San Francisco

The promise of high-speed rail

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EDITORIAL Imagine — there’s a project on the drawing board in Sacramento that would:

Get two million cars off California’s roads.

Eliminate any need for expensive and environmentally damaging new runways at the San Francisco International Airport.

Create tens of thousands of high-paying jobs for economically depressed Central Valley communities.

Generate untold billions of dollars in long-term economic development in the state.

Make the ugly trip from San Francisco to Los Angeles a simple and affordable pleasure.

Represent the single most important contribution California could make to cutting global warming.

Pay for itself in 10 years.

Why isn’t everyone in the state demanding that it go forward immediately?

That’s the strange question about high-speed rail. It makes perfect sense on every level. It’s the sort of project that ought to satisfy every interest group in the state. The environmentalists love it; so does the San Francisco Chamber of Commerce.

Yet Governor Arnold Schwarzenegger is prepared to effectively defund the agency that is planning the project, the California High-Speed Rail Authority, and is moving to ensure that the first installment of the money the project needs won’t be in the next set of infrastructure bonds, on the 2008 ballot.

The governor’s position is baffling, and the only explanations his staffers have offered are so factually inaccurate that they’re laughable. The Democratic Party supports it — but this project needs more than just a few statements of support. It needs to become such a priority for the state that the legislature can force the governor to move forward on it.

A high-speed rail line would carry people from downtown San Francisco to downtown LA in a little more than two hours. At current estimates, the trip would cost about $40. The technology is proven; high-speed rail works all over the world. In terms of energy use, it’s about the most efficient and environmentally sound way of moving people around that exists. The demand is clearly there. The total price tag — about $40 billion for a full build-out from Sacramento to San Diego — isn’t cheap, but every estimate shows that the project will pay for itself a decade after the first trains start running. That’s a great deal, even a spectacular deal, for any public works project.

But time is of the essence. Every year of delay hikes the price of the project by $2 billion. The high-speed rail agency ought to be racing at full throttle to get a plan on the next possible ballot — but instead, the governor’s budget is giving the authority less than a tenth of what it needs to keep going.

The nonpartisan legislative analyst says in a recent report that if the governor won’t fund the high-speed rail authority this year, the legislature might as well shut it down.

This is utter insanity. High-speed rail is crucial to the state’s future and needs a lot more champions. Don Perata, the senate president, and Fabian Núñez, the assembly speaker, need to tell the governor in no uncertain terms that the high-speed rail agency must be funded, and the first installment of bonds must be on the November 2008 ballot.

Editor’s Notes

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› tredmond@sfbg.com

San Francisco district attorneys have never been known for fighting political corruption. You don’t see politicians or corporate CEOs doing the perp walk around here — and trust me, it’s not because there’s a lack of criminal activity. Over the past 20 years, I’ve personally written or edited at least two dozen stories that involved clear evidence of lawbreaking by prominent San Francisco citizens, and not one of them has ever been held to account in a court of law.

(OK, I’ll give Terence Hallinan credit for Fajitagate; at least he tried. But it turned out to be an embarrassment when the highest-ranking cops walked away free and clear. And even Hallinan couldn’t — or wouldn’t — lay a glove on Willie Brown.)

Kamala Harris, who will be up for reelection next year, clearly has higher political ambitions. When I saw her take the stage with Sen. Barack Obama at the state Democratic convention in San Diego and he introduced her as one of his most prominent supporters, I could almost see the wheels turning: Federal Judge Kamala Harris. White House counsel Kamala Harris. Even Attorney General Kamala Harris. If Obama doesn’t win, she’s still on a lot of short lists for higher office.

But if she wants to be another Eliot Spitzer, she’s got to, well, be Eliot Spitzer. She’s got to be willing to take a firm hand on political crimes, pursuing and investigating violations of public trust as if that were the most important part of her job.

And she can start right now with the San Francisco Community College District.

It’s been more than a month since the news broke that an associate vice chancellor at City College diverted $10,000 in public money to a private campaign fund set up to pass a college bond act. Nobody’s been charged with any crime, but it seems to me there are some real questions not just about propriety but about legality here. And it seems to me, as someone who has watched that snake pit over there for a long time now, that it’s highly — highly — unlikely that a junior-level college official acting entirely on his own would have shifted 10 grand into a campaign committee that had close ties to elected members of the community college board.

Nobody in the DA’s Office will confirm or deny any investigation, which is standard practice. But I bet an aggressive district attorney who started digging out there on Phelan Avenue might shovel up some serious dirt. Just a thought, Kamala.

I’m beginning to think that our candidate for mayor ought to be Sup. Ross Mirkarimi.

Part of that is, frankly, political reality: Matt Gonzalez shows no sign of wanting to run at this point, and it’s getting late. Sup. Aaron Peskin doesn’t want to do it. There’s talk about former mayor Art Agnos, but I don’t buy it: Agnos would have a lot of fences to mend from his administration, and he’s not the type to apologize.

I hate to say that "leaves" Mirkarimi, because he’s actually a good candidate. He’s smart and full of energy and can take on the mayor on street crime: Newsom is going after panhandlers while Mirkarimi is trying to do something about the appalling murder rate. He’s only been in elected office a couple years, but then, Obama (who is Mirkarimi’s age, to the day) has been in the US Senate a couple years, and he could be the next president. Worth thinking about.

Bringing CCA to life

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EDITORIAL Community Choice Aggregation, a new system of developing and selling electric power, has the potential to put San Francisco on the cutting edge of renewable energy nationwide. It could offer lower rates to consumers. It could be an important first step on the road to a full public power system.

When the notion first came up a few years ago, everyone — from Mayor Gavin Newsom to the supervisors to the San Francisco Public Utilities Commission to Pacific Gas and Electric Co. — claimed to be supportive. Now Supervisors Ross Mirkarimi and Tom Ammiano have put forward a plan that would ensure that half the city’s electricity come from solar, wind, and increased efficiency (along with the power we currently get from the dam at Hetch Hetchy). The plan would put San Francisco in the business of developing, promoting, and using solar energy on a huge scale. And suddenly, PG&E is spending millions on ad campaigns and has launched a quiet letter-writing effort to sabotage CCA — and the mayor is nowhere to be found.

It’s no coincidence that the giant private utility’s ads began appearing all over the city, including on the front page of the San Francisco Chronicle, in the same month that Ammiano and Mirkarimi were preparing to introduce their CCA bill. The company is trying to lay the groundwork to counter the city’s arguments that public power, or CCA, is an environmentally sound alternative to PG&E. As Amanda Witherell reported ("Green Isn’t PG&E," 4/18/07), the whole image of PG&E as a green company is a lie: its current power profile is 44 percent fossil fuels and 24 percent nuclear — which means two-thirds of the electricity the company sells is creating either greenhouse gases or nuclear waste.

The CCA plan, on the other hand, calls for 360 megawatts of fully renewable energy in San Francisco. The way the system would work, the city would use money that voters have already approved to develop solar generators and would contract with electricity providers that offer renewable energy. The city would buy the power in bulk, at comparatively low rates, then resell it to residents and businesses. And since the city won’t be making a profit, the cost to consumers will be less than what they currently pay PG&E.

It sounds simple, but the actual implementation is going to be a bit tricky — and will require constant monitoring. That’s why Ammiano and Mirkarimi want to create a new panel, made of several supervisors and representatives from the Mayor’s Office and the SFPUC, to manage the transition. It makes perfect sense: the supervisors need to play a role in the new agency and ought to sign off on any contract. If they don’t, the whole thing could be underfunded, delayed, and packed off to a bureaucratic back room.

But Newsom doesn’t want to give up control, and City Attorney Dennis Herrera hasn’t signed off on the deal. Herrera no doubt has legal arguments against creating a joint control agency, but we can’t believe there’s no legal way to pull this off. Herrera needs to help the board come up with a creative solution.

Meanwhile, Newsom needs to stop ducking this issue. He seems to have plenty of time to attend PG&E’s faux-green media events — but even after CCA supporters rescheduled a press conference twice at the request of Newsom’s office and set it for a time the mayor was available, he didn’t show up.

CCA is a key part of the city’s energy future. The supervisors should pass the plan, including an oversight panel, and the mayor should not only sign it but actively push for rapid implementation. If not, his kowtowing to PG&E should be a central issue for a challenger in the fall campaign. *

PS State law bars PG&E from actively campaigning against aggregation, yet there are signs that the utility is doing just that. Herrera and District Attorney Kamala Harris should immediately open an investigation.

Don’t Trash California

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By Sarah Phelan

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Slow is how I was feeling in all this heat, as I drove towards the Bay Bridge, direction San Francisco, and maybe it was because I was driving slowly, too, that I saw the huge illuminated “Don’t Trash California” sign that’s been newly installed on the approach to the toll gates.
Brought to us by Toll Roads, an Orange County and SoCal-based organization that has partnered with Caltrans, the sign is obviously intended to stop people trashing our state (at least physically, if not verbally).
Nice touch, I thought, as the driver in front of me tapped cigarette ash out of his window, and a plastic bag flew across six lanes of freeway traffic. It’s time people stopped dumping shit out of car windows. Maybe if they could see where their shit ends up, they’d give more of a shit about their shit.Maybe we need Al Gore to make another documentary, following the path of a fast food wrapper from your car and into someone else’s lneighborhoods and into the waterways that lead to the giant silver mobius that is the World’s Ocean.
Or maybe we could just use our friggin’ imaginations. The kids in West Oakland WON’T enjoy finding your beer can in their back yard. Nor will the sea lions at Pier 39. And it won’t help feed the starving polar bears.
And if the California Department of Transportation, Division of Maintenance, didn’t have to spend more than $40 million just to clean up litter on freeways and highways, maybe they’d have more dough for fixing the pot holes that drivers are always complaining about.
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In search of San Francisco soul

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By Bruce B. Brugmann

Carl Nolte is the Chronicle writer who I think is the carrier of the Herb Caen tradition of finding soul in San Francisco.

Carl confirmed this for me in his Saturday May 5 Chronicle story aptly headlined “Gorgeous houses with ‘soul.‘” Carl, who was born and raised on Potrero Hill and is now hunkered down in a house on Bernal Heights, wrote about Arthur Bloomfield, a 76-year old retired music and food critic for the old Hearst Examiner, and his passion for the stately mansions and Victorian houses of Pacific Heights.

Bloomfeld took Carl on a tour of Pacific Heights for a book that he and his late wife Anne wrote, “Gables and Fables: a Portrait of San Francisco’s Pacific Heights.” He told Carl that “houses can have soul, you know. Like a good concert or a good meal, something like a house can be exciting and have soul.”

I know that Bloomfeld and his wife knew about San Francisco soul, even though I never met them. My wife Jean and I, and our two children, shared for years with the Bloomfelds a wonderful housekeeper named Rose Zelalich. She was a lady with real San Francisco soul. She was born six months before the earthquake and taken by her Yugoslav parents to live in a tent in Golden Gate Park. She never left San Francisco and had endless fascinating stories about her life in the city’s neighborhoods, the families she worked for, her two children and grandchildren, her cast of character friends, and her favorite haunts like Adeline’s Bakery in West Portal and Woolworth’s on Market Street.
She claimed that, if you couldn’t find it at Woolworth’s or the Emporium across Market Street, you didn’t need it. She was a Democrat with a Big D and loved FDR and hated William Buckley Jr.

The Guardian Iraq War casualty report (5/7/07)

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The Guardian Iraq War casualty report (5/7/07): 8 U.S. soldiers killed yesterday. 42 Iraqi civilians killed yesterday.

Compiled by Paula Connelly

Casualties in Iraq

U.S. military:

8 U.S. soldiers were killed in a roadside bomb attack in Iraq yesterday, according to the Washington Post.

3,618: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.04.html

Iraqi civilians:

At least 42 Iraqi civilians were killed yesterday when a car bomb exploded in a busy market in Bayaa, according to the Washington Post.

98,000
: Killed since 3/03

Source: www.thelancet.com

62,841 – 68,868: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 6 May 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/43/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Iraq Military:

30,000: Killed since 2003

Source: http://www.infoshout.com

Journalists:

153 journalists have been killed in Iraq since the start of the war four years ago, making Iraq the world’s most dangerous country for the press, according to Reporters without borders.

156: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

The Bush administration plans to increase quota of Iraqi refugees allowed into the U.S. from 500 to 7,000 next year in response to the growing refugee crisis, according to the Guardian Unlimited.

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.


1.6 million:
Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

U.S. Military Wounded:

50,502: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (5/7/07): So far, $423 billion for the U.S., $53 billion for California and $1 billion for San Francisco.

Compiled by Paula Connelly

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

BVHP referendum remains in legal limbo

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By Sarah Phelan
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This map shows just how huge the redevelopment project ( the yellow area) in Bayview Hunters Point has grown.

San Francisco Superior Court Judge Patrick Mahoney heard arguments in the Bayview Hunters Point redevelopment referendum case—then told both sides to file briefs more focused on the narrower question: namely, which documents should signature gatherers have attached to their petitions last summer, as they tried to put the Redevelopment Agency’s plan for Bayview Hunters Point to a public vote?

Last summer, petitioners—carrying a copy of a newly passed ordinance in which the Board of Supervisors authorized the redevelopment of 14,000 acres in BVHP—gathered more than 30,000 signatures—and therefore believed that they had succeeded in their quest to put the project to a vote on the November 2006 ballot.

The Chronicle applies their “be fair to PG&E” news principle to a major study on the beneficial impact of small business in San Francisco

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By Bruce B. Brugmann

Last Thursday May 23, as I was preparing my introductory remarks for our third annual small business awards ceremony at Anchor Steam Brewery, I found a timely article buried in that day’s business page of the San Francisco Chronicle that helped illustrate what I call the Chronicle’s “Be Fair to PG&E” news principle.

The article Local merchants reinvest in city, I pointed out, reported on a major $l5,000 study that was specially commissioned by the San Francisco Locally Owned Merchants Alliance and provided valuable ammunition to independents in their endless battle with the chain stores. The group made the study available exclusively to the Chronicle in hopes that the paper would do a major story, play it up, and give the small business community a much needed boost to a large number of readers.

Instead, I noted, the Chronicle, owned by the Hearst chain out of New York and a champion of big business and big development and big chains, gave the story its patented “let’s be fair to PG@E” approach or in this case “let’s be fair to the chains.” The Chronicle buried the story in its prime burial spot at the bottom of the right hand page of the business section where it buries stories it doesn’t like: for example, the Reilly story on his settlement with the Hearst and Singleton chains, which we called a Reilly victory (see Guardian coverage and other blogs.)
I held up the page and noted that AMD and the Gap and IBM all got the big heads above the fold.
And the small business story got the “let’s be fair to PG&E approach” with a much smaller head below the fold, “Local merchants reinvest in city, their study says.” Then, right there in the subhead was the clinker right out of the PG&E/big chain playbook that read, “Retail federation spokesman skeptical of survey’s claims,” buttressed further down in the story with some nice counter quotes, and a telling phrase that, gosh, golly, gee, those tricky merchants out there in the neighborhoods “acknowledged they see the study as a competitive weapon.” Wow! Pow! Wow!

Let’s be fair to PG&E, says the Chronicle, and applies its news principle to a study on the value of small business over chains in San Francisco

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By Bruce B. Brugmann

Last Thursday May 23, as I was preparing my introductory remarks for our third annual small business awards ceremony at Anchor Steam Brewery, I found a timely article buried in that day’s business page of the San Francisco Chronicle that helped illustrate what I call the Chronicle’s “Let’s be fair to PG&E” news principle.

The article, I pointed out, reported on a major $l5,000 study that was specially commissioned by the San Francisco Locally Owned Merchants Alliance and provided valuable ammunition to independents in their endless battle with the chain stores. The study was made available exclusively to the Chronicle in hopes that the paper would do a major story, play it up, and give the small business community a much needed boost to a large number of readers.
It was timed for Small Business Week San Francisco 2007 (May 5-12), but the Chronicle was more interested in putting out a special ad supplement with no mention of the study, stuffed with deadly proclamations and boilerplate. Significantly, there were virtually no ads from small business. The rates were too high and the format too boring.

Instead, I noted, the Chronicle, owned by the Hearst chain out of New York and a champion of big business and big development and big chains, gave the story its patented “Let’s be fair to PG&E” approach or in this case “Let’s be fair to the chains.” The Chronicle buried the story in its prime burial plot at the bottom of the right hand page of the business section where it buries stories it doesn’t like: for example, the Reilly story on his settlement with the Hearst and Singleton chains, which we called a Reilly victory because he forced the chains to compete (see Guardian coverage and other blogs.)

How Weird, how wonderful, how sad

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By Steven T. Jones
San Franciscans threw an epic dance party on the streets of SOMA yesterday, one that was unfortunately cut down in its prime by official San Francisco. The How Weird Street Faire drew about 10,000 costumed fun-seekers to bop to some of the city’s best DJs and soak in the warm sunshine. It was quintessential San Francisco, the kind of event that makes the city what it is, and organizers are to be commended for throwing a raucous but remarkably self-policing and harmonious party.
howweird.jpg
Photo from www.fogcityjournal.com.

But then, at 6 p.m., it suddenly ended. The city arbitrarily imposed an earlier than usual ending and won’t let the event return to this neighborhood in future years, despite its success and popularity. Soon, the cops started sweeping the streets to kick the crowds out of this public place, often rudely. Capt. Denis O’Leary — the station commander who has given How Weird such a hard time — was even personally pushing people out and telling attendees, “Time to go, people want their neighborhood back.”
Maybe, but 10,000 people want the How Weird Street Faire back and they want the city to stop placing so much emphasis on the concerns of a few sourpuss NIMBYs.

How Weird, how wonderful, how sad

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By Steven T. Jones
San Franciscans threw an epic dance party on the streets of SOMA yesterday, one that was unfortunately cut down in its prime by official San Francisco. The How Weird Street Faire drew about 10,000 costumed fun-seekers to bop to some of the city’s best DJs and soak in the warm sunshine. It was quintessential San Francisco, the kind of event that makes the city what it is, and organizers are to be commended for throwing a raucous but remarkably self-policing and harmonious party.
howweird.jpg
Photo from www.fogcityjournal.com.

But then, at 6 p.m., it suddenly ended. The city arbitrarily imposed an earlier than usual ending and won’t let the event return to this neighborhood in future years, despite its success and popularity. Soon, the cops started sweeping the streets to kick the crowds out of this public place, often rudely. Capt. Denis O’Leary — the station commander who has given How Weird such a hard time — was even personally pushing people out and telling attendees, “Time to go, people want their neighborhood back.”
Maybe, but 10,000 people want the How Weird Street Faire back and they want the city to stop placing so much emphasis on the concerns of a few sourpuss NIMBYs.

Week Two: San Francisco International Film Festival

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WEDNESDAY, MAY 2

The Last Days of Yasser Arafat (Sherine Salama, Australia/Palestine, 2006)
When Australian filmmaker Salama finally does get to sit down with Yasser Arafat, she remarks that it’s the second-generation Palestinians who come back to their ancestral homeland. Salama, in any event, can’t seem to stay away; Last Days chronicles her two months-long attempts at interviewing Arafat in his Ramallah compound. The filmmaker has a weakness for stating the obvious and her visual style is nil, though her plight does open up a starkly comic portrait of Palestinian bureaucracy. Last Days is most compelling in its final minutes, when, without the voice-over, Salama documents Arafat’s coffin touching down in Ramallah, the helicopter swarmed by a startling crowd of thousands. 1:15 p.m., Kabuki; Sun/6, 6:15 p.m., Kabuki. (Max Goldberg)

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The Last Days of Yasser Arafat

Wild Tigers, Painted Bird

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COSTUME One gray Garfield sweatshirt; a blue wool sleeveless sweater with little birds and a white sheep stitched on it; clean Chuck Taylor high-tops; an orange Kawasaki motorcycle T-shirt; a little red hoodie; a beige suede vest with tassels. These are some of the clothes sported by Logan (Malcolm Stumpf), the gender-jumping cusp-of-teens boy at the center of Cam Archer’s debut feature, Wild Tigers I Have Known.

"At that age you aren’t concerned with what other people think. You choose what [clothing] appeals to you – you’re just going for it," says Stephanie Volkmar, the film’s costume designer, as cars whiz by on Guerrero Street. "Logan’s outfits are sometimes outrageous, or some might say a little risque. Cam has an obsession with short-shorts and tank tops. He’ll be mad if that makes it into print, but it does help express the character’s vulnerability. We wanted Logan to wear things that would make him seem awkward and different."

One reason I’m asking Volkmar about her no-budget costume work for Wild Tigers is that she works at the store we’re sitting next to, Painted Bird. Over the past two years, I’ve assembled a Painted Bird wardrobe about as expansive as Logan’s, though riddled with the occasional label (Dior, Gucci, Adidas – all cheap), thus proving Volkmar’s point that in comparison to adults, kids just don’t care.

It turns out that Painted Bird’s connection to Archer’s movie – which, after debuting last year at the Sundance Film Festival, plays as part of the Mission Creek festivities – is also familial. The director’s brother, Nate, who did the movie’s layered, impressionistic sound design, is (along with Sonny Walker) one of the shop’s co-owners. "Nate is good at finding [music] that blows me away," Volkmar says. He certainly succeeds in Wild Tigers, braiding everything from the hand claps and "oo-oowoh" ‘s of the Michael Zager Band’s disco classic "Let’s All Chant" to the drowsy, faraway loneliness of Laura Nyro’s "Desiree" and the Langley Schools Music Project around Logan’s daydreams.

According to Volkmar, both Wild Tigers and Painted Bird emerged from family or familylike bonds formed in Santa Clara, where she met Cam Archer and worked on about 10 other short projects with him. Judging by the many five-star reviews for Painted Bird on sites such as Yelp, I’m not the only one who wants to rave about Walker and Nate Archer’s shop while also being protective of it. Why? It avoids the kitsch pitfalls and the overdressed look favored by SF vintage and secondhand places, and most important, its low prices correspond with a friendly atmosphere. Keeping an eye out for quality moderate vintage labels as much as typical high-end names, the Painted Bird folks are in the clothing biz because they like clothes, and they have a definite, yet easygoing, sensibility.

In Wild Tigers, Logan has a unique sensibility too, but his run through lust is a mostly solitary one. Though its conflation of the titular animals with desire might be a nod to Apichatpong Weerasethakul’s Tropical Malady (as well as drawn from Santa Clara’s untamed suburban terrain), Archer’s movie emerges from the still too-small genre of US queer kids’ films that includes Todd Haynes’s Dottie Gets Spanked, Jonathan Caouette’s Tarnation, Gregg Araki’s Mysterious Skin, and SF director Justin Kelly’s new Cannes-bound short, Front. (Also, one of Wild Tigers‘ executive producers, Darren Stein, was behind the pre-Tarnation queer childhood doc Keep the Camera on Me.) Without a doubt, Volkmar’s costumes have a role in some of the movie’s best scenes, such as when Logan’s friend Joey (Max Paradise) – complete with a golden bowl cut and a striped shirt buttoned all the way up to its collar – tries to get him to contribute to a "ways to be cool" list.

A cynic might point out that there isn’t a huge gap between the outfits sported by the children of Wild Tigers and the clothes favored by San Francisco’s eternal youth of today. (I stand semiconvicted.) In fact, Volkmar drew extensively from the shop where she works while dressing the movie’s primarily preteen and teen characters. But the spirit of Painted Bird’s staff is a lot like Logan from Wild Tigers: not too cool for school, just – as Volkmar says – going for it. (Johnny Ray Huston)

WILD TIGERS I HAVE KNOWN

Wed/16, call or see Web site for time, $4-$8

Roxie Film Center

3117 and 3125 16th St., SF

(415) 863-1087

www.roxie.com

www.paintedbird.org

MCMAF: Renewable source

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Van Halen may have made it into the music record books for Most Ridiculous Tour Rider for their demand for M&Ms picked free of the turdlike brown numbers. But musician-director Vincent Gallo might make the rock hitmakers jump with his own Mission Creek Music and Arts Festival must-have. "I’m not going to show you his rider," festival founder Jeff Ray says wryly. "It’s a little crazy."

"Oh, c’mon," I say, perched on a couch in the red and yellow office in Ray’s Mission flat. Stringed instruments, an organ, books, artwork, and the other tools and artifacts of an active musician and artist compete with the stuff of the festival – a paper schedule that winds around one wall, MCMAF posters with artwork by Jo Jackson, Andrew Schoultz, and Cliff Hengst (Leslie Shows offered a collage for this year’s), and beer bottles and empties marking many busy, late nights – that has threatened to swallow Ray’s creative energies since it began 11 years ago. Ray’s cat Panther, which he describes as bipolar, dozes drooling on my jacket – if that feline can give it up, surely he can.

"You can say I’m trying to track down a coin-operated arcade horse," he admits.

Attempting to please and showcase the many, radically varied, wild, and woolly musicians and artists who participate in the festival is part of the MCMAF mission – along with presenting a lineup that’s made of 80 percent local emerging creators. And the creek runs uphill: this year’s event includes Nevada City artists such as Mariee Sioux and Cafe Beautierre, as well as a "folky-centric" slant focusing on solo artists such as Gary Higgins, who was initially discovered by Ben Chasny of Six Organs of Admittance and Comets on Fire and is coming to California for the first time. Energized by volunteer and guest curators such as the Plug Research label, Ray and John Fellman, the festival’s main programmers, continue to compel ex-San Francisco music scenesters such as, say, Devendra Banhart, who will judge the music video awards, and introduce new streams: a dance mavericks program and a brass band parade through the Mission that will end with a festival celebrating sustainable energy and installation art in Dolores Park.

The faces of the volunteers may change, the groups may wander off or move on, but a few things remain. "It’s the same every year," Ray says. "Chaos, spontaneity, intuition, inspiration, mixed with pragmatic people who have stronger organizing skills than I do." And after more than a decade, he knows how he might define a successful event at this most grassroots of local music gatherings – with bands as varied as Comets on Fire and Kid 606, Lemonade and Petracovich, Acid Mothers Temple and Bran Pos, David Copperfuck and Subtle: a solid show has to have "mostly good vibes. And no one gets killed. No club catches on fire. And if we don’t go too much in debt, that’s a good thing." (Kimberly Chun)

For a complete schedule of the 11th annual Mission Creek Music and Arts Festival (May 10-20), go to www.mcmf.org. Check www.sfbg.com/blogs/music for more Mission Creek festival coverage.

Cerebral vortex

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> a&eletters@sfbg.com

Guy Maddin, that demented dealer in antiquities responsible for such cinematic curiosities as The Saddest Music in the World and the much-loved short The Heart of the World, has a new film showing at the Castro Theatre as part of the San Francisco International Film Festival. The semiautobiographical Brand upon the Brain! – a silent quasi-horror film about an orphanage that harvests life-giving brain juice from its wards – will be accompanied by a live orchestra, Foley artists, a castrato, and narration by local star Joan Chen. Maddin, winner of the Persistence of Vision Award at last year’s festival, spoke with the Guardian about his new film and a whole lot of other stuff.

SFBG How involved were you in orchestrating the live performance of Brand upon the Brain!?

GUY MADDIN Well, I was pretty involved in insisting on it. I really, really, really wanted it. In its first incarnation at the Toronto Film Festival, the directors of the festival were good about it. They were gracious, and they made it possible, and then it sort of set the standard for subsequent shows…. I never worried before. You know, when you’re a filmmaker, there’s something in the word film that almost seems to imply the creator is making it more for him or herself. But when you’re putting on a live event, you just automatically …

SFBG You think more about the audience?

GM Yeah, I’ve become more of a showman…. I sort of staged it as an event as a form of boredom insurance, because I do know that you only buy so much audience goodwill with live performances. But then that wasn’t enough for me – I had to add Foley and an interlocutor, and I’m lucky enough to know a bona fide castrato.

SFBG Wait, this is a bona fide castrato?

GM He is, but, well, you know, he wasn’t castrated by the pope [laughs] or anything like that…. He’s an old friend of mine, and I met him many years ago in a steam bath in Winnipeg. I just heard from out of the thick steam a very unearthly voice and for a few nanoseconds thought I was in the wrong steam bath. He sings in a boys’ choir still to this day even though he’s 45 years old. I think his voice just never changed.

SFBG What are you working on right now?

GM I’m pleased to tell you I’m finishing up a documentary on my hometown of Winnipeg. And I’m collaborating with a poet, John Ashbery, on a feature-length Internet interactive movie labyrinth, so that’s kind of exciting for me. And I’m also collaborating on a script in its early stages with Kazuo Ishiguro.

SFBG I heard on some commentary track that you put together features in 20 days or something nuts like that.

GM Yeah, I really like to work quickly. But though most people would never suspect this of me, I really care about scripts being in good shape. And I’m especially proud of the script for Brand upon the Brain!. I feel it’s accessible without at all compromising anything I’ve ever wanted to do. One thing I’ve learned how to do is to become more honest about myself, about how horrible a person I’ve been over the years, and somehow the more honest I am, the more literarily solid my scripts feel.

SFBG Yeah, that’s the dirty secret of film and literature: the nastier you are about yourself –

GM Yeah, the more self-loathing you are, the more self-loving you come off. In this case the protagonist in the movie is actually named Guy Maddin, so it enabled me to be supermasochistic. I just don’t have the imagination to think up the kind of things that are in this movie. There are things that I’ve just outed my family on.

SFBG Really?

GM It’s all there. I just don’t have the time or the genius to –

SFBG To think of nasty things that aren’t true?

GM Yeah, I just had to transplant them pell-mell and wholesale into the body of this thing, and then it was just a simple matter of putting them in order. *

BRAND UPON THE BRAIN

Mon/7, 8 p.m., $20

Castro Theatre

429 Castro, SF

www.castrotheatre.com

For a longer version of this interview and for short reviews of other films from the second week of the San Francisco International Film Festival, go to www.sfbg.com/blogs/pixel_vision.

MCMAF: The Dilettantes

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Meeting up for an interview anywhere in the Haight in the middle of a Sunday afternoon is a bit of a dodgy prospect. With every easily distracted tourist and bumbling acid casualty in the city making random zigzags through the neighborhood, finding a clear path on the sidewalk is enough of a challenge, never mind finding a quiet place to talk. But there I am, in a booth at Magnolia’s, with the three songwriters of the Dilettantes, chatting away over beers without so much as a glance in the direction of all the scattershot energy reigning outside. Lesson? Miracles do happen, even in the Haight.

I’m mentioning the neighborhood because the Dilettantes identify so closely with it. Not only do most of the band members work and spend time here, but they also draw deeply from the Haight’s ’60s musical legacy. Sure, their music is filtered through four decades’ worth of post-psychedelic comedown, but the songs of Joel Gion, Jefferson Parker, and Brock Galland – accompanied by drummer KC Kozak and bassist Nick Marcantonio – follow the arcs and whirls of artists from that era, particularly their constant reference point: love.

Still, this is 2007, and San Francisco has changed. When I ask how the Haight inspires the group’s songwriting, Galland immediately says, "Well, the fumes that come off the sidewalk, definitely." Listening to the advance copy of their forthcoming album, 101 Tambourines (Stranger Touch), I see what he means – those flower power daisies have been glazed with curious oozing substances, as evidenced in their gritty garage pop. There’s a welcome sheen of grease to Galland’s clamorous "Kiss and Run," while Parker’s "Don’t You Ever Fall" parades with a slightly woozy majesty worthy of these streets. Gion’s "The Whole World" might jangle in Byrds-y formations, but it’s his unruffled Go Betweens-meet-Lou Reed delivery that attests that the times indeed have changed since the Summer of Love.

Perhaps these descriptions remind you of another band with whom Gion was associated: the tumultuous Brian Jonestown Massacre, led by the notoriously headstrong Anton Newcombe. Certainly both groups share sonic similarities, but Gion enthusiastically points out a major difference: "Jonestown was the singular vision of just one guy, while the Dilettantes are a completely collaborative, cooperative effort. Really, it’s a mutual appreciation society we have here. It’s great!"

Of course, that’s already obvious to me – I can see it in the brotherly ease with which they finish each other’s sentences. Parker sums it up: "One of the best things about being in the Dilettantes is that we’ve all helped each other grow as songwriters. We keep joking about re-creating one of those famous Brian Jonestown Massacre fights at the end of our shows, but really we just like and respect each other too much to ever do that." (Todd Lavoie)

CHAMBER STRINGS

With the Dilettantes and Persephone’s Bees

May 18, 9 p.m., $15

Cafe du Nord

2170 Market, SF

(415) 861-5016

MCMAF: Runoff to run after

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MAY 10

SO SO MANY WHITE WHITE TIGERS


Guitarist Ned flies back from New York City for the return of the art-punk trio that roared. (Kimberly Chun)

With Triangle, Bookworms, and the Tufffetttes. 12 Galaxies, 2565 Mission, SF. Call for time and price. (415) 970-9777

MAY 13

FREDDY MCGUIRE


I’m not sure about this here Freddy McGuire, other than that he might have some Wobbly accompaniment and he is related to a certain Anne McGuire who can sing a song that’ll pierce you straight through the heart – not to mention warble you into a zone of glorious discomfort, as evidenced by her performances in self-directed movies such as Joe DiMaggio 1,2,3 (in which she stalk-serenades the actual slugger as he takes a senior citizen stroll along the Marina piers) and the classic black-and-white Judy Garland reincarnation I Am Crazy and You’re Not Wrong. (Johnny Ray Huston)

With Connie Fucking Francis and Fierce Antler. 12 Galaxies, 2565 Mission, SF. Call for time and price. (415) 970-9777

SONNY SMITH


Mr. Smith has gone to more than Washington – well, I’m not sure if he’s gone there, but he says he’s been everywhere from Europe to Colorado to Central America since he was born in San Francisco in 1972. His songs, well, they travel from Ireland to Idaho, to name just a couple of places. But lately, the handsome guy with "the heartache of the sea" (and a sense of humor about as big) draws inspiration from home – as well as the motel rooms with massage beds down the road. It’s all there in the title of his latest song collection, Fruitvale, issued by Belle Sound. Even a troubadour can stay fixed in one neighborhood for a while. I haven’t been to Fruitvale lately, but I know Smith’s "Mario" all too well. (Huston)

With Virgil Shaw and Kelley Stoltz. Make-Out Room, 3225 22nd St., SF. Call for time and price. (415) 647-2888

MAY 15

EDITH FROST


Maybe Leslie Feist is our new chanteuse, our true post-lounge swooner. But every chanteuse needs a secret twin, and at this year’s fest – while the warm, dusty, music-fests-picnic-mats-and-straw-hats winds of Northern California’s summer blow in from the future – I’d like to nominate Edith Frost to play that other-half role, and not only because her recent work with the Zincs for their killer new disc, Black Pompadour (Thrill Jockey), makes that project even better. Frost is a thoroughly original songmaker in her own right. The crooning Texan has become a core part of the hip and humbling Drag City scene, and her most recent effort, 2005’s It’s a Game, thrives with ripe twang and raw elegance. She has a talent for writing melodies that sound improvised until they get into your head and take up residence. (Ari Messer)

With Spider and Cafe Beautierre, and Willard Grant Conspiracy. Cafe du Nord, 2170 Market, SF. Call for time and price. (415) 861-5016

MAY 16

HALLFLOWERS


Cole Porter’s "You’d Be So Nice to Come Home To" has never sounded quite so alluringly sinister as when sung by the Halls – namely, sisters Jennifer and Laurie (the latter from the noisy SF duo Ovarian Trolley) and mom Phyllis. Along with guitarist Doug Hilsinger, they make up the Hallflowers, an SF treat that has just released a second full-length, Hide and Seek (self-issued), which includes a version of "Autumn Leaves" that’ll have you thinking it’s late August in early May. They’re a perfect match for Alela Diane. (Huston)

With King City, the Dodos, Alela Diane, and Two Sheds. Elbo Room, 647 Valencia, SF. Call for time and price. (415) 552-7788

MAY 19

EBB AND FLOW


Many rock bands adopt hep lingo when attempting to describe themselves, as if clever nomenclature could replace substance. Not so with the Ebb and Flow, whose absurdist rhetoric is no jive pitch. A stroll through their Web site could cause one to believe this trio bunks down in Captain Beefheart’s in-law apartment, but when it comes to kicking out the jams, there is much more at stake. Their rock collage is at once poised and disheveled, like a Crazy Horse-Stereolab tea party or a Stevie Nicks-Augustus Pablo blind date. (Nathan Baker)

With Music for Animals, Elephone, Scrabbel, DW Holiday, Solar Powered People, Form and Fate, Tom Thumb, and the Parties. Rockit Room, 406 Clement, SF. Call for time and price. (415) 387-6343

KING KONG


Ex-Slint bassist Ethan Buck utters a comeback bellow. (Chun)

With Andy Tisdall. Hemlock Tavern, 1131 Polk, SF. Call for time and price. (415) 923-0923

LAVENDER DIAMOND


The epic quirk-pop combo slayed at ArthurFest a few years back – and its lovely EP is finally out on Matador. (Chun)

Independent, 628 Divisadero, SF. Call for time and price. (415) 771-1421

MAY 20

MIA DOI TODD


A persimmon tree isn’t such a strange thing. Thick, dry branches twisting like untold stories, orange fruit hanging off its tips like ornamental paper lanterns, it’s certainly eerie, changing form every day while other plants rest dormant in the dead of winter – but its eeriness is light-giving and never unordinary. Well, literary folk haunter Mia Doi Todd is as complicated, and her musical fruits are as alternately sweet and astringent. I’ve heard more than one misguided listener comment dishearteningly on the LA native’s faux-British accent, and listening to some of her early voice-and-guitar work requires an even better mood than cocking an ear to Marissa Nadler’s music. But, like Nadler, when she’s really on – with Manzanita and the latest reinvention of that album, La Ninja: Amor and Other Dreams of Manzanita (both Plug Research), for example – she pulses somewhere between Roald Dahl and PJ Harvey, and her lattice of lyrical branches and darkly lilting guitar patterns yields a sweet, rare fruit. (Messer)

With Daedelus, Roommate, Flying Lotus, and Ola Podrina. Mezzanine, 444 Jessie, SF. Call for time and price. (415) 625-8880

For more, go to www.sfbg.com/blogs/music.

MCMAF: Collective hip noises

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> a&eletters@sfbg.com

Should you take this life seriously enough to listen to it, I would suggest you head to local electro-organic thinkers I Am Spoonbender’s Web site right now, before you read this story, and download the trailer for their latest self-released album, Buy Hidden Persuaders (IAS, 2006), another three-sided disc (their gorgeous Teletwin 12-inch had concurrent grooves on one side, allowing for a randomly asserted listening experience) from the wizards of esoteric musical realism. Sure, the aesthetically thorough trailer’s bricolage of images and texts deals with everything from hypnosis to Illuminati-style dollar-bill machinations and just happens to act as a manifesto, art show, music preview, and persuasive cinematic display all at once.

But don’t fret. Dutifully check the "I Agree" button when the site lets you know that "IASBHP [I Am Spoonbender’s Buy Hidden Persuaders] is a subliminal advertisement for itself … produced by control, and is an album of ‘engineered outcomes.’ " Grin and download, watch and get ready to strangely rock, because you will surely make use of the free album download in WAV format and proceed to share these pulsing soundscapes with everyone you encounter, whether you intend to or not. William S. Burroughs’s notion that language is a virus was tied to his ideas about time as a sort of viral petri dish, and that makes sense here, in reverse. Persuaders is a soundtrack to its own propagation.

"I firmly believe that after spending three and a half years working on this album, there’s no way to hear it all in less than that time," Dustin Donaldson said recently on the phone from his San Francisco home. The mastermind behind IAS’s infectious, rhythmic stylings knows sound inside and out. "It’s designed to be encountered repeatedly and to reveal itself over time," he continued. "The longer you listen to it, the more you’re going to hear recurring musical themes, say, in different registers on different sounds, lyrical themes reflecting on themselves."

The entire Persuaders project – which includes the album, their first performance in three years, the succulent Web site, the Shown Actual Size EP (Gold Standard Laboratories), the book that will soon accompany the new album, and even the band’s dreams as they go to bed at dawn in San Francisco after nights of channeling and creating – is aimed at balancing out and exposing as a fraud the harm done by advertising and the like to our very beings. If we envision corruption and mind control as diseases, then Persuaders is an equally potent and uniquely celebratory vaccine – a careful dosage bordering the illuminating and the lethal. It’s celebratory because it co-opts subliminal and similar techniques in order to start a conversation, rather than to sell or speak about any one thing in particular. It’s potent because it refuses to double back on itself without adding more meaning. The three sides, or collages – "You Have Been Suggested," "Penetrate to Deeper Levels," and "Slowly Replaced in Mirrors" – seldom ring the same bells twice. And yes, there are hidden messages: don’t be afraid to slow things down, speed them up, listen from afar …

The thing is, you’ve already heard Persuaders, sizzling through your mind just before or after media stimulation. When Cup, the other core half of IAS, sings, "We all need mirrors to know / Who we are now," over surprisingly guttural organ sounds, her expressive vocals and multi-instrumental prowess, here as throughout, lend a sense of flight to Donaldson’s Middle Earthy rhythms and organic mechanics. Imagine Laurie Anderson playing tag with Robert Ashley.

The material for Persuaders came from everywhere and nowhere. After years watching "thousands of films" but no television, Donaldson was shocked when a friend moved in and they got cable. "I just was absolutely unprepared for … the aggression in marketing tactics," he said. "Drug company television ads became a big source of, well, I guess it’s inspiration in some sense, something to create a mirror-state protest record around. We attempt, through this record, to send the same amount of energy back toward these sources. For every action there’s a reaction, and at some level there’s a neutralization, hopefully – in audio terms, phase cancellation.

"For me, specifically, there was about a year of experiments in sensory deprivation," Donaldson continued. "Sleep deprivation … also, going into the studio often late at night and turning off all the lights and turning on huge, 750-watt strobes … setting them at different tempos and playing drums to that and just getting out – open to receive." There was even a resulting side project, yet to be released, where nothing could be recorded until the entire group had been up for 30 hours. Of course, the results were carefully edited for clarity.

Excited, you should now flock to the Mezzanine prepared to buy whatever IAS chooses to sell. If you print your own money, make sure the paper sparkles, and don’t forget to record the sounds the bills make when they leap, calmly, into flames. *

I AM SPOONBENDER

With Steven Stapleton, Ariel Pink, and Phase Chancellor

May 11, 9 p.m., $15 advance

Mezzanine

444 Jessie, SF

(415) 625-8880

The corrections

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> andrea@altsexcolumn.com

Dear Andrea:

Love your column. That said, at the risk of sounding like a p.c. crap-spewing psycho, I am going to take an issue with your sentence, "Kind of the way that the single mothers at the playground cannot stop themselves from crawling all over married men who show up there with a baby" ["Quid Pro Shmo," 1/10/07]. I see your point, and obviously there are such women, and they are perhaps plentiful enough to make their own category. I’m a single mom, though, and I’d never, ever, ever do such a thing, and I’m sure there are many others like me. I think I would have appreciated the word "some" prior to "single mothers" in your response. I know it might seem like semantics. But really, my life as a single mom – including the socializing on the playgrounds with married women – is hard enough without my favorite columnist perpetuating myths of all single moms wanting other women’s men just because they oh so easily fall for nurture-exhibiting dads.

Love,

Sad Fan

Dear Fan:

You don’t sound psycho at all! I sounded sloppy. I have to admit that after first reading your letter I just assumed you had to be wrong – no way could I have written that line and failed to modify "single mothers" with "some" or "You know the ones I mean." I meant to imply the "some," but apparently I didn’t ply it well enough.

I was actually writing not about single mothers but about women who are attracted to nurturing men, which is not at all a bad thing, especially when you consider the sort of men some other women are attracted to. Just to be clear, the playground thing really does happen. The men I know who’ve reported getting hit on while out with their babies were all wearing wedding rings too, and all were bemused to find that anyone would take them for anything like available in any way. If there are also married guys who take off their rings to take the baby to the park or single guys who borrow a baby and hit the playground circuit and aren’t fictional characters probably played by Hugh Grant, they don’t want to meet me. I stopped carrying pepper spray a while back, but I could start.

Love,

Andrea

Dear Andrea:

Regarding your answer to your reader who has trouble maintaining an erection while wearing a condom, you made a number of useful suggestions but omitted what I think is an important one: try a bigger condom. For years I struggled to get a condom on and maintain an erection, fumbling, stretching, squeezing, and fretting when I just wanted to be fucking. It wasn’t until my late 20s that a girlfriend suggested I try the bigger variety. I was skeptical, as the only other erections I’d seen were massive porno cocks, and I knew at a little over six inches I was nothing special in the length department. They don’t tell you in sex ed that it’s really girth that matters, at least when considering condom candidates. I’ve since tried every large-wide condom that they carry, and I highly recommend Lifestyles Large (they happen to fit me perfectly, but it’s obviously going to depend on details of size and shape). I wish somebody had told me this a long time ago, as it literally changed my life. Not only can I get the condom on easily and stay hard until the job is done, the increased blood flow means I have way more sensation too. Hope this helps.

Love,

Wide Load

Dear Wide:

It’s true! They don’t tell you it’s the width that matters, and I wish they would. I don’t know where my brain was when I was listing all the options and forgetting the condom-width issue, since "it’s the width that counts" is kind of a pet fact of mine. Length may get more press, and it does have its uses, but they are somewhat rarefied. It’s width that does most of the heavy lifting, and it’s width that’s most likely to be missed if absent.

Sex educators, myself included, love to surprise people by emphasizing just how numb to touch the supposedly supersensitive vagina is once you get past the vestibule and, um, front parlor. Even up front, we have more receptors for stretching than for stroking. Then there are all the goodies collectively thought of as the G-spot – paraurethral sponge, Skene’s glands, "crurae" of the clitoris, and so on – which often languish in obscurity or just lie there thinking of England until something curved or just plain thick enough to arouse a response out of them arrives. Width roolz! (Length, by contrast, necessarily droolz.) I hope you realize, now that your equipment problem has been solved, what you’ve got there is, as they say, not a bug but a feature.

Love,

Andrea

Andrea Nemerson teaches sex and communication skills with San Francisco Sex Information. She has been a theater artist, a women’s health educator, and a composting instructor, but not at the same time. She is considering offering a workshop on how to have and rear twins without going crazy, since she’s currently doing that too.

MCMAF: Ich bin Kevin Blechdom

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It’s customary to crave road travel when your summer bummer declines into a case of cubicle claustrophobia at the ol’ air-conditioned nightmare. Some of us just need to go on hiatus for a while. But take it from electronic-experimental musician Kevin Blechdom: her 2002 move from San Francisco to Berlin has been a fruitful experience.

"For the last four years, I was able to support myself through playing music," she writes via e-mail. "That’s nearly impossible to do in America with the style of music I’m making, but totally possible in Europe. I remember someone asking me what I did for a living, and I shyly said that I was a musician. They consider it a ‘real’ career, and I remember being surprised by that. In America you say, ‘I’m a musician,’ and then the other person asks, ‘But what’s your real job?’ "

Born Kristin Erickson, the 28-year-old artist was first drawn to music as a child growing up in Stuart, Fla. Initially trained as a classical pianist, Blechdom was also influenced by musical theater and pop music, and she started writing songs with her brother during high school. She went on to study piano at Florida State University but became disenchanted with its "conservative and eventually depressing" program and transferred in 1997 to Mills College in Oakland to study electronic music composition.

"I spent a lot of hours in the music library listening to avant-garde electronic music from the ’60s and ’70s, and I kept seeing ‘recorded at Mills College’ on the back of my favorite recordings," she writes. "When I got to Mills, it was the perfect environment for a young musician wanting to find her own way to compose and listen and think about music."

While at Mills, Blechdom struck up a friendship with Bevin Kelley, a.k.a. Blevin Blectum. The pair soon started performing as an electronic duo and releasing albums under the moniker Blectum from Blechdom. But after an intense four-year partnership, the twosome’s relations soured, and Blechdom shortly afterward fled to Berlin.

"I think a lot of the trouble was dealing with a public growth spurt and having to grow up a bit," she notes of her spilt with Blectum. "We have an amazing collaborative intuition that I treasure. In the last year we have started to work together again, and it’s gratifying to start where we left off."

As a solo artist, Blechdom has gravitated toward musical theater and performance art, while retaining Blectum from Blechdom’s noise ethic. Her Chicks on Speed-released full-lengths – Bitches Without Britches (2003) and Eat My Heart Out (2005) – channel artists such as Kate Bush and Magnetic Fields with dizzying synth pop allure and barnyard banjos. Upon the latter album’s release, Blechdom began performing topless and draping herself in dripping, raw meat during her live sets.

"It was a very basic symbolism mixed with a salute to female performance art. The symbolism was about turning inside out or trying to find those ‘inside’ feelings to express," she writes, adding that it was fun until she got nauseated and had to stop.

Blechdom is in the process of relocating to the Bay Area so she can attend school this fall. In addition to her solo work and Blectum from Blechdom, she’s also collaborating with Evans Hankey in the Reality Club and with Christopher Fleeger in an Evanescence and Rammstein cover band called Barn Wave. Her third solo album – a collection of "acoustic theater songs" – is in the can, but she has yet to find a label to release it.

"I think," she ventures, "this might be the first record I’ve made that my grandparents will be able to appreciate." (Chris Sabbath)

BLECTUM FROM BLECHDOM

With Kevin Blechdom, Christopher Fleeger and Charles Engstrom, Ching Chong Song, Kevanescence, and Reality Club

May 15, 8 p.m., $7-$15, sliding scale

With Blevin Blectum, Hans Grusel’s Krankenkabinet, and James Goode

May 16, 8 p.m., $7-$15, sliding scale

Lab

2948 16th St., SF

(415) 864-8855

www.thelab.org

MCMAF: Sweetness and light

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> a&eletters@sfbg.com

"The ghosts come quickly, and they leave quickly," remarks Philipp Minnig about his effective yet unorthodox approach to songwriting for San Francisco electro-disco group Sugar and Gold.

"I always call songwriting ‘ghostbusting,’ " he says over tapas at Picaro in the Mission District, in a German accent softened by years spent in Northern California. "There will be an idea floating around, and you zap it, throw out your trap, and there it goes. For us, our traps are chords, or a rhythm. Someone brings in the ghost, and we all work on it."

Sugar and Gold is the brainchild of the rosy-cheeked lead vocalist, guitarist, and primary songwriter and his longtime friend and collaborator, vocalist and keyboardist Nicolas Dobbratz. They met in middle school in Pacific Grove and decided after a particularly memorable acid trip to start a band. The duo – whose previous combos Dura Delinquent and Connexion were rooted in visceral proto-punk – were always set on making dance-oriented music that was inclusive, countering the snobbish in-crowd ethos of Bay Area hipster groups. It is this generosity of spirit and their infectious, unduutf8g rhythms that led to a friendship and working relationship with Oakland’s dance-punk foursome Gravy Train, who recently enlisted Minnig and Dobbratz to produce their next album.

The two bands met when Gravy Train sought advice from Sugar and Gold about a hard-to-achieve keyboard effect in one of their songs. Minnig was happy to help them out, explaining that he believes in an altruistic approach to making music: "If everyone keeps their musical techniques to themselves, the scene and the music will never expand to get bigger and better."

A beautiful relationship was born. "Sugar and Gold don’t have a too-cool-for-school vibe," Gravy Train’s brazen redheaded vocalist Chunx writes via e-mail. "At their live shows, they are all about letting go, getting wild, and just feeling the music. It doesn’t matter what kind of person you are, or what you look like, which is the same philosophy as Gravy Train." On Sugar and Gold’s debut, Creme (Antenna Farm), the sextet – including Jerome Steegmans on bass, drummer Robin Macmillan, and backing vocalists Susana Cortes and Fatima Fleming – take inspiration from the voluptuous soul of Funkadelic and Sly Stone, the subversive rock ‘n’ roll of the Cramps, and the cerebral electronic mastery of Kraftwerk, creating the seemingly antithetical hybrid of thoughtful yet sexy dance music.

Ghostbusting aside, this musical intellectualism sets Sugar and Gold apart from dance music makers who view music not as a way of life or an extension of themselves but as part of a hedonistic event experienced by a superficial persona. Minnig believes in the music he makes, and he views the process as a fundamental and spiritual necessity. "When we recorded the album, the music was giving us a feeling that was real, authentic," he says. "Music is the only spirituality we have. It’s the only way to believe in something greater than ourselves."

He has a similarly insightful answer to the question of why dance music is important. Between sips of peppermint tea, he says, "Dancing is one of those few things that, when done right, you do without an end in mind. You are free from an objective, which is rare in our society."

SUGAR AND GOLD

With Her Grace the Duchess and the Society

May 19, 9 p.m., $12

Cafe du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

Tow-away zones that lie

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> news@sfbg.com

Parking a car is notoriously difficult in San Francisco, where you can be towed for blocking a driveway, occupying a bus zone, failing to move your vehicle at certain times of the day, or being in a posted construction zone.

But many of those construction zone tow-away signs may be fake, a problem that the city does little to enforce and the public has a hard time discerning.

Contractors sometimes simply purchase a sign for $2 and post it without the legal right to do so. Often it’s an innocent error by out-of-town contractors who don’t know to apply for a street space parking permit. Other times it can be an interim step by contractors waiting for the right to reserve a spot outside their job site or by contractors who never met with a Department of Public Works inspector to determine the hours and scope of their parking needs.

Theoretically, parkers are free to ignore these fake signs. But it’s hard for the public to tell a fake sign from a real one unless they contact the city. And who does that while hunting for a parking space?

The streets are considered part of the public’s right-of-way. In addition to a construction permit, a street space permit is necessary if contractors will block the right-of-way, although underground services such as utility companies remain exempt.

The DPW issued 9,020 street space permits in 2006, according to spokesperson Christine Falvey. That year 93 citations were issued to property owners whose contractors did not have valid street space permits; all of those citations were prompted by citizen complaints.

"Street space violations are not proactive, they are reactive," said Dan McKenna, deputy manager of the DPW’s Bureau of Street Use and Mapping, which handles these permits and violations.

In other words, a construction zone tow-away sign will never be challenged if the public does not ask the DPW or the Department of Building Inspection, which has its own street space permit desk, to go out and validate it.

That’s what happened at the corner of Haight and Shrader streets last October when Service Concrete of Daly City got a valid permit for street space and sidewalk repair but failed to meet with a DPW inspector. Contractors often want to claim more spaces, for more hours, than what the inspectors may ultimately be willing to approve.

Service Concrete never scheduled a meeting with the department, nor did it register the times of enforcement. Therefore, it never had a legal right to tow anyone or reserve those parking spots, according to DPW deputy manager John Kwong.

"They never contacted the department to schedule a meeting for the street space occupancy," Kwong said. "Therefore, the street space permit is not considered valid. They’re not supposed to occupy." But they did, and the job was completed with at least four parking meters marked for tow-away.

A call to the phone number on the permit resulted in the contractor telling the Guardian, "I don’t remember. Even if you tell me, I won’t remember. I can’t comment on anything on this."

In April, the NEQE construction company received a building permit for a seismic retrofit at 240 Golden Gate Ave. It requested a street space permit May 11 and immediately posted no-parking signs. However, it did not have a site inspection, and the actual street space permit wasn’t issued until May 26, according to Nick Elsner, senior plan checker with the Bureau of Street Use and Mapping.

The initial tow-away signs were for seven days a week, 24 hours a day until November, although the permit on file said the contractor needed the space from 7 a.m. to 6 p.m., Mondays through Saturdays. The contractor eventually received 60 linear feet for three parking spaces for the limited time frame.

"They didn’t put it in the computer," a representative of NEQE told us. "What happened on the job site, we put up the sign for the parking permit. And then they give us notice. And I had to go back to the city because the parking department is different from the city. We showed all the documents, and it was fine."

Neither Service Concrete nor NEQE were cited for improper postings of their tow-away signs. Most violators are never cited. Elsner told us it is obvious that contractors often ignore the law, which, if violated, carries a penalty of up to $1,000 per day.

"When we learn about a tow zone without a permit, we go out and enforce the law," he said. "But we only have four inspectors."

At the height of summer last year, when construction was in full swing, there was a three-week backlog for the verification process, according to Elsner.

Getting street space used to be automatic, until the Board of Supervisors amended Section 724 of the Public Works Code in 2002. Before, the price of a building permit determined the length of time contractors could usurp parking spaces.

"In the past the street space durations, the amount of time you were given for a building space, was directly related to the cost of your project," Elsner said. "If you had a $40 million project, you got four years’ parking. So if you finished in three years, you had a year of free parking. The Board of Supervisors looked at this and decided there was something wrong. Now permits are issued on a monthly basis, six-month maximum. You pay per 20 linear feet, basically one parking space, $82.08."

Elsner said the public cannot tell simply by reading a sign whether it has been legally posted. "They may have filled the sign out correctly, but that doesn’t mean they have a permit," he said. The revised ordinance requires temporary tow-away signs to have the permit number on them in addition to the contractor’s name and phone number. But some contractors don’t bother to apply.

"Our biggest problem we have is with roofers," Elsner observed. "They get a permit to do a roof and say they don’t need a street space. What do you mean you don’t need a street space permit? Either the building has a huge setback or they intend to fly in by helicopter."

Elsner said the street space ordinance has no set hours or days a contractor may use a street space. "That is worked out with the inspector," he said. "If they are not working, their parking should be for public use."

He said he warns contractors that they are responsible for affixing the signs so they aren’t torn down. If there is no sign, the Department of Parking and Traffic is not obliged to tow.

Every day a new list of valid permits is sent to the DPT tow desk. However, some contractors have learned it is cheaper and easier to buy a few paper signs, fill them out, and tape them up rather than get a valid street permit. A sign costs $1.99 at White Cap Industries, a construction supply company.

Cheryl Duperrault is one of the street improvement inspectors at the Bureau of Street Use and Mapping who respond to public complaints. Of the 93 citations issued in 2006, she wrote 32, nearly a third. Duperrault said she cited contractors who simply posted a fake tow-away sign and never sought a permit.

"That has happened," she said. "I’m surprised it doesn’t happen more than it does. It’s easy to tell whether or not the street space permit is valid because they should have a big white placard visible from the street. It gives the information of the permit." *

The DPW offers a free brochure that describes the process of applying for street and sidewalk permits. The brochure is available at its offices on Stevenson Street or by fax or mail. A permit is required when anyone intends to block the public right-of-way "to construct, improve, excavate, occupy, and/or perform work." There is a hotline (415-554-5810) to see if there is a permit on file. The Bureau of Street Use and Mapping will respond if the public questions a temporary tow-away sign.

Support for high-speed rail

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High-speed rail got a timely and significant vote of support from the California Democratic Party on April 29 when delegates at the state convention approved a resolution pushing the project. The measure was the top vote getter, tied at 24 with a resolution urging accountability for the errors and deception that led to the Iraq War.

Yet a last-minute move weakening part of the measure raises questions about whether the Democrats are truly willing to fight Gov. Arnold Schwarzenegger, who has called for an indefinite delay in next year’s high-speed rail bond measure and proposed a budget that guts the California High-Speed Rail Authority (see "The Silver Bullet Train," 4/18/07).

The resolution praises the project as "a significant weapon against air pollution and global warming as it uses much less energy per passenger than cars and airplanes – and HSR will be even more essential if, as expected, petroleum supplies diminish in the future."

But state party leaders deleted language from the version that was submitted by San Francisco delegate Jane Morrison asking "that all California elected officials support the requested $103 million for HSR in the current state budget – and retain and support the $10 billion bond issue now scheduled for High Speed Rail in the 2008 election." Assemblymember Fiona Ma has emerged as the main legislative champion for the embattled project and helped push the resolution to the top of the legislative priority list. But she faces a big test in trying to get the money the project now needs.

Morrison told us, "We have to work to convince the legislature that we can afford it. That’s the hard part, so we’re not done yet."

A recent report from the Legislative Analyst’s Office criticized Schwarzenegger’s holding pattern as wasteful and concluded that the legislature should fully fund the project or vote to kill it. The report was titled "Time to Bite the Bullet for the Bullet Train."

There’s more on high-speed rail – including a telling exchange between the Guardian and the Governor’s Office – on our Politics blog, at www.sfbg.com/blogs/politics.

Ellis Act crisis

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OPINION Between 2004 and 2005, Chetcuti and Associates, a Walnut Creek real estate development company, bought eight Mission District apartment buildings. Within the first few weeks of ownership, the company served all the tenants in four buildings with Ellis Act eviction notices. In the next two months, three of the other buildings were Ellised. The company held on to the eighth building for a year before it gave those tenants Ellis notices.

The same is true throughout the city: John Hickey Brokerage, another out-of-town real estate company, gave Lola McKay (who died in 2000 while fighting her Ellis eviction) a notice within weeks after buying the building and then did the same to tenants in a North Beach apartment building – evicting those tenants just five days after a purchase deal closed.

In fact, more than half of all Ellis Act evictions in San Francisco are done by real estate speculators who have owned their buildings for less than six months. Almost one quarter are done by speculators who have owned the building for less than a month (and many of those are done in the first hours or days of ownership).

The buildings are then often sold as tenancies in common – essentially, as condos for people much wealthier than the ones who were evicted.

Rampant real estate speculation is bad enough on its own. What makes it worse is that this pattern is also an abuse of everything the Ellis Act was intended to be: a way for long-term landlords to be able to get out of the rental business and retire. When the Ellis Act was passed in 1985, its proponents said its purpose was to allow a landlord "to go out of business when he or she is convinced that they are no longer willing to devote the time, accept the frustration, expose themselves to the liability and other factors of continuing to be a landlord."

Apparently, companies such as Chetcuti and Associates and John Hickey Brokerage decided within days and weeks that they just couldn’t devote the time to or accept the frustration of being a landlord anymore and were compelled to evict the tenants. And that’s the case for hundreds of other real estate investors, many of whom are getting tired of being landlords within days of buying rental property.

Senate Bill 464 – which the State Senate will vote on any day now – would rectify this abuse and return the Ellis Act to its original intent. This bill simply says that a landlord must own property for at least five years before using the Ellis Act to evict tenants. It’s simple and fair, and it hurts only real estate speculators.

The vote is expected to be close – and unbelievably, the bill may not pass because a senator from San Francisco, Leland Yee, has indicated he may oppose it. No other city in California has been hit harder by the Ellis Act than San Francisco – yet our very own senator may kill this bill.

Thousands of residents here have been evicted under the Ellis Act, most of them senior or disabled. Ellis evictions are a crisis in San Francisco and are destroying lives and neighborhoods and communities.

Please call (415-557-7857) or fax (415-557-7864) Sen. Yee to ask him to support SB 464. *

Ted Gullicksen

Ted Gullicksen is executive director of the San Francisco Tenants Union.