San Francisco

NOISE: Don’t blink – it’s Snowblink

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Save your last languid dance for them. Guardian contributor Max Goldberg has a new project, warbling with the group, Snowblink.

snowblinksml.jpg
Snowblink’s Daniela Gesundheit is in control.
her band’s most recent disc, My Oh My Avalanche,
has a firm grasp of folky prettiness too.

Tonight, Feb. 22, the band hosts a “Slow Dance Night” at the Make-Out Room with very special guests: at 9 p.m., five boys and a lady, each front-people of his and her own San Francisco band, will sing a slow-dance song with nothing more than a guitar to “eschew their machismo,” Goldberg e-mails. Performers include Martin of the White White Quilt, Nat Russell of Birds of America, Mike Sempert of Birds & Batteries, Frank Lyon of Ship, Abby G, and Joseph Childress. Dancing sweet and slow will be the guiding principle for the earlier part of the evening.

The slow dance portion will be followed by Bay Area-by-way-of-Brooklyn Dirty Projectors touring multi-instrumentalist Angel Deradoorian. At 11 p.m., Snowblink will, Goldberg, writes, “do it the way we do it.” DJ duo Ribbons will close out the night with fast dance songs.

All that aerobic lovin’ begins at 9 p.m. and costs $7. Smoochers can find the Make-Out Room at 3225 22nd St., SF.

The Guardian Casualty Report (2-20-07)

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Casualties in Iraq

Iraqi civilians:

Saturday: 11 killed in double bombing on an Iraqi street, according to the Associated Press.
Source: http://www.chron.com/disp/story.mpl/ap/world/4561621.html

Sunday : 63 killed in three separate bombings of Iraqi open-air market, according to the Associated Press.
Source : http://www.chron.com/disp/story.mpl/ap/world/4563491.html

Today: At least 16 killed today and over 100 Iraqi civilians killed since Sunday. 7 mourners killed at funeral by a suicide bomber. 9 killed when a roadside bomb blew up a chlorine gas tanker, according to the New York Times.

Source: http://www.nytimes.com/aponline/world/AP-Iraq.html

98,000: Killed since 3/03

Source: www.thelancet.com

56,640 – 62,362: 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 18 February 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/31/

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

Antiestablishmentarianism attitudes among Iraqi religious groups is fueling intolerance and violence towards homosexuals in Iraq, according to the UN.

Source: http://www.gaypeopleschronicle.com/stories07/february/0202071.htm

U.S. military:

President’s Day : 2 U.S. Soldiers killed in an ambush on military outpost in Iraq, according to the New York Times.

Source : http://www.nytimes.com/2007/02/20/world/middleeast/20iraq.html?ref=middleeast

3,371: 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/2007.01.html

Iraq Military:

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: 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.

Source: http://www.guardian.co.uk/Iraq/Story/0,,2013034,00.html

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.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

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.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

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

The Guardian cost of Iraq war report (2/20/07): Bush asks congress to approve $622 billion for 2008. So far, $367 billion for the U.S., $46 billion for California and $1 billion for San Francisco.
Compiled by Paula Connelly

Bush asked congress to approve $622 billion for defense spending, most for the wars in Iraq and Afghanistan, in a $2.9 trillion budget request for 2008, according to Reuters.
Source

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.”

You like me!

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DON’T FORGET TO THANK THE MOST HIGH "The Oscars of gay porn are coming! The Oscars of gay porn are coming!" I whinnied to my roommate Baby Char-Char, my girlish hands gesticuutf8g wildly. "Don’t you know what this means? Soon the streets will be absolutely crawling with porn stars!"

"So what else is new?" the lovely Char-Char humphed, settling back into his vegan chicken nuggets. Thus the rapturous ambivalence that greets the arrival of the GayVN Awards to San Francisco this Feb. 24. The GayVNs, which honor nominees in 38 categories — personal favorites: Best Music (really), Best Sex Comedy (you’re kidding), and Best Non-Sex Performance (you’re really kidding) — are awarded by the AVN Media Network, which also hosts the wild, mostly straight AVN Awards each year in Vegas.

AVN Media usually looses the GayVNs on a suspecting world in West Hollywood, but this year it’s holding them at the Castro Theatre. What does this mean, besides an influx of WeHo pay-for-plays with brassy home highlights shining like cross-eyed beacons through our February fog? For one, it means official recognition of San Francisco as the new ground zero of male-on-male video, the omphalos of anal erotica, if you will. For two, it means Craigslist will probably go down from all the traffic.

MCed by Kathy Griffin and also by the parts of Kathy Griffin made in South Korea ("I’m so glad that ‘My gays’ have asked me to join them for their big event," La Griffter declaims in press materials), the GayVNs — no relation to our fine mayor, alas — will keep fans and industry observers perched on the pinched tips of their seats to see just who’ll sashay away with a big fat rectangular piece of etched something in such categories as Best Actor (Shane Collins in Doggie Style? Justin Wells in Booty Thief ?) and Best Bisexual Video (Bi Back Mountain? Bi Bi American Pie 9?).

But really, isn’t it an honor just to be nominated? Sure it is!

I love gay porn — it’s ruined several of my more serious relationships, thank god — and it’s great to see the industry turn on its own and reward them. But the real question I have is what shall I wear to the ceremony? My Carnival of Venice mask with the ostrich plumes? My lace-up man corset with poly-mesh cape? One thing’s for sure: don’t even think about reaching for the leopard spots–zebra stripes guayabera–hot pants combo. Everyone will be wearing that. (Marke B.)

GAYVN AWARDS

Sat/24, 7pm, $100–$300

Castro Theatre

429 Castro, SF

www.gayvnawards.com

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Noise Pop: Blag, guts, and pussy

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› duncan@sfbg.com

Love ’em or hate ’em, the Dwarves are as close to punk rock royalty as San Francisco is ever gonna have. They’ve been in the game since emigrating from Chi-town in the ’80s, with nary a letup for soul-searching acoustic meandering or trips to rehab.

"What you wanna do, B? What you wanna do?" a voice queries in "Demented," from 2004’s The Dwarves Must Die (Sympathy for the Record Industry). "I wanna fight, fuck, and destroy like they used to" is vocalist Blag Dahlia’s answer.

Dahlia, born Paul Cafaro, and the ever-naked (except for a Lucha Libre mask) Hewhocannotbenamed on guitar have been the core of the Dwarves for longer than some of their audience members — and dates — have been alive and got the band booted from Sub Pop in 1992 for engineering a Hewho death hoax. Living in San Francisco, one can count on good burritos, high gas prices, and experiencing six or fewer degrees of Blag separation at all times. I made out with a girl who claimed he’d stolen her spiked belt when they lived together. On a snippet from Thank Heaven for Little Girls (Sub Pop, 1991), an audience member at a Dwarves show says, "The lead singer’s a fucking shithead, man. He broke a fucking glass onstage. I get bumped by the crowd. The next thing you know, my hand’s fucking sliced." I could swear this happened at a show I was working security for at Slim’s.

While Dahlia has certainly created an impressive myth, just how worthy of their legacy — or relevant — are the Dwarves in 2007? The Dwarves Must Die has the middle-aged Dahlia rapping, of all things, to hilarious effect on "Massacre," on which he spouts the line "This one goes out to Queens of the Trust Fund: you slept on my floor, now I’m sleeping through your motherfucking records," which led to a much-publicized dustup with Queens of the Stone Age’s Josh Homme at a Hollywood club. I’ve even spotted Dahlia playing around town as MC Blag. He takes swipes at "fake punkers" Good Charlotte, but he’s apparently cowritten songs with them, as well as produced more than one Offspring album.

"I don’t ride a skateboard and love what you hate for / And don’t give a fuck about punk-rocking no more," Dahlia raps on "Massacre." To me, it’s this willingness to not be punk rock that makes the band even more so. Musically, things took a turn for the poppy on 1996’s The Dwarves Are Young and Good Looking (Epitaph), and that’s when they got interesting. Far from being merely a glass-smashing nihilist, Dahlia is also a frustrated romantic, a ’50s protorock crooner like Dion or Del Shannon in fingerless leather gloves (see Must Die‘s warped piss take on Shannon, "Runaway #2").

According to one of Dahlia’s ex-lovers, "He’s very mellow and affectionate. I’d get random 3 a.m. voice mails with him singing old soul songs where every word that was romantic would be changed to my name." She went on to say that despite his onstage calls for violence, during their time together she’d never seen him in a fight: "He’s kind of a pacifist."

All this, of course, is neither here nor there. As far as I’m concerned, after 1990’s death blast Blood Guts and Pussy (Sub Pop), with its iconic, Michael Lavine–photographed cover of two naked women and an equally buck-ass midget drenched in blood (the midget appears to be making nice with a bunny rabbit), they could have basically shit in jewel cases for the rest of their career and still worn the crown. That record is basically the punk rock version of Slayer’s Reign in Blood (Def Jam, 1986): 12 tracks in 13 minutes and six seconds — pure punk bliss. And they were smart enough to not try to repeat it every record. Really, what’s Josh Homme have that can hold a candle to that? *

DWARVES

With Girl Band and the White Barons

March 4, 10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

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Noise Pop: Cats have nine lives

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Few numbers are as loaded as three. From the Holy Trinity to the three main spiritual channels in our bodies described by kabbalists and yogis alike, spiritual triads exist alongside musical forms of threeness: the exponential sound of the power trio, great albums named III, and, indeed, Loudon Wainwright III.

The trio Sebadoh, early harbingers of indie rock, had their own III back in 1991, trading off instruments and artistic wills to make 23 wonderfully unpredictable tracks of folk-core meanderings and spastic noise rock shape-shifting. It’s pretty much universally acknowledged that this record rocked in ways previously unknown. But what really went on between the three original members, Eric Gaffney, Lou Barlow, and Jason Loewenstein? They had all gone on to solo careers before announcing last year both the reissue of III on Domino and a gig at the Great American Music Hall for Noise Pop, an early stop on the Sebadoh "reunion" tour from the West Coast to Toronto and back again.

But Sebadoh’s members aren’t surprised to find themselves together again. "Sebadoh have never reissued anything," Barlow said recently on the phone from his house in Los Angeles, while his young daughter seemed to be taking a noise rock solo in the background. "I think Pavement were reissuing things within two years of being together. The question is, actually, why didn’t we ever reissue things before?"

The new III is fantastic, complete with a bonus disc including the prescient Gimme Indie Rock! EP, the original four-track demo of "The Freed Pig," and "Showtape ’91," a noise and word collage that’s a flashback to the original supporting tour for III. The reissue process was typically strenuous but also cathartic. It was partly to deal with Homestead Records, the album’s original label, Gaffney explained in a recent e-mail. "Signing to Homestead turned out to be a bad idea, so years later I filed a lawsuit … to try to get paid and get the masters back."

Sebadoh never got them back. So how did a reissue happen? "We worked on the bonus disc, and then it was remastered at Abbey Road from a store-bought III CD and the vinyl," Gaffney wrote. "I found a lot of old band tapes for the ‘bonus’ CD. Good stuff."

Barlow agreed, sort of. "A few years ago, Eric and I had an e-mail conversation … an e-mail war … where we just basically went point-by-point through every misunderstanding we had between us, and it all culminated in the reissue. I really just kind of had to let Eric choose what went on the extras disc. But it was totally worth it just to get the record out." They both got what they needed out of the process, Barlow said. "And then it just kind of came up that, well, I guess we could play some shows. Let’s up the ante here! What’s the next logical challenge?" III is an important Sebadoh disc partly because the clash of wills and styles made the music sound so driven. If their accomplished solo projects are any indication, the tour should rock hard and sweet, and that’s all that matters. They plan to play off the crowd, Barlow said, and sets may include material from any time in Sebadoh’s history. "It’s when we get lost in the moment and enjoy the music and drop the phony power plays, that’s when it’s happening," wrote Gaffney, who lives and breathes right here in San Francisco. In other words, the third time — Sebadoh with Gaffney, without, and now again with — is a charm. (Ari Messer)

SEBADOH

With the Bent Mustache, Love of Diagrams, and the New Trust

Feb. 28, 8 p.m., $18–$20

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

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Noise Pop: Miss him?

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› a&eletters@sfbg.com

The first time Roky Erickson performed in San Francisco was in the summer of 1966, fronting his Austin, Texas, band the 13th Floor Elevators, whose garage rock classic "You’re Gonna Miss Me" was rising up the national charts. Sharing the bill at the Fillmore with Grace Slick’s first band, the Great Society, Erickson sang of psychedelic reverberations and reincarnations in both sagely reassuring croons and blood-curdling yelps. The Elevators’ name shows up on Fillmore-Avalon posters so often that even today they’re still thought of as an honorary San Francisco psychedelic band of sorts.

The last time Roky performed in the city was in the early 1980s, and he was singing of two-headed dogs and aliens from the most tawdry of B-grade horror films. Times had changed, yes, but Erickson had changed more, irreversibly fried by a three-year stint in a maximum-security Texas state hospital after he was declared insane in 1969. The one thing undeniably the same was that one-of-a-kind voice, crushing Little Richard, James Brown, and Buddy Holly through the blender of a particularly Texan brand of acid-baked dementia.

Performers from GWAR to Marilyn Manson have made a lucrative career by fashioning an act from gothic horror. Erickson, to all appearances, has actually lived it, and if his record sales have been tiny in comparison to those of others, the fervor of his cult following is second to few. "Roky’s aesthetic rings true with younger music-media fans," says Billy Angel, who played autoharp as part of Erickson’s backup band the Aliens when Erickson reemerged in the late 1970s. "He brought to vision many years ago the now-contemporary experience of rock music coming through the sound system while film noir beams from the video screen."

Erickson’s first San Francisco appearance in about 25 years — as part of Noise Pop on March 1 — comes at a time when most fans had given up hope of seeing him onstage. Withdrawing from music entirely for about a decade, he began performing again in late 2005 after a bitter fight for his custody between his mother and his brother Sumner — the latter also a renowned musician but quite a different one: a tuba player for the Pittsburgh Symphony Orchestra. You couldn’t make it up, but we know it’s true because the whole battle was caught on film, in the mesmerizing and disturbing documentary You’re Gonna Miss Me (screening at the Roxie Film Center on Feb. 28).

As his family feuds over what’s best for its prodigal son and praise pours in from such interviewees as Patti Smith, Erickson wanders through the film like a ghostly observer. Apparently neither gratified nor agitated by the attention of either fanatical fans or would-be caretakers, he’s more interested in adjusting his army of televisions and stereos to just the right impossibly painful, cacophonous loudness. As much as most everyone on camera gushes over his genius and tragedy, what Erickson thinks about his cult and incapacitation remains a mystery.

There’s just one scene in the 90-minute film in which he seems at ease and makes one suspect his upcoming show might not be the psychodrama we fear. A therapist asks him to play a song; Erickson starts to strum an acoustic guitar and sing with folky, gentle tenderness, his vocal chops fully intact. Suddenly, he doesn’t seem like a nearly inert burnout fawned and fought over like a familial football. Music courses through his system — his thoughts and voice are clear and calm. It might be the only psychic skin he has left, but he wears it well. *

YOU’RE GONNA MISS ME

Feb. 28, 9:15 p.m., $10

Roxie Film Center

3117 and 3125 16th St., SF

(415) 863-1087

ROKY ERICKSON AND THE EXPLOSIVES

With Oranger, Howlin Rain, and Wooden Shjips

March 1, 8 p.m., $25

Great American Music Hall

850 O’Farrell, SF

(415) 885-0750

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The rise and fall of the Donnas

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› kimberly@sfbg.com

The Donnas have every right to be bitter — and the general nonexistence of delectable male groupies is just one item on a laundry list of spoilers. "Seriously, if there were hot guys throwing themselves at me, I would take advantage of them!" complains vocalist Brett Anderson, lounging on the patio outside engineer Jay Rustin’s Sherman Oaks recording studio, where the Donnas are recording their next album.

What’s the issue on this mild winter day in an intensely girly garden paradise cluttered with poodle-haired pups, dive-bombing hummingbirds, and wildly whistling songbirds? The unequal treatment undergone by one of the most celebrated and derided groups of female rock musicians to hit the country’s pop radar since the Go-Go’s. Essentially, "it’s not the same!" Anderson and guitarist Allison Robertson yelp simultaneously.

"It’s much harder for a girl to get a blow job," adds Robertson, ever the analytical Donna, even in matters of quickies. "A lot of guys on the road in rock bands don’t always bang every girl — they just get blow jobs really fast. Guys can do that. It takes 10 minutes or five minutes. But with girls, it’s just not the same. We all know — it’s a little more involved. You need a little more privacy usually, I dunno."

Their tour bus just has tiny bunks shielded by curtains. "Literally, a Porta Potty is more private than a bunk," says Anderson, still the wisecracking, immaculately turned-out amazon in a sweater, skinny jeans, flats, and Springsteen T.

Once Palo Alto’s misfit all-girl rockers from Jordan Middle School, San Francisco’s punk-metal-pop sweethearts on Lookout!, then Atlantic’s up-and-comers splashed all over MTV, the Donnas are now, 13 years along, veterans at the ripe ages of 27 and 28 who can say they’ve been and done that and seduced, if not 40 boys in 40 nights, then thousands of listeners. Today labelless, off their well-worked and beloved touring circuit, and working through a Saturday on a disc with nary a flunky pushing a pop agenda, the Donnas are free, though their trajectory has been tough — littered with put-downs (some said they were the products of a Svengali in the form of Radio Trash–Super*Teem label owner Darrin Raffaelli, who initially collaborated with the teen band once called Ragady Anne then the Electrocutes), innuendo (who could ignore the unsettling amounts of older stalker dudes at their shows?), and rumor. "A lot of people think we’ve gotten dropped and we owe [Atlantic] thousands of dollars and we can’t pay them back!" Robertson explains. "Also that we’re broke and we’ve broken up."

"Also that we’re lazy," Anderson jumps in, imitating an imaginary slurring, boozy Donna. " ‘Oh yeah, we’re working on our record. Gimme another beer!’ "

Contrary to conjecture, it turns out that the Donnas weren’t dropped from Atlantic but left amicably, deciding not to renew in the face of pressure to go more pop after 2002’s Spend the Night failed to take off on rock radio despite much MTV play for their video "Take It Off" and 2004’s Gold Medal failed to remedy matters. "Our big joke was that we were making Gold Medal so Spend the Night would go gold," Anderson quips. Fortunately, the women who once aced their high school courses and recorded their first 7-inches after hours at a local Mailboxes Etc. are used to driving themselves — even when they couldn’t operate a motor vehicle.

"They started when they were in seventh grade," Anderson’s mother, Bonnie, says over the phone from Palo Alto. She’s one of a contingent of Donnas parents including Robertson’s musician dad, Baxter, and bassist Maya Ford’s English instructor father, John, who founded Poetry Flash. "We had to drive. We were the roadies. Mostly we drove them to different shows, unloaded them, watched them, and went, ‘Omigod,’ and loaded ’em up again. We lived vicariously through them."

But then, the Donnas’ career has been marked by such disjunctions: they were the good students who got into UC Santa Cruz (Robertson and Ford), UC Berkeley (Anderson), and NYU (drummer Torry Castellano) as well as sexy, nice girls-gone-bad who foregrounded female desire, fast tempos, and crunchy metal-fleck glam rock licks, fashioning a sound that might have emerged from Rikki Rockett and Vince Neil if they took the rock train to the next gender. All appetite and attitude, riding the tension between the needs to please and be pleased, the Donnas projected the carefree party-hard image that presaged Andrew W.K. while undergoing their share of trauma and drama, starting with a car accident on the cusp of 2001’s Turn 21 (Lookout!) and continuing through the trouble-plagued Gold Medal sessions, which saw Castellano’s painful case of tendonitis, Anderson’s ravaged vocal chords, Robertson’s divorce, and ordinarily prolific lyric writer Ford’s dry spell. "I kind of ran out of ideas and just got depressed," Ford says on the phone in Los Angeles. "I think I felt, like, a lot of pressure, and it’s never a good situation to be under the gun."

But the Bay Area–bred band stuck together, even when they always felt like outsiders amid Lookout!’s East Bay punk scene. "The thing that’s the most impressive about the Donnas is that through all of this, being teenagers, being best friends, having dreams of school and different careers, parental pressure to pursue those, highs and lows in terms of record sales and attention, they’ve stuck together," says manager Molly Neuman, once the drummer of riot grrrl groundbreakers Bratmobile and a force behind the now-catalog-driven Lookout! alongside her ex-husband, Christopher Appelgren.

The frustrating thing — even on this Grammy weekend, as the Dixie Chicks were getting ready to receive their dust collectors across town — was hitting the wall on rock radio as so many other female bands have. All the while they were dancing backward, away from the on-air jokes about synchronized periods and D-cups and being told repeatedly, " ‘We don’t play female rock on our rock station,’ " unless it’s Evanescence or No Doubt, Robertson says.

After trying Atlantic’s pop strategy and working with songwriters such as Dave Stewart ("You write songs with a guy who’s had these number one hits, and you see he still has to sit and go, ‘Dog, no. Frog, no’ — that’s nice," Anderson says. "You feel like, ‘Oh shit, he has to do that too’ "), they’re hoping to strike a balance with the new record, cooking up hard rock ear candy that satisfies a craving for sweet riffs and hard-to-shake hooks without falling prey to the monochromatic hardness of, say, Spend the Night. The songs they’ve tracked so far focus on Donna favorites — partying and dancing — with glances at the equalizing effects of nightfall and the loneliness of the road. And perhaps the gumption that gave these women the courage to face prove-it punks and surly sods every night on tour, the same sassiness that some mistake for brattiness, has been tempered with time.

"We were listening to old records and thinking, ‘Shit! Like, we’re scary!’ " Anderson says, laughing.

"This album," Robertson says softly, "is more like ‘Come party with us.’ " *

DONNAS

With Boyskout, Bellavista, and Push to Talk

March 2, 9 p.m., $20

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

Sonic Reducer will return next week.

The other shoe

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› steve@sfbg.com

Mayor Gavin Newsom has never answered questions about his illicit affair with his appointments secretary Ruby Rippey-Tourk — and even now, with city money involved, he’s sticking to the stonewall.

The Guardian on Feb. 15 broke the story that the city had paid Rippey-Tourk more than $10,000 months after she left her job (see "Newsom Aide Got Paid," www.sfbg.com/blogs/politics).

But the mayor refused to even acknowledge questions I directly put to him earlier that day, just as he has since he confirmed media reports of the affair Feb. 1, when he issued a short statement and took no questions.

"We are confident that this matter was handled appropriately and humanely," he said in the prepared comments his Office of Communications put out.

But there are lots of legitimate questions that arise from payroll records we’ve obtained, which show Rippey-Tourk received more public money than she was entitled to during 2005, when the affair occurred, and 2006. Were public funds converted into hush money? Who was involved? What pressure was applied?

City Attorney Dennis Herrera offered some hope of accountability Feb. 15 when, in response to questions from the Guardian, the San Francisco Chronicle, and other media outlets about the payments, he announced an investigation.

"With the full cooperation of the city officials involved, the City Attorney has already begun the process of reviewing the paid leave to Ms. Rippey-Tourk to assure that it was done properly under City laws and procedures," Herrera’s office wrote in a statement as he left for vacation.

The payroll records show that she received $21,755 in paid leave last year for 534 hours of work that she didn’t do. That amounts to about 13 1/2 weeks of paid time off, well more than the 10 days vacation time and 13 days of sick leave to which she was entitled. And it includes a lump $10,155 payment that she received in September.

City law allows employees with "a life threatening illness or injury" to receive paid leave if coworkers are willing to donate their vacation and sick days to the cause. And Sam Singer, a spokesperson for Rippey-Tourk and her husband, Alex Tourk (who worked as Newsom’s deputy chief of staff and later as his campaign manager before resigning last month when he learned of the affair), said that’s what happened.

While Rippey-Tourk was in substance abuse treatment from May through July 2006, Singer told the Guardian, Tourk — who says he was unaware at the time that his wife had been having sex with the mayor — asked city officials whether there was a way to get paid for what began as a period of unpaid leave.

"Several of her coworkers donated their sick time to Ruby during this time of personal crisis," Singer told us.

Asked why Rippey-Tourk didn’t return to her good city job after leaving rehab in July, Singer said, "She just felt it was a chapter in her life that was over, and she wanted to move on." Asked whether Rippey-Tourk may have felt uncomfortable returning to work for a boss who had bedded her during a time when she was having problems with alcohol, Singer refused to comment.

But Sup. Jake McGoldrick, who has called for Newsom’s resignation, said the entire episode was unseemly and the mayor showed poor judgment for someone in a position of authority whom Rippey-Tourk trusted. "I think he took advantage of someone who was in a very vulnerable position," McGoldrick told us.

There are other questions about Rippey-Tourk’s tenure at the city. Payroll records show she never worked a full week in 2006. And her 7 1/2 weeks of unpaid leave in 2005 also appear to be more than she was entitled to. She received $80,195 in compensation in 2005, up from $63,522 the previous year, which was her first in the Newsom administration. The Chronicle also reports that more than half of Rippey-Tourk’s time sheets weren’t signed by her supervisor, as required.

And the Mayor’s Office has refused to answer questions about who donated their leave time to Rippey-Tourk, whether they were asked to and if they knew about the affair, and whether the city has been exposed to a sexual harassment suit by her or employment discrimination suit by other employees. *

Car-free support

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› steve@sfbg.com

Sup. Jake McGoldrick plans to reintroduce his Healthy Saturdays legislation this week and told the Guardian he’s confident that a new city study paves the way for its implementation by this summer.

Healthy Saturdays — which would create a six-month trial Saturday closure to cars on the same streets in the eastern portion of Golden Gate Park that are now closed Sundays — was approved by the Board of Supervisors last May but vetoed by Mayor Gavin Newsom, who ordered a study of the impacts of the Sunday closure.

That study by the Transportation Authority and Department of Parking and Traffic brought great news for Healthy Saturday supporters, concluding that road closure is extremely popular with park users and has no significant negative impact to attendance at the park’s museums, access by those with disabilities, availability of adequate parking, or traffic congestion at the intersections around the park.

"It spells out a very positive picture," McGoldrick told us. "Anecdotally, we knew all this, but now we have the empirical data laid out."

The study found that closing the roads encourages 40 percent more nonvehicular trips to the park. Almost 40 percent of those surveyed said the road closure makes them more likely to visit the park, while 10 percent said it made them less likely, and the rest said it had no impact.

"I see no good reason why this shouldn’t fly through the board and Mayor’s Office," Leah Shabum, executive director of the San Francisco Bicycle Coalition, told us. "The report shows without a doubt there are no negative impacts to creating car-free spaces in the park."

Yet the proposal last year drew strong visceral reactions from opponents in adjacent neighborhoods, some representatives for those with disabilities, and those affiliated with the de Young Museum and other cultural institutions in the park — some of whom say they still aren’t satisfied with the report’s conclusions.

A group called Park Access for All sent out a press release urging the city to reject closure. Member Ron Miguel of the Planning Association for the Richmond said the city shouldn’t do anything until the Academy of Sciences reopens late next year. And disabilities advocate Tim Hornbecker said he was concerned that the city still hasn’t put in place a tram and other improvements that were approved along with Healthy Saturdays last year.

Those improvements have stalled at the Recreation and Park Department, which answers to the Mayor’s Office. The Guardian asked Newsom about the report Feb. 15, and he said, "I haven’t seen that," and ignored further questions. Newsom spokesperson Peter Ragone told us, "We’re in the process of digesting it and deciding how to move forward."

But Healthy Saturdays advocates point to statements Newsom made after the veto, noting that the study seems to satisfy all the concerns he expressed. Tom Radulovich, executive director of Livable City, told us, "It should be a no-brainer. All the original objections cited by the mayor are addressed…. At this point, holding it up would be obstreperous." *

The Healthy Saturdays report is available at www.goldengatepark.org.

As the port turns

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› news@sfbg.com

Another setback to the Port of San Francisco’s plan to allow development of Piers 27–31 has brought about a new round of soul-searching at the beleaguered agency, as well as calls to change what may be allowed along the waterfront.

Last month the port’s latest private development partner, Shorenstein Properties, withdrew its plan for a mixed-use facility that relied on large amounts of office space to recoup the cost of renovating the dilapidated piers. The State Lands Commission, which watchdogs new waterfront construction for adequate maritime and public recreation uses, signaled in November 2006 that it would not support the office-heavy design. The port’s previous development partner, Mills Corp., pulled out last March after half a decade of public Sturm und Drang over its plan for a shoreside mall.

For years the Port Commission has looked to Piers 27–31 as a magic bullet for its financial woes. The port receives relatively little money from actual port operations, and as an enterprise fund department, it receives no subsidies from the city’s General Fund. Moreover, when the state transferred jurisdiction to the agency by way of the 1968 Burton Act, it handed down a good deal of debt and deferred maintenance.

Estimates now put the cost of fixing the port’s crumbling piers and properties at around $1.4 billion, with the vast majority of those costs not yet funded. With construction costs rising between 8 and 10 percent every year, port and city officials are starting to realize that even if Shorenstein’s plan eventually makes it through the gauntlet of government agencies and public oversight, the one-time infusion of cash it would provide would not be enough.

"It is a pretty dire situation," the port’s executive director, Monique Moyer, said at a Feb. 13 commission meeting. "And we do need all hands on deck" to try to solve the problem.

Board of Supervisors president Aaron Peskin, whose district includes Piers 27–31, has answered Moyer’s call. In the last several weeks, he has floated two new ideas that could have a wide-ranging impact on the 7 1/2 miles of shoreline under port control. As reported in the San Francisco Business Times, Peskin told a Hotel Council luncheon on Jan. 17 that he and Moyer have been discussing hotel development on the city’s piers, something Proposition H, passed by voters in 1990, currently prohibits.

Peskin told the Guardian his hotel concept is in the very early stages and stems from the fact that the State Lands Commission considers hotels to be allowable uses of waterfront property. He stressed that the proposal, which would require a new ballot initiative, is "not by any means a wholesale abandonment of Prop. H." It would instead seek to designate certain piers for hotels after consulting with neighborhood groups and other stakeholders.

"The question is are we willing to have a couple [or] three of them in the right places? That’s it," Peskin said, voicing his opinion that the "right places" would probably fit somewhere between South Beach and Pier 27. "Fisherman’s Wharf does not need any new hotels."

Peskin’s second idea involves replacing much of Shorenstein’s proposed office space at Pier 27 with a year-round cruise ship terminal. For years the port had a public-private partnership similar to the one with Shorenstein to build a new terminal at Piers 30 and 32. But its development partner, the Australian firm Lend Lease Corp., backed out of the deal last year. Shorenstein officials did not answer numerous requests for comment, but Peskin told us the company has expressed some interest to him in going forward with a cruise terminal design.

Not surprisingly, hotel industry representatives enthusiastically backed Peskin’s plan to revisit Prop. H. Hotel consultant Rick Swig highlighted the benefits of letting hotel developers rehab the waterfront. Any new hotels would be "built with somebody else’s money," he reasoned, "and generate tax fund money which goes to the General Fund of the city of San Francisco."

Others weren’t so excited. John Rizzo of the Bay Area chapter of the Sierra Club lamented the port’s reliance on private development as a means of solving its problems.

"There’s this massive infrastructure [problem], and the city [is telling] the port that you have to go out and find money with the resources you have, and what can they do? The resource they have is the waterfront, and the only thing they can do is develop it," he told us.

Rizzo called for the port to "be freed from [the] financial restrictions" of its enterprise agency status in order to preserve valuable open space from development. "We’re forcing [the port] to take this waterfront and put big buildings on it, and that’s not really what we want."

Jon Golinger of Citizens to Save the Waterfront, one of the groups that actively opposed the Mills Corp. mall, also cited problems with the port’s reliance on development. The infrastructure crisis, he told us, is "a bigger problem, and we can’t develop our way out of it alone. Certainly one project at a time is not working for the port or the community."

Neither Rizzo nor Golinger will comment on Peskin’s ideas until their groups have studied them. But Golinger did say, "Any big ideas like hotels need to be part of a much bigger solution." For example, he cited the San Francisco County Transportation Authority, which receives funding from a dedicated half-cent city sales tax. He added that other port agencies are partially subsidized by public money, such as the Port of Portland in Oregon.

Port officials seem to be coming to grips with the magnitude of their predicament and the failure of their reliance on private development. The conclusion to the latest update on the port’s 10-Year Capital Plan puts it bluntly: "The Port’s private/public partnership development model is broken."

At the Feb. 13 commission meeting, port staff proposed several new methods for finding cash, including tapping into future city Recreation and Park Department general obligation bonds. Moyer told the commissioners that such an arrangement would be a "paradigm shift" in the way the port funds projects, not only because it would use the city’s bond money, but also because the agency does not want to reimburse the General Fund, as it has been obligated to do since its inception.

One thing all parties agree on is something must be done. As Peskin told us, "The fact of the matter is, if we do nothing, we’re going to lose a lot of these resources." *

Fighting the Monster

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› news@sfbg.com

On Valentine’s Day, Yi Jun Huang, a smiling 65-year-old Chinese immigrant, walked into the Apple store near Union Square and handed the manager a large chocolate heart and a pink valentine as about 40 laid-off Monster Cable workers and their supporters rallied outside. It was one of several appeals to electronics stores to honor a boycott and stop carrying Monster products.

Huang had worked in a Monster Cable factory producing high-end audio cables for 16 years and was fired last October with more than 120 mostly Chinese immigrant workers when the company decided to outsource their jobs.

"The production manager openly told us that production was moving to Mexico," Huang said.

Now, despite a boycott launched by the Chinese Progressive Association (CPA), a slew of protests by the workers, and a resolution passed Feb. 13 by the San Francisco Board of Supervisors urging the company to address worker concerns, Monster Cable still refuses to budge.

"A multibillion-dollar company should not springboard off their workers for the sake of profit and then kick them to the curb," said Shirley Lorence, an organizer with Rise Up, a caucus within the United Food and Commercial Workers International Union. "That’s wrong."

The recently laid-off workers have an average tenure of eight years, with many having around 15 to 20 years, according to the CPA. Many workers are in their 40s and 50s. With these layoffs, Monster Cable broke from its previous policy of providing four weeks’ severance pay plus one week for every year of service, and it did not offer job placement, retraining, or community support for any of the workers.

The Board of Supervisors resolution asks Monster Cable, which spent $6 million buying the naming rights to the city-owned Candlestick Park, to give $2 million for a Worker and Community Transition Fund and its workers a more generous severance package.

"The problem of outsourcing is something we have to make a statement on," said Sup. Jake McGoldrick, who sponsored the resolution, which passed 8–3, with Sups. Michela Alioto-Pier, Sean Elsbernd, and Ed Jew in opposition.

Elsbernd took issue with asking a company to provide a more generous severance package than what the city itself offers. Jew thought the city was being too hard on a native company in a competitive field.

Leon Chow, chair of the CPA, was very disappointed that Jew, being the only Chinese American on the board, opposed the measure. He and others said Monster appears to be financially healthy and the outsourcing was based simply on greed.

"We saw no evidence that times are tough," Huang said. "We know their sales are up to a billion dollars annually. We’re the ones who work there, and there have been no signs that things are slowing down."

But CEO, or "Head Monster" as he calls himself, Noel Lee wrote in a Feb. 9 letter to the board, "We have to yield to the competitive nature of the marketplace where global sourcing is the norm." *

Sink or swim

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› sarah@sfbg.com


Click to view the San Francisco Public Utilities Commission subsidence map (PDF)

Will rising seas destroy San Francisco’s sewers? Should condos South of Market be on stilts? Could the huge Coca-Cola bottle at the Giants’ ballpark one day bubble with seawater? Can anyone explain why San Francisco still doesn’t have flood insurance?

As temperatures rise, snow packs vanish, and sea levels surge, San Francisco is waking up to its own inconvenient truth: surrounded on three sides by water, paved with concrete throughout, and erecting condo towers faster than you can say "bamboo," the city by the bay is particularly vulnerable to climate change.

With a recent California Climate Change Center report predicting sea levels will rise between four inches and three feet by 2100, San Francisco can expect increased flooding and damage to vital infrastructure and the destruction of fragile ecosystems and low-lying neighborhoods.

The evidence of impending doom is already there.

Addressing a climate change summit last month, Tom Franza, assistant general manager of the San Francisco Public Utilities Commission, revealed that seawater already tops the city’s weirs for about an hour during very high tides. Franza expects this salt water intrusion, which threatens to kill helpful microbes that digest our solid waste, to get worse as sea levels continue to rise.

So what steps is the city taking to combat climate change?

The SFPUC is already building safety valves on floodgates and pushing for environmentally friendly development toward a future where green roofs, grassy swales, and permeable sidewalks will help stop rainwater from inundating already stressed sewers. It’s also working with the Departments of Planning and Public Works to map blocks and lots that are already sinking — known officially as subsidence — and therefore especially vulnerable to flooding from rising seas.

It comes as a shock to learn that the Planning Department doesn’t already have maps of areas that are prone to floods, but zoning administrator Larry Badiner told the Guardian, "In the past, floods were related to free-running streams, and since there aren’t any in San Francisco anymore, it wasn’t an issue."

Senior planner Craig Nikitas did confirm for us that city planners are working with the SFPUC and the DPW to flag blocks and lots prone to sinking, a phenomenon associated with rising seas that city officials don’t quite understand.

"If I had to guess, I’d say [they’re sinking] because most are on sandy soils or fill and over time there’s been a settling of sand or because of subterranean flooding," Nikitas said.

As the city’s subsidence map shows, the problem is biggest in SoMa and along the bay — where concrete-intense development is on the rise.

In the future, Nikitas told us, "If a developer comes in to do something in those areas, the system will flag it, and builders should pay extra attention to drainage and elevation, using raised entrances three steps up from the street and trench drains and installing sump pumps if there’s a subterranean garage."

As small a step as subsidence mapping sounds, it’s a sea change for city planners. SFPUC principal engineer Jon Loiacono recalls how in the past he was trained to say, "If flooding happens on your property, it’s your problem."

Loiacono remembers only one instance when the SFPUC built a pump station in response to a developer’s concerns. That was almost a decade ago.

Advising developers about the perils of building in flood-prone areas sounds obvious, but with that step comes responsibility that threatens to drown the city fiscally. Asked who’ll pay for flood damage, Loiacono pointed to the Federal Emergency Management Agency.

"FEMA is currently mapping San Francisco, but the city would have to join FEMA’s flood insurance program to get coverage," Loiacono said.

Surprised that the city doesn’t already belong, the Guardian called FEMA’s Oakland-based spokesperson, Frank Mansell, who revealed San Francisco is the only city in the Bay Area that isn’t part of FEMA’s National Flood Insurance Program (NFIP). Participating in the FEMA mapping program would allow residents to qualify for federally subsidized flood insurance and get rebuilding grants after a disaster. FEMA’s Henry Chau says San Francisco will have to raise its standards "slightly higher" to join the agency’s flood insurance program.

Noting that FEMA’s San Francisco map is due this summer and includes development that lies in the city’s floodplains — development FEMA strongly discourages — Mansell said he doesn’t know why San Francisco doesn’t belong. But he does know cities that do must build to code and enact ordinances to ensure people aren’t living in flood zones. He said cities that do build in flood zones must take preventive steps such as raising buildings.

"If cities don’t comply with FEMA’s requirements, they’re put on notice and could be removed from the flood insurance program," Mansell said, adding that disasters such as Hurricane Katrina illustrate why private brokers won’t sell flood insurance.

But as FEMA digitizes and puts its maps online and predicts that 92 percent of US residents will belong to the NFIP by 2010, not everyone is singing its praises. San Francisco Bay Conservation and Development Commission executive director Will Travis faults FEMA’s flood maps for not factoring in climate change.

"Instead, FEMA looks to the past to determine floodplains. As a result, their maps are inadequate and show less inundation than is already occurring," Travis told us. The BCDC just released maps that show a two-meter sea level rise in the bay that would put the San Francisco and Oakland airports and the Giants stadium underwater.

"But we won’t allow the Giants’ ballpark to flood, SFO to be underwater, and San Francisco to become Venice," Travis said. "Instead, sea walls and levees will be built. It’ll require more investment in infrastructure and shoreline protections. The point of the maps is to show people what could happen and get them to take action. Sea level rise doesn’t belong in the realms of science fiction. It’s happening now."

With the California Climate Change Center reporting a seven-inch rise in the bay since 1900 — and the feds refusing to address the role of carbon emissions in climate change — Travis predicted that insurance companies will have the biggest impact in land use planning.

"There’s always an effort to shift costs from the private to the public sector, and from there, from the local to the state to the federal government," Travis told us. "But insurance companies are looking at potential huge losses and won’t be offering policies at all, or offering them at very high prices."

Mansell defended FEMA’s flood maps, arguing that they’re used primarily for insurance and so can’t be used for forecasting.

"We look at existing data," Mansell said. "Otherwise everyone’s premiums would be unpredictable and probably high. FEMA does encourage communities to build to the highest standard, which means the 100-year flood event that has a 1 percent chance of occurring. And FEMA doesn’t conduct the studies. The Army Corps of Engineers does."

Army Corps spokesperson Maria Or confirmed that her agency collects data at different times of the year — data showing the climate has been changing and helping forecast what those changes will mean.

"But we can’t base maps on pure speculation," Or told us. "We continuously look at new data and reanalyze the situation based on that new information. The more relevant question is how often a FEMA map is updated."

Mansell said it takes FEMA one to two years to create a flood map, using computer models, precipitation and tidal patterns, rivers and stream flows — and tracking how much concrete is laid down in an area and how much is built in a floodplain.

"Areas are mapped and remapped and show three levels of risk — low, moderate, and high risk," he said. Based on these ratings, FEMA reviews flood insurance premiums once a year.

But with FEMA the main hope of covering sea rise–related flood damage, experts such as Dr. Peter Gleick of the Oakland-based Pacific Research Institute join the BCDC’s Travis in accusing FEMA of having "failed miserably in integrating climate change into its planning."

"BCDC included climate change in their maps. FEMA did not. Why aren’t there flood maps everywhere around the country that integrate climate change?" asked Gleick, who produced a map 17 years ago showing the impact of a one-meter sea level rise on the bay.

"It’s a little depressing to have been working for two decades on this," Gleick conceded. "I’m glad people are starting to pay more attention and accept that sea level is going up, because the impacts will depend on how we react and how quickly, but we’re decades too late to prevent bad things from happening."

Outraged by President George W. Bush’s we-can’t-afford-to-unilaterally-cut-greenhouse-gases argument, Gleick said, "They’re putting short-term economic gain ahead of long-term survival." But he praised California for establishing a cap to reduce the state’s greenhouse gas emissions to 1990 levels by 2020.

In light of an Intergovernmental Panel on Climate Change report that suggests a 10- to 20-foot sea level increase in the next 1,000 years, Gleick observed, "That means hundreds and millions of people will be potential refugees. So we better reduce our greenhouse gases starting now. We can’t prevent some change, but we hope to prevent disastrous sea level change."

Gleick said he’s worried that we won’t protect low-income areas or move fast enough to prevent damage, a shortcoming that will also have devastating environmental impacts.

"Marshes and wetlands have no place to retreat, since the areas around them are already built up," he explained. "Bay Area communities should make parks, bay and coastal trails, and wetlands bigger, so they’ll have greater protection 50 years from now. And if you’re developing a building that’s supposed to last for 50 years, you need to design it now for the changes that are to come." *

The next mad rush to the sky

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EDITORIAL For much of the history of this newspaper, the battle to keep San Francisco from turning into another Manhattan was a defining element in local politics. It had all the makings of urban drama: shifty-eyed developers looking to make a fast buck, sleazy politicians willing to bend over in any direction for campaign cash, a corporate power structure devoted to greasing the path for unlimited growth, citizen activists revolting over the block-by-block destruction of their neighborhoods … all played out on the stage of one of the world’s greatest cities.

We watched while Joe Alioto moved forward with redevelopment south of Market and office buildings downtown in the early 1970s. We joined anti-high-rise activists twice in ballot measure campaigns to slow the building boom, without success. We saw Dianne Feinstein push through in just a few short years more new office space than in all of downtown Boston, an entire new city of glass and steel towers — and we helped promote the campaign to slow down with Proposition M in 1986.

We exposed the fundamental lies behind the developers’ arguments by demonstrating that intensive office development cost the city more in services than it provided in revenue, reporting on how the boom would drive up rents, choke the streets with traffic, overwhelm Muni, and create ugly canyons where there were once human-scale business districts.

Then we showed that all those new buildings weren’t even creating jobs.

In the 1990s we spoke out against the economic cleansing that came with the dot-com boom.

But of late, the development battles have shifted a bit. Progressives, who were once united against downtown growth, are a bit more slippery around the latest construction boom, because this time the massive skyscrapers are set to be filled not with corporate offices but with housing. And in San Francisco today, it seems difficult for almost anyone to be against new housing.

But it’s time to take a hard look at the new rush to the sky.

When the folks at the Planning Department talk about the new urban area that’s being discussed for South of Market, they use words such as "slender, graceful towers." The idea: high-rises aren’t that bad if they’re less bulky; that way, they don’t interfere with view corridors and don’t block out the sun. In fact, the way some planners are talking about these new buildings is almost rapturous — tall condo complexes, they say, will stop suburban sprawl, prevent global warming, create exciting new neighborhoods and public spaces, and give new definition to the city skyline.

But let’s look at what they’re really talking about here.

There are, at the moment, at least 11 new buildings either proposed, under construction, or in the planning pipeline in South of Market that would bust the city’s current height limits. (And those limits are hardly skimpy — in most areas they range from about 350 to 500 feet.) And that’s just the start: the Planning Department is moving quietly to substantially raise height limits in a broad swath of San Francisco, making way for the biggest high-rise rush since the 1980s.

If the move succeeds, the skyline will develop what the Planning Department calls a new "mound" south of downtown, anchored by at least one building 1,000 feet high (almost a third taller than the Transamerica Pyramid). A single slender tower is one thing; when you put more than a dozen (and they aren’t all slender) in a cluster, you get a wall — a wall that cuts the city off from the bay, shatters the natural topography of the area, and frankly, makes the city feel less like a community and more like a concrete jungle.

Just look at the picture on this page, part of a graphic presentation the city planning staff has put together. That hardly appears to be a few shapely structures. It’s a huge new conglomeration of New York–style high-rises, and they don’t fit in San Francisco.

And what’s the point of all this? The way the developers and their allies would have us think, this is all about solving the city’s housing crisis and creating vibrant new neighborhoods. But take a look at what sort of housing is being proposed here.

All the new high-rises the Planning Department is reviewing will contain what’s known as market-rate housing. That translates to condos selling for prices far beyond the reach of most San Franciscans. So far, not one developer has agreed to put a single unit of affordable housing in the new towers; all of them plan to meet the city’s demands for below-market units by building cheaper apartments somewhere else. The new neighborhoods are going to be nothing but very wealthy enclaves, the equivalent of vertical gated communities. Families who are being driven out of San Francisco by high housing costs won’t find refuge here; the housing is designed for singles, childless couples, retired people — and world travelers who want a nice San Francisco pied-à-terre.

Is this really the kind of new neighborhood the city ought to be creating?

Then there are the economics of this madness. Providing the infrastructure for all these new residents (and we’re talking more than 10,000 new residents in this one part of town alone) will be expensive — and if anyone really thinks that development fees will cover those costs, they haven’t paid attention to four decades of San Francisco budgets.

Environmentalists and urban planners these days love to talk about density, about building more residential spaces in urban cores. That’s the best alternative to suburban sprawl: Dense neighborhoods encourage transit use and walking. Housing near workplaces translates to less driving, less pollution, less congestion.

All of which is fine and actually makes sense. But density doesn’t have to mean 80-story buildings. North Beach, for example, is a very dense neighborhood, one of the densest urban areas in the United States. It’s also a wonderful neighborhood, with open space, friendly streets, and a human-scale feel.

And it’s a diverse neighborhood: everyone in North Beach isn’t young, single, and rich. There’s a mix of rental and owner-occupied housing and, despite years of brutal gentrification, still something of a demographic mix. It’s a place that feels like a neighborhood. This new conglomeration of high-rises won’t be.

If, indeed, San Francisco wants to add 10,000 or 20,000 or 30,000 new residents, they don’t have to live 1,000 feet above the ground. There are ways to do density — on perhaps a slightly less massive scale — that don’t impact on the views, skyline, and economics of the rest of the city.

But city officials need to ask some tough questions first. Why are we doing this? Are we rezoning South of Market to meet the needs of developers and high-profile architects, or is there a real urban plan here?

The answer seems alarmingly simple right now. Dean Macris, who led the Planning Department in those awful high-rise boom years under Feinstein, is at the helm again, and although he’s supposed to be an acting director, he shows no sign of leaving. The department is in full developer-support mode — and that has to end. The Planning Commission needs to hire a new director soon, someone who understands what a neighborhood-based planning vision is about.

Meanwhile, most of this new rezoning will have to come before the supervisors, and they need to start holding hearings now. This is a transformation that will be felt for decades; it’s sliding forward way too fast, with way too little oversight. And it needs to stop. *

Sagacious and audacious: Kiyoshi Kurosawa talks about Letters From Iwo Jima

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The Academy Awards lumber toward us, and Clint Eastwood’s Letters from Iwo Jima is up for some big ones. In this week’s Guardian, Taro Goto, Assistant Director of the fast approaching San Francisco International Asian American Film Festival, writes about the reactions to Eastwood’s film in Japan. Goto also recently interviewed the director Kiyoshi Kurosawa (Cure; the Japanese version of Pulse; Bright Future) about Eastwood. While Kurosawa’s love of the films of Don Siegel is well-known, fewer movie maniacs might be aware that he’s also a great admirer of Siegel student (and star) Eastwood. When I interviewed Kurosawa around the time of Bright Future‘s release, he cited Mystic River as the most fascinating film he’d seen in some time, and confessed he’d only glimpsed Eastwood from “a ten-meter distance” when both directors had films premiering in the Official Section at Cannes, because he’d “been a fan of his for such a long time” that he “didn’t feel like changing that.”
In this written exchange, translated into English by Goto, both he and Kurosawa and Goto make some great points about cinema and how it relates to the world.

kiyoshi.doc

Guess who supports term limits?

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By Tim Redmond

I’ve never been a big fan of legislative term limits. Sending legislators packing after a few years shifts to much power to the lobbyists and the executive branch. So I’m glad to see that labor is pushing to modify San Francisco’s term-limits law. Bevan Dufty, who says he is only going to serve two terms anyway, is taking the political heat and leading the charge on this; good for him.

Who do you suppose is leading the campaign to keep the current two-term limits? It’s Wade Randlett and the folks at SFSOS! No surprise: They desperately want to get rid of sups. Aaron Peskin, Chris Daly and Jake McGoldrick, and since they can’t seem to do it the old-fashioned way, by winning elections, they want to make sure the progressives are termed out.

That puts them right up there with the Republicans in Sacramento.

Make your own toothpaste in Iowa, shave your armpits in San Francisco

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Tonight’s episode of ABC’s Wife Swap pits Iowa farm family the Haigwoods (apocalypse-fixated and obsessed with raw food, they even eat raw meat; the kids are home-schooled and spend all day working on the farm; they don’t clean their home because they think germs are helpful — and that manure can cure cancer) and San Francisco sophisticates the Hess-Webbs (neat freaks who eat out several times a week and put great emphasis on their clothing and appearance).

Naturally, the sparks (essential in Wife Swap, which teeters on culture clash and conflict) fly like it’s the Fourth of July.
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Fox reports, Fox decides

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by Amanda Witherell

Last week we ran a story about a comic book called Addicted to War that’s been donated to San Francisco high schools. The book was written by a Johns Hopkins professor named Joel Andreas, and illustrates some of the less understood international conflicts the US has perpetrated. It’s completely unlike anything I studied in high school. (I went to one of the best high schools in the state of New Hampshire, was an honors history student, had 14 Bosnians as my peers when our school district offered them refuge from their war-torn country, and our approved texts barely mentioned the Cold War.)

Since Fox News ran a story about the book, the publisher, Frank Dorrel, has been getting some great mail recently, which he shared with us. One of my personal favorites: “It would [sic] a wonderful thing to see all of you Left Wing San Francisco whackos go up in one big mushroom cloud delivered by one of your terrorist friends. Hell, I would hang a medal on the terrorist bastard who nuked your ass.”

Yes, maybe the kids need more vitriol in the classrooms.

Or maybe not. On Feb. 15, the Lowell High School chapter of Revolution Youth staged an anti-war rally during school hours. Fox News, which already ran a segment questioning the validity of Addicted to War as an educational tool, was there to film the rally and aired the footage while discussing the comic book, seeming to subtly suggest its content was having immediate effects even though students have yet to receive the book. Bryan Ritter, adviser to the school’s newspaper The Lowell, which was also covering the rally, said one student reporter polled 74 other kids at the event on whether they’d heard about the comic book. Two had, and one had found out about it that day from Fox.

Fox’s coverage of the rally is a little tamer and more balanced than the original clip they aired on Feb. 14, which suggested the comic book had “ignited a firestorm.” The only evidence provided of said “firestorm” was a diatribe from Leo Lacayo, vice chair of the local Republican Party. The news anchor made mention that representatives from San Francisco’s School District had declined to appear on the show, but wouldn’t say why. Gentle Blythe, spokesperson for SFUSD, told us it was because “we decided we didn’t want to debate in that forum.”

Dorrel said he’s received 20 PayPal orders for the book as well as some requests for the DVDs he also publishes.

Fox reports, Fox decides

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by Amanda Witherell

Last week we ran a story about a comic book called Addicted to War that’s been donated to San Francisco high schools. The book was written by a Johns Hopkins professor named Joel Andreas, and illustrates some of the less understood international conflicts the US has perpetrated. It’s completely unlike anything I studied in high school. (I went to one of the best high schools in the state of New Hampshire, was an honors history student, had 14 Bosnians as my peers when our school district offered them refuge from their war-torn country, and our approved texts barely mentioned the Cold War.)

Since Fox News ran a story about the book, the publisher, Frank Dorrel, has been getting some great mail recently, which he shared with us. One of my personal favorites: “It would [sic] a wonderful thing to see all of you Left Wing San Francisco whackos go up in one big mushroom cloud delivered by one of your terrorist friends. Hell, I would hang a medal on the terrorist bastard who nuked your ass.”

Yes, maybe the kids need more vitriol in the classrooms.

Or maybe not. On Feb. 15, the Lowell High School chapter of Revolution Youth staged an anti-war rally during school hours. Fox News, which already ran a segment questioning the validity of Addicted to War as an educational tool, was there to film the rally and aired the footage while discussing the comic book, seeming to subtly suggest its content was having immediate effects even though students have yet to receive the book. Bryan Ritter, adviser to the school’s newspaper The Lowell, which was also covering the rally, said one student reporter polled 74 other kids at the event on whether they’d heard about the comic book. Two had, and one had found out about it that day from Fox.

Fox’s coverage of the rally is a little tamer and more balanced than the original clip they aired on Feb. 14, which suggested the comic book had “ignited a firestorm.” The only evidence provided of said “firestorm” was a diatribe from Leo Lacayo, vice chair of the local Republican Party. The news anchor made mention that representatives from San Francisco’s School District had declined to appear on the show, but wouldn’t say why. Gentle Blythe, spokesperson for SFUSD, told us it was because “we decided we didn’t want to debate in that forum.”

Dorrel said he’s received 20 PayPal orders for the book as well as some requests for the DVDs he also publishes.

Justin Barker Does Community a Service

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According to the courts, Justin Barker, 25, is guilty of something—just not everything he was originally charged with after jumping behind KTVU Fox News Reporter Amber Lee during a live taping in the Castro last Halloween and shouting, “Fox News is bullshit!”

The comment led to his arrest, as well as charges of assaulting Lee and resisting arrest. But the DA dropped the resistance charge after learning that Barker had tracked down a witness who claimed to have watched the entire incident from her balcony and was prepared to testify on Barker’s behalf, if necessary.

Barker was ultimately sentenced to ten hours of community service for assault against Lee, who at the time said she “didn’t know” whether Barker had even touched her. Lee was not present at any of the hearings.

One hundred hours of community service was reduced to 25 over the course of several court hearings. In a phone interview, Barker said this proves the DA never had a real case against him. His public defender later negotiated those hours down to10.

Despite now having a criminal record, Barker believes this was a free speech victory. “I feel confident that if I would’ve pushed this thing all the way [to trial], the jury would’ve definitely seen things my way.”

Barker plans to create a 45-minute documentary about free speech in San Francisco and beyond. He has yet to decide which community service project he will do.

The Guardian cost of Iraq war report (2/14/07): Bush asks congress to approve $622 billion for 2008. So far, $366 billion for the U.S., $46 billion for California and $1 billion for San Francisco.

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Compiled by Paula Connelly

Bush asked congress to approve $622 billion for defense spending, most for the wars in Iraq and Afghanistan, in a $2.9 trillion budget request for 2008, according to Reuters.
Source: http://today.reuters.com/news/articlebusiness.aspx?type=tnBusinessNews&storyID=nL05586874&imageid=top-news-view-2007-02-05-151653-RTR1M0R9_Comp%5B1%5D.jpg&cap=A%20copy%20of%20U.S.%20President%20George%20W.%20Bush’s%20budget%20sits%20on%20a%20table%20in%20the%20office%20of%20the%20House%20Committee%20on%20the%20Budget%20in%20Washington%20February%205,%202007.%20Committee%20members%20had%20used%20the%20scissors%20to%20open%20the%20packages%20of%20the%20new%20budget.%20REUTERS/Jonathan%20Ernst%20%20%20(UNITED%20STATES)&from=business

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.”

SUNDAY

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Feb. 18

VISUAL ART

“Take 2: Women Revisiting Art History”

Many of us learned from our high school history teachers that unless we are careful, the more knuckleheaded maneuvers of our ancestors can – and will – be repeated. But mimicry can occasionally be used homeopathically to heal historic wrongs or at to least recognize a pattern from a new vantage point. From this perspective, San Francisco Museum of Modern Art curator Janet Bishop has pulled together an exhibition of works by nine contemporary female artists including Janine Antoni, Cindy Sherman, Shahzia Sikander, and Kara Walker, on the theme of art history: “Take 2: Women Revisiting Art History.” (Stacy Martin)

Through March 15
Tues. and Thurs.-Sat., 11 a.m.-4 p.m.; Wed., 11 a.m.-7:30 p.m.; Sun., noon-4 p.m.
Mills College Art Museum
5000 MacArthur, Oakl.
Free
(510) 430-2164
www.mills.edu

DANCE

Smith/Wymore Disappearing Acts

Until fairly recently, the body’s primacy in dance has never been in doubt. Now along comes Smith/Wymore Disappearing Acts, among a whole group of artists who are beginning to question the tangible, fleshly object that for many of us is the only absolute reality we can count on. Included in this program is the SF premiere of Inanimate Erotica, a duet about android lust, and The Reception, a work in progress being developed with UC Berkeley’s CITRIS 3-D tele-immersion lab. (Rita Felciano)

8 p.m., $15-$20
CounterPulse
1310 Mission, SF
(415) 435-7552
www.smithwymore.com

SATURDAY

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Feb. 17

Theater

Rust

When’s the last time you thought about Aunt Jemima or Uncle Ben outside a breakfast or dinner context? I’ll bet it’s been even longer since you’ve thought about how they could work together to help a black football superstar play the game on his own terms. Instead of wallowing in your own thoughtlessness, check out Rust, the hilariously biting satire of cultural stereotypes, advertising myths, professional sports, and race relations in 21st-century America. (Aaron Sankin)

Through April 1
8:30 p.m., $25
Magic Theatre
Fort Mason Center, bldg. D
Marina at Laguna, SF
(415) 441-8822
www.magictheatre.org

EVENT

Progressive inauguration celebration

Join the San Francisco Green Party at a shindig hosted by Krissy Keefer, former Green Party congressional candidate in the race against Rep. Nancy Pelosi, at Dance Mission Theater. Speakers include Chris Daly, Jane Kim, Sarah Lipson, Kim-Shree Maufas, Ross Mirkarimi, John Rizzo, and Mark Sanchez. (Deborah Giattina)

7-10 p.m., $7 suggested donation
Dance Mission Theater
3316 24th St., SF
(415) 701-7090
sfgreens.org

Robe of glory

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› a&eletters@sfbg.com

"The Jim Kweskin Jug Band was sort of the first group of goofballs who didn’t wear uniforms, who didn’t have set patter. It was the acoustic precursor of the Grateful Dead," Geoff Muldaur says on the phone from Los Angeles. "Bob Weir got our first album and ran over to Jerry and said, ‘We’ve gotta form a jug band. You’ve gotta hear this shit!’ "

Before iTunes and Pandora.com, getting your hands on a new record was sometimes like receiving a password to a part of your spirit you didn’t know existed. Since Muldaur’s early days with Kweskin and blues integrator Paul Butterfield, his vocal chops have become legendary at the very least. "There are only three white blues singers," Richard Thompson once said. "Geoff Muldaur is at least two of them." Muldaur has been an equally powerful force in the interpretation and expansion of the American songbook.

On "Wait ‘Til I Put On My Robe," one of the most moving songs on Muldaur’s 2000 solo album, Password (Hightone), there is an immediate feeling of ascension as Muldaur’s sings, "Going up the river so chilly and cold / Chills the body but not the soul." The stunning arrangement of this traditional gospel tune comes from Clarence Clay and William Scott, two blind African American street musicians recorded in Philadelphia in 1961. It sounds like Muldaur’s back in ’61 joining in on what he describes as the "weird, modal, wonderful, jumping" harmonies.

Although he was an essential part of the exponential surge that happened in the folk and blues scene in the ’60s, Muldaur is still in awe of the musical movement. He assures me that no matter what I’ve heard about those times in Cambridge, Mass.; Woodstock, NY; San Francisco; and beyond, "it’s all true! When I was hanging out with Jim Kweskin, Fritz Richmond, Bill Keith, and Maria [Muldaur, his wife at the time], I just assumed that’s how life was and that we were just sort of good. But the combination of those people was unmatchable. Bill Keith left Bill Monroe to join the jug band. Maria was shocking — she was so good."

With the exceptions of a quickie gig at the Lincoln Center in 2001 and a tribute concert in Japan for Fritz Richmond after the king of the jug and washtub bass died in 2005, Muldaur and Kweskin haven’t had a chance to really sit down and play together for many years. Muldaur is as excited as anybody for their reunion at the Freight and Salvage Coffeehouse. "Just playing with Kweskin, man — it’s magic," he says. "Look, I go to the gym so I can keep this shit up!"

Playing in Berkeley will be a metaphysical homecoming. Muldaur lived in Mill Valley from 1988 to ’89 and would sneak across the bridge to revisit places where he had jammed in the ’60s. "When [the Jim Kweskin Jug Band] came out to the West Coast at first, to LA, it was like oil and water," Muldaur says. "But when we came to San Francisco and Berkeley, we were right at home because there were already freaks like us. The jug band and the scene in Cambridge was very much like in Berkeley, but Berkeley stayed that way."

Terry Gilliam told Muldaur his crew members used to get on their knees every morning and pray to Muldaur’s version of "Brazil," which gave the 1985 film its name. "It represented this insane, wacky, other place in reality," Muldaur says. With a major jug band documentary and an immense CD set charting Muldaur’s influences in the works, that other place in reality will soon be here to stay. *

GEOFF MULDAUR

With Jim Kweskin

Fri/16, 8 p.m., $19.50

Freight and Salvage Coffee House

1111 Addison, Berk.

(510) 548-1761

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Underworld meets underground

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› johnny@sfbg.com

A freeway is viewed from a distance in pitch-black night as oncoming white dots (the fronts of cars) and retreating red dots (their backs) hop like tiny Lite-Brites from one spot to another. It’s a cinematic atmosphere as potent as a dream; this first shot from William E. Jones’s Film Montages (for Peter Roehr) isn’t the kind of image one might associate with porn. In fact, highly poetic urban documentary was commonplace in ’70s and early ’80s gay porn. Directors such as Fred Halsted, Christopher Rage, and Peter Berlin used film to creatively explore and express sexual identity before urban gay life was attacked by AIDS and vampirized by mainstream consumerism. For Jones, the works of these underworld auteurs contain an endless array of sidelines to rediscover and uncover. Instead of excavating the era’s graphic, condom-free sex, he spotlights the erotically charged spaces around it.

With a feature doc about Latino Smiths fans (2004’s Is It Really So Strange?) on his résumé, Jones knows about hidden subcultural histories, his own included. He might be considered the unsung talent associated with the new queer cinema of the early ’90s. A few of the era’s bigger names (Todd Haynes, Gregg Araki) have since moved deeper into Hollywood, while others (Jennie Livingston, Tom Kalin) seem trapped in creative lockdown. Jones’s semiautobiographical 1991 feature, Massillon, was, along with Haynes’s Superstar, the most experimental and exciting formal work when the movement was cresting; since then his output has been infrequent and varied. Whereas Massillon (a huge influence on Jenni Olson’s recent San Francisco–set The Joy of Life) was shot, with oft-gorgeous results, on film, subsequent Jones works such as 1997’s unconventional biography Finished and the self-explanatory 1998 short The Fall of Communism as Seen in Gay Pornography (which would make for a perfect mini–double bill with Phil Collins’s 1999 How to Make a Refugee) primarily reframe preexistent video footage for new narrative purposes.

Last year, however, Jones experienced a renaissance in terms of output. Three of at least five works he completed during 2006 will be screened at the Pacific Film Archive this week; alas, Mansfield 1962, one of the best and a hot document of legally sanctioned homophobia, isn’t among them. Its title notwithstanding, Film Montages is the one that favors sensory pleasure over discursive pursuits. A tribute to the editing of the late German experimental filmmaker Roehr, it magnifies the visual and sonic textures of pre-AIDS gay porn through a series of short shots, initially presented in times-four repetitions. Wonderfully chunky bass lines and sinister-cold keyboard stabs, images of hands grazing against each other and over black leather, close-ups of tape recorders with Maxell C-90 tapes, campy Germanic voice-overs discussing men "who shyly moved about without ehhhvvver exchanging a word" — they all go through four-step paces, establishing a rhythmic musicality. Then Jones’s montage lands on an orgiastic still of four entwined male bodies, and he further emphasizes its languor — a quality now nonexistent, as Daniel Harris has noted, due to current porn’s bored god–playing–with–hairless dolls couplings — by increasing the repetition. From there the masculine noise of boots scuffling on a floor and snippets of threatening dirty talk about making "a real man’s man" lead to an ending that teases around the edges of climax with fetishistic fervor and skill.

In comparison, More British Sounds possesses an overtly argumentative politicism. There Jones matches images from the 1986 gay porn movie The British Are Coming with a soundtrack of uncannily current posh snob remarks from the Jean-Luc Godard–directed Dziga Vertov Group’s 1969 movie See You at Mao, a.k.a. British Sounds. Class warfare and sexual cannibalism are stripped bare, teased with a whip, tattooed, suckled, and showered in a mere eight minutes. To paraphrase Jones, More British Sounds counters the complete lack of homosexuality in Godard’s films, rephrasing the French auteur’s famous remark that all you need to make a film is a girl and a gun — in this case all you need are some boys and a locker room.

The contents of the 59-minute v.o. aren’t so clearly delineated, and the frisson they produce might not be as intense — though for some viewers, that might be due to a familiarity with the source material, whether it be Halsted’s 1972 L.A. Plays Itself or tape recordings of Jean Genet and Rosa von Prauheim spouting off presciently about homosexual fatalism and conservatism. Not so much a mashup as a metamaze odyssey through the subways, nighttime ghetto alleys, and other spaces of pre-AIDS and pre-Internet gay cruising, v.o. doesn’t take its title from voice-over — even if the abbreviation does suggest that facet, which is dominant in many Jones films — so much as version originale, a French term used for films presented in their original language with subtitles. Subtitles over a bare bottom doesn’t make art, but in this case it makes for ripe nostalgia. Moving from a record needle into the dark hole of a Victrola like some dirty, dude-loving cousin of Inland Empire, v.o. might not end up anywhere in particular, but it finds a hell of a lot — Colonel Sanders’s face, gay-power graffiti, Halsted’s red Ranchero, a Peter Berlin S-M romp in the underground recesses of the SF Art Institute — along the way. *

V.O.

Tues/20, 7:30 p.m., $4–$8

Pacific Film Archive

2575 Bancroft Way, Berk.

(510) 642-0808

www.bampfa.berkeley.edu

For an extensive interview with Jones, go to our Pixel Vision blog at www.sfbg.com/blogs/pixel_vision.