SF

Artist’s mural used by Clean Energy foes

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by Amanda Witherell

PropHMuralAbuse

Actually, this artist disagrees.

Once art is out in the public domain, it’s fair game for all kinds of abuse, but we got the following message today from artist Chris Lux, who’s perturbed that his mural served as a backdrop in a recent anti-Clean Energy Act advertisement.

Lux said:

“Recently a No on Prop H ad caught my eye.

“There is a shot of Richard Ventura, CEO of the Hispanic Chamber of Commerce, in Lilac Ally speaking out against Prop H. He is standing in front of a mural that I painted there with another artist, Leslie Kulesh, in what looks like an attempt to show how he is ethnic, or whatever.

“As a big supporter of Prop H, as well as many progressives in San Francisco, I am appalled that my work was used as a backdrop for this sleazy and expensive ad campaign. This is one of the most important propositions that has come to San Francisco in a long time.

“I recently did a mural for the John Avalos Campaign Headquarters in District 11. I feel it is really important for artists to give what little they have to help make changes here in SF. I would hate for someone to see the ad and then go to Johns Avalos’ headquarters and see the same work and think there was any relation.

“As the text above reads, “SF Citizens Agree- No on Prop H” — I just wanted to speak out and say that as the person who painted the mural you are using, as a San Francisco citizen, as an artist, and someone who was born and raised here, Vote YES on Prop H.”

Here’s the original video, parroting PG&E’s tired old lies about Prop H.

Vintage anniversary covers

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16th Anniversary issue
Oct. 6-13, 1982

www.sfbg.com/PDFs/politics/anniv16.49.pdf
Oct 6- 13, 1982
16th anniversary issue

www.sfbg.com/PDFs/politics/anniv17.50.pdf
Oct 12- 19, 1983
17th anniversary issue

www.sfbg.com/PDFs/politics/anniv18.51.pdf
Oct 10- 17, 1984
18th anniversary issue

www.sfbg.com/PDFs/politics/anniv20.02.pdf
Oct 23- 30, 1985
19th anniversary issue

www.sfbg.com/PDFs/politics/anniv21.02.pdf
Oct 22- 29, 1986
A Bay Guardian study showing that as highrises have gone up, downtown SF has lost jobs.

www.sfbg.com/PDFs/politics/anniv33.01.pdf
Oct 7- 13, 1998
33rd anniversary issue

www.sfbg.com/PDFs/politics/anniv36.02.pdf
Oct 10- 16, 2001
35th anniversary issue

www.sfbg.com/PDFs/politics/anniv37.03.pdf
Oct 16- 22, 2002
36th anniversary issue

www.sfbg.com/PDFs/politics/anniv38.04.pdf
Oct 22- 28, 2003
37th anniversary issue

Budgin’

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› kimberly@sfbg.com

SONIC REDUCER Why so glum, Chun? Well, for starters, the economy is sucking about as hard as an insecure groupie attacking her/his fave-rave rocker head-case, and the stock market is making me more nauseated than the time I mixed deep-fried Twinkies and the Giant Dipper roller-coaster ride at Santa Cruz Beach Boardwalk. Oh, sure, we’re all gonna die giggling with sheer, unrepentant delight when the Barack Star pulls it off come Nov. 4. But in the very lean meantime, we gotta scrimp ‘n’ scrape to find the joy.

So why not mix good times and sound — arf! — financial advice from those adventurers in fabulously gritty lo-fi sonics and rock ‘n’ roll derring-do at Budget Rock Seven music fest?

Yes, I may be high. Ask rockers — oft dismissed as guitar-collecting, ramen-chawing spendthrifts lacking in fiscal acumen — for budget suggestions? Don’t you know that the sweaty, loud ‘n’ danceable rawk gathering has little or nada to do with tightened (white, skinny) belts during tough times — having plucked its name from a Mummies long-player, not its accountants? Sho’ ’nuff, impecunious stuff. Nevertheless, if a truly depressing nu-depression-style bottoming-out occurs — B-Rock or no — it can’t hurt to look to grassroots rabble-rousers for tangibles on living it up on little scrill.

"I have nothing to offer but bad tips," Darin Raffaelli — ex-Supercharger member and now in Budget Rock bands the Baci Galoopis and supa-group Mersey Wifebeaters — apologizes in a recent e-mail. "Go to the taco truck and don’t be afraid to get face meat if they run out of the standard meats. Don’t be a deadbeat weefie and carry your own load. Doesn’t matter how big your carriage is — just fill it to the tarp with whatever you can and the goodhearted folk will make sure you get by. Don’t get tattoos, and take care of your feet.

"Hope that helps."

It’s like pouring loose change, slugs, and paper clips into those supermarket counters: every little bit helps. Brian Girgus, who drums for rising Mantles-spinoff proj Personal and the Pizzas, has more low-dough advice: "Sneak a flask of whiskey in. Drink during Happy Hour. Make your pizzas at home. Roll out the dough really thin to make the pizza seem bigger. Buy used vinyl at the thrift stores."

"Budget? I’m not an expert on that. I’m up to my ears," opines festival co-founder and co-organizer Chris Owen by phone. He’s got more important things on his mind, like convincing Budget Rock performer Roy Head — renowned as "the white James Brown" for his crazy-agile dance moves, and his 1965 hit, "Treat Her Right" — to record "Just Head" by the Nervous Eaters and "Teenage Head" by the Flamin’ Groovies for his Hook or Crook Records. The dynamic Head — who Owen says is still amazing (The 67-year-old "is like Iggy Pop in the way he puts himself out there") — just might play those tunes live, if we’re lucky, when he performs here for the first time since the ’60s.

Owen says there was an attempt to move Budget Rock back to San Francisco — where it first laid down a beachhead at Thee Parkside — but, as we laugh, "the city wasn’t having it!" With assists from Bobbyteen Tina Lucchesi, Guardian staffer Dulcinea Gonzalez, and others, Owen threw the bash together again at the Stork Club. "Sometimes it’s worth it to just have a blowout in a smaller place," he explains. "At a smaller place, they’re happy to have you. I can’t imagine anyone drinking more than the people who go to these things!"

Budget planning? I got my BR grandma-panties in a bunch to catch In the Red combo the Lamps, Bare Wires, Nodzzz, Thee Makeout Party, the Pets, Hunx and his Punx, Ray Loney and the Phantom Movers, Sir Lord Von Raven, Hypsterz, Christmas Island, and Russell Quan’s 50th Birthday Party. As for Owen, he’s especially psyched about Human Eye (a Clone Defects variant that rarely plays Bayside), Haunted George, Seattle band Head (I see a theme emerging), and Personal and the Pizzas ("A MySpace band that suddenly became a real band — basically they wrote two of the catchiest songs I’ve ever heard"), as well as the Top Dog-sponsored hot-dog-eating contest and the pancake breakfast aided and abetted by ex-Parkside honcho Sean O’Connor’s Batter Blaster invention.

"When I first announced the lineup people were, like, ‘Who the fuck are these bands?’" Owens says of the eclectic nature of this year’s festival. "There are a whole lot more bands that are more difficult — more influenced by New Zealand pop music and not necessary garage rock and punk."

But seriously, back to budgets? "I would say, don’t take any advice I’d give you — that’s the best advice," Owen says. "But with this thing: $5 beer and cheap food, 34 bands in four days. That’s pretty good. If you’re trying to maximize your dollar, that’s less than a dollar a band." *

BUDGET ROCK SEVEN

Preview with Lover! and Nobunny

Wed/22, 5:30–8 p.m., free

Eagle Tavern

398 12th St., SF

Festival runs Thurs/23-Sun/26, various times, $10–<\d>$30

Stork Club

2330 Telegraph, Oakl.

www.myspace.com/budgetrock

SIDEBAR

HEAD OUT

THE USAISAMONSTER

Maybe after Barack Obama wins, the Load combo can change its name to THE USAISINRECOVERY. Fri/24, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk St., SF. www.hemlocktavern.com

BRIDGE SCHOOL BENEFIT

Whoa, Nellie: Band of Horses is the latest add to the benefit helmed by Neil Young and family. Sat/25, 5p.m., and Sun/26, 2 p.m., $39.50–$150. Shoreline Amphitheatre, Mountain View. www.livenation.com

AGAINST ME!

Do the Florida punks have a persecution complex? Mon/27, 8 p.m., $22.50. Grand Ballroom, Regency Center, Van Ness and Sutter, SF. www.goldenvoice.com *

Ane Brun

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Fall is San Francisco’s most gothic and recognizable season. In contrast to our drab winter skies, unpredictable spring showers, summer microclimates, and endless foggy afternoons, autumn arrives in a snap, with crisp air, long shadows, and dramatic full moons. Stockholm-based Norwegian singer-songwriter Ane Brun’s introspective music is perfect for fall: she thoroughly explores uneasy moods on her aptly named fifth full-length, Changing of the Seasons (Cheap Lullaby).

The album’s hushed title track includes gently picked acoustic guitar work and a spacious arrangement where Brun muses about the moment when one contemplates leaving a lover for someone else. "It’s hard to be safe," she sings, "difficult to be happy." Tension and uncertainty is ever-present in Brun’s writing. She excels at exposing love’s contradictions and disappointments with a delicate emotional perception that, despite all the heartbreak, doesn’t wallow in self-pity.

Whatever her poetic narratives are about, Brun sounds fantastic singing them. She’s a rare talent who wields an arresting falsetto that’s both classic and modern. She’s been compared to Dolly Parton, Carole King, and Nico as well as Björk, Adele, and K.D. Lang. Excellent phrasing and austere lyrics invite the listener to contemplate, debate, and empathize with her subjects and material, which is often intimately autobiographical. Listening to Brun’s work, it’s tough not to feel like a guilty eavesdropper sneaking a look in a friend’s diary while house-sitting. Not that Brun would mind.

She isn’t afraid to sound vulnerable, barely holding on to her emotional composure on songs like "The Fall," in which she croons, "We were wrong, to stay this long / Let me go, let me fall to the ground." Like other numbers on Seasons, the track is laced with tasteful string accompaniment, arranged by Denmark’s Malene Bay-Landin and New York City’s Nico Muhly.

Although the "strings and sad singing" motifs conjure Nick Drake in his Bryter Layter (Island, 1970) period, Seasons also showcases inventive, percussive numbers like "The Puzzle" and "The Treehouse Song," which gallop, swing, and accentuate Brun’s cadence. "Armour"’s heavenly harmonics could support a scene from the 2001 French movie Amelie.

At the wonderfully cozy Café Du Nord, listeners will have an excellent chance to hang on Brun’s graceful notes, which trapeze playfully through compositions like "My Star" and "Linger with Pleasure." One hopes she’ll touch on selections from 2004’s masterful A Temporary Dive (DetErMine/V2), a putf8um seller in Scandinavia, and with drummer and vocal accompaniment in tow, Brun will usher us effortlessly into autumn’s dark, hopeful moments.

ANE BRUN

With Tobias Froberg

Tues/28, 8 p.m. $12

Café Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

Wildildlife by numbers

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Whether we’re talking about the volatile US economy or the amount of CD-R releases Wildildlife has produced to date, the base-10 numeral system is a useless reference point.

"Three or four, five or six — let’s call it ‘medium-four.’ Or ‘five-esque.’" This is the disc count consensus from the Seattle group, whose membership is definitely three: Andy Crane on bass guitar, Matthew J. Rogers on guitar, and Willy Nilz on the drums. All provide vocals, and their collective tune was chortle-laden as they chatted via speakerphone from their tour van, parked on Bainbridge Island, Wash., a short ferry ride from Seattle, before the opening show of their present West Coast tour with Mammatus.

It would be frivolous to assign integers to Wildildlife’s whacked variety of superjams: their psychedelic weird-metal gets mad heavy, but they kick terrific pop hooks when, you know, they feel like it. "We’re super poppy — it’s almost lame," one exclaims before another threatens that they’re "gonna drop it like Kid Rock!" Eh. That frighteningly high-pitched live vocal effect they often use isn’t that pop. Pop or not, the heaviness has gelled into something that has allowed Wildildlife to survive two radical geographic relocations: from Boston to San Francisco, and, earlier this year, to Seattle. Originally named Wildlife before a group called the Wildlife sent them a threatening letter about it, the band started after the three had been jamming together as college students in Boston. Although more restrained at that time, they now dish out a spaced acid-sludge that only medium-four years of epic practice sessions could have wrought.

What brought them to SF in September 2006? "It was a three-way commitment — ‘you guys all want to move?’ We pointed it out on a map and headed there. Sorta like Coming to America,” is the answer.

Crane describes their one-time dream of starting a pancake van in Dolores Park with Nilz’s family recipe. What kind of cakes?

"Cornmeal pancakes."

"Weed pancakes."

This truck never came to fruition, but the combo quickly came to feel at home alongside such newfound, freaky rock brethren as the New Thrill Parade, Tulsa, and Shellshag. They recorded their 2007 debut, Six (Crucial Blast), shortly after their arrival, laying down tracks as long as 18 minutes in the process. One number, "Kross," has a slowly strummed guitar and vocal passage that gives way to delicate Steve Hackett-reminiscent trilling (circa Lamb Lies Down on Broadway [Atco, 1974]) before the metal hammer smacks down again, while "Tungsten Steel/Epilogue," with that scary effect-ed vocal leading the way, is hot as that doorknob that Joe Pesci grabs in Home Alone.

The closest you’ll get to a precedent for the Wildildlife sound is Atlanta, Ga. band Harvey Milk, which the group opened for on HM’s first West Coast dates earlier this year — an experience Wildildlife were especially excited about in a year that, despite the move, has been pretty damned productive. They’ve produced a CD-R out of a WFMU live set recorded earlier this year, and a new EP, Peas Feast, will soon be released by Crucial Blast on 12-inch, along with a dropcard for a new EP, The Drongalet Demos. Their songs have been shorter lately, but to no detriment: tracks like Peas Feast‘s "Shining Son" beckon circle pits unlike any before it. Plans are also afoot for an old EP re-ish and a remix 12-inch.

Why is their album called Six if whole numbers don’t suit them? "It’s spelled in letters," they point out. There are also seven songs on there, alas — if inexactitude reaps such brutal greatness as that of Wildildlife, may we never file taxes again.

WILDILDLIFE

With Mammatus and Three Leafs

Sat/25, 9:30 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Take your time

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› a&eletters@sfbg.com

In this age of instant gratification, it feels excruciating to wait six minutes for something. In the case of the Notwist, fans had to content themselves with waiting six years. It’s been that long since the German quartet were ready to unleash more of the cottony, mellow glitch-pop that put them on the map. Their new album, The Devil, You + Me (Domino), is the result of just over half a decade of ships passing in the night, two years of recording, and one very concerted effort to get every last wisp of romantic longing down for posterity.

So, Guns N’ Roses aside, who the hell takes this long to make a record? I caught up with keyboardist Martin Gretschmann on the eve of the Notwist’s North American appearance in Toronto. Before I could politely ask if they were big fans of say, MMORPG gaming, Gretschmann explained that it’s enthusiasm for side projects that caused the big delay. Along with founding brothers Markus and Micha Acher, Gretschmann and new drummer Andi Haber are the most overextended musicians around, contributing to roughly five other bands, most notably 13 and God and Lali Puna.

"That’s why it took quite a few years for us to make a new record," he mused. "All the bands make records and do touring, and then it took around two years to record the new album, and before you wake up, it’s six years."

What inevitably brings these very busy gentlemen back together is the lure of the Notwist’s essence: a politely sputtering amalgam of samples, love songs, and bits of string section to tie it together. The band spent the last 20 years and six albums evolving from post-hardcore punk (their 1990 debut Notwist EP [Subway]) to indie trip-hop jazz (1998’s Shrink [Zero Hour]) to their current state of introspective electronic perfection.

Where 2002’s critically acclaimed Neon Golden (Domino) was a beautiful bouquet of freshly cut schizophrenia — a banjo leads off one song, barely there keyboards pepper another, lyrics have noticeable emotional range — The Devil, You + Me hovers like a question mark over the listener, asking "Why not?" in a steady stream of cloudy grey guitar chords and hiccups of static. Gretschmann explained: "Neon Golden is like a collection of songs. This one is rather stream of consciousness — more homogenic in a way."

Those semiconscious recurring themes of isolation and introspection are never more present than in their video for "Boneless," a downtrodden skateboarder’s reverie shot in Valparaiso, Chile. Gretschmann reveals their inspiration for the clip was none other than infamous cult-hero Donnie Darko. "The lyrics deal with growing up in a little town and always feeling different," he said. "You just feel like an alien somehow."

"Boneless" displays typical Notwist ingenuity: a deceptively bouncy piano loop that succumbs to Markus Acher’s lonely, searching vocals. The song is light and airy, borne aloft by a trace of tambourines and pop chords, but the effect is one of unmistakable fragility, of thoughts almost too sad to think.

On their new song, "Gravity," there are lyrics like, "I see the planets spinning faster / or is my body too slow?" The last six years have brought great changes for Notwist. Gretschmann was clear in the appearance of deep-seated emotion, of "some really heavy moments and sad moments" that found their way onto The Devil, You + Me: "That’s definitely one reason why some people say it’s very dark." He tempered this by sharing the jubilant mood of the band, who haven’t toured this continent since 2004. "[Toronto] is the first concert." He sounded a bit awed by his words, then laughed. "We have to see what comes out!" *

THE NOTWIST

With Jel and Odd Nosdam

Mon/27, 8 p.m., $20

Bimbo’s 365 Club

1025 Columbus, SF

(415) 474-0365

www.bimbos365club.com

Full disclosure

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> a&eletters@sfbg.com

"If you wouldn’t tell Stalin, don’t tell anyone." This billboard message casts us back to the New Mexico desert, where a mushroom cloud’s worth of paranoia ushered in the modern era of government secrecy. Harvard professors Peter Galison and Robb Moss base their guide to this dark world on interviews with former "secureaucrats" and watchdog lawyers, journalists and scholars. But even without a voice-over, Secrecy‘s editorial threads are clear. There is the B-roll of the pilot carrying that test atomic bomb, for example, fading to black for a muffled explosion before fading back in to a Google Earth image of Manhattan, stained with the debris of the 9/11 attacks. One clandestine mission gives way to another, and a new veil of secrecy spreads with the smoke.

Even as Secrecy‘s former operatives acknowledge the massive intelligence failures leading to 9/11, they’re ready to make the case for the increased need for government subterfuge in the War on Terror: what secrecy begets, only secrecy will solve, and every time the gloves come off, the blinders will go on. Against this tide of Cold War nostalgists, the doubters hardly need sound conspiratorial with 60 years of government abuses at their fingertips. Indeed, the legal precedent for the State Secrets Privilege itself hinges on a bogus case involving a mysterious B-29 accident — 50 years later, it was finally proven that the executive branch went to the Supreme Court not to protect military secrets, but to facilitate a cover-up of Air Force negligence.

Washington Post writer Barton Gellman rightly wonders whether anyone exclusively dedicated to maintaining secrecy is in a good position to judge what they’re defending. The Bush administration, of course, sacrificed this benefit of the doubt years ago. The State Secrets Privilege cannot be invoked as a cover for criminality, but with an executive branch that reserves the right to define the terms of criminality and confidentiality away from the prying eyes of Congress and the judiciary, there’s not much of a chance for checks, let alone balances. As Navy officer and Guantánamo lawyer Charles Swift puts it, "If I can execute you and don’t have to tell anyone why, what’s left?"

The NSA/CIA reps’ telescopic counterargument — that leaks disrupt the gathering of intelligence — hardly justifies these Constitutional affronts, but Galison and Moss still give the press too much of a free ride in Secrecy. Shit slides both ways in this Foucaultian tug of knowledge and power. Those Ari Fleischer press conference replays are only the tip of the iceberg of a culture of credulity and outright fabrication.

There are deeper problems still with Secrecy, starting with the lack of interviews with Pynchonian Web crawlers at the vanguard of the information liberation movement. The filmmakers refer to the paradoxical expansion of access and restriction with a few snippets of local maverick artist-muckraker Trevor Paglen’s work and a Google Earth shot of Guantánamo Bay, blacked out just like the sensitive documents of old, but one wants more on the subject. Perhaps more to the point, Moss and Galison do not always come up with satisfying solutions to the problem of how to visually represent a subject that is, by definition, obscure. The filler animations, X-Files-style soundtrack and surrealist cutaways to flurries of redacted documents in Secrecy are cold leftovers of the Errol Morris school of documentary.

If I’m being hard on Moss and Galison, it’s only because so much of the raw interview material is compelling on its own. The information-crusaders, in particular, are natural documentary heroes. Their quest for transparency dovetails perfectly with the moral imperative and epistemological pleasure of the best documentaries. See Secrecy for them — make it a double-feature with Burn After Reading, and you’ve got a swell kiss-off to the worst intelligence money can buy. *

SECRECY

Oct 24–30, check Web site for times, $11

Opera Plaza, Van Ness at Golden Gate, SF

www.sffs.org

Nostalgia

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› le_chicken_farmer@yahoo.com

CHEAP EATS Now that I am once again all chipper and cheerful and shit, albeit without wheels or money or, you know, prospects, I reckon I can return to writing about food. Anyway, I’m going to try.

My happiness is speculative. I figure, in a world with Alice Shaw and her biscuits in it, all things are not only possible, but likely. Right now, for example, I am lying outside in my tiny patch of woodsy sunshine, dreaming about becoming Canadian, if for no other reason because their Thanksgiving comes earlier than ours, and who wouldn’t want that?

What I love about sunbathing in the woods in October is that you don’t need to wear sunscreen. Or anything.

What I love about Canada …

What I love about fall is sitting in a pile of dead leaves on a sidewalk in Berkeley with Clara de la Cooter, wiggling our legs.

A couple weeks ago, when I was still engaging in defeatist activities such as dating, I was asked, over coffee, what my favorite restaurant was. I don’t believe the asker even knew I was a chicken farmer, let alone the chicken farmer, and that, therefore, my favorite restaurant was wherever I happened to be eating.

So it surprised me more than him when, instead of saying "all of them!" I waxed nostalgic over a particular one, Gravy’s, which has been boarded up for at least five years. If anything I should have said Penny’s Caribbean Café, which has been boarded up for less than one, and which I drive by once a week in the wild hope that she will have resurrected out of the flour and chickpea dust in her cluttered back-room kitchen on Sacramento Street.

Nostalgia happens. Fall’s a good time for it. It’s not a good or a bad thing. It’s nostalgia. It means that at one point in time, at least, you enjoyed life, and that your memory function is functioning. Unfortunately, it also implies that right now things aren’t so bacon for you. For example, you have no idea, say, where to get a good curry goat roti.

There’s a very plastic dollar-fitty-a-thing Chinese joint where Ann’s Café was. I went in there a couple months ago, and got it to go. What was Ann’s Café, in its entirety, is now just the kitchen. The grease on the walls back there looked familiar. I’ve been meaning to write about it.

Maybe next week.

Anything can happen. I have a recurring dream about Ann’s reopening in a food court kind of setting, a small, square, open-air restaurant with Her, Fran, in the middle, holding court and slinging omelets. It’s the same feeling as the one I have when I dream about my closest comrade ever, who died 20 years ago: that this is just wonderful, and not at all, not-even-the-slightest-bit real, like heaven.

While I dream of food courts, by way of conceptualizing a nonexistent afterlife, or bullshit reincarnation, some people get to have children!

Take my other old favorite restaurant, Yamo Thai Kitchen, or Mean-Lady Thai as its ardent fans affectionately called it. Of course, Yamo still stands, in name, reincarnated as Yamo, a Burmese joint.

What you may not know is that Yamo’s son and daughter-in-law (who used to cook at Yamo, near the end) have opened a Thai restaurant in the Excelsior District, hooray! My last first-date ever, the guy who asked me what my favorite restaurant was, launching this nostalgic fit … he not only knew this but had eaten there, turns out. I excused myself.

Outside I called Earl Butter on my cell phone and said, "Let’s go."

We went. My new favorite restaurant is Zabb. Familiarly great Thai food for familiarly cheap prices. Diehard fans of Yamo might miss the tight quarters and sweet tension of watching your meal happen from a front-row counter seat, but I liked Zabb’s atmosphere too. Spacious, unpretentious, and very friendly. They definitely put more effort into presentation. The spring rolls were, if anything, better than Mom’s. The choo-chee curry was fantastic. And they also serve my old Yamo favorites, red curry duck, and chef noodles. All this … this is good news, for me. *

ZABB

Wed.–Mon., 11 a.m.–9:30 p.m.

4440 Mission, SF

(415) 586-2455

Beer & wine

Freeze! You’re … just browsing

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>a&eletters@sfbg.com

While the bankers who took your money were grabbing even more of it last weekend, a different sort of highbrow crowd — those whose investment, whether financial or personal, rests mainly in art — weren’t quite sure what to do. At the Frieze Art Fair in London’s Regent’s Park, the theme was non-commitment. "It feels like the old days," gallerist Jack Hanley said on the second evening of the four-day international fair. "Instead of buying up everything in the first 15 minutes, everyone is taking their time." Hanley, whose eponymous gallery has branches in New York and San Francisco’s Mission District, represented the only Bay Area gallery at either Frieze or the Zoo Art Fair, an equally significant affair that took place nearby.

At Frieze, the shift from a seller’s to a buyer’s market wasn’t necessarily a bad thing. Gallerists were obviously nervous about waiting to see if all of the expressed interest would translate into sales in the post-fair follow-up. But with the power shifting back to the consumer, there were a lot more intriguing discussions. The resulting atmosphere was suggestive of a free music festivalwhere expectations are actually higher than they would be otherwise, since everyone is out for a damn good time, rather than just looking to get their money’s worth.

I had set out to see how collectors and other fair visitors perceived the Bay Area contemporary art on view, but it turned out that Frieze, a sight in its own right, had a different idea regarding how it should be covered. With sales slow and the mood contemplative, visitors were seemingly uninterested in where a particular artist hailed from and more concerned with smaller spectacles: illusions, dazzling techniques, and pieces that changed before their eyes.

A spectacle, art theorists will tell you, is a social relationship mediated by images. In other words, spectacles become a part of you and demand a certain sense of critique. At Frieze, in the wake of the incessant camera clicks following celebs like Gwyneth Paltrow, George Michael, Kate Bosworth, and Russian billionaire Roman Abramovich (who apparently took to Nobuyoshi Araki’s latest photos of bound women), there was a noticeable return to direct experience. Numerous fair projects took advantage of this need for interaction, including Dan Graham’s dimension-shifting Rectangle Inside 3/4 Cylinder and Norma Jeane’s three glass cubes where smokers could experience isolation in the midst of the fair’s chaos (check out the online video at www.friezefoundation.org/commissions/detail/norma_jeane/). In the first two days of the fair, almost 400 smokers lit up in the booths.

Work by SF’s Colter Jacobsen and SFMOMA SECA Art Award prize-winners Tauba Auerbach and Leslie Shows, all represented by Hanley, drew a constant stream of visitors. Conversations with gallerists, art students, browsers, and collectors at Hanley’s booth revealed a fascination with technique, in particular Shows’ hypnotic use of collage to create unnerving landscapes. "There’s a whole universe in there," said one art student from London about Shows’ Cross-Bedded Texts (The Magnetic Dynamo). Two gallerists from Manchester paced back and forth in front of Shows’ Elise (White Bile), Rachel (Blood), Phoebe (Yellow Bile), engrossed in the triptych’s color combination. Shows had a black piece, too, but there was no room for it in Hanley’s crowded booth.

In focusing on living artists and global undertakings, the fair’s directors Matthew Slotover and Amanda Sharp (who also own Frieze magazine) deserve props for supporting a personal environment. At Hanley’s booth, Home Country by Londoner-turned-Berliner Simon Evans left visitors discussing their individual experiences of particular London neighborhoods. The piece, a black-and-white subway map with puns, personal statements, and anecdotes carefully placed at many of the tube stops, also left some visitors wondering "why he never went to certain places," which were left curiously blank.

Props also should go to whoever controls the weather, for Frieze was blessed with uncannily sunny days in a city known more for fog than for illumination. Following talks by Yoko Ono, Scottish writer/artist Alasdair Gray, music critic Simon Reynolds, and contemporary Renaissance man (most recently of Edible Estates fame) Fritz Haeg, the crowd was buzzing about what might come next — not necessarily about which lines would next be blurred between auction houses, dealers, curators and buyers, but about which flashy sculpture they would encounter in the garden. As happens every year at Frieze, the talks will be made available for free (at www.friezefoundation.org/talks/), so put away your checkbook, put on your earphones, and don’t forget to write.

Little Delhi

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› paulr@sfbg.com

Manhattan joke: a part of Murray Hill, along Lexington Avenue in the ’20s, is known as Curry Hill because of its profusion of Indian and Pakistani restaurants. Even if you hadn’t heard the joke, you would probably recognize the neighborhood’s scent: no cuisine I’m aware of has a stronger or clearer olfactory signature. (Backyard barbecuing might deserve an honorable mention.)

We have our own Curry Hill, but it’s on Nob Hill, which pretty well mutes the word play, if not the scent. A major curry locus can be found on Jones Street south of Geary Boulevard, where the perfumed air is reminiscent of a spice market. But there is another node not far away, although perhaps — to vitiate the pun utterly — not on Nob Hill at all. I speak of the corner of Mason and Eddy streets, just a few steps from Union Square, the theater district, and the glamorous Westfield San Francisco Centre, and even fewer steps from the Tenderloin. If you’ve ever wondered what economic stratification, third world-style, might look like in a big American city, a brief reconnoiter of this largely flat area would give you a pretty good idea.

As for the corner itself: the air is redolent of curry, and for some of us, that means seduction. On one side of the street stands Punjab, wonderfully fragrant but with no table service, while on the other we find Little Delhi, an Indian restaurant that’s as comfortable as a pair of well-worn shoes, with table service.

As someone who bears witness to a great many restaurants that seem to have entered the world fully-formed under the godlike guidance of some designer, I warm to a place whose interior isn’t designed so much as accreted. Little Delhi has a well-lived-in look; its creamy walls are hung with portraits, tapestries, a map, and a flat-panel screen showing sports. The crowd is equally ad hoc: we noticed several tables full of what appeared to be (non-English-speaking) tourists, several more of possible neighborhood dwellers, including students (CCSF and Academy of Art College have campuses nearby), and a generous smattering of people who could have been of south Asian descent. This last convergence suggests, to me, a degree of authenticity. If people who grow up eating a cuisine later turn up in a restaurant serving the cuisine, there’s a reasonable chance the restaurant is turning out creditable versions of the food.

And Little Delhi is doing that — at moderate prices. Most of the menu consists of dishes that cost less than $10, and portions are generous. There are plenty of familiar faces in the crowd, including a notably good saag paneer ($7.99) — spiced spinach with cubes of white cheese — whose mild seasoning let through more spinach flavor than is usual. We were vaguely reminded of the creamed spinach that is a fixture of many a holiday repast in our part of the world.

A preparation I hadn’t seen before was badami chicken ($9.99), boneless chunks of tandoori-roasted meat in a curry (and yogurt-thickened?) sauce laced with slivers of pistachio and cashew nuts. It was a near, and crunchy, relation to that lovable stalwart, chicken tikka masala, but what most impressed me was a smokiness in the meat that managed to be heard through the assertive saucing.

Quite similar was lamb tikka masala ($9.99), cubes of tandoori-roasted lamb in another sensuous sauce, this one a bit redder, sweeter, and more tomatoey than its badami cousin, due perhaps to the presence of ketchup. (Ketchup — English ketchup in particular — plays a central role in the evolution of tikka masala.) Lamb’s gaminess stands up to strong saucing, though I caught no hint of smoke here as I had with the chicken.

As is typical at south Asian restaurants, the list of meatless possibilities is extensive, and this is good news for vegetarians, even us flexos. We were particularly impressed with chana masala ($6.99), a classic dish of chickpeas, enlivened here with slices of tomato and whole cardamom pods. These softened some from being braised and, when chewed on, gave off their refreshing woody flavor, with its hints of cinnamon and ginger. Cardamom is rich in a substance called cineole, a natural antiseptic that can fight bad breath. FYI.

From the oven: perfectly good naan ($1.50), cut into triangles for ease of use in sopping up all those irresistible sauces. For whole wheat aficionados, there’s roti (also $1.50) — virtually the same thing, except made from whole grain. Also useful for sauce-soppers is rice pillau ($2), a sizable dish of basmati rice. "Pillau" looks suspiciously like "pilaf," which would mean rice cooked in some kind of stock. This rice appeared to have been cooked in plain water, which didn’t do much for its color — it looked like a gritty heap of corn snow — but did show its wonderful nutty flavor to clearest effect.

Basmati is so tasty, in fact, that demand for it has been surging in India and throughout the Middle East. According to a story published in July in The Wall Street Journal, its price has risen between 100 and 200 percent in the past two years. So let’s count ourselves lucky to be able to enjoy this modest luxury for so little — a treat that won’t break the bank, not that there are all that many banks left to be broken. May the Fed be with you. *

LITTLE DELHI

Daily, 11:30 a.m.–11 p.m.

83 Eddy, SF

(415) 398-3173

Beer and wine

AE/DC/DS/MC/V

Moderately noisy

Wheelchair accessible

Anniversary Issue: Culture isn’t convenient

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› molly@sfbg.com

San Francisco is the playpen of countercultures.

— R.Z. Sheppard, Time (1986)

I live near Church and Market streets, which means I’m stumbling distance from an organic grocery store, my favorite bar, several Muni stops, and a 24-hour diner. It also means the street outside my apartment is usually loud, the gutters are disgusting, there are rarely parking spots, and transients sleep, smoke, panhandle, and play really bad music near my front doorstep.

Actually, until recently, they did a lot of this on my front doorstep. Then the landlords — without asking us first — installed a gate. And I hate it. Yes, my stairs are cleaner. I suppose my stuff is safer. But I’m no longer as connected to my community. I’m separated from the life that’s happening on the street — the very reason I moved to this neighborhood in the first place. I fear I’ve lost more than I’ve gained.

Lately our city’s approach to entertainment and nightlife has been like that fence. While protecting people from noise, mess, and potential safety concerns, we’re threatening the very things we love about this city. Thanks to dwindling city budgets and increasingly vocal NIMBYs, it’s becoming increasingly more difficult to manage nightclubs, plan street fairs, and organize outdoor festivals. And as we continue to build million-dollar condos at a brisk place, the city is filling up with affluent residents who may not appreciate the inherent messiness of city living. We’re at risk of locking away (and therefore losing) the events that make this a vibrant place where we want to live.

The recent history of this issue can be traced to the 1990s, when dot-com gold brought live/work lofts to otherwise non-residential neighborhoods — and plenty of new residents to live in them. Those newcomers, perhaps used to the peace and quiet of the suburbs, or maybe expecting more comfort in exchange for their exorbitant monthly rent checks, didn’t want to hear the End Up’s late-night set or deal with riffraff from Folsom Street Fair peeing in their driveways. Conflicts escalated. The Police Department station in SoMa, responsible for issuing venue permits and for enforcing their conditions, embarked on a plan to shut down half the area’s nightclubs. Luckily, city government and citizens agreed to save the threatened venues and the police captain responsible for the proposal was transferred to the airport, the San Francisco equivalent of political exile. In 2003, the Entertainment Commission was formed, in part to take over the role of granting venue and event permits.

But as Guardian readers know, the problem was not solved. As we’ve covered in several stories ["The death of fun" (05/23/06), "Death of fun, the sequel," (04/25/07), "Fighting for the right to party" (07/02/08)], beloved events and venues are still at risk. How Weird Street Fair was forced to change locations. Halloween in the Castro District was cancelled altogether. Alcohol was banned at the Haight Ashbury Street Fair and restricted at the North Beach Jazz Festival. Fees are still increasing. Rules are getting more stringent. As we predicted, it’s getting harder and harder to have fun in San Francisco. And while it’s the job of the Entertainment Commission to prevent problems while protecting our right to party, it has never been given enough funding, staff or authority to properly do its job.

So why should we care? Our legendary nightlife, festivals, and parades bring international tourists to our city — where they stay in hotels, eat at restaurants, shop at stores, and otherwise pump money into our economy. Street fairs give us ways to connect to our neighbors and our neighborhoods. Free events (which, if permit fees increase and alcohol sales are prohibited, will be a thing of the past) give equal access to fun and frivolity to people in all income brackets — and most raise money for charities and nonprofits. Particular venues and happenings provide an important way for those in the counterculture — whether that’s LGBT youth or progressive artists — to meet, mingle, and support each other. And none of that captures the intangible quality of living in a city where freedom, tolerance, and the pursuit of a good time are supported. And all this is one of the reasons many of us moved here, where we pay taxes (and parking tickets), open businesses, start organizations, and contribute to our already diverse and vibrant population.

But if we don’t establish a way to protect our culture, personally and legally, we may lose it. Instead, we need an overarching policy that establishes our values as well as the legal ways we can go about supporting them. The Music and Culture Charter Amendment, in the works for more than three years and currently sitting before the Board of Supervisors, aims to do exactly this.

The most important part of the amendment, created by a coalition of artists, musicians, event planners, club owners, and concerned citizens who call themselves Save SF Culture, would be to revise San Francisco’s General Plan to include an entertainment and nightlife element, just as the current plan contains an entire section devoted to the protection of (presumably mainstream) dance, theater, music, and art, calling them "central to the essence and character of the city." Not only would this amendment mandate that future lawmakers try to preserve events and venues, it would give a roadmap on how to do this effectively — most notably by creating a streamlined, transparent, online permitting process for special events.

Yet even if this important amendment passes and wins the mayor’s signature (which is hardly a sure thing), that’s just the beginning of a process of figuring out how to sustain San Francisco’s culture in the face of potentially threatening socioeconomic changes. At the very least, the next step will be giving the Entertainment Commission the full funding and staff (it currently operates with five of the eight staffers required). And once our beloved clubs and events are out of immediate danger, it will be time to form a coalition of citizens, government officials, and city planners to decide how and where culture in our city should grow, asking questions like whether or not we want a large-scale amphitheater or if we need to designate an area as an entertainment district. Most important, the city needs to develop a framework for resolving the inevitable conflicts with NIMBYs in a way that promotes a vibrant culture.

Yet there’s also a role in this process for each citizen of San Francisco. We need to remind ourselves and our neighbors that tolerance is one of our core civic values, tolerance for different races, classes, genders, sexual identities, and for the potentially noisy, messy, chaotic ways our culture supports those differences. If we erect a gate — physical or metaphorical — every time we’re uncomfortable or inconvenienced, we’ll turn San Francisco into the sanitized, homogenous, boring suburbs that I moved to Church and Market to escape. *

Anniversary Issue: Beyond the automobile

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› steve@sfbg.com

More:

Download the the transportation roundtable discussion (DivShare)

Transportation is the linchpin of sustainability. Fix the transportation system, and almost every other aspect of the city’s ecological health improves: public health, conservation of resources, climate change, economics, and maintaining our culture and sense of community.

The region’s unsustainable transportation system is the biggest cause of global warming (more than half the Bay Area’s greenhouse gas emissions come from vehicles) and one of the biggest recipients of taxpayer money. And right now, most of those public funds from the state and federal governments are going to expand and maintain freeway systems, a priority that exacerbates our problems and delays the inevitable day of reckoning.

It’s going to have to change — and we can do it the easy way or the hard way.

“We’ll get to a more sustainable transportation system. The question is, are we going to be smart enough to make quality of life for people high within that sustainable transportation system?” said Dave Snyder, who revived the San Francisco Bicycle Coalition and founded Transportation for a Livable City (now known as Livable City) before becoming transportation policy director for the San Francisco Planning and Urban Research Association. “People will drive less, but will they have dignified alternatives? That’s the question.”

That notion — that transportation sustainability is inevitable, but that it’ll be painful if we don’t start now in a deliberate way — was shared by all 10 transportation experts recently interviewed by the Guardian. And most agreed that needed reform involves shifting resources away from the automobile infrastructure, which is already crowding out more sustainable options and will gobble up an even bigger piece of the pie in the future if we continue to expand it.

“Yeah, it’ll be more sustainable, but will it be just? Will it be healthful? Will it be effective? Those are the questions,” said Tom Radulovich, director of Livable City and an elected member of the BART Board of Directors. “You can’t argue against geology. The planet is running out of oil. We’re going to have a more sustainable transportation system in the future. That’s a given. The question is, is it going to meet our other needs? Is it going to be what we need it to be?”

And the answer to all those questions is going to be no — as long as politicians choose to fund wasteful projects such as a fourth bore in the Caldecott Tunnel and transferring $4 billion from transit agencies to close California budget deficits accruing since 2000.

“Our leaders need to be putting our money where our collective mouth is and stop raiding these funds,” Carli Paine, transportation program director for Transportation and Land Use Coalition, told us. “I’m hopeful, but I think we all need to do more.”

 

TRANSIT AND BIKES

There is reason to be hopeful. With increased awareness of global warming and high gasoline prices, public transit ridership has increased significantly in the Bay Area. And one study indicates that the number of people bicycling in San Francisco has quadrupled in the last few years.

“Look at what’s happening on the streets of San Francisco: you have biking practically doubling every year without any new bike infrastructure. I think the demand is out there. The question is, when is the political leadership going to catch up to demand?” Jean Fraser, who sits on the SPUR and SFBC boards and until recently ran the San Francisco Health Plan under Mayor Gavin Newsom, told us.

But the political leadership and federal transportation spending priorities are behind the times. Of the $835 million in federal funds administered by the Metropolitan Transportation Commission for the nine Bay Area counties in 2006-07, 51.4 percent went to maintain and expand state highways. Only 2.5 percent went for expansion of public transit, and 2.4 percent for bike and pedestrian projects. Overall, Paine said, about 80 percent of all state and federal transportation funding goes to facilities for automobiles, leaving all modes of transportation to fight for the rest.

“Historically we favor the automobile at the expense of all those other modes,” Radulovich said at a forum of experts assembled by the Guardian (a recording of the discussion is available at sfbg.com). “It’s been given primacy, and I think everyone around this table is saying, in one way or another, that we need a more balanced approach. We need a more sustainable, sensible, and just way of allocating space on our roads.”

Yet the Bay Area is now locking in those wasteful patterns of the past with plans for about $6 billion in highway expansions, which means the MTC will have to spend even more every year keeping those roads in shape. Highway maintenance is the biggest line item in the MTC budget, at $275 million.

“We can’t pay for what we have now — to maintain it, repair it, seismically retrofit it — so why we’re building more is kind of beyond me,” Radulovich said. “We continue to invest in the wrong things.”

The experts also question big-ticket transit items such as the Central Subway project, a 1.7-mile link from SoMa to Chinatown that will cost an estimated $1.4 billion to build and about $4 million per year to run.

“There are 300 small capital projects we need to see,” Snyder said. “That’s really the answer. The idea of a few big capital projects as the answer to our problems is our problem. What we really need are 100 new bike lanes. We need 500 new bus bulbs. We need 300 new buses. It’s not the big sexy project, but 300 small projects.”

The most cost-efficient, environmentally effective transportation projects, according to renowned urban design thinkers such as Jan Gehl from Denmark, are those that encourage walking or riding a bike.

“I think Jan Gehl put it best, which is to say a city that is sweet to pedestrians and sweet to bicyclists is going to be a sustainable city,” Fraser said. “So I think focusing on those two particular modes of transportation meets the other goals of the financial viability because they’re the cheapest ways to get people around — and the healthiest ways — which I submit is one of the other criteria for sustainable transportation…. And it helps with the social justice and social connections.”

 

IT’S GOOD FOR YOU

In fact, transportation sustainability has far-reaching implications for communities such as San Francisco.

“I think of sustainability in two ways,” Fraser said. “The first is sustainability for the environment. And since I have a background in health care, I think of a sustainable transportation system as one that’s actually healthy for us. In the past at least 50 years, we’ve actually engineered any kind of active transportation — walking to work or to school, biking to school — out of our cities.”

But it can be engineered back into the system with land use policies that encourage more density around transit corridors and economic policies that promote the creation of neighborhood-serving commercial development.

“If my day-to-day needs can be met by walking, I don’t put pressure on the transportation system,” Manish Champsee, a Mission District resident who heads the group Walk SF, told us.

The transportation system can either promote that sense of community or it can detract from it. Champsee said San Francisco needs more traffic-calming measures, citing the 32 pedestrian deaths in San Francisco last year. Almost a third as many people are killed in car accidents as die from homicides in San Francisco — but murder gets more resources and attention.

“There’s a real sense in the neighborhoods that the roadways and streetscapes are not part of the neighborhood, they’re not even what links one neighborhood to another. They’re sort of this other system that cuts through neighborhoods,” said Gillian Gillette of the group CC Puede, which promotes safety improvements on Cesar Chavez Street.

Radulovich notes that streets are social spaces and that decisions about how to use public spaces are critical to achieving sustainability.

“A sustainable transportation system is one that allows you to connect to other people,” he said. “Cities have always thrived on connections between humans, and I think some of the transportation choices we’ve made, with reliance on the automobile, have begun to sever a lot of human connections. So you’ve got to think about whether it’s socially sustainable. Also economically sustainable, or fiscally sustainable, because we just can’t pay for what we have.”

So then what do we do? The first step will take place next year when Congress is scheduled to reauthorize federal transportation spending and policies, presenting an opportunity that only comes once every four years. Transportation advocates from around the country are already gearing up for the fight.

“We’ve built out the freeways. They’re connecting the cities — they’re pretty much done. So what do we need to do to make streets more vibrant and have more space for people and not just automobiles?” asked Jeff Wood, program associate for the nonprofit group Reconnecting America and the Center for Transit-Oriented Development.

Then, once communities such as San Francisco have more money and more flexibility on how to spend it, they can get to work on the other sustainability needs. “The key component is having all the transportation systems fully linked,” Paine said. That means coordinating the Bay Area’s 26 transit agencies; expanding on the new TransLink system to make buying tickets cheaper and easier; funding missing links such as connecting Caltrain from its terminus at King and Fourth streets to the new Transbay Terminal; and timing transfers so passengers aren’t wasting time waiting for connections.

And the one big-ticket transportation project supported by all the experts we consulted is high-speed rail, which goes before voters Nov. 4 as Proposition 1A. Not only is the project essential for facilitating trips between San Francisco and Los Angeles, it takes riders to the very core of the cities without their having to use roadways.

Paine also notes that the bond measure provides $995 million for regional rail improvements, with much of that going to the Bay Area. And that’s just the beginning of the resources that could be made available simply by flipping our transportation priorities and recognizing that the system needs to better accommodate all modes of getting around.

At the roundtable, I asked the group how much a reduction in automobile traffic we need to see in San Francisco 20 years from now to become sustainable — with safe streets for cyclists and pedestrians, free-flowing public transit, and vibrant public spaces. Sarah Sherburn-Zimmer, an organizer with SEIU Local 1021 and the Transit Not Traffic Coalition, said “half.” Nobody disagreed.

That may sound outrageous by today’s standards, when cars use about 30 percent of our roadways to handle about 5 percent of the people-moving (a similar ratio to how Americans constitute 5 percent of the world’s population but use more than 25 percent of the world’s resources). A sustainable, just, efficient mix would drastically beef up the operating budgets of Muni, BART, and other transit agencies, and transfer all the capital set aside for new freeways into new transit lines that would better serve, for example, the Sunset and Excelsior districts.

Alternative transportation advocates insist that they aren’t anti-car, and they say the automobile will continue to play a role in San Francisco’s transportation system. But the idea of sustainability means beefing up all the other, more efficient transportation options, so it becomes faster, cheaper, and easier to walk, bike, take transit, or rideshare (probably in that order of importance, based on the resources they consume). As Fraser said of residents choosing to drive cars, “We should make it so it’s their last choice.” *

 

Anniversary Issue: People’s power

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> amanda@sfbg.com

Living in a city like San Francisco, it’s pretty easy to advance your personal environmental prerogative. You can walk, ride your bike, or take public transportation almost anywhere you want to go. You can spurn the dominant consumer consciousness and buy used clothes and household goods at thrift stores. You can take short showers and drink clean Hetch Hetchy tap water instead of the bottled stuff. You can pick organic cornflakes over Kellogg’s version. You can even go to a worker-owned co-op that sells mostly organic goods and buy produce from Bay Area growers at the farmers markets.

But when it comes to energy, you’re stuck.

You’re stuck with Pacific Gas and Electric Co. You’re stuck buying electricity that’s 89 percent environmentally unsound, from a company that can’t even meet the modest state requirement of 20 percent renewable by 2010.

The $12 billion utility company offers absolutely no way for consumers to purchase 100 percent green energy, although some of its counterparts, including publicly owned Sacramento Municipal Utility District and Silicon Valley Power, make that option available.

Sure, you can use less electricity by screwing compact fluorescent light bulbs into your lamps, unplugging your cell phone charger when you leave the house, and hanging your clothes on the line to dry. But you can’t look at the diesel and gas-fired Potrero Hill power plant and say, "Nope, I’m getting my power elsewhere."

What if you could? What if you could hike to the top of Bernal Hill or Mount Sutro and look out across the skyline of San Francisco and no longer see any power plant stacks belching fumes? What if you saw solar panels shimmering on nearly every roof, and wind turbines spinning furiously in the late afternoon breeze, and you knew that your apartment didn’t depend on a distant fossil fuel plant polluting Antioch, or an aging nuclear plant menacing the people of San Luis Obispo?

That’s what a long-term financially and environmentally sustainable energy system for San Francisco would look like. The picture would include thousands of small-scale, locally-owned solar panels and wind turbines and geothermal home heating pumps and plug-in hybrid cars, distributed throughout the city, feeding into a grid that uses wireless technology to monitor and automatically adjust loads in tiny ways you don’t even notice.

It would also involve a new economic model that doesn’t require you to own a home to own solar power, and a system that uses off-the-shelf and emerging technologies to promote efficiency. The city would use its low interest bonding ability to invest in larger tidal power and wind farm infrastructure, and pay for things like burying power lines and training the next generation of city workers to run the new, smarter energy grid and maintain and install more renewable energy.

It isn’t pie in the sky, either — most of the technologies exist, the funding structures are there, and the goals are real: Al Gore has said the country could have 100 percent renewable energy in 10 years, and he’s right.

San Francisco is actually on the path to making it happen — with a November ballot measure, Proposition H, and a community choice aggregation system — if City Hall and the voters can get beyond PG&E’s lobbying and lies.

Imagine you’re a longtime tenant in a rent-controlled apartment with a landlord who hasn’t bothered to put solar panels on the roof because he or she doesn’t pay the electric bill (you do). But it doesn’t matter, because you actually own shares in a vast network of photovoltaic panels distributed all over the city, maintained and managed by the San Francisco Public Utilities Commission (SFPUC).

You, along with the thousands of other San Franciscans who are part of this power cooperative, pay a flat rate for enough shares to meet your energy needs. Over time, as the upfront cost of the system is paid off, your rates decrease and your power bill drops so low it is barely a factor in your life. And the SFPUC helped you find ways to make your apartment more energy efficient, so that some of your wasted electricity could be freed for other people to use. That way, the city wouldn’t have to spend more public money building a new power plant. And the panels you own provide more electricity than you actually need — so you’re making a little money selling the excess to other residents.

This is the vision of what would happen under Proposition H and community choice aggregation (CCA), the city’s proposed plan for locally controlled power. "It unbundles the location of the resource from the ownership so renters can participate," said Paul Fenn, CEO of Local Power and lead author of the city’s CCA plan. That’s key for a city like San Francisco, where two-thirds of the population rents.

Right now, even though the city has some robust incentives for purchasing solar panels, buyers still need deep pockets to cover the upfront cost.

But the city can use its low-interest bonding authority to purchase panels in bulk and identify well-oriented, available roof space to install them. The roof owner could own the panels, rent the space, just buy the power, or opt out entirely. "It’s not just public power, it’s community power," Fenn said. "It’s not just owned by the government — it’s owned by the people."

SMUD — a model public power agency — offers its customers something similar, "solar shares" in an array of panels. Shares start at $10.75 for a half-kilowatt and, depending on how much energy you use, you would save between $4 and $50 per month.

California’s CCA law — Assembly Bill 117, authored by state Sen. Carole Migden and passed in 2002 — allows counties to become their own energy providers and buy or build their own power, then pipe it to residents using the existing transmission infrastructure owned by the utility company. As a CCA, the city could pursue green energy more aggressively than PG&E does, could set its own rates, and make rules about how people are compensated for their power.

For example, current metering laws allow you to be credited the extra energy your solar panels produce during times they aren’t producing. But if at the end of the year your system generates more power than you use, PG&E keeps the surplus — for free. The CCA could pay you a fair rate for it instead.

San Francisco’s current CCA plan lays out the financing and acquisition for 51 percent renewable energy by 2017.

That’s about 360 MW of energy — and the upfront costs for solar panels on homes, businesses, and city buildings, as well as a 150 MW wind farm and scores of other energy-saving measures, are financed by a $1.2 billion revenue bond. Assuming a good interest rate of about 5.5 percent and a 20-year payback, that amounts to $99 million a year for the city.

Rates would cover this and any excess revenue could lower bills or fund future renewable energy projects. And, if voters pass Prop H in November, the city will be required to provide 100 percent renewable energy by 2040. Prop. H builds on the existing CCA plan by requiring the city to look at owning its own transmission and distribution system — a program that would bring in hundreds of millions of dollars a year, enough to fund extensive conservation and renewable programs. How can clean, reliable, low-cost energy be right on the horizon? Simple: Public ownership and decentralized local generation.

The benefits of publicly owned, locally based energy are vast. Local distribution cuts the cost of building large transmission lines and saves a lot of energy that’s lost as heat from high voltage electricity traveling long distances. Renewable energy doesn’t use fuel, and fuel is what we’re really paying for from PG&E — which is also a natural gas company.

The city owns no fossil fuel-reliant infrastructure, but PG&E is deeply invested in natural gas, gets about 40 percent of its energy from it, and has four new gas plants under construction. "As a society, we have to decide whether we want to get on the up elevator or the down elevator," said Robert Freehling, research director for Local Power. "Over time, fuel costs more and more. We make all these investments in hardware and tend to forget that it’s a promise to spend more money later. With solar panels and wind turbines there are no risks that the cost of wind or sunlight is going to go up in five years."

Natural gas, as well as every other fossil fuel, definitely will rise in price. (PG&E recently raised rates 6 percent to reflect that.) If a carbon tax or a cap and trade law is implemented, it’ll go up even more.

"Ultimately what will happen is that fossil fuels will get more expensive and renewable energy will become more affordable," Freehling said.

Would the city do a better job of promoting energy efficiency than PG&E? Look at the record.

Between 2003 and 2005, a Peak Energy Program was undertaken as a partnership between PG&E and the SF Department of the Environment (SFE) with $16.3 million in state money. In an August 2006 report, the Office of the Legislative Analyst found that with only an eighth of the funding, SFE was responsible for more than one-fifth of the energy savings. In other words, the city used the money more efficiently than PG&E.

The major criticism of most renewable energy technologies is that they’re intermittent, meaning they can’t provide power all day and all night. The sun goes down; the wind fades. Nuclear, coal, and natural gas are always on because we need power. And though many energy experts have asserted that the grid still needs at least some base load power, this assumes we’ll never apply technology to the system in any meaningful way.

But those critics are talking about a stupid grid — and the days when energy was managed that way are over. Federal and state regulators began meeting as a smart grid task force this year.

In a smart-grid world with 100 percent renewables, intermittent resources are blended to meet the current load, and the load is tweaked in minor, unnoticeable ways to meet what the resources can provide.

Suppose, for example, that it’s mid-afternoon on a hot day and a cloud bank passes over San Francisco, causing the output from all the city’s rooftop solar panels to decrease slightly. The smart grid would instantly send a signal to 10,000 air conditioners and shut them off for 15 minutes until the cloud passes. Later that night, perhaps the output from the city’s wind farm dips from 150 MW to 100 MW — the grid would automatically turn down everyone’s refrigerator by one degree.

"It’s called capacity-balancing," Fenn said. "It’s part of how you go greener and stay cheaper."

But PG&E will never pursue real green energy because in the long run, there’s no profit in it. "That’s like trying to persuade AT&T, back in 1975, to pursue developing the Internet," Fenn said. "We’re not looking for a 20 percent improvement. We want a complete transformation." *

Sustainable San Francisco

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In honor of our 42nd year printing the news and raising hell, the Guardian imagines a sustainable future for San Francisco, with visions for energy, land use, food, transportation, culture, and the economy.

A city transformed: Fighting the power structure, and building a sustainable community, for 42 amazing years

People’s power: A sustainable energy system is well within San Francisco’s reach

First, do no harm: A sustainable land use plan is about what we don’t allow as well as what we do

Beyond the automobile: The road to sustainability has lanes for more than just cars

Just Food Nation: Transforming how we eat will address poverty, public health, and environmental sustainability

Culture isn’t convenient: Sustaining entertainment and nightlife in San Francisco requires awareness and a policy shift

The money at home: A sustainable local economy starts with small business – and the public sector

ONLINE EXCLUSIVE: For 42 years, the Guardian has been writing about environmental issues, land-use issues, energy issues economic issues … and when you read back issues, you can see the outlines of what we now call a platform for a sustainable city. We’ve gone back through the archives and pulled out some of our anniversary issues that fit into that theme. You can see the covers and read the main pieces here (all files PDFs):

Oct 6- 13, 1982
16th anniversary issue

Oct 12- 19, 1983
17th anniversary issue

Oct 10- 17, 1984
18th anniversary issue

Oct 23- 30, 1985
19th anniversary issue

Oct 22- 29, 1986
A Bay Guardian study showing that as highrises have gone up, downtown SF has lost jobs.

Oct 7- 13, 1998
33rd anniversary issue

Oct 10- 16, 2001
35th anniversary issue

Oct 16- 22, 2002
36th anniversary issue

Oct 22- 28, 2003
37th anniversary issue

Streetsblog is joining SF’s transportation intellegencia

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By Steven T. Jones

San Francisco is filled with brilliant transportation visionaries, people who can see how to reach a future in which we’re less dependent on automobiles and the system not only continues to function, but it’s better, cheaper, and more efficient than what we have now.

I talked to many of them for my story this week on sustainable transportation, which was part of our larger Sustainable San Francisco anniversary package. And if you’d like to hear more from some of the sources that I assembled into a round table discussion, you can download the audio of that session here.

There’s also some other good news on the alternative transportation front in San Francisco: StreetsBlog and StreetsFilms – which do some of the best work in the country highlighting progressive innovations in getting around – have announced that they’re coming here.

That’s great news for those who prefer innovative, action-oriented approaches of our transportation future, rather than the mayor’s approach of issuing press releases and then failing to follow through, or waiting for entrenched transportation planners to make progress on important priorities. And if you’re one of those brilliant transportation wonks, consider applying to be the local editor of Streetsblog.

Archie Shepp and Cecil Taylor

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PREVIEW The 2008 San Francisco Jazz Festival’s Vanguard Series is screaming. There, I said it. Both neophytes and adepts need to turn out this week for what will be personal milestones — those moments of "aha" and inspiration you’ll want to crystallize in something stronger than words — starting with mystic saxophonist Archie Shepp at Herbst Theatre Thursday. Considered one of the inventors of avant-garde jazz, Shepp blended blues, spirituals, and free-form music into a sound that transcends classification. Those who are familiar with his recordings are not getting the full message. Bearing witness is the only way to truly see.

Bearing witness is the only apt term for Cecil Taylor playing at Grace Cathedral on Friday. Taylor, one of the most prolific, experimental, and daring pianists in jazz or any other music, attacks the keys, coaxes polyrhythmic twists out of the music, and chisels chords from the dissonant, while traveling to the sublime and back again. Mix Grace Cathedral’s seven-second reverberation and Taylor’s inviting, deflecting, infuriating, and always inspiring compositions, poetry, and persona, and you get a religious experience. Go now — or regret later.

ARCHIE SHEPP Thurs/23, 7:30 p.m. (pre-concert talk at 6:30 p.m.), $25-$65. Herbst Theatre, 401 Van Ness, SF. 1-866-920-JAZZ, www.sfjazz.org
CECIL TAYLOR Fri/24, 8 p.m., $30–$50. Grace Cathedral, 1100 California, SF. 1-866-920-JAZZ, www.sfjazz.org

What’s Up

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PREVIEW Post-hardcore is as straightforward as it sounds: the bands that hardcore musicians started that drew on a broader range of music beyond the self-imposed limitations of hard ‘n’ fast. After those bands imploded or stagnated, new groups emerged to incorporate influences from so-called world music and the fringes of contemporary classical, making for a helping of instrumental, textural artists on the one hand (Black Dice), and hyper-technical indie rockers on the other (Dirty Projectors).

What’s Up, however, is that rare thing: a technical instrumental band with lots of feeling. When I tell keyboardist-guitarist Robby Moncrieff by phone that I sense a lot of positive energy in the way the music is packed with bright, run-on melodies, he replies, "It comes from just being fed up with how things were going in town in a sense." "Town" is Sacramento, though Moncrieff, drummer Teddy Briggs, and bassist Brian Marshall recently relocated to Portland, Ore. "Sacramento’s got a great little underground thing going on, but it’s too small to support itself," Moncrieff continues. "There’s a lot of moral support, and it’s a great starting point, but it’s hard to try to grow there."

What’s Up is prepping to drop its first LP, Content Imagination, on Chicago’s upstart Obey Your Brain label in the spring. Although people might hear traces of Moncrieff’s work in 8-bit interpreters the Advantage, this band is a different beast. Briggs’ and Marshall’s solid, lurching rhythm section gives plenty of space for Moncrieff’s hyperactive, distorted keyboards to turn out melodies that shimmer for a moment before contradicting themselves. If there’s a signature What’s Up track so far, it’s "Harper’s Introduction." There’s something in the way the melody rides on the dirty keyboard bounce and the jerking rhythm of the drums and shaker that makes it seem like it could be some of the best beach music ever.

WHAT’S UP Fri/24, 8 p.m., call for price. Red Door Gallery 371 11th St., SF. (415) 652-4054. Also with Zach Hill, Oaxacan, and Religious Girls. Sat/25, 8:30 p.m., call for price. 21 Grand, 416 25th St., Oakl. (510) 444-7263, www.21grand.org

Missing pieces

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NEWS/REVIEW At this point, any review of Gallery 16’s fifteenth anniversary show "These Are the People in Your Neighborhood" must revolve around its missing pieces. On the morning of Wednesday, Oct. 15, two paintings by Margaret Kilgallen were stolen. Of the 68 works on display, they were among only a handful not for sale. When one takes the exhibition’s layout into consideration, it appears that Untitled and Easy — a pair of small enamel-on-wood works that Kilgallen had given to gallery owner Griff Williams — were part of a behind-your-back theft.

Rough ironies are left in their wake. The first is the friendly title of the exhibition itself. "Please stop stealing the stemware," asks one page of Tucker Nichols’ line-drawing zine Fifteen Yrs Give or Take: A Commemorative Guide to Gallery 16. "One bad day in like 15 years," says another. With a show by Lydia Fong reaching the end of its run in San Francisco, and Barry McGee (whose work has also been stolen: check out a Luggage Store interview in an old issue of ANP Quarterly) one of the main focuses of a recent Artforum issue dedicated to "Art and its Markets," the Kilgallen theft is a high-priced mystery.

What remains at Gallery 16? For starters, I like: Michelle Grabner’s update of op art’s love affair with the circle; Gay Outlaw giving form to inversion with uncharacteristically Mission-like materials; a number of unassumingly beautiful watercolors by Cliff Hengst; Jim Isermann’s brash ’90s version of the understated loom pieces Ruth Laskey is making today; Alice Shaw’s hypnotic lenticular photos; Lauren Davies’ Dirtballs with Snow (a deal at $350 each); the Jerome Caja-eseque shrinky dink humor of Andrew Romanoff’s Ipod Sucks Brain Out; and Alex Zecca’s and Wayne Smith’s amazing ink-on-paper screens or patterns.

Regarding the Kilgallen pieces, here’s a message from Gallery 16’s Vanessa Blaikie and Griff Williams: "There is very little of Margaret’s original work out there for sale, if any, and so we are asking that everyone please keep their eyes and ears open with respect to these two works. Should they resurface for sale, or should you see these in a private residence, we ask that you please contact us immediately. Any information would be much appreciated."

THESE ARE THE PEOPLE IN YOUR NEIGHBORHOOD Through Nov. 7. Mon.-Fri., 10 a.m.-5 p.m.; Sat., 11 a.m.-5 p.m. Gallery 16, 501 Third St., SF. (415) 626-7495, www.gallery16.com

The SF Weekly’s big lie

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By Tim Redmond

Will Harper, who insists he’s not opposed to public power, lashed out today at the Yes on H campaign. His claim: Supporters of the Clean Energy Act — including me — aren’t being straight with the voters about what the measure means.

Yes, Will: Much of what is in the charter amendment could be done without going to the ballot — if the mayor of San Francisco were willing. But with a mayor whose chief political advisor, Eric Jaye, is on Pacific Gas and Electric Company’s payroll, it’s a little hard to get any progressive energy policy done. Even if eight supervisors vote for, say, a study to consider public power, the mayor can do what he’s done with affordable housing: Refuse to spend the money.

And yes, it seemed to make sense to put together an overall ballot measure that included several things — aggressive clean-energy goals, an energy optioins study AND enabling legislation to allow the supervisors to issue revenue bonds for utility projects.

Harper insists that Prop. H is somehow misleading:

With the earlier power measures, their intent was always clear: Municipalize PG&E. Prop. H, however, conceals its true objective.

Um, I think if you read the Guardian, Will, you’ll see that we’ve been rather clear that this is a BOTH a clean-energy proposal and a public-power measure, and that we think that’s a good idea. The evidence is pretty clear that public power is the best (perhaps the only) way to meet strong clean-energy goals; PG&E clearly isn’t going to get there.

It’s true that the measure calls for a study on power options. If it hadn’t, then PG&E and its allies would be blasting the measure for mandating public power without a study. You can’t win with these guys.

As for his personal attack on me:

In various editorials, the Prop. H supporters at the Bay Guardian have made this seem like no big deal. The most blatant distortion appeared in its recent endorsement issue in which executive editor Tim Redmond proclaimed, “Nobody ever votes on revenue bonds. In California, we vote on general obligation bonds, which are backed by taxpayers. Revenue bonds are backed by a defined revenue stream…”

Actually, people do vote on revenue bonds. Seven years ago, San Francisco voters approved Prop. A, which authorized the city to sell $1.63 billion worth of revenue bonds to upgrade the Hetch Hetchy Reservoir. The defined revenue stream: San Francisco water users, who saw their rates go up.

Will, do your homework. In 2002, voters approved two things: A revenue bond measure for water and sewer projects and another measure that allows the SF PUC to issue revenue bonds without a vote of the people..

So we don’t vote on water and sewer revenue bonds. We don’t vote on airport revenue bonds, either. The airport is in the process right now of selling revenue bonds for the Terminal 2 rebuild; nothing on the ballot about that. In fact, the mayor wants to speed up the process. The voters have decided that it’s okay to issue revenue bonds for improving the airport and the Hetch Hetchy water system; all Prop. H does is ask for the same authority for clean energy and power projects.

There’s nothing secret about this (except maybe the SF Weekly’s position on the issue). Harper writes:

I’m not opposed to the idea of public power, but I don’t like being bullshitted.

Okay, WIll, now that I’ve cleared it all up for you, are you voting Yes on H?

SF’s Lemonade move to NYC

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Lots of stuff in store for the SF group Lemonade – this just in from their PR peoples:

“Lemonade marries big beats with heavy psychedelic noises, while touching on elements of North African rai, dub, breakbeat, and samba and much more in their self-titled debut. The SF trio (soon to be NYC trio) is composed of childhood friends Callan Clendenin (vocals), Alex Pasternak (percussion) and Ben Steidel (bass), and they did not have grand expectations for the project outside of exploring their shared vision of a place that they have never been: a fantasy landscape that is at once gritty and pristine, tropical and foreboding. Their trippy, pulsing self-titled debut is out now, Oct 21, on True Panther.

“Hot on the heels of this much anticipated release, Lemonade is announcing the REMIXTAPE album this November as companion to their debut. The REMIXTAPE features contributions from Delorean, Lazer Sword, Ghosts On Tape, C.L.A.W.S, among others.”

Mayor’s economic stimulus plan — huh?

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Gavin Newsom just announced an “economic stimulus plan” for San Francisco. Guess he wants to get in on the action.

Unfortunately, there’s not a lot in his plan that actually amounts to any local econic stimulus.

Here’s his first proposal:

Accelerate capital projects, such as the Terminal 2 rebuild at SF
International Airport, the SF General rebuild, the Transbay Transit
Center, HOPE SF and the rebuild of the Hall of Justice.

That’s nice — I’m all in favor of increasing public works spending during a recession. But there are a couple of problems. For one thing, the municipal bond market is in the toilet. The airport’s Terminal 2 bonds aren’t going to fly off the shelf right now. If Prop. A passes and the voters approve the San Francisco General rebuild, it will be months before the city can start selling those bonds at a decent rate.

And, of course, most of the money for rebuilding the airport terminal won’t do anything for local business. Those contracts go to big out-ot-town firms like Tutor-Saliba , which are not known for helping local and minority subcontractors.

Then there’s this proposal:

Increase foreign investment by establishing San Francisco as the premier
gateway between Chinese businesses and North America. A delegation of
San Francisco officials will go to China in November to set up a
“China Desk” to attract businesses to San Francisco.

You can ask any progressive urban economist what factors are effective in stimulating a local economy, and they’ll tell you that it starts with local investment, local initiative, local business. Seeking outside investment is a poor and ineffective subsitute.

Then:

Reduce the cost of doing business in San Francisco by reviewing fees on
businesses, helping local business take better advantage of federal,
state and local tax credit programs and implementing targeted tax
incentives.

Which fees is he going to reduce — and how is he going to pay for that? Cut the public workforce — in a recession? .

Finally:

Keep dollars local by creating more local jobs through City Build and
other workforce programs, expanding San Francisco tourism marketing
more regionally, revising parking and transit polices to make it
easier to visit San Francisco, expanding Neighborhood Market Place
Initiatives and Business Improvement Districts including the new
Tourism Improvement District, reducing retail leakage with the “Shop
Local” campaign, and increasing funding for business attraction and
retention efforts.

As if we aren’t already trying to expand our tourism marketing?

There are plenty of things that could help. I’d even argue that supporting Prop. B, the affordable housing measure, and Prop. H, the Clean Energy Act, would create jobs in the city for San Franciscans, keep more money in the economy and provide a sustainable economic stimulus.

But oh, wait — the mayor is against those.

Sparring with Garcia

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I was honored to be a guest on KQED’s Forum with Michael Krasny this morning, but I was once again dismayed by the conservative political spin of Examiner columnist Ken Garcia, another guest on the show. Perhaps I should adjust my expectations (after all, Garcia works for a paper that endorsed John McCain for president) but it’s still so frustrating to be arguing about issues we should have settled generations ago in San Francisco.

Instead, progressives are still fending off arguments by Garcia and his ilk that Pacific Gas & Electric is more trustworthy than our elected local government (a ridiculous notion that PG&E is spending record-breaking millions to push), that decriminalizing social ills such as drug use and prostitution is the same thing as condoning and promoting them (as if “harm reduction strategies” pioneered in SF is a foreign concept), that creation of affordable housing (which developers won’t build without public subsidies that Prop. B will strengthen) is something the city can’t afford, that new revenue measures are also bad, and that the best leadership program we can offer our young students is JROTC (the main purpose of which is to instill military values in our peace-loving kids and recruit them as cannon fodder for our wasteful, unnecessary wars).

I think I held my own and hopefully offered listeners a better sense of this city’s full political spectrum than they often get from the mainstream media, but I’ll let you all be the judge of that. You can listen to the show here:

Obama and the SF DCCC

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So Kos reports that Obama now has so much money he’s thinking about sharing it with Democratic Party committees to help expand the majority in Congress. I’m good with that; 60 seats in the Senate and a strongly Democratic house and Obama (like FDR in 1933) would have the ability to take immediate direct action to get the economy going again — the right way.

Of course, if he has that much money, maybe he could toss some of it toward the San Francisco Democratic Party to help elect progressive supervisors, build affordable housing and pass the Clean Energy Act.

Sonic Reducer Overage: Patti Smith, Kings of Leon, M.A.N.D.Y., Hubba Hubba Revue

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Jesus: Patti Smith in The Black Generation in 1979.

So much to do, so many to see. Here are the notables that didn’t make print.

HUBBA HUBBA REVUE
Every third Friday, the frocks come off and the old- ‘n’ new-school burlesque is ahn. Loved Lady Satan’s recent toy-gun-humping Sarah Parlin striptease – she’s here at this Oktoberfest edition, along with Trixxie Carr, Sparkly Devil, Alotta Boutte, and Calamity Lulu. Lee Press-On and the Nails provide the live tunes. Check the show out every Monday eve at Uptown Nightclub, too. Fri/17, 9 p.m., $10-$15. DNA Lounge, 375 Eleventh St., SF. (415) 626-1409.