco debut fits in well with SFIAF’s theme: the truth in knowing/now. Forced by an unsympathetic and foreign reality to reexamine their assumptions about home, Moscow, and familiarity, the sisters must confront the not-knowing within their now, and rediscover truth as best they can.

Art Street Theatre Fri/30, 9:30 p.m.; Sat/31, 4:30 p.m.; Sun/1, 7 p.m. Dance Mission Theater, 3316 24th St., San Francisco. $20. 1-800-838-3006, www.sfiaf.org.

“Tree Show IV”

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PREVIEW In Shel Silverstein’s 1964 classic book, The Giving Tree (HarperCollins), a self-sacrificing tree hands itself off to a boy — surrendering its shade and its lumber — until it ultimately ends up just a stump for the now-old man to sit on and die. You don’t have to be a tree hugger to know that everything from the air we breathe to the paper we print on wouldn’t exist without them.

For the fourth consecutive year, the San Francisco branch of Giant Robot presents "Tree Show," a fundraising exhibition with a portion of the sales benefiting Friends of the Urban Forest. It includes mostly two-dimensional pieces by more than 40 artists who work mainly in the street-art and comic-book graphic style GR is known for supporting. Check out Deth P Sun’s painting with his trademark Orphan Annie–eyed warrior kitty in a grim, gray forest, and collage artist Alexis Mackenzie’s vintage-lady-as-lupine-shrub, embellished with butterfly blooms. François Vigneault contributes an ink-and-watercolor image of a huge tree getting a scooter ride in the rain, and Cupco makes three nasty forest lumberjack elves ("Cut! Kill! Burn!") out of stuffed felt.

GR founder Erik Nakamura writes in an e-mail that the gallery-store came up with the show concept years before eco-movement causes became so ubiquitous. "We like trees, and we felt, just for a second, it would be great to turn people onto trees," he explains. That second has obviously been extended, since Nakamura has noticed that many of the participating artists continue to paint tree images even after the exhibitions. And why not? "It’s a big part of their art supplies!" he adds. So pick out an affordable work of art for your home and help plant more trees in San Francisco — a happier dynamic for artists and arbors alike.

TREE SHOW IV Through June 18. Mon.–Fri., 11:30 a.m.–8 p.m.; Sat. 11 a.m.–8 p.m.; Sun., noon–7 p.m. Giant Robot SF, 618 Shrader, SF. Free. (415) 876-4773, www.gr-sf.com

Tales of the shitty

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› a&eletters@sfbg.com

REVIEW San Francisco is larger than the stories written about it. This is out of necessity: if we all tried to write down everything that happened here, our arms would get tired. And while the city itself is physically and culturally in thrall to many disparate groups, its history is surprisingly open, belonging most often to those who have nothing more than the inclination to take out a pen and start writing.

Exhibit A: Erick Lyle, a punk kid from Florida who makes zines about pulling off petty scams at chain stores. Mix Lyle and San Francisco and something interesting happens — he becomes a bard of the Tenderloin, distributing his missives (written under the name "Turd Caen") out of a stolen newspaper box. He quietly stocks the shelves of the San Francisco Public Library main branch with his work, leaving clippings and photographs in the library’s archives and inserting his zines in the periodicals section.

Lyle’s new book, On the Lower Frequencies: A Secret History of the City (Soft Skull Press, 272 pages, $14.95), is more likely to end up in the general collection of the library through official channels. After all, it’s reasonably book-size and reasonably book-shaped. It has an official-sounding title — and one that, charmingly, betrays a Tales of the City-like solipsism.

On the Lower Frequencies reminds me of Armistead Maupin’s early work in other ways too. Both are emblematic of the times in which they were written. Maupin’s characters fret about sex and identity (mostly sex) while squeezing melons at the Marina Safeway, while Lyle and his friends steal from Safeway and worry where to live next. The threat of eviction hovers over Lyle and his friends like an anvil, and they cope with a campy lightheartedness that is almost Judy Garland-esque. All they really want to do is throw parades, play music, paint murals, drink cheap beer, interview the mayor, and look for ancient steam vents. To achieve those ends, they live on the cheap and squat in building after building, often in the half-second before its conversion into condos (in one case, a wrecking ball almost takes out a few of them.)

None of these are uncommon tropes in punk writing, except for the "interview the mayor" part. The stories around that encounter — and the other interactions that the group has with city government — made me realize how insular and formulaic much zine content can be: interviews with bands x and y, a few squatting and train-hopping stories, and maybe one about hooking up with a girl who has a pet rat. Lyle’s writing is unusual in its intense curiosity about various subcultures and its sheer enthusiasm for discovering how the city does (and doesn’t) work.

Long-time fans of Lyle’s writing should note that virtually everything here has already been self-published, and that more than a little is lost in the transition to placid, even typography. It’s too bad On the Lower Frequencies didn’t get the warts-and-all reprint treatment that Last Gasp gave its Cometbus anthology. This book is for lending. Your earlier copies of Scam, if you have them, are for hoarding. The original format just feels, in some indefinable way, more secret. It’s hard to describe. Let’s just say that it’s the difference between exploring a building you’ve always been interested in under legitimate circumstances, and walking by that same building one night and finding the door unlocked. And that there’s a party going on inside. *


Pixel Vision: an interview with Erick Lyle

Tataki

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› paulr@sfbg.com

Earlier this spring, a young colleague wrote to ask if I knew of seafood restaurants in the city that emphasize sustainability. While I could recall plenty of sightings of sustainable seafood items on various menus in recent years, I could only think of two seafood restaurants that answered to his description — places, in other words, where sustainability is central to the restaurant’s consciousness and is a basic element of menu composition. One is the Hayes Street Grill, whose menu card gives detailed information about where and how particular fish have been taken. The other is a small sushi spot named Tataki that opened about three months ago in an old Subway space at the southern foot of Pacific Heights.

Tataki does and doesn’t look like a typical sushi spot. It does have a small bar in a far corner of the snug dining room where you can sit on ergonomically peculiar stools of black plastic and watch the chefs deftly go about their business, and the bamboo tables were handmade by owners Raymond Ho and Kin Lui. But the pumpkin-colored walls are unusual, and the slate floor, while handsome, does contribute to a noise level that can be surprisingly high for such tight quarters. Of course, nowhere is it written that sushi bars and other Japanese restaurants must be quiet and serene; here it is merely written that, so far as this writer is concerned, it’s nice when they are.

Still, as holes-in-the-wall go, Tataki isn’t bad looking. The real interest lies in the menu. To a glance, this document resembles many others around town: there are selections of nigiri, rolls, tataki, soups, salads, and starters from the grill. But, as at HSG, each menu entry includes information on how the fish were obtained. Many are farmed, and while aquaculture raises all kinds of uncomfortable issues about pollution, antibiotics, and food-chain inefficiency, it does offer one inarguable virtue: aquaculture helps protect wild fish populations from collapse.

Since salmon, whether farmed or wild, is problematic now, Tataki uses a close relation, farmed arctic char, instead. The fish, with its delicate rose-peach flesh, makes a handsome nigiri ($4.50); it also turns up in one of the rolls and as carpaccio. Other nigiri might feature hiramasa ($4.50), also known as kingfish (a yellowfin relative, farmed in Australasia), and California striped bass ($4.50), whose flesh is like a disk of translucent ivory someone spilled Grenache on.

No sushi joint in San Francisco would be complete without a clutch of wittily named rolls to call its own, and Tataki is no exception. The best name probably belongs to the Divisaderoli ($6), chunks of avocado bundled with either tuna or kampachi (a Hawaiian member of the jack family) and scattered with glistening orange grains of tobiko. Tastier, if bearing a less-fun-to-pronounce name, is the Mix It Up roll ($11), a blend of spicy tuna and crab meat that achieves an almost sausage-like intensity of flavor and texture.

But the king of Tataki’s rolls is surely the Extinguisher ($13), which offers not only a serious spice kick but a moment of real visual spectacle. If you like saganaki (the flaming cheese of Greece), you’ll love this scene. But first, the roll itself: flaps of kampachi marinated with chiles, packed in rice, topped with chunks of avocado, squirts of what the menu calls "hot sauce" (chipotle mayonnaise?), and heavy sprinklings of habañero tobiko, fire-alarm red rather than the usual orange. The redness of the tobiko should be enough to caution anyone who’s remotely paying attention, but just to make sure, the chef sprinkles the side of the platter with rock salt, sloshes some rum over the crystals, and lights the whole thing on fire with a blowtorch. This might make an interesting DIY project for the patronage, assuming no licensure issues — probably a large assumption.

The flame, which is mostly blue and not at all raging (its more like something you’d see under a chafing dish), burns down quickly, and you might not even notice it expire, since eating the actual roll is a memorable experience of fire and spice. I love spicy food and I responded to the clever combinations here, but at the same time it did seem to me that the subtleties of the fish were all but irrelevant. Nuance can get lost in firestorms.

A nice chaser to the Extinguisher would be the cold spinach ($4), with the greens "boiled … in soy broth," as the menu grimly explains. The dish sounded almost Dickensian in its bleakness, but it turned out to be four compressed-spinach cylinders cut on the bias and arrayed upright on a plate, like a little diorama of some ancient temple. (Minor complaint: the tightly packed leaves were tricky to hack through.) A more easygoing cold dish — the Sancho Panza of such dishes in Japanese restaurants — is the seaweed salad ($4), which Tataki, in a nice twist, presents in a large porcelain ladle.

Despite mounting evidence that fisheries are collapsing from human exploitation throughout the world — the plight of the king salmon is a recent, local, and particularly disturbing example; see also the death of the Grand Banks off Newfoundland — we seem to have a vestigial confidence that the oceans are too vast to suffer real harm at our hands. If we don’t see it happening, then it can’t be quite real. But it is happening and it is real, and if there is going to be any kind of future for sushi and other seafood restaurants, it will be because Tataki, in its eco-prescience, turned out to be the dawn of a new day. *

TATAKI

Dinner: Mon.–Thurs., 5:30–10:30 p.m.; Fri.–Sat., 5:30–11:30 p.m.

Lunch: Mon.–Fri., 11:30 a.m.–2 p.m.

2815 California, SF

(415) 931-1182

www.tatakisushibar.com

Beer, wine, sake

MC/V

Surprisingly noisy

Wheelchair accessible

Hellarity burns

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› news@sfbg.com

"The angels in the summertime are ashes in the fall. As Eden fell so heaven shall. I will burn them all."

The sign, written in gothic letters on weatherworn plywood with faded red flames, is nailed to the side gate of a two-story duplex off Martin Luther King Jr. Way in north Oakland. Today, the old sign’s words carry a chilling new meaning, greeting visitors to a house whose insides were scorched by an unidentified arsonist.

The charred house has been a cauldron of contention for more than 10 years. It has been the product of two anticapitalist housing experiments, one started by an environmentalist landlord who sought to create an ecotopia, and the other by a group of anarchists who intended to make it their home. In the process, it became a hub for traveling activists and aspiring hobos, and a headquarters for antiestablishment endeavors such as Berkeley Liberation Radio.

"People would hear about it through the grapevine, hop off a freight train, and show up on our doorstep with a backpack, a banjo, and a Woody Guthrie song," says Steve DiCaprio, a tenant who moved into the house in 2001 with his wife after living in a van out front. "We had an open-door policy. Anyone could come in, no questions asked. They just had to abide by certain rules: no hard drugs, no racism, no homophobia, and no violence. We wanted to emphasize equality — it was a reaction to the closed, materialistic, competitive, dog-eat-dog society we live in."

The house originally was part of the green property owner’s attempt to create a network of sustainable, affordable housing. When his project floundered, the residence was slowly taken over by his tenants, a group of people who one-upped his radicalism. Both sides claimed to be avowed anticapitalists, but their strategies were at odds; his was to produce an alternative to the local housing market by creating a nonprofit that would help tenants own their homes as a collective. Theirs was to make space for themselves in a rent-based housing market by seizing property from investors and absentee landlords.

The owner eventually went bankrupt — drowned in the early stages of the current defutf8g housing market — and the property fell into the hands of a small-time real estate investor, despite the tenants’ attempts to buy it themselves. The tenants refused to leave, transforming themselves into squatters, and fought it out with the buyer in court for three years. As the court case bogged down, housing values plummeted, making the landlord’s investment lose value by the day.

On Feb. 28, when one of many hearings was set to take place, the squatters showed up in court but the landlord hadn’t filed the paperwork needed to move the conflict closer to a resolution. The following night, in the early hours of March 1, someone lit three fires in the empty upper apartment, setting the house ablaze as people slept inside.

WELCOME TO HELLARITY


For years the house has been known as "Hellarity," although its original owner never called it that. In fact, he refuses to. To recognize that name would be to legitimize the people who adorned it with the title — a group he sees as thieves, squatters who disrupted a legitimate project he thought would have a small but tangible impact on a profit-driven housing market.

Born on the Sunrise Free School in northeastern Washington State, Sennet Williams — known by most as "Sand" — spent his early years bouncing between Spokane and "environmental and pacifist intentional communities" in the area. A year after moving to Berkeley in 1990, he graduated from UC Berkeley’s Hass School of Business. With a degree in urban land economics, he wanted to do his part to turn the tide of environmental degradation by developing "nonprofit car-free housing" in Berkeley.

Williams didn’t see attending business school or investing in property as contradictions of his ideals. For Williams, they were strategic moves. He thought that anticapitalist projects lacked an important element — money — and wanted to be a benefactor for alternative forms of housing.

One week after graduating, his dreamy aspirations came to a crashing halt when an SUV plowed into his compact car while he was on a ski trip at Lake Tahoe, badly injuring him and causing brain damage. His goals would have been quickly destroyed, but Williams sued the driver and convinced the court that the accident interfered with his budding career, winning a settlement in 1993 that he says was "almost a million dollars."

While his money was tucked away in mutual funds and he was living briefly at a student co-op in Ann Arbor, Mich., in 1994, Williams solidified his ideas into an ambitious project called the "Green Plan" with some of his housemates. The plan was an elaborate scheme to "end homelessness" by creating "an urban nonprofit dedicated to self-governing and radical environmentalism" that would fund "rural sustainable ecovillages in Hawaii and elsewhere."

That summer, Williams bought five houses on credit in what he calls Berkeley’s "’80s drug-war zones" and brought his Ann Arbor friends to California to turn his rundown properties into co-op material. Over the summer, the Green Plan became an official organization and Williams let its members live in his houses without paying rent. Instead, they were expected to pay monthly dues to their organization — roughly the equivalent of fair market rent — to put toward buying rural land or repurchasing the houses from Williams at cost. Those who couldn’t afford to contribute were allowed to stay free in exchange for working on the houses, doing extra work for the Green Plan, or volunteering in its Little Planet café.

"Sennet (Williams) tried to be clear that he wasn’t a landlord," says former Green Plan member Dianna Tibbs, but relations between Williams and the members quickly disintegrated. Three years after its formation, the Green Plan remained unincorporated as a nonprofit. A former member also said it was still too centered on Williams’ ideas. Williams’ relationship with the tenants soured. "Ultimately there was a rebellion among the people against Sennet," Tibbs says. In 1997 the project disbanded, transferring all of the money they had raised — about $50,000 — to the Little Planet café.

The Green Plan fell apart, but Williams was caught up in the fervor of the mid-90s real estate market. In 1997, he bought the house that would later be named Hellarity for $114,000, with the goal of "making it into a demonstration of an eco-house that would be an educational resource for the city." He says he chose that property in part so it "could be a tribute to the Black Panthers’ goals of providing food in the inner-city," as it was on the same block as the home of Black Panthers founder Bobby Seale.

But shortly after Williams bought Hellarity, he says he became "overextended in real estate." By the time he made his first mortgage payments, he says there were "over 60 people" living in his houses. He owned eight in Berkeley, two in Oakland, and was planning to buy farmland in Hawaii. With Williams tied up in too many projects to fix up Hellarity, he moved in some people to "house sit" in exchange for free rent.

Shortly after people moved in, Williams stopped coming around the house. The housesitters gradually brought in their friends, the walls were slowly painted to suit the eccentric tastes of the occupants, and more people started calling the house theirs. Williams said he didn’t invite them, but admits that he never asked them to leave. He had little contact with the occupants as years passed. "He was just a theoretical person that owned the house," DiCaprio says.

Hellarity took on a distinctly anarchist flavor in Williams’ absence. "People with alternative lifestyles and alternative family arrangements could live without having to dedicate their lives to making money, giving them more time to invest in their homes and their communities," says long-term resident Robert "Eggplant" Burnett, Bay Area punk rock legend, publisher of the zine Absolutely Zippo, and editor of Slingshot newspaper. Hellarity hosted the pirate radio station Berkeley Liberation Radio, a do-it-yourself bike shop, and cooked meals for Food Not Bombs.

It seemed like an anarchist paradise, but it wouldn’t last.

FOR SALE


By 2004, mortgage payments were driving Williams deep into debt, and Hellarity became a burden. The house was being pulled away from him from two sides: by anarchists who increasingly challenged the legitimacy of his ownership, and by creditors who placed liens against his properties.

When Hellarity was eventually sold by the court in a bankruptcy sale, the tenants say the man who would buy the house, Pradeep Pal, had never set foot in it. Pal, who refused to be interviewed for this article, lived in an upper-middle class neighborhood in Hercules and owned two businesses, Charlie’s Garage in Berkeley and European Motor Works in Albany. He wasn’t exactly a freewheeling real estate flipper — he was a South Asian immigrant who, according to Guardian research of property records, never owned real estate in the area other than his own home.

But to the tenants, Pal was a capitalist trying to buy them out of their home. In a recorded meeting with tenants, Pal admitted he hadn’t been inside the house before he bought it, and Williams tells us the real estate agent who arranged the sale also never toured the house before Pal bought it. "He obviously had no interest in moving into the place or contributing to the community if he didn’t even look at it," future occupant Jake Sternberg says. "This was someone who just wanted to make a profit."

The tenants made it clear to Pal that they didn’t want him to buy the house and would make life difficult for him. As soon as it became apparent that Williams would lose the house, Crystal Haviland and a few other occupants started searching for someone to help them buy the house. In the summer of 2004, the house was slated to go up on foreclosure auction, but the tenants hadn’t found a sympathetic donor.

The auction was set to occur on the steps of the René C. Davidson Alameda County Courthouse, and the occupants showed up banging drums and bellowing chants to warn off prospective buyers. "We wanted anyone interested in buying the house to know that the people who had been living at the house for 10 years wanted to buy it," says Haviland, who is now raising a child, studying psychology at San Francisco State University, and volunteering as a peer counselor at the Berkeley Free Clinic. "We didn’t want people to buy it and turn it into an expensive gentrified thing." While people gathered, Williams showed up and announced bankruptcy, a legal move that cancelled the auction.

With more time to search for financial support, Haviland started talking with Cooperative Roots, an organization that bought a couple of Williams’ other houses — now known as "Fort Awesome" and "Fort Radical" — in foreclosure auctions. Cooperative Roots is a Berkeley-based nonprofit organized in 2003 by members of the University Students Cooperative Association. They received money from progressive donors — mainly the Parker Street Foundation — to buy houses that they turned into "cooperative, affordable housing," says Cooperative Roots member Zach Norwood. Anyone who lives in their houses is an automatic member of the cooperative and makes monthly mortgage payments to the foundation.

For Hellarity, Cooperative Roots was a godsend. "Other people would walk into that house and say, "This place is disgusting," DiCaprio says. "But they said, ‘Wow, this is a work of art.’<0x2009>" The Parker Street Foundation was willing to put down whatever was needed to buy the house, Norwood says, but the occupants were limited by the monthly payments they could afford. On Nov. 4, 2004, the house went up for bankruptcy sale, and Cooperative Roots was prepared to bid up to $420,000. "It was exciting to be there with a bunch of crazy Hellarity people, putting out bids for hundreds of thousands of dollars," Haviland says.

No one expected them to show up at the sale. Williams says they had previously offered to buy the house from him but he "didn’t think they were serious." By the time they had the money, Williams no longer had control of the sale. At the courthouse, the anarchists were playing by the rules, bidding with money up front. The only other party interested in the house was Pal and his brother-in-law Charanjit Rihal, who were placing bids against the occupants. The two sides bid against each other, driving up the price until the occupants reached their limit. Pal and Rihal took the property for $432,000.

OWNERSHIP VS. CONTROL


"This sale was symptomatic of a housing market gone haywire," says DiCaprio. "People like Pal and Rihal thought they could just throw a bunch of money into real estate and it would always be a good investment. I’m glad the market finally crashed, because that kind of behavior hurts a lot of people. It ended up driving the price of housing to the point that normal people can’t buy anymore — and that’s absurd."

Pal soon discovered he owned the property on paper only. The occupants didn’t recognize the sale or his authority to tell them to leave. Three months after the sale, the occupants were still there, refusing to go. Pal took the case to court in an "action to quiet title," demanding that they be ejected from the property and that the title be freed from any future claims against it. He claimed the people in the house were squatters, living on his property without permission. But before the police could drag out the occupants, they countersued, holding themselves up in court without a lawyer for three years and living in the house the whole time.

One of the first cross-complaints came from Robert Burnett who — with his contempt for the computerized, cell phone-saturated consumer culture — wrote his cross-complaint on the back of a flyer on an ancient typewriter. When the document appeared in court, one side advertised a benefit for a pirate radio station at the anarchist info shop at the Long Haul with an image of tiny people being thrown out of an upside-down Statue of Liberty. On the other side, Burnett claims that he is a co-owner of the house, which he acquired through "adverse possession." Two other defendants made the same claim.

"Adverse possession transfers the ownership of a piece of real estate to people occupying the house without payment," says Oakland attorney Ellis Brown, an expert in property law. "In the state of California, you have to be openly living in a place for five years without the titleholder trying to make you leave to win an adverse possession case."

"Adverse possession originated to prevent Native Americans from taking back land from homesteaders, but squatters turned it around, using it to protect people who take possession of unused property," says Iain Boal, a historian of the commons who teaches in the community studies department at the University of California, Santa Cruz and the author of the forthcoming book, The Long Theft: Episodes in the History of Enclosure. Boal emphasizes the large numbers of squatters in the world, a figure Robert Neuwirth, author of Shadow Cities: A Billion Squatters, a New Urban World (Routledge, 2004), pegs at 1 billion. "It is only here that squatters are seen as bizarre leftovers from the ’60s," Boal says. "We are in a crisis of shelter, and people need to fill their housing needs."

DiCaprio concurs. Along with Burnett, DiCaprio was the main backer of the occupants’ legal case. As we talk in a dark, live-in warehouse, he sips coffee out of a Mason jar and looks over the court case on his laptop. He says he wants to be a lawyer, but he has never been interested in making lots of money — he says he wants to "fight for housing rights." DiCaprio learned squatter law while cycling through family law court, criminal court, and federal court over a Berkeley house he was squatting and trying to win through adverse possession. The city threw him in jail, and he was released just after Pal sued the occupants of Hellarity.

He says Hellarity was different from other situations he’s dealt with as a squatter. "We never thought of ourselves as squatters [at Hellarity] per se until Pal sued us and start using that language in court," he says. "Before he bought the house, no one was challenging our presence on the property. Sennet [Williams] was either actively or passively letting us stay there. By filing a claim to quiet title, Pal made it apparent the title was in question. By calling us squatters instead of tenants, they lost some claim to the property. So we took the ball and ran with it."

Their use of adverse possession was strategic, DiCaprio says, but they didn’t intend to win the house that way. "We were never under any illusion that we would win ownership of the house in court," he says. "We wanted to use the court as a forum to enable us to buy the house. We were just treading water until Pal got tired and agreed to sell." The occupants say they offered him $360,000 for the house, the price it was originally listed for, but he refused to take a loss on his investment.

DiCaprio says the courts generally aren’t sympathetic to squatters’ cases. "Pro pers tend to be poor, so there is a class bias against them," he says, referring to people who represent themselves without a lawyer. DiCaprio says judges have rejected documents for having dirt on them and refused to give fee waivers to people with no income. "The courts do not like squatters. If you mix pro per and adverse possession, you could not have a more hostile environment against us."

For more than two years, Pal and the occupants played a cat-and-mouse game, dragging out the case and trying to complicate it in hopes the other side would just give up. Pal’s lawyer, Richard Harms (who did not return Guardian calls seeking comment), objected to the terms "documents," "property," and "identify" when asked to produce evidence related to his claim. "Instead of trying to prove their case, they were just waiting for us to trip up and not file something before a deadline," says DiCaprio.

The occupants didn’t slip, but as the case wore on, he and Burnett grew tired of upholding their side in court. By fall 2007, the two cut side deals with Pal. Burnett settled for $2,000 and DiCaprio for an undisclosed amount. "I realized I couldn’t save it alone," DiCaprio says. "I told them to sink or swim."

ENDGAME


When Burnett and DiCaprio settled with Pal, the subprime housing crisis was splashing the headlines. Pal’s investment was starting to seem more like a loss, but for the first time since he bought the property, it looked like it would finally be his. By November 2007, the remaining squatters dropped the battle for ownership and began bargaining with him for concessions.

By mid-February, Pal was ready to start renovations, and all but two of the squatters had moved out. They made their final plea and Pal gave his last compromise: two more weeks, then they had to go. "He was sure he was going to get the house, so he agreed to let us stay," says a squatter called Frank, who asked not to be named because of his immigration status.

What Pal may not have understood was that he was not the only party still interested in the house. The house was becoming a point of contention among the larger community of squatters and anarchists in the East Bay. Fissures broke around a central question: was it up to those living there to decide the fate of the notorious squat, or did the larger community of radical activists have a say in the property?

As Pal was getting rid of the last people occupying the house, the squatters’ conflict came to Hellarity’s doorstep. A new group of people came to the North Oakland house, among them a few who had previously stayed at Hellarity, ready to renew the struggle against Pal. Frank, who had been living in the house for seven months, was unhappy about the new arrivals.

"I told them that this kind of action would make problems for me," he says. "I already made an agreement with this guy [Pal] to leave by the end of the month." The new group saw things differently. "We own this place," says Jake Sternberg, the new de facto caretaker of Hellarity, who has since been pushing for the squatters to renew their court case. The discord between the squatters split up the duplex: the two old squatters stayed upstairs while the recent arrivals occupied the lower half.

Two weeks after the new crew moved in, a fire was lit in the upper apartment that burned through the ceiling and the floor. But who did it? Was it a disgruntled squatter who would rather destroy the house than hand it back to Pal? Or was Pal connected to the arson, losing his nerve as a newly energized group of squatters took over and the value of his investment crashed?

If not for the squatters, Pal might have been less affected by the subprime crisis than most property owners. He had no mortgage on the house — he bought it outright — so he wasn’t under threat of foreclosure, unlike tens of thousands of other California homeowners. But Pal faced a different threat. It seems likely he bought the house as an investment, and as the market crashed, he was stuck with a house he could neither renovate nor sell, and was left to watch its value tank as he slogged through court proceedings.

For an investor like Pal, the numbers weren’t looking good. In March, median housing prices had fallen 16.1 percent compared with those of March 2007, according to DataQuick Information Systems, and home sales declined 36.7 percent from the previous year. In April — for the seventh consecutive month — Bay Area home sales were at their lowest level in two decades, DataQuick reported. And according to Business Week, national home prices will plummet an additional 25 percent over the next two to three years.

On Feb. 17, the day after the new group of squatters moved in, Pal made an appearance at the house. In early March, Sternberg showed me a video he recorded during Pal’s visit. On the screen, Pal is sitting on a couch in the downstairs living room of Hellarity. At the door, a well-built man who looks to be in his 30s and calls himself Tony leans against the wall with two younger men who call themselves Salvador and Ryan. Sternberg tells me that Pal came to the house demanding they leave his property. Sternberg called the police, accusing Pal of trespassing. As they waited for the OPD to arrive, which took more than 25 minutes, they discuss their conflict over the house.

At the beginning of the video, Sternberg tells Pal why he and his friends refuse to give up the property: "People came over here from Europe and they said, ‘Hey, we’re going to take this place.’ Now they sell land to each other. And how did they get it? They took it…. And just because somebody pays for something doesn’t mean that they get it. And just because somebody sells something doesn’t mean they have a right to sell that."

A few minutes into Sternberg’s video, Pal told the squatters he was ready to take matters into his own hands. "You just have to deal with me now because what I’m saying is, it’s person to person…. And you know what? If it’s gonna get dirty, it’s gonna get dirty. I don’t care. Because you know what? That’s the way it’s gonna be, because this is what I need. I need to have it. I don’t have any lawyer. I can’t afford a damn lawyer. So it’s gonna be me and you. One to one. Man to man."

Pal eventually left the property after the police arrived, but the two younger men, Salvador and Ryan, spent the night upstairs. "[Pal] had them stay there because they thought the people downstairs would squat the upstairs," Frank says. "He wanted to protect the house." Frank, who says he was concerned that Pal would try to evict him with everyone else, initially didn’t protest the presence of the two young men.

The next day, at Frank’s request, Pal told Salvador and Ryan to leave, and for the two weeks that followed, Pal didn’t return to the house. The new group of squatters expected to see him Feb. 28, the date set for a case hearing called by Pal’s lawyer prior to the re-occupation of the house. If the defendants didn’t show up, a default judgment could have been entered, granting Pal his request to have the squatters removed and ordered to pay $2,000 per month in back rent. The squatters showed up for court, but Pal’s side hadn’t filed the necessary paperwork to hold the hearing.

Once again the house hung in legal limbo and the day after the hearing, the remaining people upstairs moved out as agreed. Frank says Pal called him while he was at work that afternoon to make sure they were gone. For the first time in 11 years, the upper apartment was empty, waiting for either Pal or the other squatters to seize it.

But someone was committed to preventing that from happening. The night after the people upstairs moved out, at around 3:15 a.m., the squatters downstairs awoke to fire creeping through the floorboards above them.

"Both of the doors upstairs were locked," Sternberg says. "We broke through one of the doors and threw buckets of water on the flames."

After the fire department extinguished the blaze, the squatters called the police to have an investigator search the scene. "It appears that unknown suspects entered the house through unknown means, and then set three fires in an attempt to burn the house," the police report states. According to the report, all three fires were set in the upstairs apartment; two burned out before the fire department arrived. Officer Vincent Chen found two used matches in the bathroom, where the wood around the sink had been burned, and a gas can hidden in the bushes on the east side of the house.

When I first met Sternberg, he told me the Oakland Police Department’s arson investigator, Barry Donelan, was helpful. Two and a half months after the fire, however, Sternberg says: "I regret having talked to the police."

Initially, Donelan didn’t know they were squatters — Sternberg had told him they owned the house. "Once he found flyers for a fundraiser to defend the squat, he became angry," says Sternberg. "He said he submitted the case to the district attorney, and didn’t expect anyone would be arrested."

Sternberg says Donelan also threatened to have him arrested for a traffic-related warrant and that he would turn Sternberg’s name over to the Federal Communications Commission, which had an open investigation on the house for hosting Berkeley Liberation Radio. In March, Donelan told us he wouldn’t comment on the case and at press time, he hadn’t return Guardian calls about the status of the investigation.

EPILOGUE


Although the arson may never be solved, the squatters have strong suspicions about who was behind the fire. But they have a hard time deciding who, ultimately, is most culpable for the blaze. "No one involved in Hellarity is innocent, and no one is completely guilty," says DiCaprio. The one point of view everyone seems to share is that Hellarity has long been a tinderbox of contention, in which property owners struggling in a beleaguered housing market faced off against a group of people who reject the market outright for its inaccessibility to low-income people. Eventually, it all literally — burst into flames.

When I visit after the fire, people are sitting outside playing guitar, smoking rolled cigarettes, and singing the timeless hobo ballad, "Big Rock Candy Mountain." The sounds drift over the budding vegetable gardens and into the downstairs living room, where a message written on a big green chalkboard suggests that if the fire was intended to drive people out, it was unsuccessful: "WELCOME BACK TO HELL(ARITY). Because bosses, landlords, and capitalists suck, the house has lots of repairs that need to be done before it becomes fully livable."

Upstairs, Sternberg looks up at a charred, gaping hole in the ceiling. "We have to make lemonade out of lemons," he tells me, explaining that they just got a skylight to fill the cavity. "We’re going to continue fighting just like we’ve been fighting. This guy [Pal] has been in court with us for three years. He’s got no case." *

Ultrabananas

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› superego@sfbg.com

SUPER EGO Springtime in Clubland’s looking gorgeous so far: it could totally move covers and dominate the next cycle. A special double pinkies up to all the fab promoters throwing AIDS ride-run-walk-collapse fundraisers and shining limelight on the No on Prop. 98 campaign. I’d air-kiss you to death, but it would crust my Cover Girl Hipster Neutral No. 140 Lipslicks Lipgloss. Ack.

On to biz: yep, the hardcore electro banger sound — think ELO meets Spank Rock, filtered through acid house and bare-bones punk — has set my fuchsia radar to stunned, even though it’s already glitzed up most of the city’s edgier dance floors. It certainly makes me question the meaning of “underground” in the MySpace age. And despite the scene’s sometimes perilous “Girls Gone Wild” flirtations, it’s total ferosh to see so many banger women bringing real DJ and promoter power: Emily Betty, Queen Meleksah, Parker Day, Nastique, Kelly Kate …

Stuttery vocals, ripped-needle basslines, Justice influence, and hands-in-the-air breakdowns are the genre’s sonic commonalities, but the sound’s a mutt, streamlining electroclash and iDJ kitsch into a neon ball-slap to the brainiac minimal techno boyzone. That means it’s stylistically elastic, and two of my favorite San Francisco DJs — and people — from other scenes have vaulted to the banger forefront. Richie Panic (www.myspace.com/richiepanicisagenius) got big spinning mod classics and electroclash before teaming up with DJ Jeffrey Paradise, the banger godfather, to rock the new sound. He fronts an all-out ultrabananas punk energy — Gorilla Biscuits trumps Hot Chip — and his unerring ear blows dragon smoke from my broken lightbulb. Check out Mr. Panic’s top bangers here.

Vin Sol (www.myspace.com/vinsol), on the smoother hand, is a hometown hip-hop hero who tells me he found rap crowds too resistant to experimentation; electro has freed him to splash freestyle classics like Debbie Deb’s "When I Hear Music" over the lowdown banger sheen, and startle laptop lovers with dazzling vinyl pyrotechnics.

Newbies? "Ableton’s my homeboy," 22-year-old PUBLIC (www.myspace.com/publicworld), a.k.a. Nick Marsh, recently said to me with a laugh. He’s been blowing banger minds with his live shows at parties like Blow Up (www.myspace.com/blow_up_415) and software edits of the Cardigans, ELO (yes!), even When in Rome’s melancholic 1988 dance jam "The Promise." And his hypnotic new tune "Colorful" is a hit. "I played in a hardcore band, then went through an acoustic Postal Service phase," said the longtime record collector and musician. "So harder but really melodic stuff is natural to me. I think one way to get everyone on the floor is to take softer songs and make them more aggressive, so there’s a broader energy." He’s sliced and diced Metallica too.

Also fresh is 23-year-old LXNDR (www.myspace.com/djlxndr), who used to spin at raves and dreamt of being Armand Van Helden (!) before gravitating to Felix da Housecat and Richie Hawtin. He describes his sound as POPalicious — heavy beats over classic trax, but tasteful and widely appealing — and presides over the No More Conversations (www.myspace.com/nomoreconversationssf) weekly and wild Youngbloodz monthly (First Fridays at Milk, www.milksf.com). "I like to turn heads with my mixes and really make people notice that I put a lot of thought into how I drop a track. That’s what I always liked about the older dudes when I was coming up," he told me. Aw, sweet. Look for his seven-song EP — on which he plays guitar, bass, and synths — to hit this summer and munch up the younger clubbables.

Fork This

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› andrea@altsexcolumn.com

Dear Readers:

This is probably the only time the Alt Sex column will cover the same territory as my new venture, a nice, moderately wholesome blog about kiddie consumer culture (www.gogetyourjacket.com). I was prepared to let the "expectation of blow jobs on Mother’s Day" thing go, especially since US Mother’s Day itself is a few weeks gone, but now the Father’s Day press releases are trickling in — they’re not gushing manfully yet, but I suppose that’s to follow — and the picture that’s emerging of the state of sex in the modern Western (hemisphere, not yippee-yi-yo-ki-yay) bedroom is so weird I can’t let it alone.

First there was the Mother’s Day gift basket meant to get horny, aggrieved husbands with feelings of entitlement to bug their wives for sex instead of going out and getting them a pain au chocolat (the baskets contained paint au chocolat, but that is not at all the same thing). To me, this implies a target audience of couples who aren’t having sex, the female halves of which have to be jollied into it with cheesy "romantic" gifts and who, even more weirdly, can be jollied into it with cheesy "romantic" gifts.

And now I have a "New! For Father’s Day!" ad from the last place I’d expect to produce a sleazy and ultimately sad commentary on the perceived state of modern child-having marriage: a mom ‘n’ pop, organic, non-sweatshop-made "family fashion" (novelty T-shirt) company. I mean, women, would you get your husband a shirt that says "Daddy needs some love’n?" How about one that reads, "My wife likes to spoon but I prefer to fork?" Bear in mind that these are supposed to be gifts. What are we saying here? Why not just go to CafePress and make him a shirt that says, "You’re not getting any and I think that’s pretty funny, har har har!"?

Oh, and men, would you wear it? Would you write to me and tell me why? And if you’d order it yourself and wear it out to lunch (real men don’t brunch, right?) on Father’s Day to mortify your wife, explain that too. By e-mail, please, you don’t sound like the sort of people I would like to meet in real life. I’m embarrassed for those women and I don’t even know any of them.

I truly don’t. I swear I know a goodly number of heterosexuals — one does run into them now and then — and the cartoony vision these products are promoting is just not something I see a lot of. I’m happy to report that I don’t hear from or even hear about a lot of marriages in which the wives refuse sex out of contempt, complete loss of interest, or utter lack of concern over whether their mates are happy or not. Recently I’ve been meeting a lot of women who are hoping to regain lost sex drives and lives after having babies, and even they (of course these particular women are the ones who are motivated enough to talk about it) never show a hint of contempt for the men they aren’t doing it with. They’d like to do it. They want to want to do it. They’ve just lost touch with it. Desire disorder is the dysfunction of the day — just wait till the drug that fixes that hits the market. People will be all, "Viagra who?"

And while cheesy dad gifts are on the table, I would like to register one more complaint. I don’t know what the gift-promoters are trying to pull here, but it struck me as quite completely unfair that after the stupid Mother’s Day come-ons, which were both sexed-up and creepily infantilizing, the first thing I got that was aimed at dads said simply that you should get him a bottle of really nice single-malt scotch. What, no boxer shorts on a stick?

Also, on the subject of knowing a few heterosexuals here and there, I was asked if I would comment on the California Supreme Court’s ruling on gay marriage (um, they were for it). Sure. I have to admit I have nothing particularly pithy to say about legal gay marriage. I’m for it. I’m a lot more for it than some of my gayest friends are, as a matter of fact: they’re in the "Why should we beg you to let us pretend to be just like you?" camp, while I’m over here in the "It’s not fair that I should get to claim a certain kind of legitimacy for my relationship that you don’t get for yours" camp. They pat me on the head. Me, I’m just dorky enough to be all rejoice-y about this, and hope that my Midwestern friend’s "spousal unit" gets to make an honest woman of her after, oh, 15 years and two kids. And how can any event that occasions this headline — "Star Trek’s George Takei to Marry Longtime Partner" — fail to produce a "Woo!" and a "Hoo!"?

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Andrea is also teaching two classes: "You’ve Really Got Your Hands Full" — a realistic look at having twins — at Birthways in Berkeley, and "Is There Sex After Motherhood?" at Day One Center in San Francisco and other venues.

San Francisco, meet Joe Nation

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OPINION How would you like to be represented by someone who flacks for the insurance industry, serves real estate developers and landlords with zeal, opposes consumer privacy, and is a role model for corporate Democrats with a firm allegiance to big business?

You wouldn’t know it from the vague aura of his slick ads, but Joe Nation is hoping to be that someone in the state Senate. He’s the third candidate in the hotly contested race that includes two stalwart progressive politicians — incumbent Senator Carole Migden and Assemblymember Mark Leno.

Nation jumped into the Senate race in the 3rd District just three months ago. He’s trying to win in a sprawling district that includes half of San Francisco along with all of Marin and parts of Sonoma County. And he could pull it off.

The real danger of a Nation victory hasn’t been apparent to many San Francisco voters. Eyes have been mostly focused on the Leno-Migden battle, and Nation has never been on the ballot in the city before. But those of us who live in North Bay are all too familiar with Joe Nation.

When Nation’s campaign Web site trumpets him as an "advocate for universal health care," the phrasing is typical of his evasive PR approach. While in the state Assembly, Nation pushed for legislation that would force consumers and taxpayers to subsidize the health insurance industry. Meanwhile, he continues to oppose a single-payer system that would guarantee publicly financed health care for all in California.

Likewise, Nation leaves out key information when he calls himself an "international expert on climate change" for an "environmental consulting firm," ENVIRON International. He’s not eager to disclose that much of his work at the firm is for Coca-Cola, which excels at greenwashing its image to obscure its dubious environmental record.

In the Legislature, where he supported charter schools, Nation was problematic on public education. He earned distrust from the California Teachers Association and the California Federation of Teachers, both of which endorsed Leno in the Senate race.

When lawmaker Jackie Speier put forward a tough bill to safeguard consumer information rather than allowing financial institutions to sell it to the likes of telemarketers, Nation worked to undermine the legislation.

In 2006, nearing the end of his six corporate-friendly years in the state Assembly, Nation launched a Democratic primary challenge to US Rep. Lynn Woolsey — who has strong support in the North Bay congressional district because of her courageous leadership against the Iraq war and for a wide range of progressive causes. Nation attacked her from the right. She trounced him on Election Day.

Nation’s long record of siding with powerful economic players inspired the San Francisco Apartment Association and other landlord groups to throw a big fundraiser for his Senate campaign a couple of weeks ago. To big-check donors with an anti-renter agenda, plunking down money for Nation is a smart investment.

Independent polls now show a close race between Nation and Leno, with Migden a distant third. As a practical matter, the way for progressive voters to prevent Joe Nation from winning the state Senate seat is to vote for Mark Leno. *

Norman Solomon is the author of many books, including War Made Easy: How Presidents and Pundits Keep Spinning Us to Death (Wiley, 2005).