SF

Sutter’s assault on the Mission

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So as some of us expected, Sutter Health now wants to effectively shut down St. Luke’s hospital in the Mission and turn it into an abulatory clinic.

That’s terrible news for the southeast neighborhoods; St. Luke’s is the only hospital other than SF General in the Mission area, and when St. Luke’s stops taking patients, they’ll all be shuttled to the already overcrowded public hospital.

Sutter is supposed to be a nonprofit, but it acts like a greedy corporation. The problem with St. Lukes is that it gets a lot of uninsured and Medi-Cal patients; Sutter only likes rich patients with good health plans.

Let’s hope the supervisors remember this when the assholes from Sutter come along and ask for permission to build a giant new hospital on Van Ness.

Go, Go! Team, go: More from cheer leader Ian Parton

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The Go! Team are all about the highly intense positivity. so it’s a little strange to find producer-songwriter-mastermind Ian Parton, 33, so somber and sober, speaking from the UK on the brink of their SF show tonight, Oct 19, at Mezzanine. Oh well, the fun is all over the new record, Proof of Youth (Sub Pop) – and that’s what counts. Here’s a bit more from our talk.

Bay Guardian: Did you have anything that you really wanted to accomplish with this new album?

Ian Parton: I wanted it to be noisier, more kind of ballsier, just a bit more wangy, a bit more kick ass, and a bit more live sounding. I always loved weird tunings and white noise and feedback and more aggressiveness. A bit more Public Enemy and more sing-along.

BG: Speaking of Public Enemy, how did you get Chuck D to perform on the album?

IP: Oh yeah, I never really thought it would happen. I still never believed it up till that very moment. It was six months in the making after the first e-mail was shot off – to nowhere, not knowing if we had the right address and wondering if it was really Chuck that replied or someone fucking around with us.

Tacos, “Widow”‘s peak, Gold beats: make it Fiery Furnaces, Chuck Prophet, and Fool’s Gold

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Whoa, there’s a lot going this weekend, as usual in the fairest of ‘Friscos. Let’s take a tip from our sponsor and take it a one day at a time this weekend.

First, the Fiery Furnaces are up tonight, Oct. 19, with Pit er Pat at Independent – and dang, their new album, Widow City (Thrill Jockey), rocks it old-school. As in feathered hair, air-brushed vans, and double gatefold vinyl, which by chance, Widow City is available on. Hey, it’s a great time to be a widow! (Cue video “Ex-Guru.”)

Next up on Saturday, Oct. 20, you got a hoedown to throw down: the Fool’s Gold Showcase at Mezzanine with A-Trak and DJ Mehdi, Kid Sister, Kavinsky, Nick Catchdubs, and Trackademicks. Let’s hope Kavinsky actually does something (check Michael Harkin’s CMJ blog) – but whatev, Chicago’s Kid Sister will make it all happen – here at SXSW.

Meanwhile on Sunday, Oct. 21, SF singer-songwriter extradordinaire Chuck Prophet is going to be toasting his new acclaimed CD, Soap and Water (Yep Roc) – with tacos, natch.

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Dude has hired a truck to treat the fans on Sunday at the Make-Out Room. Of the aforementioned grinds, Prophet said, “Yes, you heard right. Free tacos for all my friends! The taco truck will be courtesy of El Tonayense. I’m a carne asada man myself, but I hear they do a killer al pastor.” (Dig it – after paying the $10 cover.) Prophet also performs free at Amoeba on Oct. 21, 2 p.m. – so now you’ve no excuse to miss him! (You can also hear the album online here.)

Hey gay Arabs, get down

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One of my favorite parties of the year, Bibi, is having an encore this Saturday — a sultry, kitschy, haremesque masquerade! Bibi is a raucous party for gay Southwest Asian and North Africans (SWANAs) — not just those of Arabian persuasion, of course — and their friends (my Jewish bf had a blast — unity on the dance floor!). The last one was out of control — the promoters only expected a few people, and yet hundreds crammed their beautiful, hipshaking female, male, and other asses into Club Eight for a pre-Pride Arab hoedown. Alalalalalalala-y!

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DJs BaBa Q., Bahman, and Emancipacion take you to funky motherland with a fusion of Middle-Eastern North African & International Beats, and, yes, there’ll be wild bellydancing sendups by drag queens SooozhyQ & Freyja. Nazli Hanem & Femme Fuego host, and Rostam and J. Maximillian put it all together. Plus it’s a masquerade — so wear something extra fab. I’m telling you it’ll be hot — and not just cuz I’m a naughty Lebanese homo. Here’s a little taste of the tunes:

Bibi
Sat, Oct. 20, 9pm – 2am, $15
Club Eight
1151 Folsom, SF.
www.myspace.com/bibisf

Wow! SF is expensive!

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The Chronicle has discovered how expensive it is to live here. I have exactly one thing to say:

Years and years of refusing to promote affordable housing — refusing to enact effective rent control, allowing evictions to go on without effective limits, building housing for the rich and not the rest of us — has come back to haunt San Francisco.

And on all of those battles, the Chronicle was on the wrong side.

Cornell trio: three cubed views

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Cuckoos, kindred spirits, flying machines, and Lauren Bacall all crop up in Joseph Cornell’s shadow boxes, windows into his exquisitely finite yet infinitely malleable world, now on display at the San Francisco Museum of Modern Art. We asked three Guardian writers to piece together a few thoughts on the boxes that resonated.

JOSEPH CORNELL: NAVIGATING THE IMAGINATION Through Jan. 6, 2008. Mon.–Tues. and Fri.–Sun., 11 a.m.–5:45 p.m.; Thurs., 10 a.m.–8:45 p.m.; $7–$12.50 (free first Tues.). San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

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Untitled (Renee JeanMarie in La Belle Au Bois Dormant)

Framed by the tangled branches of a darkened wood whose blue-tinted foliage alternately resembles billowing clouds and tufts of feathers, a hazy image of a ballet dancer appears within a cerulean haze, her feet and hands extending into a Y whose end points — right hand, both feet — disappear into the blue ether. Have we come upon Titania in her bower in A Midsummer Night’s Dream or Venus in her mountain stronghold in Tannhäuser?

As the title of Cornell’s 1949 piece informs us, the dancer is Renée "Zizi" Jeanmaire, a glamorous ballerina of the 1940s known for the daring exuberance she brought to her roles. Cornell was a balletomane who compiled personal dossiers and dedicated shadow boxes to ballerinas both living and dead. Although he never met his beloved 19th-century diva Fanny Cerrito, Cornell made Jeanmaire’s acquaintance, but the 25-year-old remained aloof to her shy fan’s platonic advances. It is fitting, then, that the image of Jeanmaire used by the artist for this box is from her appearance in Pyotr Tchaikovsky’s Sleeping Beauty. Behind a veil of briars, in her crepuscular crystal cage, the dancer is transformed into the slumbering heroine of the Charles Perrault tale: an ethereal beauty suspended in time and inaccessibly distant. Only in Cornell’s retelling there is no prince to break the enchantment. (Matt Sussman)

Historically challenged

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› a&eletters@sfbg.com

The central scene in Appomattox, Philip Glass’s new opera now world-premiering with San Francisco Opera, is the fateful meeting of generals Ulysses S. Grant (Andrew Shore) and Robert E. Lee (Dwayne Croft) in a private residence in the Virginia town of Appomattox Court House, where Lee surrendered on behalf of the South on April 9, 1865, officially bringing the catastrophic Civil War to a dainty close. The opera’s lucid libretto (by British playwright and screenwriter Christopher Hampton) faithfully instills the gravitas, human drama, and personal idiosyncrasy associated with that eminently chivalrous encounter between formal enemies. And with two excellent performances from Croft and Shore, deft staging by renowned director Robert Woodruff, and not least Glass’s score — with its immediately recognizable orchestral voice in a distinctly somber mood — it’s a meeting that manages to be rather riveting.

That’s also why it has to be undercut, and this the opera shrewdly does, though with mixed success. It’s not just that the story of two great men with the weight of history on their shoulders will not do by itself — not least because the Civil War is not the story of two people, or even three, if you count the imposing figure of Abraham Lincoln (Jeremy Galyon). As Appomattox‘s decentering portrait makes clear (in scenes flashing forward as far as the civil rights era, which literally burst in on the proceedings at Appomattox Court House), the Civil War belongs for better or worse to many more people, then and now. The opera’s seminal scene must be undercut because history would soon come to mock the grandeur and moment of Grant and Lee’s highly civilized encounter, made on the heels of their brilliant mutual orchestration of unprecedented devastation and bloodshed.

Thus, Hampton’s libretto (coming from a skilled dramatist with a global curiosity) is aware of not only the concentrated power of the intimate drama at the opera’s center but also the quasi-reactionary limits it threatens to impose on the work’s greater engagement with history, which is to say, with the burden of the past. And so, even before broaching the legacy of white racism and black struggle, the opera comes bracketed with the voices of women. In the semiabstract and fiercely deromanticized opening panorama, it’s the women who carry the refrain "War is always sorrowful," attributed to Grant by his wife, Julia (Rhoslyn Jones).

Glass’s score — too recognizable at times but nonetheless mood altering in its characteristically descending bass lines, unduutf8g strings, neobaroque arpeggios, and delicately soaring melodies — rolls on just as solemnly and purposefully, rising and falling like bated breath, anxious with anticipation and weary with private and collective grief. Racing to a few notable climaxes, the score’s sad and sinister tone is broken by alternately haunted and ecstatic choral sections. Elsewhere, in a layering of period texture, a marching song lends poignant revelry to Lee’s first entrance: "Many are the hearts that are looking for the light, hoping to see the dawn of peace."

Peace is not in the cards. Immediately following the surrender scene, Woodruff’s mise-en-scène deconstructs the mismatch of old-fashioned civility and confident optimism at the dawn of the industrial age and its refurbished caste system. A frenzy of greedy souvenir hunting leaves the owner of the house where the surrender happened dazed and helpless as his fellow Americans strip it bare, leaving only an empty frame through which the future rolls in on a shiny wheelchair in the solitary figure of Ku Kluxer and convicted murderer Edgar Ray Killen (Philip Skinner). An old man spending his last years in prison for his part in the notorious 1964 killing of three civil rights workers, Killen may be finished, but what he stands for is not. And stand he does, defiantly larger than life, as he rises from his chair and strides offstage into a gray-toned future.

APPOMATTOX

Thurs/18 and Oct. 24, 7:30 p.m.; Sat/20, 8 p.m.; $20–$275

War Memorial Opera House

301 Van Ness, SF

(415) 864-3330

www.sfopera.com

Pay to play

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› kimberly@sfbg.com

SONIC REDUCER Some of the sweetest words to deliver to impecunious types like myself: pay what you can. This I can work with — be it a noise show at 21 Grand or the new Radiohead album. After blowing my newspaper wage-slave paycheck on rent, ramen, recreational intoxicants like lychee jellies, and sticker pics of my homegirls in goth Lolita getups, there’s not much cheddar left to slap on surplus grillables. So taking a cue from Radiohead, what say we pretend this is a just world where we have the leisure and the leeway to bitch the would-be Hills cast member behind the counter down a cent or two for that Elvis Reese’s cup? How much would we fork out for these recent releases?

RADIOHEAD IN RAINBOWS (SELF-RELEASED)


They get at least $5 for getting us talking again about wiping the high prices of CDs and putting the music out there on the imaginary block: how much is this worth, unheard? More than a million queued up for a taste and an alleged average of about $8 per album download. A bargain compared to iTunes’ $1 per track.

But what about the songs themselves? The sly wink lodged behind the downloadable album’s flexible price has kept in check the ear-popping pressure of creating another masterwork on par with 1997’s OK Computer (Capitol). In keeping with the darkly miniaturist mode of Thom Yorke’s 2006 solo disc The Eraser (XL), In Rainbows is a subtle, contained meditation on love, trapped in a bell jar when it doesn’t soar into creamy, cumulous, string-strafed regions ("Reckoner") or dip into the red, bristling with distortion and thumbing its nose at wincing audiophiles ("Bodysnatchers"). Fidelity is the last thing on the mind for this band off the leash, as on "House of Cards," on which burly bass lines buzz, glassy synths shiver, and Yorke oozes, "I don’t want to be your friend / I just want to be your lover." How about $9.99 and rising as I find new reasons to love In Rainbows?

SOULJA BOY TELLEM.COM (COLLIPARK/INTERSCOPE)


"Crank That (Soulja Boy)" gets about $2.50 for putting a crystallized Caribbean spin on crunk and imbuing steel drums with a certain refried dementia. SB also snatches 25¢ for working Robocop into the rhyme. But I’ll take that 25 back for the doofus idea of writing an ode to a Sidekick, pandering to the ringtone market. I’ll drop another $1 for the album title, which triggers flashbacks to the late ’90s, when every new business felt the need to add a ".com" to its handle. The final price.com: $1.25.

CAVE SINGERS INVITATION SONGS (MATADOR)


The way these Seattlites juxtapose ex–Hint Hint vocalist Pete Quirk’s adenoidal croon with skiffle snare, guitar drone, and nodding tambourine on "Seeds of Night" scores them at least $3, as does the barn-raising thrum of the eerie "Helen." But the group hug on the cover lands them in the $8 range. Is it ironic — a poke at the freely folkish movement from onetime rockers like former Pretty Girls Make Graves bassist Derek Fudesco? "It’s pretty genuine, actually," Quirk told me last week from his native New Jersey. "It’s not supposed to be a joke. We don’t really take ourselves too seriously, and we usually have a good time with the things we do — we do the group hug a lot!" Sounds like Cave Singers are actually pretty sensitive dudes. "That was our first band name, Sensitive Dudes, but it was taken," Quirk joked. My bid: $8 and a standing invitation to a friendly clinch.

THE GO! TEAM PROOF OF YOUTH (SUB POP)


I’d throw out $10 and a pint of blood for a daily dose of the superenergized Proof. Mastermind Ian Parton makes extremely aggro joy, collaborating with the rest of his band and working with Chuck D (embedding him in the bustling funk of "Flashlight Fight"), the Double Dutch Divas, Rapper’s Delight Club, and Solex. The up-on-the-upbeat Proof resembles a giddy kidsploitation action flick score on a Fruity Pebbles sugar high. Most important, the band has coalesced into a living, breathing entity. "The world doesn’t need another laptop geek onstage," a sober Parton explained from London. "I wanted to make it a real gang, if you know what I mean, with people who are quite different. I didn’t want to be just another indie band. I look beyond the NME." Kid’s rate: $10, give or take a box of Kix. *

THE GO! TEAM

Fri/19, 9 p.m., $15 advance

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

THE CAVE SINGERS

Oct. 24, 9 p.m., $12–<\d>$14

Independent

628 Divisadero, SF

www.theindependentsf.com

SIDELONG GLANCES

VELVET TEEN, SAY HI (TO YOUR MOM), AND A-SIDES


Pop sublime from Santa Rosa, Seattle, and Philly. Wed/17, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

MATTHEW DEAR’S BIG HANDS


Motor City’s microhouse might finds an indie-pop thread with Asa Breed (Ghostly). Thurs/18, 9 p.m., $22 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

MESHELL NDEGEOCELLO


The songwriter untethers a wide-screen ambition on her The World Has Made Me the Man of My Dreams (Emarcy). Mon/22, 8 p.m., $25. Independent, 628 Divisadero, SF. www.theindependentsf.com

AUDIBLE DELUSIONS ENSEMBLE


Free jazz, noise, punk, and electronica come out to play when XBXRX guitarist Steve Touchton brings together chums to celebrate ADE’s debut, Winter Weapons (Heathen Skulls). Tues/23, 9:30 p.m., free. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

JOE HENRY


Civilians (Anti-) issues timeless stories from the home front. Tues/23, 8 p.m., $20. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

“A cautionary tale, carefully delivered”

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› duncan@sfbg.com

Make no mistake: Eugene Robinson is a throwback — to a time when people used words like honor without being ironic or embarrassed. The vocalist for the 18-years-running art-rock-noise machine Oxbow, Stanford graduate, and Mac Life senior editor is also, to use his descriptor, a "fightaholic." As he says in the introduction to his forthcoming book Fight: Or, Everything You Ever Wanted to Know about Ass-Kicking but Were Afraid You’d Get Your Ass Kicked for Asking (Harper), he shares his "obsession with the eternal, unasked, ‘Can I take him?’" Contrary to what one might assume, people who beat the bloody hell out of each other for fun or profit — Robinson is a mixed-martial-arts cage fighter — are not suffering from antisocial personality disorders but often adhere to a strict moral code. Though, he confessed during our interview in South San Francisco, sitting in my car and looking out over the bay, "I definitely have antisocial reasons as well."

How much of this testing one’s mettle in the "crucible of conflict" is just a dick-measuring contest? Only in the movies, or perhaps in cage fights whose opponents are carefully matched, does the victor triumph because he wants it more. In any given fight a win can usually be attributed the basic physical facts of size and strength, so what’s the point of fighting if you’re merely measuring attributes?

Robinson told me about a fight he had with a Red Sox fan while loading Oxbow’s van in Maine. The Sox, who serve as the home team even for the New England hinterland, had just been humiliated by the Yankees to the tune of 19–2. Three Sox fans strolled by, and one inevitably asked the frontperson what the fuck he was looking at. Given multiple chances to bow out, the guy kept pushing, and ultimately had his ass handed to him. "At that point," Robinson said, "I was honor bound to deliver the lesson he had so aggressively been seeking. Whatever happened in that exchange, it wasn’t dick measuring. It was a cautionary tale, carefully delivered."

But do people really learn from being whupped on? My thinking on this subject has evolved along the lines of my employment. When I delivered pizzas for Pizza Hut in a hot pink Lacoste-style shirt, I was forced to eat spoonfuls of shit doled out by every disgruntled lard ass whose Meat Lover’s Special arrived 10 minutes late. "Someday," I thought, "someone is going to fuck that guy up." Needless to say, it was a precarious act to hang the smothering cloak of my rage on that altogether insufficient nail of "someday." When I moved on to working security at clubs, I realized that yes, someday someone will kick that guy’s ass, and it may as well be today. As the old activist saw goes, "If not now, when? If not me, who?" But after some time, I realized that the behavior of others wasn’t worth getting upset, let alone violent, over. Not because it wasn’t satisfying to deliver lessons, but because no lessons were learned. In this way, I found working in nightclubs as dissatisfying as substitute teaching.

If you fight someone and they win, then might is right, and whichever asshole behavior they were indulging in before the fight is justified. If you fight them and they lose, they will immediately work the victim angle for sympathy and punitive damages. Any attitude adjustment is clearly fleeting.

"This is a valid critique," Robinson told me, but it doesn’t derail his motivations. "The few seconds that we’re together, I’ve got to hope for the best." He recounts a situation when a member of another band was having a high-volume conversation at the edge of the stage while Robinson and Oxbow guitarist Niko Wenner were playing as an acoustic duo. After Robinson warned the musician to "shut the fuck up," things got heated. Audience members tried to cool things out, but, in Robinson’s words, "this evenhanded, kind of neutered approach didn’t pay heed to the reality of the moment. Which is, you had an enemy of art, and you had somebody who was trying to be the standard-bearer of Eros." He pauses. "Forget about all that. If I’m standing at a café and somebody is screaming at the top of his lungs next to me, I’m asking him 100 percent of the time to shut the fuck up. You don’t have to live all over me. It’s boorish. And rude. And uncouth. And in that way, it’s a form of bullying."

While it may seem excessive to put a spindly, long-haired dude in a Texas boogie-rock band in a submission hold called an ultimate head and arm, I can’t argue with Robinson’s reasoning: "Disrespect begets disrespect." In any case, the vocalist does allow for the possibility of walking away. But walking away for him has more to do with the Japanese concept of saving face, of avoiding conflict with honor, than with the Christian ethic of turning the other cheek. "Am I doing this out of graciousness or am I doing it out of fear?" he asked. "I think way too many people will choose to look the other way out of fear. My whole life has been a testament to avoiding base fears."

For this, I’ve got to respect the guy. Robinson may be derided on the Web as a prick, a sadist, and an egomaniac, but let’s look at the lessons: (1) You are honor bound to follow through on a promise. (2) Art is worthy of respect. (3) Fear should be avoided as a motivation. Sounds pretty fucking reasonable to me. Though, in my own top five, I try — and sometimes fail — to add: (4) Violence should be avoided as a teaching tool.

Really, though, we live in a time when shit talking is considered a sport in itself. Go to theoxbow.com and look at some of the live footage. Robinson trances out onstage and strips down to his underwear, and the band plays the sound of a psychological meltdown. Knowing what you know and seeing what you see, why would you fuck with him?

"To a certain degree, culturally, we’ve been neutered. And that’s what civilization is about: to get us to places of greater peace," Robinson said. "But clearly, that aspect of it is not working." I’d have to agree that it’s not working, especially in social situations, where people seem to assume a disconnection in the causal, karmic links between action and consequence. Witness the hapless Scotsman in the 2003 Christian Anthony documentary Music for Adults. He gets pantsed in front of a crowd by Robinson, who asks, with what seems genuine concern, "Did that hurt? Did I hurt your feelings?" before adding the rejoinder "It’s an Oxbow show. That’s what happens." *

OXBOW

Wed/17, 9 p.m., $10

12 Galaxies

2565 Mission, SF

www.12galaxies.com

EUGENE ROBINSON

In conversation with V. Vale and James Stark

Nov. 8, 6 p.m., $5

SF Camerawork

657 Mission, SF

www.sfcamerawork.org

Death balm

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Thurston Moore–ites still absorbing the noiseless acoustics of Trees Outside the Academy, his sophomore full-length released last month on his Ecstatic Peace imprint, may be unaware of another basement romp from the Sonic Youth guitarist, which the Los Angeles label Deathbomb Arc put out as a vinyl-only split in August. Delivered white hot and fresh to your record player at 33 rpm, Thrash Sabbatical includes three slabs of glossy vinyl designed and packaged by the artists of Not Not Fun Records in a large pizza box spray-painted in fluorescent hues of pink, orange, and yellow. The box set highlights Moore at varying degrees, ranging from the calming, breezy sensations of the acoustic instrumental "Petite Bone" to the free-noise guitar slayings of "Creemsikkle," and pairs him in three separate instances with the clattery lineup of Barrabarracuda, Men Who Can’t Love, and — gasp! — Kevin Shields?

Uh, no, not that Kevin Shields. The My Bloody Valentine leader’s name also happens to be the nom de plume of LA native Eva Aguila, a harsh-noise soloist whose crushing bursts of blackened tumult have, for the past three years, exceeded Shields’s drone-layer-and-loop blueprint at hair-raising volumes. Aguila started KS as a means to document her work and tour as a solo musician after graduating from college but has frequently collaborated with guest player Amy Vecchione under the KS moniker, and together the duo supply two powerful-sounding tracks to Thrash Sabbatical that merge roaring feedback and unrelenting chaos with shrill gadgetries. Aguila — who is also a member of Gang Wizard and just started an electronic-dance outfit called Winners — revealed over the phone that she’s into "aggressive music, even when listening to other genres," but is put off when people criticize harsh noise for being, well, just a bunch of goddamn noise.

"Lately I’ve really gotten into the idea that you can have abrasive music and still have it be beautiful," she explained. "Like, it can be kind of blissful, especially because a lot of people that are into harsh noise think that it can only be this one thing, and I strongly disagree with that. You can have different emotions from it and get other things out of it." She laughed. "I don’t know if it makes a difference that I’m a woman or something, but I’ve always been into it. It’s what gets me pumping."

KEVIN SHIELDS WITH BRIAN MILLER

With Sword Heaven and 16 Bitch Pileup

Sat/20, 9:30 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Life sucks

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› a&eletters@sfbg.com

By now it’s natural to expect a lot from the Arab Film Festival, which is opening its 11th annual survey of cinema from the Arab world and diaspora with veteran Tunisian filmmaker Nouri Bouzid’s excellent feature Making Of, then presenting more than 80 features, docs, and shorts from 13 countries in screenings around the Bay and, for the first time, in Los Angeles. Ghassan Salhab’s The Last Man (2006), on the other hand, delivers something probably less expected: the first Lebanese vampire movie. As it turns out, a Lebanese vampire movie not only makes perfect sense but is also the best thing to happen to the genre in a long time.

That’s because Salhab (whose fine Terra Incognita screened at the fest in 2005) opens the field to new resonance with a deft artistry that recapitulates the vampire film’s enduring tropes while making nearly every shot a fresh, unexpected surprise. Like Terra Incognita (whose hip, desultory, and existential multicharacter drama remains a kind of companion piece), The Last Man unfolds in the limbo that is present-day Beirut. Here a handsome fortysomething bachelor doctor (a haunted, quietly mesmerizing Carlos Chahine) becomes involved in a rash of bizarre murders. Meanwhile, his personality appears to be undergoing a profound transformation, which leaves him progressively alienated from his surroundings.

The narrative unfolds masterfully, punctuated by a visual and aural economy and style that are immediately riveting, like those of a subtle hallucination or waking dream that takes hold of you on a lethargic and very bright summer day. As daylight slowly bleeds from the screen and night takes over, familiar themes at the heart of the vampire film — the centrality of vision and the gaze, for instance, and the collision of scientific modernity with some premodern, even timeless mystery of nature — return, ingeniously wedded to a specific social and political context.

Beautifully painted, The Last Man‘s context is the half-ignored backdrop of Beirut and the background of war, invasion, civil strife, political crisis, and looming uncertainty (aggravated by TV chatter about US-occupied Iraq) that constitutes what one passing remark calls "the situation" — which has brought an existential malaise in its wake, a sense of heightened expectation that is also a socially paralyzing numbness. In this agonized slumber, this halfway world between life and death, is the last man the one who, alone and haunted, wakes fully to the visceral nightmare of being? *

ARAB FILM FESTIVAL

Oct. 18–28, most shows $10

Call or see Web site for program info

(415) 564-1100

www.aff.org

THE LAST MAN

Sat/20, 7 p.m., $10

Roxie Film Center

3117 and 3125 16th St., SF

(415) 863-1087

www.roxie.com

Visions of excess

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Trucks of day-old bread emptied into landfills, a sea of chicks shoved through an assembly line — the horrors of the global food industry make for wildly surreal and yet all-too-real images in We Feed the World, one of six feature documentaries at this year’s CounterCorp Film Festival. Erwin Wagenhofer’s movie views excess, waste, and animal torture from a European point of view, so you can only imagine how much more hellish an American counterpart would be — though the cinematography’s attentiveness to the way slaughterhouse machinery robs adult chickens of their features wordlessly says as much as any commentary in 2000’s The Natural History of the Chicken. A final in-office meeting with the CEO of Nestlé, who sings the praises of "foodstuffs" (and uses Mike Tyson and "an undernourished Bengali" in one tortured allegory), adds a bitter layer of megaprocessed frosting to the movie’s paradoxes. You say tomato, farmers say you no longer know what a tomato tastes like.

Any movie that splices Bryan Boyce’s State of the Union (and its Teletubbies images of George W. Bush blowing up oil towers and little bunnies) into an opening-credits sequence is worth a look. Narrated by author Naomi Klein, Freedom of Expression is an effective primer on corporate censorship and culture jamming — a window into movies such as Craig Baldwin’s creatively inspired Sonic Outlaws, one hopes. In addition to Boyce, Negativland (partly via the hilariously brilliant Ethel Merman track "No Business") and www.illegal-art.org are also featured. (Johnny Ray Huston)

COUNTERCORP FILM FESTIVAL

Thurs/18–Sat/20

Victoria Theatre

2961 16th St., SF

1-800-838-3006

www.countercorp.org

Pete’s Tavern

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› paulr@sfbg.com

With the recent cashiering of Barry Bonds, the House that Barry Built goes into receivership, while the neighborhood pauses to reflect. Perhaps the foul odors that have gathered over AT&T Park in recent seasons — bad-team and steroid-scandal stinks — will now dissipate. Perhaps the park will be given a more euphonious name, one that actually has something to do with baseball, the team, and the city, and is not just a reference to the highest corporate bidder du jour.

Are people thinking these sorts of deep thoughts at Pete’s Tavern, a new venture by the canny Peter Osborne, who opened MoMo’s in the neighborhood before there was much of a neighborhood? I doubt it. For one thing, it is hard to think any sort of thought when you are a sodden sports nut in your Alabama sweatshirt, watching Crimson Tide football on one of the many flat-panel screens mounted high around the huge bar and bellowing like an agitated zoo gorilla at every first down and penalty flag — sloshing beer on your sweatshirt too. Yes, Pete’s is part sports bar, and while it happens to be across the street from a major sports temple, it would be what it is no matter where it was. Sports culture, like cyberspace, is simultaneously everywhere and nowhere, and the people who plug into it tend to float free from the reality-based community.

But Pete’s (which opened in August) isn’t just a sports bar, a place where postcollegiate men sit with pitchers of beer and luxuriate in periodic outbursts of boorishness. It’s also a restaurant, and it serves food I might be tempted to describe as "surprising" if MoMo’s weren’t so good. Osborne is obviously a savvy entrepreneur who understands the lure of sports in attracting crowds, but his restaurants (including, once upon a time, the Washington Square Bar and Grill) have been estimable despite their often raucous venues, and Pete’s Tavern, in a Falstaffian way, adds to this legacy.

"Tavern" suggests dim lighting, at least to me, and Pete’s can be very dim indeed. When we stepped into the place’s large vestibule over a recent sunny noon hour, it was as if we’d gone blind.

"If it were any darker, there’d be a lawsuit," said my friend. We halted for a moment to let our eyes adjust and thoughts of litigation clear. Then we mounted the half-staircase to the main room, where an enormous bar stands at center court, with tables and chairs lining the sidewalls. The noise factor at Pete’s is not inconsiderable; apart from the oft-madding crowd there is, even in moments of relative lassitude, a soundtrack of thumping music that reverberates off a world of hard surfaces, including handsome but rather chilly zinc-topped tables.

The mood, then, was distinctly unpromising in those first moments. Then the bruschetta ($9) arrived, and when I bit into a point of beautifully pillowy grilled garlic bread laden with chunks of fresh mozzarella, drippingly ripe slices of heirloom tomato, and julienne of basil — the whole enlivened with a judicious flick or two of salt — my spirits rose. Clearly the kitchen (under the direction of chef de cuisine Damon Hall) wasn’t stinting on ingredients nor sending out plates of food that hadn’t been properly seasoned.

The chili con carne ($5 for a bowl) was meaty as could be with what seemed to be high-quality, house-ground chuck, and it was nicely decorated with matchsticks of crisped tortilla. A tuna salad ($10), meanwhile, featured fresh tuna (mashed with mayonnaise and lightly browned so as to resemble a pat of goat cheese) nested in mixed greens, with cherry tomatoes, quartered hard-boiled eggs, and a creamy vinaigrette on the side.

Prices are not terrible for what you get and considering where you’re getting it, but they do seem higher than the pubby average. Zucchini strings were a little dear at $7, though the pile was haystack huge. (This dish, consisting of batter-fried shreds, was the only one we found to be underseasoned. A side cup of ranch dressing, for dipping, helped.) And $12 for an open-faced turkey sandwich? Well, all right, especially since the gravy, flecked with green peas and carrots, was intensely flavorful and the flaps of meat were draped over tasty cheddar biscuits.

On the other hand, $13 for half a rotisserie chicken seemed fair enough, given the snap of the house-made sauce and the moist tenderness of the bird, which wasn’t quite confitlike but was in the (sorry!) ballpark. By the time we were staggering toward the far end of this plate of food (which included quarters of roasted new potatoes, just to make sure), we were revisiting the wisdom of having opened with chicken and chorizo nachos ($10) in addition to the zucchini strings. The nachos plate was like many a nachos plate in many a sports bar: a great coming-together of tortilla chips under an oozy cap of melted cheese, with large mounds of sour cream, salsa, and guacamole on top, the last two house-made. The nachos, plus a pitcher or two of beer, would have been plenty to keep a couple of ex–frat rats satisfied into extra innings.

But there were no extra innings that night, just another Giants loss, and an exodus of fans streaming forth into the mild evening as we stepped out of Pete’s. We waved at old Barry, but he didn’t see us, just as we hadn’t seen him. *

PETE’S TAVERN

Daily, 11 a.m.–midnight

128 King, SF

(415) 817-5040

www.petestavernsf.com

Full bar

AE/DS/MC/V

Very noisy

Wheelchair accessible

Oh, Donna

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You don’t necessarily expect a choreographer to be interested in playing with conceits. After all, dancers work in an art form that is primarily nonverbal and movement driven. Yet Donna Uchizono’s imagination embraces ideas in conjunction with physicality. "All of my work is concept based," she explained over the phone from her home in New York. "The idea always comes first, and then I develop a movement vocabulary to support the concept. So the pieces are very different from each other."

Sometimes she takes off from a single word. When I asked her about an early work, Fault (1990) — which had struck me as a puzzling combination of brain and brawn — she chuckled. "The piece was terrible," she remembered. "But then [later that year] I made San Andreas out of it, which was very beautiful." It turns out that she had been inspired by the idea of "fault," as both a geological concept and the attributing and accepting of blame, as in "It’s my (or your) fault."

More recently, for last year’s Leap to Tall for Mikhail Baryshnikov, she thought about how his life has been full of huge leaps — to the top of the ballet world, from the Soviet Union to the West, from ballet to modern dance, and from dancer to the founder of the Baryshnikov Arts Center. She also noticed that for many women Baryshnikov is still a matinee idol and that at his arts center he is surrounded by "strong, capable women." Leap turned into a trio for Baryshnikov, Hristoula Harakas, and Jodi Melnick, the last two of whom support him in his leaps, both literally and metaphorically.

Uchizono has been choreographing for close to 20 years, and her work has garnered just about every major dance award, from a Guggenheim Fellowship in 1998 and a Bessie Award in 2002 to three Rockefeller Foundation Multi-Arts Production Fund grants (to work in Argentina with indigenous musicians) and most recently an Alpert Award in 2005.

Uchizono is known for lush movement and intricate partnering that "takes months and months to learn." For Thin Air, with which her namesake company makes its Bay Area debut Oct. 18, she chose a different approach. "It’s very minimal, very transparent, and it takes a long time for something to develop," she said. "I am working with a very long time frame." She described the piece as having been influenced by quantum physics and the Buddhist concept of emptiness.

Cocommissioned by ODC Theater, Thin Air premiered Oct. 9 in New York City. Locally, it’s part of ODC’s expanded presentation series, which will continue to showcase local companies and also include national and international artists, similar to the way ODC operated in the 1980s.

Thin Air includes a score by Fred Firth and a video component, agreed to somewhat reluctantly by the choreographer. In principle, Uchizono doesn’t like video with dance. "I am so tired of how these large projections dwarf dancers, but since I am working with the idea that the observer is actually projecting reality into emptiness, video seemed appropriate. Video clearly is projected reality." Uchizono, who is not dancing in the work, relied heavily on her dancers’ input, particularly that of longtime troupe member Harakas, whom Uchizono described as being "her inside eye" and "like a great actor who gets involved in the part and [has] discussions with the lighting designer and the director."

As for the future of her project-based company, Uchizono is both a conceptualizer and a realist. She dreams of an installation project, but then she pulls back, noting that what she’d really like to do is provide her dancers with health insurance. Ideas may turn her on, but Uchizono’s feet remain firmly planted on the ground. *

THIN AIR

Thurs/18–Sat/20, 8 p.m., $18–$25

ODC Theater

3153 17th St., SF

(415) 863-9834

www.odctheater.org

41st Anniversary Special: Psych out

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> gwschulz@sfbg.com

San Francisco is a beautiful place. But it’s also a city where an extraordinary number of people suffer from mental health problems, sometimes quietly, sometimes visibly. City government has always taken on the burden of caring for those who really need it, but the Gavin Newsom administration has been trying to outsource that obligation in recent years.

Department of Public Health director Mitch Katz has tried for years to trim the number of psychiatric-care beds maintained by San Francisco General Hospital. He proposes to replace those services by contracting them out to local nonprofit Progress Foundation, which earned most of its $11.5 million in revenue last year from government sources.

The proposal is for Progress to develop and operate a community-based psychiatric treatment center as an alternative to SF General’s emergency-room and inpatient beds. A key difference would be that the alternative treatment would be voluntary and cater to those without severe symptoms.

Katz wants to eliminate 14 of SF General’s beds and reduce the number of patients it assesses by 30 percent. Add to that seven other beds that were stripped of funding two years ago, and it’s clear that mental health treatment in San Francisco is changing.

"It’s a problem we have to solve by coming up with alternatives," Katz told the board’s budget committee Oct. 10, "because it’s not right for that person, or for the cost to the system, that [they] be in a locked ward. It’s more downstream alternatives."

Opponents of the cuts, however, including psych nurses at SF General, led by the hospital’s chief of psychiatry, say the Progress proposal might complement SF General’s services but it would be dangerously shortsighted to think it can replace them.

Private-sector hospitals in San Francisco have already cut a combined 100 psych beds over the past 10 years, leaving behind only 75. Patients relying on Medi-Cal subsidies end up at SF General more than ever. Admissions, in fact, have climbed by as much as 50 percent in the past decade.

"I don’t want to be alarmist," said Alfredo Mireles, a psychiatric nurse at SF General who is opposing the cuts, "but we have this one guy who’s been in and out of here since his teens. He’s in his 30s now. He’s smart, college educated. But he has these violent outbursts with no remorse."

The man had assaulted a police officer just the night before, Mireles said. He recalled another patient who was so paranoid he wouldn’t come out of his room to eat. He had ended up in the emergency room after not eating for eight days.

Nonetheless, SF General’s psych ward maxed out last December for the first time in its history, forcing police offers to divert patients to jail or to hospitals unprepared to deal with them. All those facilities can do is strap down the patients or lock them in seclusion until a slot opens at SF General.

"You have to be very acute to get admitted," psych nurse Stacey Murphy said, referring to SF General. "But then we can’t get rid of people, because nobody wants them. They’re not acute enough to technically belong in our hospital, but they belong in a locked facility or in board and care."

Murphy explained that Progress won’t be able to handle certain patients now living in a sort of gray area at SF General — between being willingly and unwillingly hospitalized — such as the drug addled or violent. And that’s one problem with privatization in general: corporations and nonprofits will gladly take over profitable services, but the hard or expensive cases often fall to government … or simply through the cracks.

Progress argues that SF General spends too much time and money on patients who have serious mental health problems but aren’t so acute that they need to be locked up. Its idea is to put psych patients back into the city but help alleviate the misery they might otherwise endure alone or in a maddeningly sterile hospital. It seems to think the hard cases aren’t that hard.

"The time and resources devoted to this group of clients in a psychiatric crisis who are not hospitalized represents a cost to the mental health system that is unnecessary and avoidable if the intervention, triage, assessment, and treatment can occur in a community setting," the Progress Foundation’s June proposal reads.

"To the extent that there are people who would do better if we really wrapped services around them, shouldn’t we all focus on those people who would accept services voluntarily?" Katz asked the committee. "I think to focus a lot of our resources trying to convince people to take treatment against their will as outpatients when so many people would benefit from more loving, positive care, I don’t think it’s the right priority."

Piers Mackenzie still views Katz’s plan as poor public policy. His daughter, then 22, required a brief stay at SF General’s psych ward during a sudden mental health catastrophe four years ago. The event politicized Mackenzie, and he has since agitated against attempts by Katz to scale back psychiatric services at the hospital.

"I couldn’t think of a more retrogressive step, simple as that," Mackenzie said. "When there’s a proven need for more beds than there are presently, to cut them is just plain idiotic. I don’t understand it."

41st Anniversary Special: The perils of privatization

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Click here for Amanda Witherell’s exclusive interview with Columbia professor Elliott Sclar

› amanda@sfbg.com

Over the past few weeks almost every major news outlet in the country has reported on Blackwater, a private company the US government hired to do work in Iraq that was once the exclusive province of soldiers.

The deal hasn’t gone so well: on Sept. 16, Blackwater guards opened fire and, according to the Iraqi government, shot 25 civilians. The incident set off an international furor and has brought into focus the breadth of the company’s work for the US government. It’s prompted an investigation by the House Committee on Oversight and Government Reform, which showed that since 2001, Blackwater’s federal contracts have increased 80,000 percent. It’s revealed the massive pay inequalities between private security guards and US soldiers — the cost of one private guard could pay the salaries of six soldiers.

And it’s raised a question that’s critical to understanding how government increasingly works in the United States: should a private company be doing the work of the military?

Privatization of public services is all the rage in this country now, at all levels of government, from Washington DC to San Francisco. Supporters say the private sector can often work better and more efficiently than the old, bureaucratic, much-maligned government.

But Blackwater is a great example of the perils of privatization. And there are many more.

STARVE THE BEAST


Over the past few decades governments at all levels in this country have been in a near-perpetual state of deficit. Taxes are way down from their historic post–World War II levels, and except for a brief period during the tech boom, there is rarely enough money for even basic social services.

"It’s been a strategy since the ’70s to, as Grover Norquist calls it, ‘starve the beast,’<0x2009>" Robert Haaland, an organizer with Service Employees International Union Local 1021, told us.

And because politicians, even Democrats, are terrified of tax hikes, they’ve been looking for more efficient ways to use the money they have. The magic bullet goes by many names — privatization, public-private partnerships, competitive outsourcing, creative financing solutions — but the basic idea is to allow the power of competition, set free in an unregulated market, to provide the public with the best services at the lowest cost.

"To do or to buy is the question that all governments face," says Ken Jacobs, director of UC Berkeley’s Labor Center.

We’ve been buying. Since 2000, outsourcing of federal dollars has increased 100 percent, to $422 billion in taxpayer funds in 2006, according to a September study by the Washington DC US Public Interest Research Group. The US government is now the private sector’s largest customer.

San Francisco may be known as one of the most progressive cities in the country, but this town has also been wooed by public-private partnerships with promises of improvements to the golf courses, construction of a new power plant, and funding for the many civic needs we have.

PRIVATIZE MUNI?


Cheerleaders for privatization look at someone like Nathaniel Ford, executive director of San Francisco’s Metropolitan Transit Authority, and see everything that’s wrong with the public sector. Ford’s salary is nearly $300,000, plenty high enough to attract a talented leader. But the Muni system he runs keeps the average San Franciscan waiting on the corner in the morning, delivers that person to work at an unpredictable hour, and lurches them homeward every night aboard a standing-room-only bus. Nobody thinks Muni is performing well.

That makes the case for privatization seem almost appealing.

"The public has been schooled to think that government is the problem, not the solution," Elliott Sclar, professor of economics at Columbia University, told us. In his 2000 book on privatization, You Don’t Always Get What You Pay For: The Economics of Privatization (Cornell University), he writes, "American folk wisdom holds that, by and large, public service is uncaring, unbending, bureaucratic, and expensive, whereas competitively supplied private services such as FedEx are efficient and responsive."

Competition, the privatizers say, drives innovation. Less red tape means more efficiency. A lack of unions and collective bargaining agreements translates to lower labor costs. Large-scale multinational operations can reduce redundancy and streamline their processes — all of which adds up to a lean-running machine.

But this country has a lot of experience with privatization, and the record isn’t good.

One hundred years ago private companies did a lot of what we now call government work. "Contracting out was the way American cities carried out their governmental business ever since they grew beyond their small village beginnings," writes Moshe Adler, a Columbia professor of economics, in his 1999 paper The Origins of Governmental Production: Cleaning the Streets of New York by Contract During the 19th Century. At one time private companies provided firefighting, trash collection, and water supplies, to name just a few essential services.

But according to Adler, "By the end of the 19th century contracting out was a mature system that was already as good as it could possibly be. And it was precisely then that governmental production came to America. The realization that every possible improvement to contracting out had been tried led city after city to declare its failure."

For example, the 1906 earthquake and subsequent fires in San Francisco were what prodded the city to municipalize water service after the company charged with the task, Spring Valley Water, failed to deliver while the fires raged.

In Philadelphia as well as San Francisco, the business of firefighting was once very lucrative — for both the firefighting companies and the arsonists who were paid to set fires for the former to fight. And corruption was rampant. "Large amounts of public contracting out historically created lots of opportunities for fraud and nepotism," Jacobs said.

So public agencies stepped in to provide basic services as cheaply and uniformly as possible. Towns and cities took on the tasks of security with police and firefighting, education with schools and libraries, and sanitation with trash collection and wastewater treatment. Nationally, the federal government improved roads and transit, enacted Social Security benefits, and established a National Park System, among many other things.

And then, about 30 years ago, the pendulum started to swing the other way. Driven by University of Chicago economist Milton Friedman, enacted in a massive policy shift by Ronald Reagan, proliferated by Grover Norquist and the neocon agenda, and fully appreciated by corporations and private companies, privatization came back.

In Reagan’s first term, he cut taxes 25 percent overall; the rich got a 40 percent cut. Domestic spending fell by half a trillion dollars in the 1980s, although any savings were countered by a rise in the defense budget.

Harvard economist Lawrence Summers, quoted in Looking Back on the Reagan Presidency (Johns Hopkins University), put it this way: "The Reagan budgets will influence the government for the rest of this century. Just as the Great Society left an imprint of Federal commitment to help the indigent and equality of opportunity, the Reagan budget deficits will leave an imprint of non-involvement."

Such a massive realignment of money coupled with tax breaks too politically painful to reinstate led to a boom in the outsourcing of public services. Private companies began doing more municipal work, while nonprofit organizations tried to fill the gaps in funding for social services, welfare, housing, health care, and the environment.

The George W. Bush era has seen even more overt outsourcing. These days no-bid contracts are preferred, and at times government services are completely turned over to the private sector in "direct conversions," and the public agency that once did the job is not allowed to compete to keep it. The Washington Post recently reported that no-bid government contracts have tripled in the past six years.

This doesn’t really sound like the competitive free market espoused by the theory of privatization.

FLUNKING THE TEST


To field-test the primacy of privatization, the Reagan administration sponsored a transportation experiment in the early ’80s: Miami’s Metro-Dade Transit Agency got to compete against Greyhound. The two providers were each given five comparable transit routes to manage over three years, and 80 new buses were bought with a $7.5 million grant from the federal government.

After 18 months 30 of the Greyhound buses were so badly damaged that they had to be permanently pulled from service. Passenger complaints on the Greyhound line were up 100 percent, and ridership was down 31 percent over the course of a year.

Why? There was no incentive in Greyhound’s contract to maintain the equipment or retain riders. The company’s only goal was to deliver the cheapest service possible.

The Miami transit contract could have contained clauses calling for regular inspections or guaranteed ridership, but that would have significantly increased the cost of the work — perhaps to the point where it would have been competitive with what the city provided.

That’s an important lesson in privatization politics: when you add the cost of adequately protecting the public’s interest and monitoring contract compliance, the private sector doesn’t look so efficient.

Which is why many say privatization only succeeds as a theory — and why, for all the problems with Muni, no private company is likely to be able to do a better job.

"Market fundamentalists present an idealized, simpleminded notion of competitive markets in which buyers and sellers have equal knowledge," Sclar told us. "Anyone can be a buyer, anyone can be a seller, everyone can evaluate the quality of the good. In this never-never land, that’s often the way the case is made for privatization by this particular group of economists."

In the real world a number of issues arise when a service goes private. "Accountability gets to be a really big problem," Ellen Dannin, professor of law at Penn State University, said in an interview. "There are predictions about how much money will get saved through privatization, but no one ever goes back to check."

The September study by the US Public Interest Research Group profiled several companies that do government work, including Bank of America, LexisNexis, ChoicePoint, KBR (formerly Kellogg, Brown, and Root), General Electric, and Raytheon, and found instances of illegal behavior in all cases. There were often massive errors in the companies’ work.

Bank of America and LexisNexis had security breaches compromising the data of at least 1.5 million customers they were handling for the government. ChoicePoint allowed identity-theft scams amounting to more than $1 million in fraud. KBR overcharged the government millions of dollars for work in Iraq and Kuwait. GE made defective helicopter blades for the US military. Raytheon failed to fully test the systems of new aircraft. These companies are all still employed by the government.

When companies take over services that aren’t typically part of a competitive market, all sorts of unexpected problems occur. Jacobs points to the rash of contracting for busing services in cash-strapped school districts. Not only did costs eventually rise in many places, but when schools tried to go back to providing their own service, the skilled drivers who knew the routes, knew the kids, and were able to do much more than drive a bus were gone.

Sclar and Dannin agree that any service that lacks competition should be public. Sclar presented the example of electricity. "It’s a natural monopoly," he said. "Essentially it’s either going to be a well-regulated industry or it’s got to be done publicly."

Corporations exist to make money. And although graft, mismanagement, and scandal have always been present in City Halls around the country, in the end the legislative, judicial, and executive branches were not designed to generate profits. That alone means contracting out is financially dubious.

Hiring mercenaries is a classic example. "It costs the US government a lot more to hire contract employees as security guards in Iraq than to use American troops," Walter Pincus wrote in an Oct. 1 article in the Washington Post. "It comes down to the simple business equation of every transaction requiring a profit."

As Pincus details one of the many contracts between the security firm and the US, "Blackwater was a subcontractor to Regency, which was a subcontractor to another company, ESS, which was a subcontractor to Halliburton’s KBR subsidiary, the prime contractor for the Pentagon — and each company along the way was in the business to make a profit."

Blackwater charged Regency between $815 and $1,075 per day per security operative. Regency turned around and charged ESS a slightly higher average of $1,100. After that, the costs dissolve into the enormous bill that KBR regularly hands the federal government.

When the US Army is paying the bill the costs are far lower. An unmarried sergeant earns less than $100 a day. If you’re married, it’s less than $200. If you’re Gen. David H. Petraeus, it’s about $500 — less than Blackwater’s lowest-paid workers.

Very little about the Blackwater contracts would be known by anyone outside the company if it weren’t for the federal investigation, since private businesses are not subject to the same public-records laws as the federal government. They don’t have to open their books or publicize the details of their bids and contracts, and they often fiercely lobby against any regulations requiring this, which leaves the door wide open for corruption — which is what brought sunshine laws to government in the first place.

Sclar said that when it’s a good call to contract out, corporations, private companies, and nonprofits should be required to abide by public-records laws in addition to adhering to a five-year wait for employees departing the public sector for the private. "I think transparency should always be the goal," he said. "As much information as possible." If a company doesn’t want to make its records public, he told us, "[it shouldn’t] go after public work."

THE AIDS LESSON


Privatization comes in many forms and emerges for what often seem like good reasons.

In the early 1980s gay men in San Francisco were starting to get sick and die in large numbers — and the federal government didn’t care. There was no government agency addressing the AIDS crisis and almost no government funding. So the community came together and created a network of nonprofits that funded services, education, and research.

"The AIDS Foundation was founded in response to the epidemic at a time when there wasn’t a response from the federal government," Jeff Sheehy of the AIDS Research Center at UC San Francisco told us.

At first, activists all over the country praised the San Francisco model of AIDS services. Over time the nonprofits began to get government grants and contracts. But by the 1990s some realized that the nonprofit network was utterly lacking in public accountability. The same activists who had helped create the network had to struggle to get the organizations to hold public meetings, make records public, and answer community concerns.

That, Sheehy said, shouldn’t have come as a surprise.

"There isn’t that same degree of accountability that you would have" with the public sector, he told us. "SF General is not going to turn you away at the emergency room, but nonprofit hospitals are less and less interested in running ERs."

Sheehy said he’s seen cases where difficult clients have been banned from accessing help from nonprofits. Unlike at public institutions, "the burden is not on the agency to provide the service. It is with the client to get along with the agency," he said.

Sheehy outlines other issues: nonprofits run lean and are more apt to make cuts and resist unionization, which means workers are often paid less, there can be higher turnover, and upper management is often tasked with fundraising and grant writing and distanced from the fundamental work of the group. There’s no access to records or board meetings. "If service takes a sudden downward shift, what can you do?" Sheehy asks. "You can’t go to board meetings. You can’t access records. What’s your redress?"

And that perpetuates the problem of government not stepping up to the plate. More than half of the social services in San Francisco are run by nonprofits, a trend that isn’t abating.

"When the services are shifted from the public sector to the nonprofit sector," Sheehy said, "that capacity is lost forever from government."

THE LOTTERY TICKET


When Dannin teaches her students about privatization, she uses the analogy of personal finance. "If I find my income does not meet my expenses, I can cut my expenses, but there are certain things I have to have," she said. To meet those needs a person can get a second job. In the case of the government, it can raise taxes.

But "that is not an option governments see anymore," she told us. "So the third option is to buy a lottery ticket — and that’s what privatization is."

When a publicly owned road is leased for 99 years to a private company, the politician who cut the deal gets a huge chunk of cash up front to balance the local budget or meet another need. When the new owner of the road puts in a tollbooth to recoup costs, that’s the tax the politician, who may be long gone, refused to impose. What option does the voting driver have now?

Public goods, from which everyone presumably benefits, are frequently and easily falling out of the hands of government and into the hands of profit-driven companies. In New Orleans, charter schools have replaced all but four public schools. In about 15 municipalities public libraries are now managed by the privately owned Library Systems and Services. (In Jackson County, Ore., it’s being done for half the cost, but with half the staff and open half the hours.) At least 21 states are considering public-private partnerships to finance massive improvements to aging roads and bridges. User fees have increased in the national parks as rangers have been laid off and some of the work of park interpretation is picked up by private companies, as is the case with Alcatraz Island.

Dannin also asks her students to consider who really owns a job. The easy answer is the employer. "But there is another claimant of ownership of that job," she says. "That is the public. Employers depend on roads for their employees to drive to work, a public education system to train their workers. They depend on housing, police, the court system, the system of laws. That is a huge amount of infrastructure we tend not to think about.

"We live within an ecosystem. We’re having a hard time seeing that ecosystem, that infrastructure that we’re all in. That’s what your taxes pay for."

Green City: Meeting the Climate Challenge

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GREEN CITY It is easy to become discouraged by environmental problems, but a few San Franciscans are reminding us that we have collective power to make positive change. And we might even have a little fun along the way.

Paul Scott came up with the idea of the San Francisco Climate Challenge, a citywide contest to reduce household energy consumption. Scott is a lawyer and founding member of One Atmosphere — a nonprofit created by North Beach neighbors concerned with sustainability and conservation. "I think a lot of folks are concerned about climate change, but frustrated by the seeming inaction by the government to solve the problem," Scott told the Guardian. "The purpose of the San Francisco Climate Challenge is to give people something they can do right now."

A joint project by One Atmosphere, the Sierra Club, and SF Environment, the Climate Challenge officially starts Oct. 25 and registration ends the day before. Two top prizes of $5,000 (cash!) will be awarded for greatest overall energy savings and greatest percentage reduction in energy use. Winners will be determined by comparing last November’s Pacific Gas and Electric Co. bill with this November’s bill, so participants must pay their own utility bill and have lived in their current home — apartment, condo, or house — for at least a year.

Private residences account for about 20 percent of San Francisco’s carbon emissions, so the SF Climate Challenge is specifically focused on reducing household emissions. "Hopefully, this contest will increase people’s awareness of what they can do and the environmental damage done by normal activities," said Jonathan Weiner of One Atmosphere. "Simple changes can have significant impacts."

And what are some of these simple changes to make at home? Turn off lights when you leave a room, replace incandescent lightbulbs with compact fluorescents, wear a sweater instead of turning up the heat. And something that people often forget is that appliances use energy even when they’re turned off. So plug your television and stereo into a power strip and, when you’re done watching TV or listening to music, turn that power strip off.

"Eliminating unnecessary, wasteful use and being more efficient with the energy we do use is important," said Aaron Israel of the Sierra Club’s San Francisco chapter. "But you don’t have to eat in the dark or live like a monk. There are very easy things you can do if you’re just a little bit more aware."

Contest participants can sign up for the Climate Challenge as individuals or teams. So far, there teams have been created by neighborhoods, social groups, and sports teams. Even the Board of Supervisors has formed a team, with supervisors Michela Alioto-Pier, Aaron Peskin, and Sean Elsbernd already committed to participating. Word on the street is that even the Mayor’s Office may compile a team.

The Climate Challenge is also about building community. "This is an initiative to bring together a bunch of folks around how we, as residents in the city, can do things differently," said Mark Miller of One Atmosphere. "The more we see how we’re connected, the more we see how much we affect each other."

Making simple, painless changes at home is a great place to start taking responsibility for the health of our communities, city, and planet. Hopefully, the San Francisco Climate Challenge will inspire people to think about the environment in terms of the positive changes we can make instead of the overwhelming problems we feel helpless to fix.

"We need to paint a vision of our own lives that is better in the future than it is right now, so we are all motivated to take action," said Cal Broomhead of SF Environment. "How can we transform our neighborhoods so they’re more sustainable? We have collective power to make change."

To register for the San Francisco Climate Challenge, or to see a list of sponsors, prizes, and energy-saving tips, go to www.sfclimatechallenge.org. Or attend this upcoming event to learn more: ClimatePalooza, Fri/Oct. 19, 7 p.m., $12 or free with sign up for the SF Climate Challenge, at the Swedish American Hall, 2170 Market, SF. Live music by Ryan Auffenberg, Hyim, Valerie Orth, Sheldon Petersen, and Pixie Kitchen. Call (415) 861-5016 for more information. *

Comments, ideas, and submissions for Green City, the Guardian‘s weekly environmental column, can be sent to news@sfbg.com.

41st Anniversary Special: Connect the Connects

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› steve@sfbg.com

Mayor Gavin Newsom has created an entirely new branch of city government that is private, funded by undisclosed corporate donations, staffed by volunteers who are often city employees or his campaign donors, and unaccountable to any internal controls or outside scrutiny.

Yet rather than being a cause for concern, Newsom has touted San Francisco Connect and its four subprograms — Project Homeless Connect, Tech Connect, Green Connect, and Project Children and Families Connect — as his proudest achievement, a model he is actively exporting to other cities.

According to its Web site, "The mission of SF Connect is to mobilize residents and sectors for a stronger San Francisco. SF Connect is about engaged residents volunteering their talent and time for the City, as well as innovative partnerships between the private, public, and social [nonprofit] sectors."

Green Connect (and "partners" that include Pacific Gas and Electric Co. and Oracle), does cleanup and tree planting. Tech Connect (and partners Netgear.com and Hewlett Packard) works on "digital inclusion." And Project Homeless Connect (Gap, Visa, AT&T, Blue Shield, IBM, the Hotel Council, and Charles Schwab among its partners) does homeless outreach events.

During his endorsement interview with the Guardian, we asked Newsom about the programs and how they allow the private sector to take a more active role in delivering public services on behalf of city government, sometimes with the help of public resources. Is that a model he likes?

"Oh, you’d better believe that!" Newsom said. "Am I for actual responsibility and civic service and duty? You’d better believe it. I think it should be mandated for everyone who graduates from our public education system. I think they should be forced to give back and contribute in community service. What the Connects are all about is community service and connecting the dots. The Rec Connects, which may be what you’re referring to, is a way of leveraging resources and getting more of our [community-based organizations] involved."

All of those involved with SF Connect also seem to sing its praises. But there’s another side to Newsom’s feel-good approach to delivering public services: they often displace social services delivered by qualified providers, supplement underfunded city services with private providers rather than simply fixing and funding them, provide wedges for corporations to take over public spheres (as the Google-EarthLink wi-fi deal through Tech Connect very nearly did), and allow corporations to buy influence with unregulated contributions to a politician’s pet program.

"If you look at the ways of privatizing, volunteering is one, and it sounds nice," said Margot Reed, an organizer with Service Employees International Union Local 1021.

Yet that volunteerism sometimes replaces services that previously were provided by government or nonprofit agencies whose contracts and performance could be scrutinized. But Newsom’s approach through SF Connect doesn’t allow that kind of transparency.

To illustrate the problem, the Guardian made a Sunshine Ordinance records request to the Mayor’s Office, asking for a complete breakdown of the budgets of all the Connect programs. The office refused to provide the information, referring us instead to SF Connect, but that organization has a history of refusing to provide the Guardian and other media organizations with its budget and donor lists.

Last year the San Francisco Chronicle fought the Newsom administration for two months to get it to reveal the donor list, finally winning the release of the names of donors who had agreed to be disclosed (some asked for their money to be returned instead). SF Connect’s donors included PG&E, which gave $25,000; Google investor Ron Conway, who gave $100,000; Wells Fargo Bank, which gave $20,000; and Carmen Policy (the former 49ers top dog who was recently named to push a June ballot measure on a new stadium that Newsom wants to build), who gave $2,500. Other donors included Newsom appointees, contributors, and companies that do business with the city.

When we tried to get a current list of donors, staffers didn’t respond to Guardian phone calls or e-mails.

We also asked Newsom’s office for a complete breakdown of city staff time, money, and other resources that have gone into supporting the Connect programs, knowing that city staff have been involved in their events and e-mails have gone out from city offices.

"There is no line item in any budgets nor any reporting within our office on time spent coordinating with SF Connect," Joe Arellano from the Mayor’s Office of Communications responded by e-mail after repeated requests for answers.

That’s probably because there seems to be no clear line drawn between where the private SF Connect ends and where the public-sector Mayor’s Office begins. Call the phone number on the San Francisco Connect Web site for Project Homeless Connect, and it rings at the desk of Judith Crane in the Department of Public Health.

Even getting a list of privatization proposals by Newsom hasn’t been easy. The Mayor’s Office cited technical inadequacies when we asked it to search all of Newsom’s speeches, press releases, e-mails, and other documents for the words "public-private partnership," a favorite Newsom phrase.

We know that he’s unsuccessfully sought to privatize jail health services, security at the Asian Art Museum, and the city’s golf courses (see "Bilking the Links," page 22) and to create a citywide wireless Internet system run by Google and EarthLink.

But ask Newsom about it, as we did, and you’ll hear his semantic gymnastics: "Privatization is failing, so I’m not pro-privatization. I don’t look to privatize. I look for ways to manage more creatively and more efficiently."

John Barleycorn must die

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› molly@sfbg.com

"There was three men come out o’ the west, their fortunes for to try,

And these three men made a solemn vow, John Barleycorn must die.

They plowed, they sowed, they harrowed him in, throwed clods upon his head,

And these three men made a solemn vow, John Barleycorn was dead."

From an old English folk song

It’s a dark, rainy Friday night, and Larkin Street is eerily quiet except for one beacon of light: the John Barleycorn pub. Inside this almost 40-year-old watering hole, logs crackle in a fireplace built with cobblestones from old San Francisco streets.

Neighbors, law students from a nearby university, and longtime regulars cluster together on cable car benches and onetime church pews, tippling and talking quietly beneath a ceiling made from the beams of an old Petaluma chicken coop.

Behind the bar, owner Larry Ayre, with rosy cheeks hugged by a pair of spectacles, serves drinks and good cheer the same way he has for more than three decades. Some of his customers have been coming here for just as long.

"There’s only one bar you call your home bar, and somehow, they have to take you in," Ayre said. "In here, you can be whoever you want to be."

Unfortunately for the Barleycorn, its lease is up, and it’s part of a building that was recently purchased by Louisa Hanson, a controversial local entrepreneur who owns several other properties in the area, including Louisa’s on Union Street and Delaney’s in the Marina. Hanson refuses to renew the Barleycorn’s lease, and it’s rumored she plans to turn the building into a new restaurant.

So tonight the mood is bittersweet. Ayre’s birthday is tomorrow, and neighbors are already stopping by. But no one’s forgetting that the pub’s doom is imminent, and unless a miracle happens the beloved bar will shut its doors October 26. For good.

Pub supporters nonetheless began appealing to Hanson last December when they heard of her plans not to renew the ‘Corn’s lease. They tried to make the case that the popular pub is the right size and scale for the neighborhood, that any other venture would be hard to support in such a tough retail environment, and that the bar is so well loved, Hanson would alienate potential future customers by closing it.

But the notoriously elusive Hanson — who’s obtained licenses for more than 22 businesses in the past two decades, most of which closed within two years or never opened at all — wouldn’t discuss the future of the ‘Corn, much less consider their pleas.

In an effort to save it, weekend bartender and longtime patron Tony Antico helped found the Save the John Barleycorn Coalition. Volunteers gathered more than 4,000 signatures from friends and fans in 30 countries and 20 states. They staged a demonstration outside Hanson’s Union Street restaurant. They lined up formal support from the SF Appreciation Society, the Polk Corridor Business and Middle Polk Neighborhood associations, Lower Polk Neighbors, and Sup. Aaron Peskin, who represents the district. The Board of Supervisors even passed a resolution commending the pub and recommending it be kept open.

"In America you can be a mean nut, and if you own property, the law protects you," Peskin told the Guardian.

Despite all the effort, Hanson is heavily invested in the property and appears to have little incentive to back off now. Public records show that she first bought it for $2.3 million in autumn 2005 and then took out two loans against it totaling $2.5 million.

She seems so eager to develop the property, in fact, that in June city building inspectors found ongoing construction work being conducted at Barleycorn’s neighbor, the former Front Room, without a permit, including taking out a wall and removing fixtures.

But Hanson is no stranger to conflict. Superior Court records show that she’s been the target of a fairly steady stream of litigation since the 1980s, ranging from allegations that she refused to pay contractors or employees to charges that she disregarded contractual agreements with business partners.

One case, brought against Hanson in 2003 by the former owners of her Marina restaurant, alleged that she agreed to a purchase but then withheld payments in hopes of forcing a better deal when the sellers grew desperate. According to the suit, the "alleged secret intent" of Hanson "constitutes an intentional misrepresentation, deceit, or concealment of a material fact that has caused injury" to the former owners. A judge ruled against Hanson and demanded that she pay the plaintiffs $183,674.

That case didn’t surprise Vickie Hall, who had a similar experience when she tried to sell her coffee shop in Amador County to Hanson earlier this year. After agreeing to pay full price for Hall’s homegrown business, Hanson allegedly held the deal in escrow, and therefore off the market for sale to someone else, until Hall would agree to a lower purchase price.

Hall claims that when she begrudgingly agreed but asked for a higher deposit, Hanson simply never responded to the counteroffer. Hall says Hanson couldn’t be reached for six weeks to sign over the original deposit money.

"It was a bad situation with a woman who I think is ruthless and could give a hoot about how her business practices are handled," said Hall, now living in Arkansas, who only sold the business because she and her partner are now on disability.

Look Hanson up on Yelp.com and you’ll find a litany of complaints from former employees, neighbors, business partners, and customers. There’s even a blog dedicated to the "eccentricities and out-and-out weirdness of San Francisco’s worst entrepreneur," located at Luisaconfidential.blogspot.com.

In fact, Barleycorn supporter John Clark, who has lived in the city 25 years and worked in local restaurants for eight years, was warned by peers not to pursue a job in any of her restaurants, so he avoided them.

"She’s a bad businesswoman and unscrupulous," Clark said. And the Barleycorn "is a great little English pub. I’m tired of the character that makes this city what it is getting sucked out of it. This is just another long-standing neighborhood institution being closed because of greed."

So far, Hanson has refused to discuss the Barleycorn, not returning calls from Ayre, Peskin, or the Guardian for this story. Her response to the demonstration outside her Union Street business was to give pub supporters the Italian version of the bird (video posted at savethebarleycorn.org).

In fact, the only thing anyone, including government officials, can do now is make it hard for her to open a new business in the building by changing zoning laws or refusing permits — actions that may hurt Hanson in the long run but won’t change the Barleycorn’s fate.

For now, the ‘Corn’s supporters are trying to maintain their optimism while being realistic. At Ayre’s birthday party Oct. 13, patrons continued to add their names to the petition at the end of the bar while Ayre’s wife explained where in their house the couple would put the historic wooden countertop once the bar closes. But no one will be done enjoying the establishment, or fighting to keep it open, until the last minute of its last day.

"I always believe that little miracles can happen," Peskin said. "I’m waiting for one."

41st Anniversary Special: Blast from the past

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33 YEARS AGO (OCTOBER 5, 1974)


Dianne Feinstein takes off her gloves

By Katy Butler


White gloves still haunt Dianne Feinstein’s political life. She has been wearing them ever since she first went to dancing class, and fellow politicians have accused her of refusing to take them off for politics. Her old political allies bring up the image again and again: those little white gloves seem to crystallize their irritation with her Pacific Heights femininity, the world of the Junior League, the chauffeur and the Goody Two Shoes approach to politics. In 1971 during her disastrous campaign for Mayor, she did her best to reach beyond her background. She promised a Hunters Point crowd she’d never shuck or jive. But she was still wearing those little white gloves.

The white gloves are off now. Feinstein learned from her 1971 defeat and she doesn’t want to lose this time around. She is jostling with state senators Milton Marks and George Moscone for first place at the starting gate in next year’s Mayor’s race, and she is no longer a political dilettante operating on intuition and integrity.

The new Dianne Feinstein is a canny political animal, assiduously cultivating the "homeowner vote" in the foggy reaches of the Avenues while nursing along her original liberal constituency. "She’s dropped the Goody Two Shoes act and she’s willing to play hardball politics," one of her fellow supervisors says admiringly. "She’s moving toward the center and she’s getting very good advice."

"How can you be for the vice squad, for police helicopters, against nude shows and for gay rights?" asks Harvey Milk, a gay former candidate for supervisor. "It doesn’t add up."

31 YEARS AGO (OCTOBER 8, 1976)


Staggering with Bukowski

By William Graham


The beer, the day, whatever the reason, [poet Charles] Bukowski is not reading well — with little enthusiasm, little animation, little inflection in his voice, save the long drawl on certain words. He rarely looks up from his script while reading, as if he hasn’t seen the poems before. Hunched over, his glasses reflect the two spotlights and act as mirrors, blocking the audience from his eyes. At his best he is poetical, distant. At his worst, he is an old man reading the news. And finally the warning, "This is going to be my next-to-last poem." A few say "No, no." Bukowski asks, "Are there any questions?" Again, mixed shoutings answer, a few voices mimic animals, and far from the rear, the high nasal voice says "Bullshit". Bukowski replies, "Lay off that cheeeeeep, rot-gut wine or you’re not going to live a weeeeeeek. If the wine doesn’t get youuuuuuu, I might." The crowd likes this. Shifting gears, the poet says, "Any young girls want my phone number — try Joe Wolberg." Several replies follow, many sound dubious, and the poet says, "Okay, Babe-A."

31 YEARS AGO (OCTOBER 8, 1976)


EVEN COWGIRLS GET THE BLUES. By Tom Robbins. Houghton-Mifflin, $4.95.

Reviewed by Don McClelland


Tragedy ensues but is softened by the cosmic good humor that shines throughout the book. For this world and its languages, Robbins shows an infectious love that is constantly leading him into literary excesses guaranteed to get him hanged in more proper circles. Didactic, discursive, anthropomorphic, loaded with enough outrageous similes to send a basketful to each poet in the American Academy, Even Cowgirls Get the Blues operates on the refreshing premise that the whole world is alive. This book will make you laugh out loud in the elevator. This book should have champagne and tears spilled on it. This book is Cervantes born again. Thank you, Tom Robbins.

31 YEARS AGO (OCTOBER 29, 1976)


The Film Festival

By Robert Di Matteo


The 20th Annual San Francisco International Film Festival, which was held at the Palace of Fine Arts Oct. 13-24, was another one of those Sacred Monster affairs that exist above and beyond almost anything that can be said about them.

For me, there was the added excitement this year of the Guardian‘s Banned-from-the-Festival status (see Guardian 10/8, 10/22/76). Because of our reporting on the Film Festival last year, the Guardian was not allowed to attend this year’s event on the same basis as the 98 acceptable representatives from the press. But we went ahead and bough some tickets on the sly, and on the nights of the showings I slunk in to take my place in the audience, glancing furtively around to make sure I hadn’t been spotted. As something of a natural-born outsider, I found the role of a party crasher to fit like a glove.

Still, my perspective on the festival has not really changed. I doubt that I could ever really resolve my attitudes about culture to fit the festival’s concept of Culture. Movies are still just movies to me, and charging an extra dollar to see them does not alter that fact.

26 YEARS AGO (NOV. 4, 1981)


From the personal ads:

Plug Me In

Says my refrigerator. Very attractive lesbian who lacks only cooking skills would like sympathetic Jewish woman to offer either her knowledge of the art or dinner for the rest of my life. Write P.O. Box 11528 SF CA 94101

Wanted: Wife

Long hours, no pay. For a good-looking San Francisco man, 29. Qualifications: must be beautiful, intelligent, easygoing. No experience necessary. Please, no Republicans.


WM, 38, angry, depressed, timid, gentle, understanding seeks similarly minded F with whom to wait for Godot and/or etc.

My Marriage Was No Fun

Finally my wife and I figured out that we would be happier if we weren’t together. Since then, I have discovered freedom, but it hasn’t been in single bars. It has been squeezing the toothpaste any way I please, or being able to change plans at the last minute. I am 44, nice-looking, secure, and I would be interested in meeting a woman, younger or older, who would like to share her freedom with me.

I am an R.C. priest who takes his religious calling very seriously. But God also made me a man. I have thought about leaving the Church, but feel that that would be very wrong. God didn’t create us to live half lives, He will understand. While I’m sexually inexperienced, I am attractive, accomplished and sincere. Obviously discretion is a must.

Women Are Taught to Say "No"

This one is happy, bright, and attractive, and she is ready to begin saying "Yes." Now, what are the questions?

San Francisco Whiskyfest

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PREVIEW There’s a reason rich people are so productive: they don’t get hangovers. And it’s not the unlimited access they have to Tylenol PM–Ambien cocktails that keeps them good the morning after. No, it’s the unlimited access to rare and expensive whiskeys. Rich people tell me they can drink near a liquid ton of the handcrafted stuff and still wake up with a fresh-enough head to whip their servants. Yes, it’s true. The best hangover cure is to settle down with a pricey bottle of whiskey the night before.

For the past several months, under the cover of night and in back alleys, the wheels have been set in motion to bring an occasion of drinking such expensive whiskey to the masses. For the not-too-cheap price of $105, attendees of the San Francisco Whiskyfest can enjoy samples of 200 of the world’s finest, rarest, and most expensive single-malt and blended whiskies. Yes, this is supposedly America’s largest whiskey celebration, but there will be high-end rums, tequilas, and beer on hand for the more adventurous. That’s not to mention the expansive buffet and Fiji Water for tasters to clear their palettes. Of course, such an evening would go to waste if there were no knowledge to be gleaned. Besides conducting priceless and slurred give-and-takes with the whiskey vendors, festgoers can attend straight-up presentations from people like Fred Noe, the great-grandson of Jim Beam.

SAN FRANCISCO WHISKYFEST Tues/23, 6:30–10 p.m., $105. Hyatt Regency San Francisco, 5 Embarcadero Center, SF. (415) 788-1234, www.maltadvocate.com/whiskeyfest-sf.asp

Arnie takes over ferries, does Newsom take ferry?

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Gov. Arnold Schwarzenegger’s calvacade zoomed past me today as I left Alameda island. They were coming from the Alameda ferry terminal, where Arnie and SF Mayor Gavin Newsom and Oakland Mayor Ron Dellums had just held a press conference to mark the formation of a new agency.

It’s called the San Francisco Bay Area Water Emergency Transportation Authority, or WETA,and it’s aimed at bolstering ferry service as a fallback if a disaster takes out area bridges and highways. Like an earthquake or a Maze meltdown, we guess.

WETA was created by a bill that the Governor signed on Friday, October 12, and will get $250 million in infrastructure bonds passed last November to begin building more ferries and ferry terminals.

I suppose that means that there won’t be money for more free rides if and when emergencies happens. Remember the Maze meltdown earlier this year? At the time, I naively thought they’d make the ferries free for as long as it took to replace the freeway connector that had melted to toffee after a truck driver lost control of his rig and crashed.

But, no-oooo.

Plug in, turn on, and feel the noise at the Headphone Fest

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Yep, it’s that time of year again – time to break out the old headphones and plug into some experimento sounds at [:]PLUG3[:], San Francisco’s third annual Global Headphone Festival. Expect the transmission of 48 live local performances, in conjunction with the tenth annual International Headphone Festival, Le Placard X, a self-organized, nonstop streaming, migrating “interaural” experiment.

Organizers advise you to BYOH or bring your own headphones to the event running Sat., Oct. 13, to Sun., Oct. 14, 1 p.m.-1 a.m. both days., at the Lab, 2948 16th St., SF. $5 sliding scale. (415) 864-8855.

Performers include:
100S OF DISMEMBERED HANDBAGS
666GANGSTAZ
ANTHONY MARIN
BEATLE
BEYTAH
BLUE VITRIOL
BLOODY SNOWMAN
CATSYNTH
CONRAD LEWBEL
CYPOD
DELETIST
DOUBLE VISION
DUD
FILTHMILK
FORMS OF THINGS UNKNOWN
GATHER THE BONES (trance viola drone)
HALCYON HIGH
HEADBOGGLE
HEARTWORM
HORAFLORA
JUSTINO
LANCE GRABMILLER
LES TROIS FEUILLES / 3 LEAFS
LNA
LX RUDIS
MAGNANIMOUS
MATT DAVIGNON
MNEMOTH (black noise)
MOISTURE
MY HELICAL ELK
NOMMO OGO
NO NO SPOT
OZMADAWN (sci-fi noise drone)
PAGAN/PRESLEY (electronic improvisation)
PATRICE SCANLON
PISTOLS WILL AIR
PU22L3
RASTER ROOBIT (strings & pedals)
RESPECTABLE CITIZEN
SAKANA
SLITHER SYNDICATE
SOUNDTRACK FOR A MOVIE ABOUT A DREAM ABOUT NOTHING
TROY BYKER (ambient/experimental)
TELEPATHIK FRIEND
TULLAN VELTE
WELDSCHMERTZ (dual cello drones by members of FILTHMILK + DELETIST)
WESTERN ADDITION
ZENTROPIA

Fashion en-CAPSULE-ated

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By Amber Peckham

If you were inspired by the cool and quirky products in our Style insert this week, make sure you take a few hours to check out the CAPSULE Design Festival this Sunday in Hayes Valley (all around the Hayes Valley Green). Around 140 Bay Area and West Coast designers will be there, all independent, all unique, and all chic.

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Mediums To Masses

This showcase of Bay Area creativity goes above and beyond the normal street fair fare, offering everything from Hilary Williams’s handmade stuffed toys made from scrap fabric to the meticulously crafted tablewares of Mediums to Masses. (And of course, waaaay too much adorable clothing and jewelry to even begin to mention.) Whatever your tastes or price range, there is sure to be at least one must-have in the two block spread of style, and a complete list of the designers who will be there is on the event’s website, with each named handily linked to an information page. If you intend to go check it out, it might be wise to scout out your favorites ahead of time, as odds are the products will be going fast—over 6000 people are expected to attend.

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Creepy? Doll from Hilary Williams

CAPSULE Design Festival
Sunday, October 14, 2007
11:00 am-6:00 pm
Hayes Valley Green
Octavia and Hayes Streets, SF
www.capsulesf.com