San Francisco

The Mexican election

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By Tim Redmond

Not a huge amount of furor (yet) in San Francisco over the apparent theft of the Mexican elections. John Ross has all the background here. Randy Shaw has some thoughts on the Mexican left in BeyondChron, but he doesn’t talk to much about the local scene either. There’s an awful lot of Mexican nationals in San Francisco, and Ross says they were badly disenfranchised. If the theft is certified, perhaps some street protests in major SF cities would be in order.

Binder’s analysis

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By Steven T. Jones
Pollster David Binder’s day-after election luncheon at SPUR is a tradition of the season and a must-attend for the wonkiest of political wonks. Among his insights:
* In an otherwise lackluster election, the Ma-Reilly Assembly race increased turnout on the more-conservative westside of San Francisco, thus hurting progressive measures like Measures A (which barely lost…probably) and B (which won, but not by as much as Binder and others predicted)
* There are still 40,000-60,000 absentee and provisional ballots to be counted in San Francisco, meaning Measure A (which was losing by a little over 1,000 words) could still flip, although Binder considers it unlikely given that absentee ballots in this race favored the “no” position.
* For its liberal reputation, San Franciscans are still fairly fiscally conservative and resist spending money. But we still support markedly more liberal candidates than the rest of the state.
* It was a good night for Asians and a bad night for wives seeking to replace their politician husbands.
* Democrats might have a hard time this fall keeping control of the statewide offices.

Partying for Laguna Honda

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By G.W. Schulz
Perhaps the most obscure and complex of the four local measures that appeared on Tuesday’s ballot was Proposition D, a land-use initiative designed to prevent San Francisco County health officials from allowing the spill-over of patients diagnosed with psychiatric or behavior problems from Potrero Hill’s San Francisco General Hospital to Laguna Honda Hospital in the western section of the city. Prop. D’s opponents defeated the measure by around 45,000 votes. Curiously, however, of all Tuesday’s races, the No on Prop. D election party seemed to be the most star-studded.

Dellums’s outlook

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By Sarah Phelan
At Ron Dellums Party, Kimball’s Carnival

Leaving San Francisco, we could feel the temperature rise as we crossed the Bay Bridge. By the time we got to Kimball’s, the party for Ron Dellums was absolutely raging.

Dellums is beating Ignacio De La Fuente 44 to 36 percent in the race for mayor of Oakland, but with only 1 percent of precincts reporting, the outcome is far from clear. Nevertheless, Dellums was looking relaxed and stately.

“Fabulous Fiona”

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By Tina Rodia
At Fiona Ma party, Irish Cultural Center

At 9:09 p.m., with 17 percent of the precincts reporting, Fiona Ma already had 59 percent of the votes. Supporters at the party, which is about 300 people large, include the Arab Antidiscrimination Association, the organizers for the North Beach Festival, and members of the Outer Sunset community, where Ma is the district supervisor.

The organizers of the North Beach Festival refer to the State Assembly District 12 candidate as “Fabulous Fiona.” With drinks in hand, they are celebrating an early victory.

Approached by members of the media as she entered the room, Ma made statements regurgitating the standard “home ownership and business revenue are what’s good for San Francisco” talking points from her campaign Web site, her political mentor, former state senator John Burton, at her side.

more fun at City Hall

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By Tim Redmond
Well, we keep crunching numbers here, and they keep looking grim for Janet Reilly. The latest, with more than half the votes in, shows Ma getting almost 60 percent of the election-day vote. Combined with her strong absentees, I think Ma is the clear winner here.

Fun facts: In San Francisco, Angelides is at 51 percent, and Westly is at 43 percent, so Carole Migden’s guy is getting trounced on her home turf.

Yee racing past Nevin

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By G.W. Schulz
Leland Yee Campaign Headquarters

Just across the Daly City border on the sleepy southern reaches of Mission Street, State Senate District 12 candidate Leland Yee has yet to show up to his election party. It was 8 p.m. when I arrived, and about 200 supporters were mingling anxiously. Cheers erupted when a voice announces that Yee is racing past Mike Nevin in San Francisco absentee ballots 66 to 34 percent. But the two are stilll running a dead heat in San Mateo County at 40 percent. In both counties, Lou Papan is wavering between 15 and 20 percent. Yee campaign consultant Jim Stearns said that predictions that Papan would spoil the race appear to be not true, “at least right now.” He says it’s still not clear how some of the late-stage negative campaigning would impact final results.

first results

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By Tim Redmond
At City Hall
First results are in, mostly the more-conservative absentees, and even so, there are some surprises. Leland Yee is way, way ahead in the state senate races, 66 percent to 27 percent (although part of the district is in San Mateo, so Yee can’t quite celebrate yet.

Fiona Ma is well up on Janet Reilly, 58-41.

In the governor’s race, Angelides and Westly are close, but Angelides is ahead, 47-44 percent. Remember, this is among absentees. I’d say that a good sign of Angelides taking San Francisco easily — let’s see what it means for the rest of the state.

endorsements

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For those of you who are still trying to vote, I’m really sorry that our endorsements haven’t been available, but here they are:

The Clean Slate
Our endorsements for the June 6 election. Tear off and take to the polls
National races
Senate
(D) No endorsement
(G) Senate
Todd Chretien
Congress, District 6
(D) Lynn Woolsey
Congress, District 7
(D) George Miller
Congress, District 8
(D) No endorsement
Congress, District 8
(G) Krissy Keefer
Congress, District 9
(D) Barbara Lee
Congress, District 11
(R) Pete McCloskey
Congress, District 12
(D) No endorsement
Congress, District 13
(D) Pete Stark
State races and propositions
Governor
(D) Phil Angelides
Lieutenant governor
(D) Jackie Speier
Secretary of state
(D) Debra Bowen
Controller
(D) Joe Dunn
Treasurer
(D) Bill Lockyer
Attorney general
(D) Jerry Brown
Insurance commissioner
(D) Cruz Bustamante
Board of Equalization, District 1
(D) Betty Yee
Superintendent of public instruction
(nonpartisan) Jack O’Connell
Senate, District 12
(D) Leland Yee
Assembly, District 12
(D) Janet Reilly
Assembly, District 12
(G) Barry Hermanson
Assembly, District 13
(D) Mark Leno
Assembly, District 14
(D) Loni Hancock
Assembly, District 16
(D) Sandré Swanson
Proposition 81
YES
Proposition 82
YES
San Francisco races and propositions
Superior Court, Judicial Seat 8
Eric Safire
San Francisco Democratic County Central Committee:
District 12
Susan Hall, Trevor McNeill, Jane Morrison, Melanie Nutter, Connie O’Connor, Roy Recio, Arlo H. Smith, David Wong
District 13
Bill Barnes, David Campos, Gerry Crowley, Rick Galbreath, Michael Goldstein, Robert Haaland, Joseph Julian, Rafael Mandelman, Tim Paulson, Laura Spanjian, Holli Thier, Scott Wiener
Proposition A
YES
Proposition B
YES
Proposition C
NO
Proposition D
NO
Alameda County races and measures
Assessor
Roy Thomsen
Auditor-controller
Patrick O’Connell
District attorney
No endorsement
Sheriff
Gregory J. Ahern
Superintendent of public instruction
Sheila Jordan
Superior Court, Judicial Seat 22
Fred Remer
Measure A
YES
Measure B
NO
Oakland races
Mayor
Ron Dellums
Auditor
Courtney Ruby
City Council, District 2
Aimee Allison
City Council, District 4
Jean Quan
City Council, District 6
Desley Brooks
School board, District 2
David Kakishiba
School board, District 4
Gary Yee
School board, District 6
Chris Dobbins
Live election night coverage at www.sfbg.com
For detailed explanations of our endorsements and a printable version of this slate card, go to www.sfbg.com.

Doing the Cannes-Cannes

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Gary Meyer of the Balboa is at this year’s Cannes Film Festival. Here is the first of his reports from the Croisette and the theater trenches:

Getting there — No snakes on the plane
The trip to Cannes always starts when I board the plane in San Francisco, looking to see if anyone I know is aboard. The 747 was huge but full exploration didn’t reveal any obvious candidates for the Festival.
Once in Paris things change. On the transfer to Nice I always run into several friends making the final leg of our journey to the south of France and 10 days of movies, morning till dawn. We compare stories about how much sleep we did or didn’t get before leaving and on the plane. And the inevitable jokes about being jet-lagged and surely taking naps in films.
Each year I also spot someone famous getting on my plane. One year I chatted with French superstar Jeanne Moreau. I had been involved in distributing a movie she directed, L’Adolescente. Another time Michael Richards (Kramer on “Seinfeld”) was nervous about the trip. It was his first time in France and he was appearing at the premiere of the movie Unstrung Heroes. He was a nervous wreck. He couldn’t figure out how to use the pay phones, scared of the security and certain he would never find his way to the airport gate at DeGaulle (a reasonable worry). I befriended him and showed the way.
This year as the long line waited to board our flight, Snakes on a Plane‘s Samuel L. Jackson was escorted to the front of the line. A member of the Cannes Jury, he had a hat pulled down so he’d only be half recognized. Someone in the line called out, “I’ll see you in Cannes,” to make sure we all knew where they were both headed.

Opening night
Arriving a day early has it benefits. The crowds haven’t assembled. One can take care of accreditation, press orientation and study the various program books. A press screening of The Da Vinci Code was the only scheduled event. I had already seen it and chose to have dinner with friends.
Film festivals like to open with a high profile movie that is sure to attract big stars, tons of media attention and a major post-screening party that will last all-night. Allowing a film to open a festival, especially Cannes, is taking a big chance. The movie will come under extra heavy scrutiny from critics. The Da Vinci Code is a logical choice to open the 59th Cannes International Film Festival. It is based on a huge best-selling book and largely set in France. Starring a major American movie star, Tom Hanks, and one of France’s most popular actresses, Audrey Tautou, it also features numerous important European actors. As I write this, over my left shoulder I can see them walking up the red carpet for the opening night ceremonies. Thousands of people jam the streets in front of the Palais. TV cameras and photographers catch the face of every person who ascends the steps to make certain they don’t miss anyone of importance.
The press has now seen The Da Vinci Code. The response isn’t too good. But despite the criticism you will read, Columbia Pictures made the correct choice. Director Ron Howard’s last film, Cinderella Man, was invited in 2005 but the producers passed. And the film failed at the box office. This time they aren’t about to miss out on the glitzy stamp of approval that comes with opening the world’s most famous film festival.

Day one
I’ve seen three films the first day of the Festival — all official selections caught at press screenings. I’ll catch a few more tonight.
A good way to start off the morning is with something not too demanding. Paris je t’aime is a collection of 20 five-minute films by an eclectic group of international directors including Gus Van Sant, the Coen Brothers, Walter Salles, Alfonso Cuaron, Alexander Payne, Gurinda Chadha, Tom Twyker, Wes Craven and many more guiding a superstar cast from Natalie Portman to Gena Rowlands, Gerard Depardieu to Fanny Ardant. (Ben Gazzara, Juliette Binoche, Steve Buscemi, and Bob Hoskins also are featured.) Anthology films inevitably are a mixed bag. Each piece is about love in Paris. They are like simple short stories; the best ones aren’t overly ambitious. Paris looks lovely of course and I enjoyed most of it.
Next came a film from Paraguay, Hamaca Paraguaya. At only 78 minutes, this is the kind of movie not to see when still jet lagged. It is all voice-over dialogue (subtitled) with stagnant camera shots. When the lights went up, I asked my neighbor, author Phillip Lopate, if I snored. He said I was a very considerate napper and wanted to know how he did. Just fine, I guess, as he didn’t wake me up. I have no doubt it will be hailed as a work of art by someone.
Much better was Summer Palace, the first competition film. Director Lou Ye (Suzhou River, Purple Butterfly) has constructed a complex film of relationships starting in 1989 China. A student leaves her small town and boyfriend to attend university in Beijing. She discovers both friendship and sex, with the pleasures and confusion they can bring. We journey through the political changes in China and Germany (where some of the characters go) over the next 15 years as the group of friends separate and rejoin. The film is often powerful, vibrant and involving, if a bit difficult to follow at times. It overstays its welcome at 140 minutes; some careful editing would help it become even better.
Summer Palace is the only Asian film in the Competition. It arrives amidst controversy. The Chinese government has complained that the producers didn’t get censorship approval and have broken the law by submitting it to Cannes. But the filmmakers claimed they didn’t submit it to Cannes. (Must have been the sales agent in France.) The Chinese censors turned the film down. Some suspect it is for the highly erotic nature and political reasons. There have been reports that the film has been withdrawn and the director has returned to China. This won’t be the first time claims of censorship by China have garnered attention here. The highest profile case was Zhang Yimou’s To Live.

Overheard
Sitting in front of a sandwich stand a young British woman told her companion that film sales have been tough and that the DVD market has slowed to practically nothing: “We are looking for Video In Demand, computer downloading — anything where people don’t have to leave their homes.”

NOISE: Coachella cracked open?

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Guardian intern Jonathan Knapp checked out Coachella last week and lived to tell the tale:

amigossml.jpg
Jose Luis Pardo of Los Amigos Invisibles
holds forth Sunday at Coachella.
Photo: Mirissa Neff.

As someone who has lost his once-vigorous passion for indie rock and large music festivals, I approached my trip to Coachella with caution and confusion. Why the hell was I driving 500 miles to spend two days in the brutally hot desert sun to see a bunch of bands that I had, at best, an intermittent interest in? All right, my girlfriend really wanted me to, and our companion — a good friend and a guitarist from local post-hardcore outfit And a Few to Break — was the perfect guide: He’d been before and has been largely responsible for turning me on to the little new music that excites me.

It’s not as if I now hate indie rock — I’ve just become preoccupied with the music of the past. I’d much rather, for instance, discover nearly forgotten gems like O.V. Wright’s “You’re Gonna Make Me Cry” and Wanda Jackson’s “Fujiyama Mama” than be the first to herald the Bloc Party or Clap Your Hands. There were definitely some newer bands at Coachella that had already easily won me over — Animal Collective, TV on the Radio — and some holdovers from my indie rock youth: Sleater-Kinney, Cat Power. Additionally, Madonna was playing; though I wouldn’t have admitted it at the height of my Drag City- and Merge-fuelled ecstasy, this was unquestionably exciting.

To a relatively recent East Coast transplant, Coachella’s setting is nothing short of alien. Set aside the heat (which is consuming and oppressive) and what remains is a beautiful, if stark and bleak, atmosphere: palm trees, miles of flat, bush-littered sand, and — when the Los Angeles smog recedes — snow-capped mountains. This year’s fest brought a mostly predictable mix of inappropriately black-clad SF/LA hipsters, shirtless/bikini-topped OC trust-funders/frat types, Arizona college hippies, and — given that this was Tool’s first show in five years — metalheadz. Though people-watching is certainly fruitful and entertaining, Coachella does not provide as much craziness as one might expect — but it certainly does exist.

The festival, held over Saturday and Sunday, April 29 and 30, on the incongruously green and groomed Empire Polo Fields, is a whirlwind of simultaneous activity and overstimulation. If you’re really only there to see one act (like Depeche Mode), it’s no problem. But for those whose interests are a bit more catholic, the prospect of navigating five separate stages that feature virtually nonstop, and eclectic, music from noon till midnight is daunting.

Do you choose Kanye West or My Morning Jacket? Wolf Parade or Jamie Lidell? In my case, both these choices proved easy, if not fully satisfying. For the former: With tickets on Kanye’s late-2005 tour being at least $45, the relatively reasonable one-day Coachella pass of $85 (about $190 for both days, including service charges) makes it
the best opportunity to see him.

West’s set was entertaining, if not transcendent. Mindful of the temperature (he played a still-blistering 6 p.m. slot), West substituted the angel-winged getup he’s favored recently for a white Miles Davis T-shirt and jeans. Backed by live drums, turntables, backup singers, and a string section, he offered a respectable but awkward approximation of his increasingly ornate recordings (no Jon Brion in sight). The highlight: West inexplicably announced his DJ would play a few of his biggest influences, moving from Al Green and Off the Wall-era Michael Jackson to a-ha’s “Take on Me,” dancing around the stage with a goofiness that, though obviously calculated, seemed charmingly unselfconscious.

Following West on the main stage, Sigur Ros created one of the festival’s moments of impossible beauty, bringing their ethereal noise to day one’s lofty sunset slot (7:00-7:50 p.m.). Admittedly, I’ve been a bit hesitant to embrace the beloved Icelandic group. Though I’ve enjoyed much of their work, I’ve been turned off by what I’ve interpreted as delusions of grandeur: a made-up language (there’s already one Magma), bullshit declarations of “creating a new type of music,” and the hushed reverence with which they’re frequently discussed. However, I can’t think of a better band to accompany a desert dusk, or a better setting for the band — apart from a glacier, perhaps. Backed by a mini-string section, they played a set that, at that time and in that place, was astonishing. My gratitude goes to the man and woman who danced behind the netting just immediately off stage right: Their undulating silhouettes would have brought me to tears, had dehydration and hours of standing not already beaten them to it.

My other day one highlight was Animal Collective, a band whose aesthetic of psych-pop, tribalism, and general weirdness was perfectly suited to the surreal setting. Though I’ve adored many of their recordings (they’re one of the few current bands that I’m genuinely excited to watch evolve), I’d heard that their propensity for wandering and wanking can be their downfall live. I found that they kept this mostly in check, grounding their less accessible and more abrasive experimentations with hypnotic rhythms and a convincing feeling that this was, in fact, going somewhere. Much of the crowd didn’t seem to know what to make of it. Too bad: To my ears, few artists approach their inventiveness, live or recorded.

That day I also caught some of Deerhoof (appropriately erratic, with some fantastic moments), Cat Power (as expected, the Memphis Rhythm Band has given her a new sense of confidence and composure, and they sound fucking great), Wolfmother (energetic, but dull), White Rose Movement (I’ll stick to my Pulp records, thank you), the New Amsterdams (nothing new about them), and the Walkmen (solid).

After returning to the grounds Sunday (we fortunately camped at the much-less-populated Salton Sea, about 20 minutes away), we immediately went to catch Mates of State (adorable and infectious), who closed with a decent version of Nico’s “Time of the Season,” and Ted Leo, who was reliably engaging. To try to get close for Wolf Parade, we headed to the medium-sized tent (there were three) and watched Metric. I’d been intrigued by their Broken Social Scene connections, but their set of dancey agit-pop left me cold and bored (my companions disagreed).

I separated from my friends to stand in the back for Wolf Parade, so I could head to the main stage for Sleater-Kinney. After starting late, Wolf Parade apologized for technical issues (“Everything’s fucked”) and began a set that, from my perch hundreds of feet away, sounded slight and thin. Disappointed, I left after three songs. I’ve been told that the experience up-front, however, was quite different, and among the best of the festival.

I fell in love with the women of Sleater-Kinney about a decade ago when I was 16. I’ve tried to see them a number of times over the years, but something always fell through: sold-out, unbreakable engagements, etc. I usually don’t think about them, except when they release a new album and, maybe once or twice a year, when I put on Call the Doctor or Dig Me Out — briefly reminding myself why they once meant so much to me.

Clearly, this has been a huge mistake: Focusing mostly on songs from the past couple albums, the trio played a fierce, powerful set that all the years of hearing about their live show hadn’t prepared me for. At a festival that celebrated scenes that I’ve mostly abandoned, this became my essential moment. Mses. Corin Tucker, Carrie Brownstein, and Janet Weiss reminded me not only why I loved them, but why I loved going to shows in the first place — for the sheer raw, sweaty energy. These women deserve to fill stadiums.

After watching a bit of the Yeah Yeah Yeahs, who impressed me more than I expected, I headed to the dance tent, joining an apparent majority of festivalgoers in an attempt to see Madonna. Unable to get anywhere near the stage, we settled for a spot outside it, where our view was of a large screen and, when we were lucky enough to be able to peek through the massive throng at a distant stage.

Several minutes before the set (which unsurprisingly started late), a line of people carrying parasols and decked out in lingerie bondage gear made their way through the crowd on stilts. Managing the seemingly impossible feat of reaching the front of the stage, they were easily the festival’s smartest and most inventive attendees.

When Madonna finally took the stage, all hell broke loose — an appropriate response, perhaps, but not one that the performance itself warranted. Predictable and short, Madonna’s set started with the superb “Hung Up,” then moved on to “Ray of Light” and four more songs, most of them newer material. Most surprising was her guitar playing (or at least the appearance of it) and the rock-like arrangements of all the tunes. She occasionally provoked the audience (“Don’t throw water on my stage, motherfuckers,” “Do you want me to take my pants off?”), but nothing here was shocking. That said, the woman looks fantastic and commands a stage in a way that few could. After six songs, she left abruptly. It was anticlimactic, yet still somehow thrilling. It was, after all, fucking Madonna.

Immediately after, we ran into Andy Dick, who stood talking to a pair of starstruck 13-year-old girls. Far more behaved than the blogs have reported he later would be, Dick seemed as amused with the girls as they were with him. Though he claimed to have to go meet his “girlfriend,” he talked to them for several minutes: “Oh, I love Madonna too. Hey — how are you even here? Aren’t people, like, drinking? Where are your parents?”

After catching a fantastic, fun set from the Go! Team (who had Mike Watt guesting on bass), we attempted to see Tool. Unable to get anywhere close to the stage (this seemed by far to be the most crowded show, though Madonna was close), we sat down, expecting to watch the band on the giant screens on either side of the stage. While the band played, however, their videos (you know: internal organs and jittery, alien-looking people doing painful things) were projected on the screens. Bored and wary of the inevitable hours of traffic that we’d hit if we stayed for the set, we bid Coachella adieu.

Acts I wished I had caught, but couldn’t for various reasons: Lady Sovereign, Jamie Lidell, Gnarls Barkley, Seu Jorge, My Morning Jacket, Phoenix, Mogwai, Depeche Mode, Coldcut, and TV on the Radio. Biggest regret (by far): missing Daft Punk. Word of their closing Saturday night set hovered all day Sunday, discussed in whispered, but rhapsodic tones.

I left the festival exhausted, anxious to return to San Francisco, and — most importantly — reminded why I devoted so many years to indie rock. Will I stop seeking out New Orleans R&B, rockabilly, and Southern soul? No, but that doesn’t mean I have to ignore this wave of postpunk, does it? That said, I’ll take Gang of Four, Wire, and Pere Ubu over Bloc Party and Franz Ferdinand any day.

But, right now, I just want to listen to Sleater-Kinney.

Festival decompress

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The last few days of the San Francisco International Film Festival usually have a calmer quality, perhaps even more so this year, in the wake of a second weekend “Super Saturday” that bounced from big events such as talks with Jean-Claude Carriere and Tilda Swinton to the wild ’round-midnight screening of the cave-expedition-gone-horribly-wrong nightmare The Descent. (Scariest movie I’ve seen in years, and the characterizations, such as Natalie Mendoza’s Juno, are evocative.)

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Yet early on Monday the SFIFF intensity level was high, as The Bridge screened to a packed house at the Kabuki. While I haven’t sorted out the intense emotions and serious ethical issues triggered by Eric Steel’s controversial movie – aspects of the post-screening discussion and some of his decisions as a filmmaker really troubled me, for a start – I can say that there is no film quite like it. Jenni Olson’s The Joy of Life has other roots in relation to the subject, but a recent song on Sleater-Kinney’s The Woods, much of the revived interest in the art and life of Golden Gate suicide Weldon Kees, and now Steel’s documentary all attest to the lingering potency of Tad Friend’s late 2003 New Yorker piece “Jumpers.”

indio.jpg

Those with unmatched pain thresholds could have followed up an early Monday Bridge viewing with the second Descent screening. I saw A Short Film About the Indio Nacional (or The Prolonged Sorrow of Filipinos) and was struck by the film’s daring and often exquisite shifts in tone, as well as a very particular approach to late 19th century Filipino history. An early diegetic sound scene brings across the experience of insomnia like no movie I’ve seen, before young director Raya Martin makes a sudden jump into a wholly different (or is it?) realm of black-and-white silent pictorial storytelling. I’m hoping to interview Martin here later this week.

Other SFIFF quick hits or misses…“I hated it!” was one local filmmaker’s immediate response to Deerhoof’s live score for Harry Smith’s Heaven and Earth Magic. But a few days later, a different SF moviemaker testified their eternal love for the band when that program was mentioned. I fell between those two responses, sometimes enjoying the band’s approach but just as often wondering if the sound was trapped in mannerism rather than the alchemical realm Smith deserves. As for Werner Herzog in interview the night previous, truer words about Anna Nicole and the “mainstream” have never been spoken.

Lesley’s turn to talk

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Lesley Gore is in town this weekend, singing at Brava Theater Center. I recently had the chance to call the ‘60s teen queen who is forever linked to classic pop hits such as “It’s My Party” and the proto-feminist “You Don’t Own Me.” Today, the richness of Gore’s voice is a bit duskier, as evidenced by the new CD Ever Since. Whether reminiscing about a certain mega-producer or discussing fictional movie imitations of herself, this lesbian icon – a heroine to queer zine-maker and artist G.B. Jones, amongst others – is refreshingly honest.

Bay Guardian: Can you tell me a bit about meeting and working with Quincy Jones?

Lesley Gore: It’s extraordinary that a man of his distinction – even at that point in his career he was well accomplished – could put himself in the shoes of a 16-year-old kid. That is his art in a way, knowing how to make people comfortable and get the best from them. There may have been a 14-year difference between us, but he never talked down to me.

Quincy not only thought it was important to do well in the studio, he thought it was important to perform well onstage. He’d often call me on a Friday and say, “Lil’ Bits, meet me at Basin Street [in New York] at 8.” We’d go see Peggy or Ella or Dinah Washington. He’d say, “Listen to this opening number – this is what an opening number should do.” He took mentoring seriously. He wanted me to understand.

The bar was set high for me. I worked with some great producers, such as Quincy and Bob Crewe [the astrology-obsessed mastermind behind the Four Seasons, Music to Watch Girls By, Disco Tex and His Sex-o-Lettes, and Labelle’s “Lady Marmalade”].

BG: One little-known Quincy production that I love is The Amazing Timi Yuro.

LG: Timi Yuro was on the very first tour I did in England — Timi and Trini Lopez and Brooke Benton and Dion [DiMucci] without the Belmonts. I fell madly in love with “What’s a Matter Baby.”

BG: Joan Jett and others have covered “You Don’t Own Me.” Are there any particular versions you enjoy?

LG: I rather liked Joan’s interpretation. Dusty [Springfield] covered that record almost minutes after it came out.

We could put a song in the key of G and it would be comfortable, but if Quincy didn’t see the veins popping in my neck he wouldn’t be happy. He’d raise it to the key of A so I’d sound younger. That’s why my [early] recordings are so poppy and bop-y.

This [new] album [Ever Since] is letting my voice do what it does without forcing into a range where I have to bleat all the time. That’s how the combination of old and new can make wonderful sense.

BG: Did you feel a kinship with or especially admire any other singers from the era of your biggest hits? I’m a Dusty Springfield fan.

LG: Who wouldn’t be? I did actually come to know Dusty when I was living in LA during the ‘70s. She did a song of mine called “Love Me By Name.” But she didn’t just do a song – she annihilated it. She invited me to the [recording] session; Joe Sample was the piano player.

They are doing a musical [Dusty] of Dusty’s life. Vicki Wickham, who was Dusty’s manager, is a dear friend of mine, and they consulted her.

BG: A favorite song of mine by you from that era that hints at what you do now is “What Am I Gonna Do With You.” Would you agree with that?

LG: Isn’t that a great song? That was co-written by Russ Titelman, who worked with [Eric] Clapton. When I get to expand my show, songs like that, and “All of My Life,” and “The Old Crowd” – which was written for me by Carole King and Gerry Goffin – are the songs that I’m looking at including within it.

We’ve stripped the songs in the show down to rhythm section and voice, and it’s clear what holds up and what doesn’t. It’s fascinating. “Judy’s Turn to Cry” has completely erupted for me as a new song after taking out those strings and horns and bop-y things. Without horns, “Maybe I Know” has a groove. It’s like re-singing them [the older songs] all over again.

BG: How did the writing of “Out Here on My Own” [sung by Irene Cara on the Fame soundtrack] come about?

LG: When my brother [Michael] started working on Fame he asked me for lyric writers. Much to my shame right now, I didn’t consider myself one. I was friendly with Peter Allen, and through that, Dean Pitchford and Michael got together. My brother was living in Manhattan and one afternoon I was up at his apartment and he played me the melody to “Out Here” and described the scene. When he first played it for me I knew what the title was. I was at my friends Carole Hall’s and Leonard Majzlin’s flat — I stayed indoors for 48 hours and knocked out the lyrics and became part of the Fame family. It was a very liberating step. It means a lot to me in that sense.

BG: What did you think of the movie Grace of My Heart, and of the character played by Bridget Fonda [a Gore facsimile]? Did they wholly miss the mark? Did they have the right spirit?

LG: Actually, nothing rang absolutely true in that movie. I think they were trying to exploit my character. The actual history is that I didn’t know I was gay until after college. So whatever they put in the movie was more of a projected scenario than a reality. Certainly, the [Fonda character’s] affair with the PR person is their own storyline.

They asked me to write a song [for the movie], and it wasn’t a completely pleasant experience, to be totally honest. I realized they asked me to do it so they could exploit my name. They sent me a track that had pretty much already been written. I felt the need to doctor it, and the changes made it better. Then they had the lack of decency to pretty much not invite to the [movie’s] opening.

I love musical movies and I’d like to see more of them made. But it took a lot of people’s lives and distorted them. They glued together scenarios — I think the lead [male] character is supposed to be Brian Wilson? Still, I’d rather have a bad version of a movie musical than no movie musical. And I think the idea of pairing different people [in the story] could have been a good one.

BG: Any hints about what you have in store for San Francisco?

LG: I’ll hit the stage with the band that helped me create the new album. You’re gonna get a show we’ve been doing steadily for 4 or 5 months – it’s grown in dimension, and everyone is going to have a great time. I expect they’ll go from laughter to tears as well. People may have to turn their hearing aids up — but that’s what friends are for.

BG: As someone once wrote –

LG: [Laughs] Exactly.

Noise Pop popped open

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It’s over! And we all feel like we didn’t quite see as much as we would have liked. Ain’t that always the case for we, the pop neurotic? We came. We drank. We rocked. We nodded our heads with our arms folded loosely about ourselves. We stumbled home. We got damp. We didn’t quite conquer, but when we managed to get into the club, we felt that strange, ineffable sense of accomplishment.

Popping open an internal reporter’s notebook, I threw together a few highlights from my not-quite-embedded week in Noise Pop’s world:

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The Lips have a lock on SF hearts.

Word has it that beaucoup bucks were being passed for Flaming Lips ticks on Noise Pop’s opening night at Bimbo’s. How nice to finally get inside, out of the drizzle — and to find the special edition silk-screened Lips poster also sold out. Stardeath and white dwarfs — including Lips frontperson Wayne Coyne’s nephew sporting a skin-tight, alluring green costume — opened with palate-tickling psych.

After a short set-up break, Coyne read the proclamation from the San Francisco Mayor’s Office, naming March 27 through April 2, 2006, Noise Pop Week. Then all hell, balloons, and costumed Santa’s helpers broke loose. Don’t you miss those cozy, not-so-quiet shows in parking lots?

I’d include a pic of Steven Drodz deep-throating a mic, but I should keep it clean for all those soccer moms out there.

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Balloons must be free.

Later, Coyne launched into an anti-Bush admin monologue. We’re with you, guy — I just got the slight, ever-so-slight impression that he uses those same lines on all the states, both red and blue. “We got to make it popular to be gay, smoke pot, and have abortions!” he shouted. Say it loud — say it proud.

The next night at Bimbo’s, Feist managed to gracefully skirt a PA outage, refusing to stop the show and singing a few tunes a cappella. Her drummer, however, threw a hissy fit and stomped off at one point. “We love you, Ringo,” yelled one onlooker. Hey, dude, the Beatles broke up years ago.

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Jason Collett resembles the dapper bastard son of Peter Wolf
and Willy DeVille, no?

Feist was name-checked by her Broken Social Scene bandmate Jason Collett, who rolled out some nice 4/4 rock songcraft Friday night at Cafe du Nord. He paid tribute to his bad-seed years hanging at the mall and even unleashed some goofy, little soft-shoe. Brroooo — I mean, Jaaaaaasss…

Saturday day: It warmed the cockles of my dark lil’ heart to see so many turn out for the lady-dominated Indie Night School panel on music journalism, or how to get your CD reviewed (well, we hope).

On Saturday night, we hunkered down at Bottom of the Hill for a full night of hard rock with headliners Wolfmother. Portland’s Danava impressed with their mix of ’70s-referencing hard prog and ’80s-tinged crazed keys. What decade are we in? We had to admit — it was original.

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A lotta Danava.

Wolfmother are good at what they do — rocking the house with a mix of Detroit rock, ala the Stooges and MC5, along with, natch, Sabbath. I just wish it they didn’t seem so studied — just a feeling you got watching the bassist go through his not-breaking-a-sweat moves.

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That’s no puppy — that’s my band mate! Brightblack Morning Light at Great American Music Hall.

Sunday night wound down with Vetiver, Brightblack Morning Light, Neil Halstead, and Peggy Honeywell at Great American Music Hall. This show was notable for the sheer number of indie folkies sitting on the floor. No standing room only, goddammit. If only we were all reclining — that would complete the cool-down vibe of the fest’s final night.

Halstead forgot the words to one of his songs but was lovely nonetheless. Mojave who? Brightblack was stirring –showing off some slow, swinging folk-jazz fusion chops.

One interesting trend, apparent also at the recent His Name Is Alive show at Cafe du Nord: minion-like band members who sit on the stage like pets. Maybe the sitting thing was simply spreading, like a virus. But does anyone realize that these people are pretty much invisible to most of the room? Additionally these mascot-like stage sitters are usually women, who tend to look shy, servile, and childlike down there. Aw, c’mon, raise ’em up to where they belong.

All photos by Kimberly Chun.

Howell at the moon, Buck missed, Jello on Fab Mab

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Viz art shows to look out for: SF’s Jay Howell co-runs mt. st. mtn., the vinyl record label that’s putting out the Sic Alps EP as well as other tasty treats. His art will be up at “Jump Over Me,” a group show including works by Andre Razo and Nick Wilkinson, at 111 Minna Gallery in Ess Eff.

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Should have some good vibes. The show’s subtitle: “Jump over me and I’ll watch you do well. We don’t hate it when our friends become successful.”

The press release goes on to describe the exhibit as “an eclectic new art show by painters, illustrators, wood carvers, ship builders, skateboarders, house painters, cafe workers, graphic designers, janitors, great dancers, and cactus growers all getting together for a month of fun in San Francisco.” The opening is April 6. Be there or be cultivating cactus.

BUMMED ABOUT BUCK

So sad that California country icon Buck Owens passed this weekend, on March 25. I’ll never forget the time I visited his Crystal Palace in Bakersfield and requested my favorite Buckeroos song at the time, “You’re for Me.” Buck held my hand, from his perch on the stage, and then played the tune. Blew my mind into a thousand bits of Buck-shot.

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The Los Angeles Times reports today:

Services for country singer Buck Owens, who died Saturday at 76, will be held this weekend in Bakersfield.

A public viewing will take place from 10 a.m. to 6 p.m. Saturday at Buck Owens’ Crystal Palace, 2800 Buck Owens Blvd.

The funeral will be at 2 p.m. Sunday at Valley Baptist Church, 4800 Fruitvale Ave.

Owens’ family has requested that in lieu of flowers, donations be made to the Bakersfield SPCA, 3000 Gibson St., Bakersfield, CA 93308-6110.

JELLO RESPONDS TO FAB MAB SHOW

This in from Alternative Tentacles headquarters today:

(You’d Think People Would Know By Now, But…) Here We Go Again

We are getting too many reports of people buying $25 tickets to a so-called “Fab Mab Reunion” concert at the Fillmore in San Francisco thinking it is a Dead Kennedys reunion, therefore Biafra will be there.

Jello responds:

Enough people are confused [that] we need to set the record straight. No, it is not a Dead Kennedys reunion. Yes, I am boycotting the whole scam. These are the same greed-mongers who ran to corporate lawyers and sued me for over six years in a dispute sparked by my not wanting “Holiday in Cambodia” sold into a Levi’s commercial. They now pimp Dead Kennedys in the same spirit as Mike Love suing Brian Wilson over and over again, then turning around and playing shows as the Beach Boys. They despise everything our band ever stood for.

“Money Uber Alles” is what all these bands used to stand against. Back in Mabuhay days, no one was more up front about not selling out to Bill Graham than Dead Kennedys and Flipper, especially Will Shatter (RIP). Now Bill Graham Presents has been swallowed and the name is being used as a front for Clear Channel, as nasty a corporate predator as Fox News and Wal-Mart.

It breaks my heart that Dead Kennedys now seems to have the worst reputation of any old punk band trying to cash in on their names, even more than the so-called Misfits. We still get complaints from people who bought tickets to shows expecting Dead Kennedys and getting stuck with the world’s greatest karaoke band. Others report someone they know getting ripped off thinking they were seeing me the whole time because no one on stage ever mentioned the singer’s name. I guess it’s sort of like paying to see Black Sabbath and finding out the singer is Donny Osmond.

So I hope people who go know in advance what they are getting into. As Johnny Rotten said at the Sex Pistols’ own miserable Bill Graham experience, “Ever get the feeling you’re being cheated?”

ON A DIFFERENT YET SOMEHOW RELATED NOTE

Heard anything about a “secret” Flipper show, far from the madding crowd?

Deerhoof tracks…Harry Smith

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This morning, I went to the press conference for the San Francisco International Film Festival (April 20-May 4) — wunderbar to hear the appreciation for the “avant-pop” Deerhoof, who have been enlisted to score beat filmmaker Harry Smith’s Heaven and Earth Magic for the fest, live, one time only (though that Yo La Tengo score a few years back took on a life of its own, didn’t it?).

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You can hem and haw, huff and puff, kvetch and moan about how this fest isn’t up to that fest or how women, Latinos, Africans, and African Americans aren’t represented — and you can be satisfied that those concerns were definitely the focus of the questions at the press conference — but this Deerhoof event is guaranteed awesome. Innovative filmmaking — a band at the top of their freakin’ game. The SF-Oakland Runners Four are supposedly trying to utilize Castro Theatre’s impressive pipe organ, too. I’d get your tickets now for the April 27 performance. Visit www.sffs.org or call (925) 866-9559. You’ve been warned.

Further music-related coolness at the fest: Brothers of the Head, Favela Rising, Metal: A Headbanger’s Journey, “Not so Quiet Silents with Alloy Orchestra” — not counting outright musicals like psych-noir-film legend Seijun Suzuki’s Princess Raccoon and actor John Turturro’s Centerpiece.


OTHER MUSIC-RELATED FILMNESS

Guardian film intern Jonathan Knapp wants to wax positive about Noise Pop’s film program this year. Here’s what he wrote:

Bookended by a pair of docs about American musical icons both thriving (Flaming Lips-trailing The Fearless Freaks ) and enduring (Amazing Grace: Jeff Buckley), the Noise Pop Film Festival, like the festival itself, spans the indie rock landscape. Of particular historical significance are Borderline: The Heavenly States and The M-80 Project.

The former finds local power-poppers the Heavenly States documenting their 2005 tour of Libya, the first by any Western band since Qadaffi came to power 35 years earlier. Long discussed in the sort of anxious whisper reserved for artifacts considered lost, the footage comprising The M-80 Project captures new wave culture before it became a marketable sound, fashion, and eventual retro touchstone. Minneapolis, 1979: future MTV darlings Devo meet no wave upstarts the Contortions and Judy Nylon and other post-punk experimentalists at a local art center. They play music, young Midwestern lives are changed, and, years later, the legendary video resurfaces.

For doc deets, visit www.noisepop.com/2006/films.php.

NOISE: Welcome all music fans who dare to enter!

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C’mon into the San Francisco Bay Guardian‘s new music blog. Yeah, we’re doing this now, and all the middle-aged journalists around the office are getting real jumpy. It may be the end of their careers as they know it. Yee-pee!

Anyway, expect very strange and perhaps wonderful things from this blog: pop, rock, rap, Turkish protest psych, gossip, mud-slinging, trash-talking, odes to Ali Farka Toure, block-rocking beats, oblique references to Santa Cruz noise-dealers like Zdrastvootie (last seen opening for Breezy Days Band at Hemlock Tavern and out with relatively new CD on Holy Mountain, cryptically titled 2), and even possibly news. Lots of sleepless nights. ‘Tis the season because SXSW is right around the corner, and guess who’s going to be there?

Yours truly, the blogging fools at the Guardian.

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Get a room — or a hospital bed: Reluctant to miss a minute at the Gossip show at last fall’s CMJ Music Marathon.

The political puppeteer

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By offering envelope-pushing legal and political advice at key moments in the fall campaign, attorney Jim Sutton was perhaps the single most influential individual behind the victories of Mayor Gavin Newsom and District Attorney Kamala Harris.
In the process, Sutton solidified his reputation as the dark prince of San Francisco elections, a hired gun who helps downtown interests and well-funded campaigns continue to dominate the electoral field even after voters passed reforms that restricted campaign giving and spending and required more official disclosure.
“He knows more election law than anyone, and he knows it better than anyone else,” local political consultant David Looman told the Bay Guardian. “He is the guy you call.”
New era, new player
Sutton, 40, stepped on the political stage just as voters were going to the polls in the fall of 1997 to demand more transparency in campaigns, a reaction to the leadership of Mayor Willie Brown and the dealings of powerhouse consultants like Jack Davis and Robert Barnes. At the time Sutton worked for Nielsen, Merksamer, Parrinello, Mueller, and Naylor, a Mill Valley firm that specializes in election law.
Sutton took on mostly big-money campaigns backed by downtown interests — such as Brown’s 1999 reelection and Pacific Gas and Electric Co.’s successful, multimillion-­dollar bids to squelch the public power movement in 2001 and 2002. Highly versed in the minutia of campaign finance law, he became a major player in electoral politics in San Francisco — and across the state.
“He is one of a small handful of very influential political law attorneys who typically represent moneyed, influential candidates,” California Common Cause executive director Jim Knox told us. “And he seems to be on something of a crusade right now.”
A search of the San Francisco Ethics Commission’s online database shows that over the past six years, Sutton has acted as treasurer or in another legal capacity for at least 20 campaigns and counts such heavily funded political action committees as the Golden Gate Restaurant Association, the Alice B. Toklas Lesbian Gay Bisexual Transgender Democratic Club, and the San Francisco Association of Realtors among his permanent clients. For that work, which doesn’t include the fall election, he earned at least $750,000.
Many of the city’s progressive activists and leaders see him as a dark agent — a tool only well-heeled interests can hire to navigate regulatory loopholes in order to spend as much as possible, even it means pushing the limits of the law, to sway voters.
“He’s an opportunistic lawyer who works against populist issues,” Sup. Tom Ammiano said.
Moreover, activists and state campaign finance experts say, he exerts an extraordinary level of influence over the city’s campaign regulators, including the top staff at the Ethics Commission and the deputy city attorneys who work with that agency.
“He is a high-powered fixer who has relationships with people in power that let him deliver for his clients in a way that leaves the less-connected among us flabbergasted,” said Marc Solomon, a Green Party member who worked on Sup. Matt Gonzalez’s mayoral campaign.
For his part, Sutton says that’s nonsense.
“There’s absolutely no proof or evidence of that,” Sutton told us. “I’m a professional, and I don’t want special access. I don’t need it, because I have a knowledge of the law.”
Rising to the top
By the time Sutton left his old firm last May to create Sutton and Associates, he had sealed his reputation as a go-to guy and counted among his clients the man who would be mayor. Sutton was everywhere. Consider:
• Having lawyered Newsom through the embarrassing flap in early 2003 over the $1 million loan from mentor Gordon Getty that (whoops!) Newsom neglected to disclose on his economic interest statements, Sutton served as treasurer to the Marina District supervisor’s mayoral campaign.
• When district attorney candidate Harris’s consultants realized their client was facing disaster if they couldn’t get her out of a legally binding pledge she signed in January 2003 to abide by the spending limits set in that race, they summoned Sutton, who got her out of the jam. The Ethics Commission’s decision to lift the spending limit was one of the agency’s most egregious acts in years and was truly an extraordinary event, activists say. It allowed Harris to spend hundreds of thousands of dollars to get past Bill Fazio in the runoff and eventually beat incumbent Terence Hallinan.
• Sutton handled the regulatory filing procedures for the California Urban Issues Project, a nonprofit lobbying outfit that churned out campaign mailers slamming Hallinan and mayoral contender Gonzalez for, among other charges, an unwillingness to crack down on the activities of homeless people. Though the group’s status prevents it from taking positions on candidates, the mailers clearly favored one candidate over the other. However, since the pieces didn’t actually include a “vote for candidate X” command, they fell within the bounds of the law as recently interpreted by the appellate courts, Sutton told us.
“What I do is say, ‘I am the lawyer. It’s my job to say this is what the law says. This is what it does or doesn’t allow,’ ” Sutton said. “It’s not about any kind of ideology on my part.”
• Sutton also served as treasurer for the campaigns behind two successful measures funded by downtown interests: the clean-streets initiative (Proposition C) and the controversial anti-panhandling legislation sponsored by Newsom (Proposition M). Interestingly, Harris particularly benefited because of her support for Prop. M. San Francisco pollster David Binder told us in December that her position on Prop. M helped her win over much of Fazio’s base and was key to her victory.
• Sutton’s expertise helped Newsom and Harris raise money in larger chunks during the runoff than they might otherwise have done. That’s because Sutton is keenly aware of a detail in the city’s campaign finance law that says if a candidate carries “accrued expenses” from the general election to the runoff, that candidate can collect $500 (instead of $250) from contributors. He should be — the ruling came as a result of his suggestion to local regulators.
For practical purposes, it can become a matter of shuffling the books. Newsom and Harris had so much cash behind their candidacies that it’s tough to believe they had any real debt. And in the case of at least Newsom, the amount of “debt” certainly seemed to be a moving target.
Shortly after the general election, Newsom campaign manger Eric Jaye told us he thought Newsom bore roughly $30,000 in accrued expenses. But when the campaign filed the paperwork, Newsom showed $225,322 in unpaid bills (see “Tainted Dough,” 12/03/03).
Neither Hallinan’s nor Gonzalez’s campaign took advantage of this provision in the law, even though Gonzalez treasurer Randy Knox brought it to the candidate’s attention. Gonzalez told us at the time that he didn’t consider such a move ethical.
Learning the ropes
A self-described politics nerd who interned in his state assemblymember’s office in high school, Sutton credits the rigors of the tight-knit environment of Pomona College — more than his three years at Stanford University Law School — with influencing the way he works today.
“I learned early I wasn’t going to get away without doing my homework,” he told us.
After clerking for former California Supreme Court Justice Edward Panelli from 1988 to 1989, he searched for a way to combine his legal degree with his keen interest in politics and government. In 1990 he found his way to Nielsen, Merksamer, though he lived, as he still does, in San Francisco.
Since he knew the city, he evolved into the firm’s attorney who dealt with San Francisco matters, he told us, even though he’s a member of the Republican Party — a rare bird here. In fact, he even served a stint as general counsel for the California Republican Party.
His first work in the city was on behalf of large institutions — the M.H. de Young Memorial Museum’s early bond campaigns, for example. He also made a key alliance with consultant Barnes, who was on his way to building a hugely influential career here and becoming closely connected to former mayor Brown.
In spring 1998, Sutton acted as treasurer for Bay Beautiful, a PAC aimed at defeating Proposition K, which former state senator Quentin L. Kopp put on the ballot to restrict Brown’s control of the development of Treasure Island. (Though the measure passed, the Brown-controlled Board of Supervisors failed to implement it.)
In November 1999, Sutton played a role in the orchestrated independent expenditure campaign on behalf of Brown’s reelection efforts in his handling of the Willie Brown Leadership PAC. The PAC directed some $55,000 into Brown’s bid for a second term (see “The Soft Money Shuffle,” 2/16/00).
At the time, Sutton had gone public with his strong opposition to efforts to restrict spending in political campaigns, writing in the San Francisco Examiner, “Not only does a spending cap decrease the quantity and quality of the issues discussed in the campaigns, it also infringes on First Amendment rights.”
One year after Brown’s reelection, the Leadership PAC, together with the pro-downtown Committee on Jobs, pumped some $67,000 into an unsuccessful bid to defeat Proposition O, which reinstated limits on independent expenditures and provided public financing for campaigns. Sutton handled the legal work for No on O.
No surprise there, Sutton’s critics say. Where money seeks to influence politics, that’s where you’ll find him. Sutton, though, says the list of campaigns he’s served doesn’t reflect his ideology as much as it does his skill set. He told us the best-funded campaigns “tend to have the more complicated legal questions, since they’re going to do more stuff.”
Money and politics
Advocates of campaign finance reform say Sutton has taken his opposition to campaign spending limits on the road, seeking to erode local ordinances that restrict spending.
“Sutton is active all over the state in his opposition to campaign finance reform,” said Paul Ryan, political reform project director for the Los Angeles–based Center for Governmental Studies.
Most recently Sutton testified before the San Diego Ethics Commission at a Jan. 21 hearing on a proposal to strengthen local campaign finance law. Sutton argued the commission should repeal the local law and replace it with the state’s version, which happens to be weaker.
“When we wrote the Political Reform Act of 1974, we put in there that local laws could be stronger than the state law,” Center for Governmental Studies director Bob Stern said. “What we have now is about 100 cities and counties that have gone beyond the state law. What [Sutton] is doing is pushing local jurisdictions to follow the state law only. And that’s unfortunate, because each local jurisdiction needs to deal with its own problems.”
Sutton said he just wants a uniform standard, with the minimal local amendments.
“[Cities and counties] keep making more and more laws, which are making things more and more complicated and difficult for anyone who wants to run for election to figure out,” Sutton said. “It has a dampening effect.”
Ryan and others are concerned Sutton might succeed in discouraging officials in municipalities such as Los Angeles and San Francisco from sticking by their stronger local laws. Compounding their concerns is that Sutton appears to have a great deal of influence over regulatory officials — at least in San Francisco.
Charlie Marsteller, who formerly headed up a San Francisco chapter of California Common Cause, believes the Ethics Commission has for more than a year failed to act on a complaint he filed against Sutton in late 2002, because of Sutton’s influence on the agency. (The complaint was over Sutton’s failure to disclose some $800,000 in contributions from PG&E to a committee aimed at defeating Proposition D, another public power measure.)
“It seems to me they are waiting until after February, when a seat on the commission is up and they’ll be able to replace [Bob Planthold] with a Sutton-friendly commissioner,” Marsteller said. (Assessor-Recorder Mabel Teng is expected to name Planthold’s replacement any day now.)
More recent examples activists point to include the Harris spending-cap matter and the latest: a charge made Jan. 16 by two Ethics Commission staffers that director Ginny Vida ordered the destruction of documents accidentally e-mailed to the agency by a secretary in Sutton’s office. Those documents, which were first reported on in the San Francisco Sentinel, strongly suggest that funds raised by the San Francisco Swearing-In Committee (without contribution limits) for Newsom’s inauguration were used to pay off a long list of consultants who worked on the campaign — a charge Sutton has vehemently denied.
On Jan. 28, Sutton filed paperwork for the committee reporting contributions but not expenditures. The total raised was $317,850 and included donations of $10,000 to $20,000 from such downtown players as Shorenstein Co., Gap founder Don Fisher, the San Francisco Association of Realtors, and Clear Channel.
Though Sutton insists he enjoys no undue influence on local regulators, even one of Harris’s consultants told us Sutton was hired for just that reason. “Jim Sutton has a certain amount of influence with Ginny Vida. He doesn’t think [spending limits] are constitutional,” Looman said. “And I believe that worries her too.”
Vida was on medical leave and couldn’t reached for comment, but her deputy, Mabel Ng, said neither she nor Vida give Sutton special treatment.
“I don’t think he has any more or any less influence than anyone else,” Ng said.
Dealing with Ethics
Sutton’s most impressive act in the Harris controversy was convincing Vida and Ng that Harris didn’t know she was bound to the pledge she signed in January 2003 to stay under the spending cap. Had ethics officials concluded that Harris knew her pledge was binding when she blew the cap sometime in September, they could have disqualified her from the race, according to the terms of the city’s campaign finance law.
Instead the Ethics Commission signed onto a settlement agreement stipulating that Harris’s had been an innocent mistake — though there was plenty of evidence that her campaign officials fully knew the pledge was binding (see Campaign Watch, 9/17/03 and 10/08/03). But in buying into Sutton’s version of events, the commission allowed Harris to continue spending money that helped her win the race.
“To facilitate the needs of Sutton’s clients, [Ethics] staffers gave in to Sutton the way he wanted,” Marsteller said. “The commissioners dropped the ball in that they needed to request an audit to check out the veracity of the statements being made by Harris…. They could hardly decide that the violations by the Harris committee were unintentional absent an audit. It’s one of the greatest demonstrations of incompetence I’ve seen, and Sutton led them into it.”
For his part, Sutton disagrees that Vida gave him an easy of time of it. “They fined [Harris] $34,000, and they made sure we printed flyers and ads telling the public of the mistake,” Sutton said.
That’s true. But Ryan and others view the matter as strong evidence of Sutton’s influence.
“It appears as though many of the arguments he makes personally are then likewise made by Ginny Vida and Mabel Ng,” Ryan said. “It appears as though Jim Sutton is influencing the public policy and San Francisco and the interpretation of the city’s finance laws.”

The political puppeteer

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By offering envelope-pushing legal and political advice at key moments in the fall campaign, attorney Jim Sutton was perhaps the single most influential individual behind the victories of Mayor Gavin Newsom and District Attorney Kamala Harris.
In the process, Sutton solidified his reputation as the dark prince of San Francisco elections, a hired gun who helps downtown interests and well-funded campaigns continue to dominate the electoral field even after voters passed reforms that restricted campaign giving and spending and required more official disclosure.
“He knows more election law than anyone, and he knows it better than anyone else,” local political consultant David Looman told the Bay Guardian. “He is the guy you call.”
New era, new player
Sutton, 40, stepped on the political stage just as voters were going to the polls in the fall of 1997 to demand more transparency in campaigns, a reaction to the leadership of Mayor Willie Brown and the dealings of powerhouse consultants like Jack Davis and Robert Barnes. At the time Sutton worked for Nielsen, Merksamer, Parrinello, Mueller, and Naylor, a Mill Valley firm that specializes in election law.
Sutton took on mostly big-money campaigns backed by downtown interests — such as Brown’s 1999 reelection and Pacific Gas and Electric Co.’s successful, multimillion-­dollar bids to squelch the public power movement in 2001 and 2002. Highly versed in the minutia of campaign finance law, he became a major player in electoral politics in San Francisco — and across the state.
“He is one of a small handful of very influential political law attorneys who typically represent moneyed, influential candidates,” California Common Cause executive director Jim Knox told us. “And he seems to be on something of a crusade right now.”
A search of the San Francisco Ethics Commission’s online database shows that over the past six years, Sutton has acted as treasurer or in another legal capacity for at least 20 campaigns and counts such heavily funded political action committees as the Golden Gate Restaurant Association, the Alice B. Toklas Lesbian Gay Bisexual Transgender Democratic Club, and the San Francisco Association of Realtors among his permanent clients. For that work, which doesn’t include the fall election, he earned at least $750,000.
Many of the city’s progressive activists and leaders see him as a dark agent — a tool only well-heeled interests can hire to navigate regulatory loopholes in order to spend as much as possible, even it means pushing the limits of the law, to sway voters.
“He’s an opportunistic lawyer who works against populist issues,” Sup. Tom Ammiano said.
Moreover, activists and state campaign finance experts say, he exerts an extraordinary level of influence over the city’s campaign regulators, including the top staff at the Ethics Commission and the deputy city attorneys who work with that agency.
“He is a high-powered fixer who has relationships with people in power that let him deliver for his clients in a way that leaves the less-connected among us flabbergasted,” said Marc Solomon, a Green Party member who worked on Sup. Matt Gonzalez’s mayoral campaign.
For his part, Sutton says that’s nonsense.
“There’s absolutely no proof or evidence of that,” Sutton told us. “I’m a professional, and I don’t want special access. I don’t need it, because I have a knowledge of the law.”
Rising to the top
By the time Sutton left his old firm last May to create Sutton and Associates, he had sealed his reputation as a go-to guy and counted among his clients the man who would be mayor. Sutton was everywhere. Consider:
• Having lawyered Newsom through the embarrassing flap in early 2003 over the $1 million loan from mentor Gordon Getty that (whoops!) Newsom neglected to disclose on his economic interest statements, Sutton served as treasurer to the Marina District supervisor’s mayoral campaign.
• When district attorney candidate Harris’s consultants realized their client was facing disaster if they couldn’t get her out of a legally binding pledge she signed in January 2003 to abide by the spending limits set in that race, they summoned Sutton, who got her out of the jam. The Ethics Commission’s decision to lift the spending limit was one of the agency’s most egregious acts in years and was truly an extraordinary event, activists say. It allowed Harris to spend hundreds of thousands of dollars to get past Bill Fazio in the runoff and eventually beat incumbent Terence Hallinan.
• Sutton handled the regulatory filing procedures for the California Urban Issues Project, a nonprofit lobbying outfit that churned out campaign mailers slamming Hallinan and mayoral contender Gonzalez for, among other charges, an unwillingness to crack down on the activities of homeless people. Though the group’s status prevents it from taking positions on candidates, the mailers clearly favored one candidate over the other. However, since the pieces didn’t actually include a “vote for candidate X” command, they fell within the bounds of the law as recently interpreted by the appellate courts, Sutton told us.
“What I do is say, ‘I am the lawyer. It’s my job to say this is what the law says. This is what it does or doesn’t allow,’ ” Sutton said. “It’s not about any kind of ideology on my part.”
• Sutton also served as treasurer for the campaigns behind two successful measures funded by downtown interests: the clean-streets initiative (Proposition C) and the controversial anti-panhandling legislation sponsored by Newsom (Proposition M). Interestingly, Harris particularly benefited because of her support for Prop. M. San Francisco pollster David Binder told us in December that her position on Prop. M helped her win over much of Fazio’s base and was key to her victory.
• Sutton’s expertise helped Newsom and Harris raise money in larger chunks during the runoff than they might otherwise have done. That’s because Sutton is keenly aware of a detail in the city’s campaign finance law that says if a candidate carries “accrued expenses” from the general election to the runoff, that candidate can collect $500 (instead of $250) from contributors. He should be — the ruling came as a result of his suggestion to local regulators.
For practical purposes, it can become a matter of shuffling the books. Newsom and Harris had so much cash behind their candidacies that it’s tough to believe they had any real debt. And in the case of at least Newsom, the amount of “debt” certainly seemed to be a moving target.
Shortly after the general election, Newsom campaign manger Eric Jaye told us he thought Newsom bore roughly $30,000 in accrued expenses. But when the campaign filed the paperwork, Newsom showed $225,322 in unpaid bills (see “Tainted Dough,” 12/03/03).
Neither Hallinan’s nor Gonzalez’s campaign took advantage of this provision in the law, even though Gonzalez treasurer Randy Knox brought it to the candidate’s attention. Gonzalez told us at the time that he didn’t consider such a move ethical.
Learning the ropes
A self-described politics nerd who interned in his state assemblymember’s office in high school, Sutton credits the rigors of the tight-knit environment of Pomona College — more than his three years at Stanford University Law School — with influencing the way he works today.
“I learned early I wasn’t going to get away without doing my homework,” he told us.
After clerking for former California Supreme Court Justice Edward Panelli from 1988 to 1989, he searched for a way to combine his legal degree with his keen interest in politics and government. In 1990 he found his way to Nielsen, Merksamer, though he lived, as he still does, in San Francisco.
Since he knew the city, he evolved into the firm’s attorney who dealt with San Francisco matters, he told us, even though he’s a member of the Republican Party — a rare bird here. In fact, he even served a stint as general counsel for the California Republican Party.
His first work in the city was on behalf of large institutions — the M.H. de Young Memorial Museum’s early bond campaigns, for example. He also made a key alliance with consultant Barnes, who was on his way to building a hugely influential career here and becoming closely connected to former mayor Brown.
In spring 1998, Sutton acted as treasurer for Bay Beautiful, a PAC aimed at defeating Proposition K, which former state senator Quentin L. Kopp put on the ballot to restrict Brown’s control of the development of Treasure Island. (Though the measure passed, the Brown-controlled Board of Supervisors failed to implement it.)
In November 1999, Sutton played a role in the orchestrated independent expenditure campaign on behalf of Brown’s reelection efforts in his handling of the Willie Brown Leadership PAC. The PAC directed some $55,000 into Brown’s bid for a second term (see “The Soft Money Shuffle,” 2/16/00).
At the time, Sutton had gone public with his strong opposition to efforts to restrict spending in political campaigns, writing in the San Francisco Examiner, “Not only does a spending cap decrease the quantity and quality of the issues discussed in the campaigns, it also infringes on First Amendment rights.”
One year after Brown’s reelection, the Leadership PAC, together with the pro-downtown Committee on Jobs, pumped some $67,000 into an unsuccessful bid to defeat Proposition O, which reinstated limits on independent expenditures and provided public financing for campaigns. Sutton handled the legal work for No on O.
No surprise there, Sutton’s critics say. Where money seeks to influence politics, that’s where you’ll find him. Sutton, though, says the list of campaigns he’s served doesn’t reflect his ideology as much as it does his skill set. He told us the best-funded campaigns “tend to have the more complicated legal questions, since they’re going to do more stuff.”
Money and politics
Advocates of campaign finance reform say Sutton has taken his opposition to campaign spending limits on the road, seeking to erode local ordinances that restrict spending.
“Sutton is active all over the state in his opposition to campaign finance reform,” said Paul Ryan, political reform project director for the Los Angeles–based Center for Governmental Studies.
Most recently Sutton testified before the San Diego Ethics Commission at a Jan. 21 hearing on a proposal to strengthen local campaign finance law. Sutton argued the commission should repeal the local law and replace it with the state’s version, which happens to be weaker.
“When we wrote the Political Reform Act of 1974, we put in there that local laws could be stronger than the state law,” Center for Governmental Studies director Bob Stern said. “What we have now is about 100 cities and counties that have gone beyond the state law. What [Sutton] is doing is pushing local jurisdictions to follow the state law only. And that’s unfortunate, because each local jurisdiction needs to deal with its own problems.”
Sutton said he just wants a uniform standard, with the minimal local amendments.
“[Cities and counties] keep making more and more laws, which are making things more and more complicated and difficult for anyone who wants to run for election to figure out,” Sutton said. “It has a dampening effect.”
Ryan and others are concerned Sutton might succeed in discouraging officials in municipalities such as Los Angeles and San Francisco from sticking by their stronger local laws. Compounding their concerns is that Sutton appears to have a great deal of influence over regulatory officials — at least in San Francisco.
Charlie Marsteller, who formerly headed up a San Francisco chapter of California Common Cause, believes the Ethics Commission has for more than a year failed to act on a complaint he filed against Sutton in late 2002, because of Sutton’s influence on the agency. (The complaint was over Sutton’s failure to disclose some $800,000 in contributions from PG&E to a committee aimed at defeating Proposition D, another public power measure.)
“It seems to me they are waiting until after February, when a seat on the commission is up and they’ll be able to replace [Bob Planthold] with a Sutton-friendly commissioner,” Marsteller said. (Assessor-Recorder Mabel Teng is expected to name Planthold’s replacement any day now.)
More recent examples activists point to include the Harris spending-cap matter and the latest: a charge made Jan. 16 by two Ethics Commission staffers that director Ginny Vida ordered the destruction of documents accidentally e-mailed to the agency by a secretary in Sutton’s office. Those documents, which were first reported on in the San Francisco Sentinel, strongly suggest that funds raised by the San Francisco Swearing-In Committee (without contribution limits) for Newsom’s inauguration were used to pay off a long list of consultants who worked on the campaign — a charge Sutton has vehemently denied.
On Jan. 28, Sutton filed paperwork for the committee reporting contributions but not expenditures. The total raised was $317,850 and included donations of $10,000 to $20,000 from such downtown players as Shorenstein Co., Gap founder Don Fisher, the San Francisco Association of Realtors, and Clear Channel.
Though Sutton insists he enjoys no undue influence on local regulators, even one of Harris’s consultants told us Sutton was hired for just that reason. “Jim Sutton has a certain amount of influence with Ginny Vida. He doesn’t think [spending limits] are constitutional,” Looman said. “And I believe that worries her too.”
Vida was on medical leave and couldn’t reached for comment, but her deputy, Mabel Ng, said neither she nor Vida give Sutton special treatment.
“I don’t think he has any more or any less influence than anyone else,” Ng said.
Dealing with Ethics
Sutton’s most impressive act in the Harris controversy was convincing Vida and Ng that Harris didn’t know she was bound to the pledge she signed in January 2003 to stay under the spending cap. Had ethics officials concluded that Harris knew her pledge was binding when she blew the cap sometime in September, they could have disqualified her from the race, according to the terms of the city’s campaign finance law.
Instead the Ethics Commission signed onto a settlement agreement stipulating that Harris’s had been an innocent mistake — though there was plenty of evidence that her campaign officials fully knew the pledge was binding (see Campaign Watch, 9/17/03 and 10/08/03). But in buying into Sutton’s version of events, the commission allowed Harris to continue spending money that helped her win the race.
“To facilitate the needs of Sutton’s clients, [Ethics] staffers gave in to Sutton the way he wanted,” Marsteller said. “The commissioners dropped the ball in that they needed to request an audit to check out the veracity of the statements being made by Harris…. They could hardly decide that the violations by the Harris committee were unintentional absent an audit. It’s one of the greatest demonstrations of incompetence I’ve seen, and Sutton led them into it.”
For his part, Sutton disagrees that Vida gave him an easy of time of it. “They fined [Harris] $34,000, and they made sure we printed flyers and ads telling the public of the mistake,” Sutton said.
That’s true. But Ryan and others view the matter as strong evidence of Sutton’s influence.
“It appears as though many of the arguments he makes personally are then likewise made by Ginny Vida and Mabel Ng,” Ryan said. “It appears as though Jim Sutton is influencing the public policy and San Francisco and the interpretation of the city’s finance laws.”

Concrete jungle

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THIS WINTER MAY kill Pokey. The HIV-positive 22-year-old lives in a tent in a city park. It’s not the best place for a man with a weakened immune system to dwell — especially not during the rainy season.

“I’ve basically given up,” says Pokey quietly, standing in the gutter of Haight Street near Stanyan.

About a year ago he had a little more hope. He had been clean and sober for six months and had graduated from a live-in drug program run by Walden House. He thought he had beaten his heroin addiction, and he began looking for an apartment. He’s lived on the streets since he was 12.

“I started looking the last three weeks I was [at Walden House],” Pokey says. Social workers and friends helped him look. “I tried day in and day out to get a place and a job. I couldn’t take it. I flipped out. From there I went all the way back down.” He is once again wrestling with heroin.

In his two years in San Francisco, Pokey estimates, he’s looked at between 30 and 40 apartments, with no success. Subsisting on $299 to $490 a month, depending on the whims of Supplemental Security Income administrators, he can’t even afford a room in a residential hotel. The smallest go for $400 to $500 a month, and there aren’t even many of those left; in the past five years the city has lost about 1,000 hotel rooms, most to demolition and renovation.

“How can I use my money on a hotel room when I’m not gonna have any money to eat?” Pokey says. “I’m supposed to eat three times a day, when I take my medicine.”

Less than 10 years ago, in 1989, the city put the number of people homeless on any given night at 6,000. Now that figure is estimated at between 11,000 and 14,000. Over the past decade homeless deaths have climbed from 16 in 1987 to 153 in 1996. A 1996 study by the National Law Center on Homelessness and Poverty ranked San Francisco one of the five worst cities in which to be homeless; the report blamed harassing police practices.

About 3,000 shelter beds are available to San Francisco’s homeless population, including 600 in a giant warehouse on Mission Rock Road in China Basin. The Mission Rock shelter, which clients have dubbed “Prison Rock,” was opened last year in the wake of Mayor Willie Brown’s campaign to kick the homeless out of Golden Gate Park. The shelters are full or over-capacity nearly every night of the year.

“The city does nothing for families. It stands by as the affordable housing stock is destroyed,” says Sandra Stewart, project director of Families Rights and Dignity. Stewart, a mother of three who was once homeless, advocates for poor and homeless families. She says she’s seen a “mass exodus” of low-income families from San Francisco.

“Mabel Teng went on about this being the ‘year of the child’ — well, not for homeless children,” Stewart says. She’s angry that the city vetoed a $75,000 eviction-prevention program for families in a year when it had a $100 million budget surplus. According to Stewart, five years ago families could get emergency shelter on demand. Today the city’s 130 family-shelter beds are full, and the wait list stands at around 100 families. The average family on the list consists of a single parent and two children.

In the nation’s toughest housing market, the help offered by welfare programs isn’t much help at all. As of September 1997, 12,475 San Francisco families received subsidies from CalWORKS, the federally funded welfare program for families; a similar number of adults get General Assistance from the county. A family of three receives $565 a month from CalWORKS; G.A. recipients, including workfare workers, get $279 to $345. In the Bay Area $565 is barely enough to pay for a motel room — with almost nothing left for food and other necessities.

Many of those on the streets are there for want of an affordable apartment. Staffers at Youth Industry, a nonprofit that trains and employs homeless and formerly homeless young people, say that the lack of housing is the hardest problem to solve. The agency provides paid internships to 24 teens and twentysomethings, many of whom put in 40 hours a week only to sleep on the streets. According to Youth Industry managers, “very few” of the young interns have permanent housing.

“More and more of our youth are very — how do I say this? — high functioning,” says Vida Merwin, a youth service coordinator with the nonprofit. “They don’t have drug problems. They can hold a job — they’re proving it here. They have academic aspirations. But they’re forced to rely on [social] services.”

Youth Industry intern Jamie Allsup, 22, has spent most of the last three years on the streets of San Francisco. During his first three months on the job he slept in front of the Youth Industry office, using the arrival of his coworkers as an alarm clock. Since then Allsup has spent half his $800 monthly income on a residential hotel room, sharing a bathroom with 40 other residents. At the end of the month, after he’s paid his shelter, food, and old hospital bills, Allsup has $15 left — not much to put toward a deposit on an apartment. Since the hotel has no cooking facilities, he wastes money eating out every meal. As a single-room-occupancy tenant, Allsup has few guarantees that he’ll retain his room from one month to the next.

Cheeto, a mohawked 21-year-old, works at Pedal Revolution, the Youth Industry bike shop. He’s getting paid to learn to repair cycles, enthusiastically working six days a week and bedding down in parks and parking lots at night. Cheeto refuses to stay in hotels; he’s hoping to save money for an apartment in another city — maybe Oakland. Figures provided by the Department of Human Services show that the vast majority of those who get off the streets do so by leaving San Francisco.

Even in a cheaper market, Cheeto is going to have problems. He has no rental history or landlord references. He jokes about his credit record: “They could go down the street and ask everyone I know if I pay back the money I borrow.

“I don’t have any delusions about living in San Francisco unless I’m living like I am now,” he says. “This place is a playground for the rich.” 

Street fairs and fall festivals

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IF YOU’VE been wondering where all the headline acts and theater companies go in that long gloomy stretch before the fall season, take a look at some of the entertainment featured in the following fairs and harvest festivals. Not only do Bay Area late-summer and autumn celebrations provide space for artists, craftpeople and nonprofit organizations to peddle their wares, many feature performers like Maxine Howard, Modern Jazz Quartet, the Asian American Dance Collective and many, many more. In part two of our third annual guide to Bay Area street fairs, we’ve listed TK celebrations from the beginning of August through October. Unless otherwise noted, the fairs — and the entertainment — are free. For more information, or in case you’d like to participate, call the telephone number listed at the end of each festival description.

August 1-2

Nihonmachi Street Fair The streets of Japantown come to life with live entertainment, food booths, arts and crafts and games. Headliners on Saturday include the top-40 group Desire, while Sunday features jazz recording artist Deems Tsutakawa. On both days, Spirit of Polynesia, the Asian American Dance Collective and the Chinatown Lion Dance Collective perform ethnic dances. The event also features Children’s World, with activities and arts and crafts designed especially for two-to 12-year-olds. 11 am-5 pm in Japantown, Post and Buchanan, SF. 922-8700.

Aug 7-???

Festiva Latino ALL FURTHER INFORMATION TO COME ON MONDAY BECAUSE I LOST THE FOLDER THAT HAD ALL THE STUFF IN IT. I DON’T KNOW HOW I LOST IT BUT WE NEED AT LEAST TO MENTION ALL THE STARS THAT WILL APPEAR. PHONE NUMBER: 543-3030.

August 7-9

ACC Craft Fair From custom-made saddles and porcelain lamps to cedarwood desks and ornamental jewelry, this fair highlights the distinctive work of 300 artists from across the nation, including 75 from Northern California. All of the artists are chosen on the basis of integrity of design and excellence of execution, and the show’s organizers say they hope to elevate crafts into a major industry and an important art form. Adults, $4; children under 12 free. Fri., 11 am-8 pm; Sat., 11 am-6 pm; Sun., 11 am-5 pm. Fort Mason Center, Piers 2 and 3, Bay and Laguna, SF. 526-5073.

August 15

Reggae Explosion, ’87 Presented in the style and tradition of Jamaica’s famous annual Sun Splash concert, this event features Haitian art, Caribbean crafts and Jamaican cuisine, as well as dance, poetry, raffles and prizes. Musical artists include the internationally known Don Carlos and his Freedom Fighters Band, Strictly Roots and the sweet steel drums of Val Serrant. $8 in advance; $10 at the door. 1-11 pm, Fort Mason Center, Pier 3. Sponsored by the Western Addition Cultural Center. 921-7976.

August 22-23

Palo Alto Celebrates the Arts Festival Wine tasting and dancing in the streets will bring even more sunshine to Palo Alto’s University Avenue. Wares include high-quality ceramics and pottery ranging from dinnerware and stoneware as well as paintings, prints and one-of-a-kind furniture to decorate and distinguish the home. 10 am-6 pm, University Ave., Palo Alto. Sponsored by the Downtown Palo Alto Arts Fair Committee. 346-4446.

August 22-September 27

The Renaissance Pleasure Fairs A large grove of live oaks provides the setting for spirited pageants and merry parades that attempt to recreate a 16th-century Elizabethan country village. The Northern California Renaissance Fair is an autumn harvest festival, with music and dancing, hearty foods and rare hand-made crafts. Queen Elizabeth and her court are among the more than 1,000 costumed entertainers. Visitors are encouraged to arrive in period dress and join the fun. Adults, $10.50; seniors, $8.50; children under 12 free. Weekends and Labor Day, 10 am-6 pm. Located at the Blackpoint Forest in Novato, Hwy 37 to the Blackpoint exit. Sponsored by the Living History Center. 620-0433.

August 27-30

San Francisco Fair and International Exposition This year’s fair has an international flavor with its theme “San Francisco: Gateway to the Pacific.” San Francisco’s sister cities of Manila, Osaka, Shanghai, Sydney, Taipei and Hong Kong each have their own pavilion, to exhibit the individuality and heritage of each city and country, and highlight San Francisco’s thriving relationship with her sister cities. The fair also features a wine pavilion, a San Francisco history exhibit and, of course, the famous contest program, featuring such past favorites as the “Financial District Strut,” the “Impossible Parking Space Race,” the winners of the Bay Guardian Cartoon Contest and new additions including the “SF Safe Sex Button,” and “Freeways to Nowhere.” Adults, $5; seniors, $3; youth aged 5-15, $2; children under 5, free. Aug. 27th is “Youth Day” (all youth 15 and under admitted free); Aug. 28th is “Senior Day” (seniors admitted for $1.50). 11 am-9 pm, Civic Auditorium, Brooks Hall, Civic Center Plaza, SF. 557-8758.

September 4-6

122nd Annual Scottish Gathering and Games Come join 40,000 Scots for three days of music, dancing, food and contests. Highlights include the Highland Dancing Championships and the Caber Tossing Championship (a caber is a log the size of a telephone pole tossed end-over-end for accuracy). More than 50 clans are expected to set up tents and display their family tartans and coats of arms. Tickets for the Friday night Musical Pageant and Twilight Tattoo are $5 grandstand; $6 box seat, 8 pm, at the Sonoma County Fairgrounds. Sat. and Sun., adults, $11 one day, $16 both days; youth 11-16, $6 each day; seniors, $5 each day; children under 11, free. Sponsored by the Caledonian Club of San Francisco. 897-4442.

September 5-6

A la Carte, a la Park Here’s your chance to picnic with more than 60 top Bay Area restaurants — De Paula’s, Firehouse Bar-B-Q, Vanessi’s Nob Hill and Hunan, among others — presenting their specialties at special prices to benefit the San Francisco Shakespeare Festival’s Free-Shakespeare-In-The-Park program. Sample the great cuisines of the world while enjoying a series of classical and jazz performances and samplings from the drama of William Shakespeare. $2.50 voluntary donations encouraged. 11 am-6 pm, in Golden Gate Park’s Sharon Meadow on JFK Drive across from McClaren Lodge, SF. 441-4422.

September 5-7

Concord Fall Fest This fourth annual Labor Day weekend festival, held in Todos Santos Park, features grape stomps, chili cook-offs and a 10K run. Less energetic fairgoers can enjoy an open-air marketplace of arts and crafts, food booths and live music. 10 am-6 pm, Concord (take Willow Pass Road exit from 689). Sponsored by the Concord Chamber of Commerce. 346-4446.

September 5-7

Sausalito Art Festival One of Northern California’s largest outdoor fine arts exhibitions, the 35th annual art festival is held along the beautiful Sausalito waterfront. More than 100 artists and craftsmen from around the world exhibit a total of 4,000 works of art. A variety of non-stop entertainment will be provided, along with 26 international food booths. Festivities begin Friday night, Sept. 4th, with fireworks and a black-tie party. The Breakers to Bay run begins along the Pacific at Fort Cronkhite in Marin at 8:30 am (register by August 18th). Adults, $3; children 6-12, $2; under 6, free. 10 am-6 pm, Bridgeway and Litho, Sausalito. Sponsored by the Sausalito Chamber of Commerce. 332-0505.

September 7

Arts Explosion This Labor Day festival celebrates the end of summer with a bang (fireworks) and launches the fall arts season. Complementing the showcase of outstanding Bay Area musicians and dance companies will be original performance works; “art by the yard” and a sculpture “glue booth” for children of all ages; an “Arts Row” with a variety of opportunities to interact with local arts organizations. Children under 12 free; adults, $1. 11 am-9 pm, Estuary Park on Embarcadero West, Oakl. Sponsored by the Oakland Festival of the Arts. 444-5588.

September 12-13

Russian River Jazz Festival Bring your suntan lotion, beach chairs, blankets and swimsuits, and swing to the sounds of the legendary Nancy Wilson, Maynard Ferguson and High Voltage, the Wayne Shorter Quintet and a host of others. This year, the festival features two stages set at the river’s edge, with a spectacular backdrop of redwood-covered mountains. Food and crafts will also be available. $23 single day; $42 for both days. Located at Midway Beach near Guerneville. (707) 887-1502.

September 12-13

15th Annual San Francisco Blues Festival The oldest ongoing blues festival in the U.S. offers two days of performances by blues greats from around the country, an unmatched view of the Bay and a superb array of New Orleans and Louisiana cuisine. Saturday’s music lineup includes Johnny Winter, Lonnie Brooks and Oakland’s own Maxine Howard, and on Sunday Roomful of Blues, Albert Collins and Memphis Slim play. $10 in advance; $12 at the door; $16 for a special two-day ticket available in advance only. Noon-6 pm at the Great Meadow, Fort Mason Center, Marina at Laguna, SF. 826-6837.

September 13

24th Street Merchants’ Cultural Festival The 24th Street Fair celebrates Latin American Independence as well as creating a community gathering for artists, residents and merchants. Visitors can enjoy Latin American food and arts and crafts with a Latin theme. A plethora of information booths provides literature on community activities and five stages continuous entertainment by local groups. 11 am-6 pm, 24th St. from South Van Ness to Potrero, SF. Sponsored by the Mission Economic and Cultural Association. 826-1401.

September 18-20

30th Annual Monterey Jazz Festival Monterey Jazz Festival swings again, this year featuring more than 25 superstars, including Ray Charles, The Modern Jazz Quartet, B.B. King, Toshiko Akiyoshi, Etta James and Bobby McFerrin. The event also features food and merchandise booths, and the sponsor, MCI Communications, offers visitors the opportunity to call anywhere in the U.S. free of charge. Although the main stage events are sold out, grounds admissions tickets are still available and allow the bearer access to the outdoor Garden Stage and the indoor Nightclub, which host many of the headliners. $15 a day. Fri., 5 pm-midnight; Sat., noon-midnight; Sun., noon-10 pm. 775-2021.

September 19-20

Mill Valley Festival More than 100 artists, selected by a jury, exhibit their wares at this arts-and-crafts fair set in a beautiful redwood grove. Food, continuous on-stage entertainment and activities for children make this one of the premiere fine arts festivals in the country. Voluntary donations requested. 10 am-6 pm, Old Mill Park, Throckmorton and Old Mill, Mill Valley. 381-0525.

September 19-20

Pan-Pacific Exposition Art and Wine Festival This city-wide festival is held on the site of the 1915 World’s Fair. Horse-drawn carriages and vintage cars transport visitors to the glories of bygone days as the festival celebrates the highlights of San Francisco history. Enjoy ragtime music, a historic fashion show and pennyfarthing bicycle races. Several wine gardens offer premium wines from select California vineyards. 10 am-6 pm, Marina Green, Lyon and Marina, across from the Palace of Fine Arts, SF. Sponsored by the San Francisco Council of District Merchants. 346-4446.

September 20

Folsom: Dimension IV! Now in its fourth year, this fair has established itself as the “End of Summer” celebration. Staged on the equinox of 1987, the fair again features the mascot “Megahood,” who breathes fire and smoke over the crowds. Entertainment includes the Folsom All Stars, the Zasu Pitts Memorial Orchestra and Viola Wills. Expect high-energy performances and technological innovations and one of the most diverse display of local artistry and crafts. The fair is a benefit for the San Francisco Aids Emergency fund and the South of Market Community Association. 11 am-7 pm, Folsom between 7th and 12th St., SF. Sponsored by Budweiser Corporation. 863-8579.

September 26-27

The Pacific Coast Fog Fest Visitors to the Pacific coastline are treated to historical and humorous displays at the Fog Fest. Diners may feast on seafood and of course fogcutters are the featured cocktails. Vintage cars, arts, crafts, continuous entertainment and fog-calling contests make this a welcome new Bay Area event. 10 am-6 pm. Located on Palmetto Ave., between Shoreview and Santa Rosa in Pacifica, Hwy 1 to Paloma exit. Sponsored by the City of Pacifica. 346-4446.

October 2-4

Fiesta Italiana A weekend family event, this year’s fair promises to be the “Besta Festa.” The celebration of Italian-American culture features Italian cooking demonstrations, wine tasting and grape stomping. Mayor Dianne Feinstein is scheduled to cut the pasta ribbon to open the ceremonies, Sergio Franchi will headline with two shows a day and the Italian design Ford Concept Car is on display. Fireworks are scheduled for the end of each day. Adults $8; children $1.50; Seniors and disabled $5 (free from noon-6 pm on the 2nd). Noon-midnight, noon-10 pm on Sun. Pier 45, Fisherman’s Wharf, Shed A and C, SF. Sponsors include Pepsi, Ford Motor Co., Budweiser, Sony, Lucky Stores, EFS Savings and the Port of San Francisco. 673-3782.

October 4th

Castro Street Fair Started in the back room of Harvey Milk’s camera store in 1974, this neighborhood fair has become a city-wide event. Musicians, bellydancers and jugglers appear with prom queens, urban cowboys, visitors from outer space and the Gay Freedom Day Marching Band and Twirling Corps. A variety of music, comedy acts and more than 200 arts and crafts displays are also scheduled. Castro between Market and 19th, SF. Sponsored by the Castro Street Fair. 346-2640.

October 9-25

Harvest Festival For three weekends, the nation’s largest touring festival of handmade crafts, fine art, music, theater and cooking transforms Brooks Hall into a colorful 19th-century village. The event features bluegrass and country bands, continuous stage entertainment, jugglers, acrobats and wandering minstrels, as well as the hundreds of unique shops that line the walkways. Center Stage headliners include Riders in the Sky, and the famed musical comedians the Brass Band, winners of the top prize at the Edinburgh, Scotland Performing Arts Festival. Adults $5; children 6-11, $2.50; children under 6, free. Fri., noon-10 pm; Sat., 10 am-10 pm; Sun., 10 am-7 pm, Brooks Hall, Civic Center. 974-4000.

October 10-11

Art and All That Jazz on Fillmore A second-year revival in remembrance of Fillmore Street’s heyday of music, known in the 1940s, ’50s and ’60s for its hot jazz and blues clubs. Two days to celebrate San Francisco’s jazz roots with fine arts, fine food and fine wine in outdoor cafes. 10 am-6 pm, Fillmore between Post and Clay, SF. Sponsored by the Fillmore Street Merchants’ Association, the Pacific Heights Homeowners’ and Merchants’ Association. 346-4446.

October 11

Montclair Village Fair The winding streets of Montclair Village provide a charming locale for this neighborhood fair, where 50 artisans sell crafts and local schools, business and nonprofit organizations sell food. This year’s fair has a circus theme, with strolling flutists and meandering mimes helping to create a carefree atmosphere. A pancake breakfast kicks things off and is followed by hayrides in Montclair park. 11 am-5 pm, LaSalle at Mountain, Oakl. Sponsored by the Montclair Business Association. 339-1000.

October 17-18

Half Moon Bay Art and Pumpkin Festival Artists and craftspeople from across the United States display wares in more than 250 booths and all-day entertainment features blue grass to rock-and-roll at this “something for everyone” festival. As you might expect, pumpkin goodies abound and the fair kicks off with two pie-eating contests. Other events include a Pumpkin Festival Run and a pumpkin-carving contest. 10 am-5 pm, Main Street in Downtown Half Moon Bay. Sponsored by the Coastside Chamber of Commerce. 726-5202. *

The I-Hotel interviews

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Many lives ago, I remember standing in the back hallway of the International Hotel trying to fathom why it was that this funny, run-down place with these very sad, old, alone men had become the focal point of an enormous array of the concerted power of the state, city and business interests from across the world. And it was not easy then, and it is not easy now, because we were looking at the problem of progress, in some strange sense, and the sadness of one generation, the evils of one generation, seeking redress in another generation. Most of the residents of the I-Hotel were Filipino men who had come to work in the fields of the Central Valley, and had been refused the opportunity to bring over wives or sweethearts, had stayed perhaps too long and had lost their families, lost their wives, lost their sweethearts, lost anything except their companionship with each other, and their attachment to this funny place that they called home, that was not much of a home, but it was all that they had. And so the landowners that owned that prime piece of real estate in downtown San Francisco were being chided for taking away a precious place, which they looked upon as a rundown flophouse, from people who had been cheated of their lives by other landowners, hundreds of miles away. And if there’s any lessons to be learned, it’s the lesson that we are all connected, each to the other, and that everything we do has consequences, not only for ourselves and our immediate family and friends, the people who live in our immediate neighborhood or our city or our state, but across the world, across the century.

Richard Hongisto
Member, San Francisco Board of Supervisor; former San Francisco sheriff

I think that a larger population of voters in San Francisco have begun to see — in part from the I-Hotel — that we can’t continue to Manhattanize the city without destroying our quality of life. And I think that is in part responsible for the passing of Proposition M and other efforts to control density in our city.

We just have to keep pursuing the legislative remedies to prevent the destruction of existing housing stock and replacing it with higher-density construction, and to prevent the conversion of existing low-cost housing into high-profit commercial space and so on. We’ve done some of that already, but I think we can continue to do more. One of the things we need to do is get the right person in the mayor’s office, to get the right Planning Commission in there, which is one reason I’m supporting Art Agnos, because he’s the only person in the race who supported Proposition M.

I wouldn’t let my photograph be taken knocking down a door [if I had to do it over again], because the photograph was completely misunderstood. I was knocking the door panels out of the doors, so the minimum amount of damage was done to the doors, because we were hoping we could get the tenants back in. When we started to do the eviction, the deputies from my department started to smash in the whole door and the door frame, and ruin it. And what I did was I took the sledgehammer and said no, do it like this — just knock out one door panel, and that way if the tenants can get back in, they can take one little piece of plywood and screw or nail it in over the missing door panel. So I showed them how to do it and I got photographed in the act. The photograph has been attributed that I was running around smashing down the doors in hot pursuit of the tenants, when in fact the opposite was the truth.

I think that as a result of the fact that I refused to do the eviction immediately, and then getting sent to jail and sued — I had to spend about $40,000 in 1978 out of my own pocket to defend the suit — I think we made a real effort to forestall the eviction and give the city a chance to take it over by eminent domain and save the building for the tenants. It did not work out in the end, but I’m glad that we gave it the best shot.

Brad Paul
Executive director, North of Markert Planning Association

Well, let me just start by saying that I was there the night that it happened. It was pretty horrifying to watch people, basically, that I was paying — because I’m a taxpayer and they were police officers, paid by the city — to beat people up around me, and I saw people right in front of me have their skulls split open at taxpayers’ expense, so that this crazy person from Thailand, Supasit Mahaguna, could throw all these people out of their homes.

In retrospect, we’ve learned about the important role that nonprofit corporations can play in owning houses and there was a thing called a buy-back plan, which people thought was a scam. Today, you would think of something like a buy-back plan as just a normal way of buying residential property protection. I can’t think of any residential development ten years ago owned or operated by a nonprofit corporation. Today there are lots.

The eviction — I think people paid a very dear price for that. A number of those people are dead now, and I’m sure that the threat of that eviction didn’t help. A more recent case is 1000 Montgomery. The eviction of those people, I think, led to the death of one of the older tenants there. I think that’s one of the sad losses of things like the I-Hotel and 1000 Montgomery and all of them. I don’t think government officials pay enough attention to that when they make decisions on whether or not to let somebody do these things.

But for myself, I’d have to say that there were a number of things that I was involved in ten and 12 years ago that made me decide to do the kind of work I’m doing now. And I’d say one of the single things that had the biggest effect on me was being there that night and watching that, and saying we shouldn’t allow this to happen — that we need to all see that it never comes to this again.

Quentin Kopp
State senator, third district; former member, San Francisco Board of Supervisors

To me it was an unusual episode, and I’m not sure that it was a lesson of any kind. I don’t think it’s been repeated, has it? You know, I’m a believer in property rights, so it’s a difficult issue. On the other hand, I became convinced that there was genuine justification for maintaining the hotel for those who lived there and had an attachment to it. It was a collision of property rights versus feeling sorry for people who would lose their lodgings, lodgings to which they had become accustomed and attached. If I were the property owner, I would be indignant about the way the city treated me …

the tactics that were used, and the litigation — the litigation was horrendous.

Now, the broader social issue I would characterize as preservation, obviously, of low-income housing for a minority group, the Filipinos. [But] if the city had such a robust concern, sincere concern, then the proper act for the city was to condemn the property — to take it and preserve it …

for the people who lived there. But the city was not forthright, the city did not set out to do that — the city tried to strangulate the owner into doing that, by reason of, it’s what I consider a bit cutesy a legislative move — a political move.

So what have we learned? Well, I don’t think that anything has been learned, and not simply because this is sui generis (which is the Latin term for one of a kind that lawyers often employ), but because the city doesn’t have a consistent policy for preserving this kind of living space.

Richard Cerbatos
Former member, San Francisco School Board, San Francisco Board of Permit Appeals

Speaking as a Filipino American, I saw an attempt to destroy a cultural link within the Filipino-American community. It was clear there was an established community living there. The use of the hotel in that general community formed a network and a lifestyle that was identifiable for older Filipino men. The access to the cheaper restaurants in Chinatown, the ability to hang out and speak their language in pool halls — this was all proposed to be destroyed in one big demolition permit. They were in a community where some of their cultural values were intact, and the only thing that kept them intact was the fact that they were close to one another.

I think those sensitivities now are clearer to the general community. I still think there are areas of Chinatown where they’re still going to have to fight this battle….

We’re seeing this: That we can’t allow people to be displaced purely in the name of bigger and better developments, and namely, bigger and better profits. With Prop. M, we’re seeing some attempts at this, and I think the first evolution of this was the I-Hotel.

As far as my sensitivites go, my thing is, through just having lived through it, this was the first time that anyone took on the developers the way they did. There have been later battles, but that was the first one that became known to everyone city-wide. If we are going to put some control on growth, we can use these lessons.

Ed Illumin
Member, I-Hotel Tenants Association

The first eviction notice was posted in December of 1968, so we’re talking about an almost 19-year battle, here. Actually, a 19-year war, because there were little battles in between. But it comes down to the city and various segments of the Chinatown community and the developer, Four Seas, arriving at an agreement on the development for that lot that would include some replacement housing — affordable, low-income replacement housing. I mean really affordable and priority for those apartments going to former tenants of the I-Hotel, and those elderly and disabled. A number of [tenants] have died since that time, so really we’re talking about maybe a dozen or 16 people who are still around to taste the benefits of this long, long war. Some justice, even though it’s late, has arrived and I would say that we finally won the war. It was a long struggle, 19 years, but people will get a chance, if they live long enough, to move in on the 20th year, which is 1988, when the construction should be completed.

It certainly wasn’t positive for the Filipino neighborhood. There are remnants of Manilatown, but to a large extent that neighborhood was destroyed. There was a lot going on there, and the I-Hotel was the heart of the community in that area. The positive thing about it was that it kept the Financial District from encroaching into Chinatown. The Filipinos and the Chinese have had a long history of living together, co-existing, and I think it was pretty much a sacrifice of the Filipino community there to make sure that Chinatown was preserved.

Chester Hartman
Fellow in urban planning, Institute for Policy Studies; lawyer for I-Hotel Tenants Association

In a sense, I think the International Hotel, the tremendous interest and support that the eviction attempt generated over so many years, was a kind of a coalescing and symbolizing of resistance to changes in San Francisco — changes being obviously the downtown corporate world taking over the neighborhoods. I think the fact that so many people came to the aid of the hotel residents, even though they weren’t successful in preventing the eviction, was pretty much a strong building block in developing what has become an extremely strong housing movement in San Francisco, one that really has become very effective in influencing candidates and people in public office, and in getting some laws passed.

So that’s one important lesson — that sometimes victories take a while, and take different forms, but all these struggles are connected. Another, I guess, is really how long it takes to get any results — the absurdity of having a totally vacant lot there for ten years, at a time when people need housing so badly. The fact that a private developer like Four Seas is able in essence to hold on and do nothing with its land when there’s so much need for housing in the Chinatown-Manilatown area says a great deal about … the relationship of city government to private developers.

Curtis Choy
Producer, “The Fall of the I-Hotel”

About the eviction night itself — and I just have a dim recollection now — I remember being very numb, and the fact that I was hiding behind a camera made it easier, because I had something between me and the event. I think I’ve spent a lot of time getting it behind me and if I haven’t seen my own film for, say, half a year it scares the hell out of me to look at the eviction again. I feel hairs standing up on the back of my neck.

What can I say about lessons? It was almost, I shouldn’t say, it was almost worth that eviction, but I mean, that’s the only thing you can get out of something like that — I mean, basically, they killed half those guys by throwing them out.

The potential for revolution in the country was still in the back of our minds in the early ’70s. And here we were trying to use the system, trying to play ball with the system, and it sort of set us up for yuppiedom. It was sort of our last hope to get something together, and we had invested 12 years or so in the struggle. There was kind of a little mass depression that stuck, and that same kind of high energy has never come back.

Sue Hestor
Attorney, San Franciscans for Reasonable Growth

In retrospect, one of the issues that we should have raised and litigated was the lack of an adequate environmental review of the project. We’ve learned a lot since then, and I don’t want to say that people that were involved at that point made a wrong decision, but in 1987 that would be one of the first issues that would be raised.

Secondarily, I think what we learned is how the physical destruction of a building makes it very hard to keep the issue alive — after a while, the hole in the ground becomes something that has to be filled, and the focus of attention drifts away. It’s really striking how when you lose the building, it’s more than just a symbol — it’s the motivating factor in people’s lives.

Allison Brennan
Organizer, San Francisco Tenants Union

They [the city] could’ve taken the building by eminent domain and they didn’t do that — they didn’t want to do that. I mean, the issue is not so much what they could do to prevent it, but why they didn’t prevent it in the first place. And that is basically because San Francisco has very little interest in preserving low-income housing. Its interest, and the interest of most of the people from San Francisco, are in getting rid of low-income housing, “cleaning up” poor neighborhoods, and turning them into nice middle-class neighborhoods, and that’s the stated goal of most city legislation — poor people aren’t what we want.

I think that probably the most important thing that came out of [the I-Hotel struggle] was that, while we don’t have a real good situation for tenants in San Francisco, I think consciousness was raised, among at least a lot of tenants about the situation which tenants are in. And I think that to a certain extent, on a national level, the elderly are getting somewhat better consideration than they did previously.

Gordon Chin
Director, Chinatown Neighborhood Improvement Resource Center

I guess the lessons of the I-Hotel have to go back to 15 and 20 years, to the genesis of the issue. I personally think the I-Hotel symbolized a lot of very key development issues — housing issues, tenant empowerment issues — that gained a national reputation back starting in the 1960s. In some respects, it highlighted many of the particular facets of the housing problem very early on: the need to maintain and preserve existing housing; the threat of commercial and downtown developments; the encroachment into the neighborhoods; the issue of foreign investment and the role that can play in development encroachment; the critical importance of tenant organizing and tenant organization with a support base in the larger community; the need for diverse ethnic, racial, sexual, lifestyle communities to work together on an issue of mutual concern — in this case, Chinese, Filipino, white, all different kinds of people supporting the I-Hotel tenants and getting involved in the issues as they evolved over the last 15 years.The I-Hotel experience has had a positive effect on these issues in San Francisco, and probably across the country. ….

It was a very critical time for the city, and this is going back to the early ’60s, with the previous United Filipino Association, the International Tenants’ Association, the whole bit. You had a lot of environmental movement activity….

I think that’s the I-Hotel’s importance, not just what happened back then. It was the whole evolution of the issue, even after the demolition, when the focus then became — well, we’ve lost the building, but the fight must continue in terms of making sure whatever is built on the site becomes new, affordable housing — not just housing but affordable housing. And it’s culminated in the most recent development plan for the project, which has gained pretty wide-spread support. I guess part of the whole recollection, reflecting back on the ’60s in general, [is that] the I-Hotel was very symbolic of the whole movement — Vietnam, everything.*

Interviews for this story were conducted by: Nicholas Anderson, Heather Bloch, Eileen Ecklund, Mark Hedin, Craig McLaughlin, Tim Redmond and Erica Spaberg.

Critic’s Choice

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CRITIC’S CHOICE/Music

Suzanne Vega

Mix Leonard Cohen’s lonely passion together with Laurie Anderson’s hypnotic flow, add part shy Joan Armatrading with word-conscious, whispy, youthful Joni Mitchell, and you’ve got the complex, vulnerable Suzanne Vega, who defies the insensitive ’80s angst with her thoughtful, sensitive style. With characteristic individualism, Vega’s tone is that of an isolated New Yorker, socially distanced but perceptively open. Her applauded 1985 debut album Suzanne Vega is delightfully followed by her recent Solitude Standing, on which she continues with sensual lyrics, mystical observances and resonous harmonies to make an uncategorizable blend of rock, jazz, folk and new age music.

— David Shaw

Suzanne Vega, Thurs/6 at 8 pm, Warfield Theater, 982 Market, SF. $16.50. 762-BASS.

CRITIC’S CHOICE/Film

Samuel Beckett, Silence to Silence

Samuel Beckett, one of the 20th century’s most intriguing and reclusive novelists and playwrights, is spotlighted in this insightful and thought-provoking documentary. Through a backdrop of still photographs and excerpts from many of Beckett’s works, including Murphy, Watt and Waiting for Godot, director Sean O Mordha traces Beckett’s childhood in Ireland, early years with the Surrealists in Paris, subsequent friendship with James Joyce, and later activity in the French resistance during WWII. Ultimately, myths of Beckett’s bleakness are dispelled, leaving us with a warm and honest vision of the man, and exposing the underlying simplicity in his complex and often misinterpreted work.

— Kate Kelly

Samuel Beckett, Silence to Silence. Fri/31-Sun/2 at 6:15, 8, 9:45 pm, with Sat. and Sun. matinees 2:45 and 4:30 pm. Roxie Cinema, 3117 16th St. $4.50; $3.50 members. 863-1087.

CRITIC’S CHOICE/Events

National Pipe Collector’s Expo

More than 60 collectors, dealers and craftsmen are scheduled to set up their wares at the National Pipe Collector’s Expo in Burlingame. Among them are Frank Burla, probably the foremost antique pipe collector in the U.S. and Michael Butera, a Texas craftsman whose classic-shaped pipes start at $150 at San Francisco’s Grant’s Pipe Shop. Pipe lovers can spot the exotic finds, the antiques and a whole range of meerschaums, the clay pipes that start out white and, as they’re smoked, slowly turn to pink, amber and rich ochre by absorbing the tobacco oils. Rick Hacker, author of The Ultimate Pipe Book, emcees the Saturday night awards banquet.

— Jean Field

The National Pipe Collector’s Expo. Sat/1 and Sun/2, 10 am-5 pm, Holiday Inn Crowne Plaza, 600 Airport Blvd., Burlingame. $3. 965-4773.

It may not be sexy, but it’s important

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The problem with reading comprehensive analyses of the state of anything — the union, the art or the economy — is that you often have to wade through a whole lot of facts and figures before you get to the good stuff. Most of us zone out when we see too many numbers in front of our eyes. No matter how interesting or important we find the topic, if a report contains more than one statistic per paragraph, we never make it to the end.

For The Bay Guardian, that has always been a dilemma. Unlike a lot of news outlets, we don’t ask you to believe our stories on faith alone; we give you the facts to back them up. Sometimes, with complicated stories, we give you so many that you can’t be bothered reading them all.

Bruce Brugmann, the editor and publisher, is fond of telling us that the headline on every story has to summarize everything important in the story. Most people, he says, won’t read anything else. If we want to make sure they get the point, we have to put it in 96-point Tempo Bold.

Which makes sense. But when the story is about the state of San Francisco’s economy and how the next mayor should guide it, the point doesn’t lend itself to a few short, bold words on the top of a page. It’s too complicated for headlines.

It’s also too complicated for short campaign slogans, or for 30-second radio and TV ads. That may be one reason why the mayoral candidates have, by and large, ignored the issue. It just isn’t sexy. It takes too long to explain. Too many numbers. The voters will go to sleep.

Unfortunately, the issue is also crucial. The economic policies of the next mayor will affect the lives of everybody living or working in San Francisco. It’s something the candidates should be talking about.

We aren’t running for public office, so we don’t need to hustle for votes. But we are concerned about the future of the city — and no matter how much work we put into a story, it does no good if people don’t read it. This week’s main news story, by reporter Tim Redmond, is full of numbers and statistics, and I’ll be the first to admit it’s

the kind of story that would normally scare me away. But the story is important, and the proposals that form the final section should be required reading for anyone interested in a serious debate over the city’s future. Give it a shot — then call your favorite candidate and ask him or her what they think of our ideas and why they aren’t discussing these issues as part of the campaign.