SF

Green City: People versus death monsters

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› steve@sfbg.com

GREEN CITY Pedaling or walking along a Panhandle pathway is the essence of green, a simple act of sustainable living and connection to a natural area within an urban core. It’s a calming, transformative activity — at least until you get to Masonic Avenue and the telling words painted on the path: "Death Monsters Ahead."

The death monsters, a.k.a. automobiles, that bisect this three-quarter-mile-long green runway into Golden Gate Park would be jarring even if traffic engineers had made that intersection the best it could be. Instead, it’s closer to the opposite — dangerous, illogical, and frustrating for all who must navigate it, a testament to what happens when the primary intersection-design criterion is moving cars rapidly.

After getting word of a rash of bicycle- and pedestrian-versus-car accidents at the Masonic-Fell intersection in recent months, Walk SF and the San Francisco Bicycle Coalition reinitiated (two years ago, it was the same story) a voluntary crossing-guard program on Saturdays and weekday evenings and lobbied City Hall to finally do something.

Sup. Ross Mirkarimi took up the cause, announcing at the June 26 Board of Supervisors meeting, "I find it simply unacceptable that the city has ignored the problem to the point where a volunteer program has become imperative. Traffic safety is a baseline city responsibility."

Mirkarimi is asking the San Francisco Municipal Transportation Agency, which has responded to years of complaints about this dangerous intersection with only minor and ineffective tinkering, to finally make a substantial change. He and the activists want a dedicated signal phase for pedestrians and bikes and a dedicated left-turn lane for cars coming off Fell.

It doesn’t take a traffic engineer to see what’s wrong with this intersection. Cars trying to turn left onto Fell from busy Masonic regularly get stranded by a red light and are stuck blocking the crosswalk. Even more dangerous is when bikers and walkers cross on their green light only to find cars — which also have a green light — turning left from Fell Street, cutting across their path.

The problem is vividly illustrated with too much regularity. I can still picture the female bicyclist who flipped through the air and crumpled to the ground a few feet from me after getting hit hard by a motorist. It was almost three years ago, but it remains a vivid, cautionary memory.

I was riding my bicycle west on the Panhandle trail, even with the motorist. Our eyes locked, his anxious and darting, and I knew he might try to cut me off, so I slowed. Sure enough, the driver made a quick left in front of me and hit the bicyclist coming from the opposite direction, who assumed that the green light and legal right-of-way meant she could continue to pedal from one section of parkland to the next. Instead, she joined a long list of Fell-Masonic casualties, to which attorney Peter Borkon was added May 19, a few days shy of his 36th birthday.

Borkon was on his road bike, training for the AIDS Life Cycle ride, when he cautiously approached the intersection, slowed, and unclipped from his pedals. When the light turned green, he clipped in, crossed into the intersection, and then, he says, "I was run over by a Chevy Suburban."

He was hit so hard that he broke his nose and gashed his face on the car, an injury that resulted in 15 stitches, and was thrown 10 feet. The fact that he was wearing a helmet might have saved his life, but he nevertheless went into shock, spent a day in the hospital, and is still waiting for the neurological damage to his face to heal.

How dangerous in that intersection? When I asked the MTA for accident statistics, a response to the criticisms, and a plan of action, public information officers Maggie Lynch and Kristen Holland first stonewalled me for two days and then said it would take two weeks to provide an answer.

Maybe Mirkarimi will spark a change, or maybe the MTA will just keep doing what it’s always done: plod along at a bureaucratic pace with tools ill suited to an evolving world that must do more to facilitate walking and bicycling as safe, attractive transportation options, even if that means delaying the death monsters.*

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

The golf club

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› news@sfbg.com

For the better part of a century, San Francisco’s public golf courses have offered players relatively inexpensive rates, belying the view of some that this is an elitist sport incompatible with progressive civic governance. But since a botched revamp of the Harding Park course several years ago, golf operations have landed in the rough, siphoning large sums from city coffers every year. Now Mayor Gavin Newsom and his Recreation and Park Department claim that private businesses would do a better and cheaper job of running three of the city’s most valuable links.

Sup. Jake McGoldrick and other privatization opponents say outsourcing control of the Harding, Fleming, and Lincoln courses would inevitably lead to less access for the general public and higher costs. "A lot of folks don’t realize that the Golden Gate Yacht Club and the St. Francis Yacht Club are public assets that are now run as private membership clubs, elitist things," McGoldrick told the Guardian. "That’s certainly the way this could go."

McGoldrick has called for the formation of a Golf Course Task Force to explore nonprivatization solutions, including converting some of the courses into parks or open space, as the Neighborhood Parks Council has urged. On July 10 the Board of Supervisors will decide between McGoldrick’s plan and Rec and Park’s "hybrid management" resolution, which would award leases of 20 to 30 years for the courses. Political handicappers say the vote could go either way.

In addition to their concerns about prices and accessibility at privately run links, McGoldrick and others have serious reservations about who will run the courses if the mayor’s plan succeeds. No one we spoke with could name potential bidders with any certainty, but if the past is prologue, the choice is likely to involve political cronyism.

Golf advocate Sandy Tatum engineered the deal that turned Harding Park over to the management of Kemper Sports, which has been accused of overspending public funds and turning the course into a huge drain on the city treasury. Kemper also rents space to Tatum’s First Tee program. More recently, another nonprofit started by Tatum and former city attorney Louise Renne initiated and funded a study for Rec and Park that recommended more privatization by turning over courses to entities such as theirs.

The SF Weekly, which has run stories critical of the city’s golf privatization scheme, revealed a 1990s deal that privatized a city-owned course near Burlingame and, in what it deemed a corrupt selection process, handed control of the course to former Willie Brown staffer Tom Isaak.

In 2004, Tom Hsieh, one of Newsom’s key campaign consultants, submitted the sole bid for control of Gleneagles Golf Course in McLaren Park. Neither Hsieh nor his business partner, real estate investor Craig Lipton, had ever run a golf course before winning the contract for Gleneagles. But what really raised eyebrows around City Hall were the terms of the deal. Any lease of more than 10 years would have needed approval by the Board of Supervisors, so Hsieh and Lipton were given a nine-year contract.

"That was a very obvious and blatant end run around the contract requirements of the Board of Supervisors," McGoldrick told us. Hsieh, he went on to say, "is one of the mayor’s good buddies, and he got himself a nice contract out there."

Rec and Park spokesperson Rose Dennis defended the lease agreement with Hsieh, telling us, "At the end of the day, he legally got the concession. It wasn’t like it was put down to a nine[-year contract] to screw anybody. That would suggest a level of sophistication that Rec and Park just doesn’t have."

Reached for comment, Hsieh bristled at the suggestion that he landed the contract because of his ties to the mayor, writing in an e-mail that the mere suggestion was "a scurrilous attack motivated by politics." Hsieh did not answer our repeated requests for information about wage levels at the Gleneagles course and the number of groundskeepers employed there. McGoldrick and sources in the industry assert that one of the main ways private managers would make money from the other courses would be to reduce labor costs.

Sup. Sean Elsbernd, one of the privatization plan’s strongest backers, conceded that some past golf contracts have been "questionable," specifically in the case of Hsieh’s deal. But he said the supervisors would oversee the leasing process this time to avoid cronyism and the kind of spending excesses allegedly committed by Kemper Sports. They would also mandate that new managers continue to employ union employees.

Unlike the city, Elsbernd argued, private businesses could invest large sums of money in rehabilitating the courses, especially Lincoln. "When it gets that kind of [cash] infusion," Elsbernd said, the course "is going to see a turnaround in revenue so that you can actually justify charging higher fees."

That is exactly the kind of scenario privatization foes fear: more exclusive golf courses on public land that raise greens fees beyond ordinary people’s means. "These courses are untapped gold mines," said golf instructor, former pro, and activist Justin Hetsler, who has formed a nonprofit group, Golf San Francisco, to lobby against the mayor’s plan. "But every penny spent at the courses should go back into them, not into someone’s pocket as profit." As for capital improvements, Hetsler, who also works as an accountant, argued, "The courses’ future revenue streams can secure credit for improvements. That does not require privatization."

For McGoldrick, this debate is about far more than golf courses. "I don’t even play golf," he told us. The push to outsource control of the links, he said, reflects a larger philosophical battle about what to do with publicly owned resources. "The mayor is a pro-privatization kind of guy. That’s his MO…. We’re seeing this happen all over the place, not just San Francisco. But for me, it’s just painful to watch city assets [be] given away. It really kicks me in the gut." *

Pick-nik season is so on…

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Step right up for the git-pickin’ pick o’ the litter at the first annual San Francisco Picker’s Picnic on Friday, July 6, at Bottom of the Hill.

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King City with child.

Joe Price with Vicki Price, King City, Craig Ventresco with Meredith Axelrod, Gaucho, and Pat Johnson will be your shred-meisters. Your host: Chewy Marzolo – player of heavy metal, bluegrass, cartoon swing Latin soundtrack, rag, burlesque, abso-futurist black/death metal, gypsy jazz, cabaret, country, and he says, “a few other types of not-very-popular-to-the-hipsters styles of music in San Francisco for…well…let me see here…um…a very long time.”

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Joe Price in action.

This time Marzolo bites into a first – the Picker’s Picnic. Among the offerings are the Iowa Blues Hall of Fame inductee Joe Price; gypsy jazz combo Gaucho (with Ralph Carney); and Marzolo’s own band, King City, who describe themselves as “a five-piece ragtime/tango/Latin/spaghetti western
instrumental San Francisco bonifiedly warranted excuse for a good time.” By the way, King City’s first official CD, The Last Siesta, comes out this summer on Spencer Muray’s Antebellum label and the cover was painted by graf giant Twist, aka, Barry McGee.

It’s all on July 6, 9 p.m., at Bottom of the Hill, 1233 17th St., SF. $10. For more info, go to www.myspace.com/pickerspicnic. Be there – or be home pickin’ on your own.

Brazilian psych free-for-all!

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By Sean Manning

Nearly 40 years ago, Brazil’s Os Mutantes sewed the seeds of their now-legendary status by creating a pastiche of hallucinatory sounds and good ole fashioned Beatles-like harmonies so fluidly that they’ve inspired a whole new generation of followers extending far beyond the city limits of their native Sao Paulo.

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After a successful reunion stint last year, the Baptista brothers – minus founding member Rita Lee – will be doing it again this year for a handful of performances. One of those will be for the Stern Grove festival on Sunday, July 15, with Venezuelan rockers Los Amigos Invisibles supporting. There aren’t many opportunities to get this kind of experience for free, so make sure you show up early to catch the band before you miss your chance.

Os Mutantes perform Sunday, July 15, 2 p.m., at Sigmund Stern Grove. 44 Page St, SF. Free. (415) 252-6252.

The Nation blasts SF Weekly’s parent

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By Tim Redmond

Long, detailed article in the Nation this week by John Wiener on how sharply the LA Weekly has declined since Village Voice Media, the parent company of SF Weekly, took over.

It’s exactly what a lot of us predicted: No more endorsements. No more progressive politics. No more reporting or commentary on the war in Iraq. Sad.

The Chronicle’s looney

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By Tim Redmond

The San Francisco Chronicle apparently thinks a retired Wall Street Journal reporter who now lives in Berkeley and who wrote a remarkably homophobic piece on San Francisco politics way back in 1995 is the perfect persion to comment on the current Board of Supervisors. His piece, on SFGate, has the headline “Clown Show: The Board of Supervisors SF deserves? His point, it appears, is that the large queer community in San Francisco and the looney liberals here have elected a bunch of crazies to the board.

I would ignore this shit, except that it comes in the wake of all the Chris Daly bashing (much of which is factually inaccurate — Daly never accused the mayor of doing cocaine) and will, no doubt, fuel a new attack on district elections.

So let’s be real here: This district-elected board is hardly a crew of wackos. The board has done exceptional work over the past few years, passing landmark legislation that has put San Francisco in the forefront of American cities on progressive policy.

Double trouble

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› a&eletters@sfbg.com

Rosie O’Donnell, in a recent New York Times article about the TV star’s video blog, has been outed as a woman of many personalities. The piece notes the shades of O’Donnell’s various public talk-show personae, from closeted lesbian girl next door to outspoken View-er, and surveys her current makeup-free webcam self. Yet O’Donnell is simply following what legions of the less famous do via MySpace pages and YouTube postings: compose and experiment with low-budget media selves.

Artists, along with actors, have, in theory, a slight advantage in exploring this territory. They must consider the formal constraints of presentation in a gallery, yet plenty have managed quite well by dressing up as new incarnations drawn from their imaginations or obsessively charting personal information. In exhibition spaces, this stuff either hits a universal note or collapses under the weight of vanity.

The current exhibits by Alice Shaw at Gallery 16 and Kelli Connell at Stephen Wirtz Gallery walk that taut psychological tightrope and thankfully keep their balance. Both artists work with photography, a medium conducive to entertainment and realism. Both shows are seductive, witty, and disturbing as they extend dialogues put forth by artists such as Claude Cahun, Cindy Sherman, and Nikki S. Lee, who in different eras effectively confounded ideas of fixed identity by taking on different roles in their photographic projects.

Shaw immediately suggests schizophrenia by titling her solo exhibition "Group Show." It includes three bodies of work, all by Shaw and all addressing the notion of reflected or fractured selves. One of her identities is a photographer, and the first series involves appropriating works by 19th-century photographers Charles Dodgson, a.k.a. Lewis Carroll, and E.J. Bellocq, whose images of prepubescent girls and New Orleans prostitutes, respectively, employed a nascent medium to indulge visual preoccupations. Using lenticular printing — the plastic layering that creates the postcard illusion of a winking Jesus — Shaw fuses works by each artist to reveal nearly identical poses and create a compact narrative of ripening sexuality. First you see a young girl standing in a nightie; with a slight shift in view, you see a more mature woman doing the same. The juxtapositions of the photographers’ works also recall tales of twins separated at birth who unknowingly go down parallel paths.

The second series follows a previous body of work in which Shaw sought out mirror selves. She developed her own character by photographing herself with a male grocery store clerk, friends, dates, her dad (artist Richard Shaw), and even Matt Gonzalez. The results are collected in a Gallery 16–published book, People Who Look Like Me (2006). For this show, she sought the opposite of herself, a self-described "small, white, middle-aged woman": a leggy young African American tranny named Ryhanna. The pair, in separate shots, strike similar boudoir poses in a sparsely furnished Victorian, subtly mirroring the Dodgson-Bellocq images hanging across the gallery. The two models appear in various states of undress, makeup, and sauciness, though both play on their mixture of male and female traits. The artist sometimes seems most confident posing in a wife beater, while Ryhanna appears equally self-assured showing off lace panties and her penis. Shaw’s artistic demeanor is deadpan, so there’s a comic appeal to these images. Both seem to ham it up for the lens, which also effectively channels discomfiting racial overtones and the way a different personality arises when we stand before the camera.

Connell doesn’t pose for her large, glossy photographs in "Double Life," but the pictures immediately suggest an intimate form of role playing. In each of her photographs, there are two figures seen in the midst of psychologically and sexually charged moments. They are enmeshed in a serious discussion, poised for a kiss or a fuck, or lighting sparklers on a grassy field. As in Sherman’s work, all quickly conjure narratives. Are they a happy couple or about to break up? Straight or gay? Eventually you realize that all the figures are the same woman, a friend who has been the artist’s exclusive model for the past few years.

As the 33-year-old Connell is part of a generation that has few qualms about Photoshop magic, her work is less about seamless digital manipulation than about hefty psychosocial concerns in contemporary life. Connell has said her pictures are an "honest representation of the duality or multiplicity of the self." She does this by literalizing the myth of Narcissus, a tale that involves longing, incest, and the curse of delusion. The convincing reality of the pictures also heats up dialogues about homosexuality, cloning, and, ultimately, the highly constructed nature of identity. Without ever needing to appear on TV. *

ALICE SHAW: "GROUP SHOW"

Through July 12, free

Mon.–Fri., 9 a.m.–5 p.m.; Sat., 11 a.m.–5 p.m.; and by appointment

Gallery 16

501 Third St., SF

(415) 626-7495

www.gallery16.com

KELLI CONNELL: "DOUBLE LIFE"

Through July 14, free

Tues.–Fri., 9:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5:30 p.m.

Stephen Wirtz Gallery

49 Geary, SF

(415) 433-6879

www.wirtzgallery.com

Fix Newsom’s bad budget

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EDITORIAL Annual budgets can seem wonky and impenetrable, but they’re perhaps the most important statements of a city’s values and priorities. That’s why it’s critically important for the Board of Supervisors to make significant changes to Mayor Gavin Newsom’s proposed $6 billion spending plan, which is out of step with what San Francisco should be about.

Ideally, this month’s budget hearings would be informed by an honest and open discussion of what Newsom proposed in his June 1 budget, how it affects residents and Newsom’s political interests, and where the board might want to make some changes.

Unfortunately, both the San Francisco Chronicle and the Examiner have failed to offer a substantial analysis of the budget; instead, they’ve focused on sensational headlines about whether the mayor has used cocaine, personality conflicts between Newsom and Sup. Chris Daly (including a pair of over-the-top hit pieces on Daly in the June 23 Chron), and misleading spin coming from Newsom’s office and reelection campaign.

But there’s plenty of good budget analysis out there, thanks to the work of city agencies such as the Controller’s Office and the Board of Supervisors’ Budget Analyst Office, nonprofits like the People’s Budget Coalition, smart citizens like Marc Salomon, and reporting by the Guardian‘s Sarah Phelan ("The Budget’s Opening Battle," 6/20/07) and Chris Albon ("Newsom Cuts Poverty Programs," 6/20/07).

What that analysis shows is that the mayor’s much-ballyhooed "back-to-basics" budget — which prioritizes public safety, cityscape improvements, home ownership programs, and pet projects such as Project Homeless Connect — would make unconscionable cuts to essential social services and affordable housing programs, rely way too much on gimmicks and private capital to address public needs, and offer almost nothing that is innovative or befitting a progressive city at a crucial point in history.

Some specific examples and recommendations:

Newsom’s 4 percent cut in the Department of Public Health budget — which his appointed Health Commission took the unusual step of refusing to implement because the fat has already been trimmed away in previous budgets — is unacceptable. It would slash substance abuse treatment, homeless and HIV/AIDs services, and other programs that would simply be unavailable if the city didn’t fund them. The board should fully restore that funding and even consider providing seed money for innovative new programs that would help lift people out of poverty. Only after the city fully meets the needs of its most vulnerable citizens should it consider cosmetic fixes like expanded street cleaning.

• The budget should strike a balance on cityscape improvements that is lacking now. Contrary to the alternative budget proposed by Daly, which would have cut the $6.6 million that Newsom proposed for street improvements, we agree with the SF Bicycle Coalition that many streets are dangerous and in need of repair. It’s a public health and safety issue when cars and bikes need to swerve around potholes. But the $2.9 million in sidewalk improvements could probably be scaled back to just deal with accessibility issues rather than cosmetic concerns. And we don’t agree with Newsom’s plan to add 100 blocks and $2.1 million to the Corridors street-cleaning program, which already wastes far too much money, water, chemicals, and other resources.

As we mentioned last week ("More Cops Aren’t Enough," 6/20/07), the police budget doesn’t need the extra $33 million that Newsom is proposing, at least not until he’s willing to facilitate a public discussion about the San Francisco Police Department’s mission and lack of accountability. Sup. Ross Mirkarimi (a progressive who is strong on public safety and even clashed with Daly over the issue) was right to recently challenge the terrible contract that Newsom negotiated with the cops, which gives them a 25 percent pay increase and asks almost nothing in return.

Newsom’s housing budget would move about $50 million from renter and affordable-housing programs into initiatives promoting home ownership, which is just not a realistic option for most residents and represents a shift in city priorities that serves developers more than citizens. Some of that change is specific to a couple of big owner-occupied yet fairly affordable projects in the pipeline for next year, but the budget also does little to address the fact that we are steadily losing ground in meeting the goal in the General Plan’s Housing Element of making 62 percent of new housing affordable to most residents, when we should be expanding these programs by at least the $28 million that the board approved but Newsom rejected. Similarly, the board should keep pushing the Housing Authority to apply for federal Hope VI funds to make needed improvements to the public housing projects rather than supporting Newsom’s Hope SF, which purports to magically turn a $5 million expenditure into $700 million in housing — as long as we accept the devil’s bargain of 700 to 900 market-rate condos along with the public housing units.

Finally, there are lots of little items in Newsom’s budget that could be cut to find funding for more important city priorities. Don’t give him $1.1 million to hassle the homeless in Golden Gate Park or $700,000 for his New York–style community court in the Tenderloin.

The bottom line is that a progressive city should not be pandering to the cops, punishing the poor, and polishing up its streets when so many of its citizens are struggling just to find shelter and make it to the next month. Newsom has forgotten about the ideals that the Democratic Party once embraced, but it’s not too late for the Board of Supervisors to correct that mistake. *

Crazy

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› news@sfbg.com

Shortly before midnight on April 21, 2001, Jason Grant Garza walked into the psychiatric wing of San Francisco General’s emergency room and said he was having a mental health crisis. A staffer there refused to admit him. When Garza insisted on seeing a doctor, he wound up strip-searched and thrown into jail. Now, after six years of legal wrangling and bureaucratic buck-passing, SF General has officially conceded that Garza was denied proper service. But Garza says he is still waiting for the help he needs and the justice he demands.

As I sat across from Garza on a recent afternoon, it wasn’t hard to imagine a busy hospital worker or government official blowing him off rather than dealing with his frenetic energy. Diagnosed with a so-called "adjustment disorder," Garza was intense, to say the least. Running his hands through his wiry, gray-streaked hair and leaning over the table as he spoke, the 47-year-old Panhandle-area resident railed against "the system" for well over an hour. At one point, he likened his suffering to that of "a starving kid in Africa … [except] the starving kid in Africa still has hope. I have none of that."

Garza’s ire and his penchant for hyperbole might be exasperating at times, but his behavior also seems to bolster his main contention — that he needs help with his mental health, help that he claims a flawed public health care apparatus has failed to provide. He says his attempts to receive care and support have only exacerbated his condition, increasing his isolation and his sense of persecution. "I’m dead right," he said repeatedly. "And yet I’ve gotten nothing for it."

Garza declined to recount specific details of his story or be photographed. Instead, he referred the Guardian to a 2003 deposition he gave to deputy city attorney Scott Burrell. According to the deposition, his ordeal began shortly after his lover and "soulmate" killed himself in January 2001. That April, Garza became despondent over his loss and called a suicide hotline. The phone counselor directed him to visit SF General’s Psychiatric Emergency Services.

Garza took a cab to SF General and told PES charge nurse Paul Lewis that he was "wigging out" and badly needed to see a doctor. According to Garza’s deposition and other court documents obtained by the Guardian, Lewis asked him if he was suicidal. Garza is quoted in his deposition as responding, "If I was crossing the street and fell, I don’t know if I’d get up." Lewis determined that this answer meant Garza was not suicidal and thus not in need of emergency care. He asked Garza to leave. When Garza refused, the hospital’s institutional police escorted him out.

Garza did eventually get into the hospital that night, but not in the way he was hoping. After he was ejected from the premises, he stole back into the main lobby and called city police to help him receive treatment. But hospital cops returned instead and stuck him in a holding room. Sheriff’s deputies arrived four hours later, early in the morning of April 22. They arrested Garza for trespassing and possession of marijuana, even though he had a prescription for medical cannabis in his wallet.

At the city jail, Garza finally got someone to acknowledge that he was experiencing a psychiatric emergency. He says he told jail staffers that he "didn’t care if he lived or if he died," and as a result, he was stripped of his clothes and placed naked in a cell for his own safety. "That nurse [at the jail] classified me as an emergency," Garza told us. "So one says I’m in an emergency, and the other [at SF General] says I’m not…. At what point am I going to get any help?"

To recap: When Garza voluntarily tried to find care, he was told he was not sufficiently distressed. Only when he was arrested and thrown into jail for demanding help was he declared a danger to himself. His "treatment" consisted of a strip search and a jail cell.

But that’s only the beginning of the insanity.

The Emergency Medical Treatment and Active Labor Act was passed in 1986 to prevent hospitals from triaging out, or dumping, difficult or impoverished emergency room patients like Garza, a former business owner, cabdriver, and bookkeeper who has been on Social Security disability since 1995. EMTALA mandates that any patient who goes to an ER must be given an "appropriate medical screening examination." After he got out of jail, Garza sued the city, SF General, Lewis, and other city employees, contending they violated his rights under the act. He could not afford a lawyer, so he represented himself.

In one of the strangest twists of this twisted tale, Garza finally made it into the inner sanctum of SF General’s PES as a result of his suit against the city. But as with his night in jail, the circumstances of his psychiatric care were not what he was expecting.

While Garza was giving a deposition at the City Attorney’s Office in March 2003, his behavior prompted staffers to call in the authorities. According to an official report of the incident, Garza made suicidal remarks like "I have no desire to live." He also allegedly said that he "needed/wanted bullets and a gun." These statements are not present in the 168-page deposition. Garza did acknowledge to the Guardian that he became upset that day, especially when questioned about his experiences at SF General and the suicide of his lover, but he claimed that deputy city attorney Burrell "set him up" and that the calls to the mobile crisis unit and police were part of "an attempt at witness intimidation." Whatever the reason for the calls, Garza was detained for a 5150, a procedure under which subjects are involuntarily committed for up to 72 hours. The City Attorney’s Office had no comment on the issue.

Amazingly, police took Garza to the same PES department at SF General where the saga began. This time, though, he made it past the lobby and received a medical screening exam, marked by a report and other SF General paperwork. The mere fact of this report’s existence, Garza claims, proves that he did not receive proper care when he went to the hospital voluntarily in 2001. Deputy city attorney Burrell informed Garza by letter that the only record the hospital could produce from his 2001 visit was a triage report filled out by Lewis, the nurse. EMTALA does not permit triage of a patient without a subsequent medical screening examination.

However, in pretrial motions, the city argued that Lewis treated Garza like any other would-be patient and thus complied with the law: "EMTALA requires hospitals to provide a screening examination that is comparable to that offered to other patients with similar symptoms." In other words, Garza’s treatment may have been poor, but so was everyone else’s, so he had no case, the city contended. Judge Phyllis J. Hamilton agreed and tossed out the suit.

Perhaps the strongest proof of Garza’s "adjustment disorder" and need for psychiatric care, ironically, is the fact that he continued to press his case even after his lawsuit was tossed out, taking on a health care system that could make anyone feel unhinged. For the past six years, he says, he has badgered "10 to 15" local, state, and federal agencies, as well as government officials like Sup. Bevan Dufty and aides to House Speaker Nancy Pelosi (D–San Francisco). In the process, he has compiled an encyclopedic collection of letters, petitions, records, and even audiotapes of phone conversations.

"There isn’t a single agency that’s in charge of anything," Garza said of his dealings with the health care bureaucracy. "You’re parsed. You’re sliced and diced and parsed as a medical patient … and it’s designed to fail."

Not surprisingly, Garza’s efforts to find accountability have irked some officials and members of the bureaucratic corps. When he requested a copy of his arrest report from the Sheriff’s Department, he received a mocking denial letter signed "R.N. Ratched," a reference to the asylum nurse in Ken Kesey’s novel One Flew over the Cuckoo’s Nest. As the Guardian reported in 2002, Sheriff’s Department legal counsel Jim Harrigan eventually confessed to penning the letter, but only after Garza raised a fuss before the Sunshine Ordinance Task Force.

At Garza’s urging, the Centers for Medicare and Medicaid Services (CMS) asked the California Department of Health Services to investigate his treatment at SF General. In a letter dated Nov. 13, 2006, CMS official Steven Chickering informed Garza that the DHS "found no violation of statue [sic] or regulations." Chickering concluded his letter to Garza by warning him to back off. "Your frequent communications have become disruptive, distracting, and nonproductive. Therefore I have instructed CMS Regional Office staff not to accept telephone calls from you in this matter."

Despite his setbacks with the CMS and other agencies, Garza pressed on. He contacted the Office of Inspector General at the federal Department of Health and Human Services and asked it for help. OIG spokesperson Donald White declined to discuss specific details of Garza’s case, but he did tell the Guardian that "Mr. Garza came to [the OIG] directly, and we contacted CMS, and they conducted another investigation."

That second investigation found an EMTALA violation after all.

On April 19, Garza’s relentless — some might say quixotic or even crazy — pursuit of what he calls the truth finally produced some results. Nearly six years to the day after his 2001 visit to SF General’s PES, hospital officials inked a settlement agreement with the OIG in which SF General conceded that Garza had not been examined properly, a violation of section 1867(e)(1) of EMTALA. Section 6 of the settlement states plainly that the hospital "did not provide [Garza] with an appropriate medical screening examination on April 22, 2001."

The hospital agreed to pay a fine of $5,000. But Garza, as White told us, "is not a party to the settlement." In other words, he got nothing.

"That’s the way EMTALA works," White said, meaning that hospitals found in violation of the law pay restitution to the government, not to the victim. "We took the steps required under the law."

Reached by phone, Iman Nazeeri-Simmons, SF General’s director of administrative operations, acknowledged that hospital officials signed the settlement agreement but noted that in the course of the investigation leading up to it, "the state did give us a very thorough EMTALA survey and came out with no problems."

"It has been made clear to Mr. Garza that he is more than welcome to come back and access services here," she added.

Garza denied that he had received any follow-up calls from SF General offering services, and he balked at the idea of returning there: "That’s like sending someone back to the priest that molested them." He told us he would like to pursue further legal action against the hospital and the city but still has not found a lawyer. After the settlement was signed, he claimed, he asked officials at the OIG "where I could go now for legal and medical help, and they told me, ‘That’s not our jurisdiction.’ "

"So even though I’m dead right, I’m still without help because everybody’s pointing fingers … as opposed to getting me the help I need, because they don’t care, they’re unaccountable," Garza said. "Ten different agencies told me I was wrong, and now [with the settlement] I’m right?"

He threw up his hands. "Does that make sense to you?" *

The hot rock

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› a&eletters@sfbg.com

It’s strange taking on a profile of a band so steeped in a musical language with which you were once not just fluent but even obsessed. I would have adored New York City rockers Battles when I was 19, their power-through-precision métier appealing to my penchant for all things prog and post, the words "ex-Helmet drummer" (that would be the band’s John Stanier) acting as foolproof elixir. But if I’m not so easily impressed by intensity and general hugeness these days, that only makes my response to the evident dynamism on Mirrored (Warp) seem all the more incontestable.

Not that anyone ever doubted Battles’ credentials: in the school of rock, these guys are definitely PhDs. Beyond Stanier’s heavy days with Helmet, Ian Williams’s guitar tapping was a cornerstone of Don Caballero’s pioneering math rock. Guitarist Dave Konopka put in time with Lynx. Multi-instrumentalist Tyondai Braxton still gets tied to his dad — avant-garde jazz colossus Anthony Braxton — though it’s worth noting he’s done lots of compelling work on his own, including 2002’s History That Has No Effect (JMZ).

There’s plenty of firepower here, though Mirrored doesn’t sound like the work of a typical, ego-fueled supergroup. Reflecting on the ensemble’s beginnings in 2003, Williams relates, "It was about starting from scratch rather than having it be the guy from Helmet doing what he’s supposed to do and the guy from Don Cab doing what he’s supposed to do and so on." Battles’ music is certainly cohesive, to the point of being migraine inducing. Williams is on the road between shows in Charlotte, NC, and Atlanta when we talk, and he sounds a bit mystified that some people still view Battles as a side project. "The reality is this band has taken up all of our time these past few years."

Part of this lingering getting-to-know-you talk clearly has to do with the group’s measured ascent: Battles took four years to release their first album, after all. While Williams says that part of why Mirrored took so long is simply a matter of the logistics of England’s Warp Records repackaging the band’s 2004 EPs — EP C (Monitor) and EP B (Dim Mak) — it’s clear that there were designs to build from the ground up. "One thing about the EPs was that they originally came out in the States on three separate small indie labels, and it took people a while to find out about it, and that was a conscious thing … just to have it be more word-of-mouth," Williams explains. "Another purpose of taking our time was in wanting to find our own sound, our own reason for being a band."

That sound — fractal, propulsive, profoundly stimulated — is mapped out in Mirrored‘s opening minutes. A tightly wound snare part rides the rails of muted guitar runs before "Race: In" blooms into a giant, Tortoise-size crescendo. The quartet then doubles back on the core rhythmic elements, which are projected through a half-dozen modes during the song’s five prismatic minutes. The video for the full-length’s glam-inflected single, "Atlas," offers a spot-on visual approximation: the band members play in a mirrored cube, their bobbing, duplicated forms angling in on one another as their respective parts interlock in so many different combinations.

"I guess it is a tension between enjoying far-out music that can sound inaccessible … but at the same time not thinking it should be unnecessarily difficult," Williams says of Battles’ strategy. "I think our approach is that there’s no reason it shouldn’t hit you on a primal level … even though you can take it in a thinking way too." I think it’s safe to say plenty of people are, none more than the 19-year-olds surely losing their minds to Battles and Mirrored this very minute.*

BATTLES

With Ponytail

Mon/2, 8 p.m., $15

Slim’s

333 11th St., SF

(415) 255-0333

www.slims-sf.com

The fundamentals of Fucked Up

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You needn’t be too wary of the dialogue surrounding Fucked Up, Toronto’s jewel of esoteric hardcore punk. The members’ beliefs and their names are hidden, but they’re not out to brainwash anybody. And they’re certainly not hiding anything in the songwriting department: the melodies are blistering and as uninhibited as the band, which has a knack for subverting punk conventions.

"For hardcore bands especially, politics are often made out to be black-and-white," rhythm guitarist 10,000 Marbles says on the phone from Toronto. Critics and listeners have puzzled aplenty over this pseudonyms-only band in their attempts to pin down Fucked Up’s political allegiances. Before releasing its debut, Hidden World, on Jade Tree last year, the band had spent the prior five years releasing 17 vinyl singles with artwork and lyrics that cited magick, anarchism, the Spanish Civil War, and André Gide. These may look to be the makings of a bizarre cult agenda, but Fucked Up’s "culture of confusion" and conflicting political ideas — the most bizarre instance coming in the form of a photo of a Hitler Youth rally on the cover of its 2004 split single with Haymaker on Deep Six Records — are more about kick-starting independent thought than advancing any specific, concrete ideas.

"We originally wore the anarchist tag pretty proudly," rhythm guitarist Gulag says, also calling from Toronto. "But now we’re more interested in leapfrogging cultures and ideas. It’s a more fulfilling way to live, if a little unprincipled." As amorphous as the members’ personal beliefs may be, Fucked Up doesn’t express any disdain for punk as a sound: Mustard Gas’s bass lines and vocalist Pink Eyes’s deep growl-howl are quite reverent toward the ghosts of hardcore past, and surprisingly enough, the band’s new 12-inch, Year of the Pig, marks its first waltz with rhetorical clarity and straight-ahead activism. The A-side title track examines the ongoing problem of violence toward women through the lens of prostitution, which is legal in Canada. It’s the culture of repression and guilt surrounding these subjects that has inspired the unusually pointed song, 10,000 Marbles says: "It’s taboo issues like sex work that people like us have a responsibility to talk about."

"Year of the Pig" is pretty daring stylistically and structurally, but to Fucked Up’s great credit, it’s also fantastic. Eighteen minutes long and starting as something of a twee shuffle before shifting into organ-backed operatic bellows from Pink Eyes, the song deftly delves into pummeling, psychedelic kraut rock riffage the likes of which might make Earthless or Major Stars jealous. Fucked Up’s sheer disregard of genre pigeonholes is especially evident in its recent doings. "We’re trying to bring in the electronic crowd now," Gulag says. "We just recorded a cover of [French dance duo] Justice’s ‘Stress.’ "

Venturing into Daft Punk–related territory: there’s a first for hardcore! It’s this staunch avoidance of cliché and political boundaries that very nearly makes Fucked Up punk for the Reading Is Fundamental set. More than anything else, the imperative is to ignore convention and get informed, which isn’t a fucked-up MO at all.

FUCKED UP

Sat/30, 8 p.m., $7

924 Gilman, Berk.

(510) 525-9926

www.924gilman.org

Also July 4, 9 p.m., $8

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Ask Dr. Rock

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ASK DR. ROCK Say you’ve done a lot more practicing than primping. Your bandmates are starting to bore themselves with their uniform of New Balance kicks and give-away T-shirts with busted-dot-com logos. So how are you supposed to come up with a look or even, jeez, a show?

Dr. Rock feels your fashion-free pain and took up the issue with the party starters of Gravy Train!!!! Not for nothing did the Bay Area raunch peddlers title a tune off their new album, All the Sweet Stuff (Cochon), "The Hair Stare."

1. "Making the audience uncomfortable is a good place to start," vocalist Chunx says. "All the bands that were most memorable to me growing up were either awkward or androgynous or exuded something that made me so uncomfortable that it led me to become intrigued. Rock stars should always seem superhuman. Or alien. If you can imagine them eating breakfast, you’re probably not doing it right."

2. "I would start with fashion," says keyboardist Hunx, who also styles hair at Down at Lulu’s in Oakland. "You need to get a look down or matching outfits or at least have a theme." Absorb the high-camp retro swank of artists like the Bay City Rollers and Slade on DVD and study old dance shows to cop ideas and moves. "We don’t get inspiration from new bands," he adds. "People just dress like their neighbors. But even matching T-shirts is a start."

3. "I always like props," Chunx raves. "I think Alice Cooper beheading people on stage was genius!"

4. "This probably comes as no surprise, but I’d always advocate any overt sexuality," Chunx says. "It’s the cheapest way to go, but people like to see people get naked and overtly, crazily sexual onstage. No one’s going to want to look away — even if it’s the car-accident syndrome!"

GRAVY TRAIN!!!! July 7, 10 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

We got the answers to your burning music biz questions. E-mail Ask Dr. Rock at askdrrock@sfbg.com.

Rock ‘n’ read

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› kimberly@sfbg.com

SONIC REDUCER Anyone who’s thumbed through the oodles of zany organ, squealing chipmunk, and queasy-listening albums from the ’50s onwards knows this to be true: every generation has its version of Muzak, whether its members like it not — thanks to clueless parental units. And the class of 2025 will undoubtedly have vibe ‘n’ synth instrumental renditions of "About a Girl," "D’yer Mak’er," and "Cherub Rock" dancing in their heads — no thanks to the Rockabye Baby! series on Baby Rock Records that appears to be multiplying like bunnies monthly. What next — sleepy-time Mentors? But what would baby lend an ear to once he or she started dabbling in books, student-body politics, and witchcraft? In other words, WWHPLT — what would Harry Potter listen to?

Boston’s Harry and the Potters have been working off that premise for the past three years, touring the country’s finest libraries. After outgrowing San Francisco’s main library and drawing several hundred to their show at the Civic Center last year, they’ve decided to get booked, adult-style, at Slim’s, alongside Jurassic Park IV: The Musical, which dares to pick up where the last dino blockbuster left off.

So, I tease, you’re doing a real tour this time? "Why is playing libraries not a tour?" the older, seventh-year Harry, Paul DeGeorge, 28, retorts by phone as he hauls T-shirts into the cellar of the Tucson Public Library, the site of that night’s show. "It’s actually a lot more work, because we set up our sound system every day."

He may be playing in a basement, but DeGeorge and his brother Joe, who appears as fourth-year Harry, aren’t playing to our baser instincts. "I thought this would be a great way to play rock to a whole new audience that doesn’t experience that," he explains. "If Harry Potter had the cool effect of getting kids to read more, maybe we can get kids to rock more too!"

The proof is in his now-20-year-old sibling. DeGeorge started feeding his younger brother Pixies, Nirvana, They Might Be Giants, and Atom and His Package CDs when the latter was nine, and apparently the scientific experiment paid off. "I could see the effect immediately. By the time Joe was 12, DeGeorge says, "he was writing songs about sea monkeys that referenced the Pixies" — and popping up in the Guardian in a story about early MP3.com stars.

And what about the silly kid stuff on Baby Rock Records? "I’d rather hear the original songs," DeGeorge opines. "Instead of Nine Inch Nails for babies, I’d just make a good mixtape for my baby. You can do ‘Hurt’ and just lop off the ending. It’s supereasy — anyone can do it!" Read it and weep, Trent.

SERPENT SPIT "So the proctology jokes remain." Thus came the news from filmmaker Danny Plotnick that Nest of Vipers, his freewheeling podcast highlighting the wit and storytelling chops of such SF undergroundlings as Hank VI’s Tony Bedard, the Husbands’ Sadie Shaw, singer-songwriter Chuck Prophet, and Porchlight’s Beth Lisick, was now officially off the KQED site and fully independent (and available through iTunes). "I had a contract for six episodes to be distributed by KQED," Plotnick e-mailed. "Ultimately they released eight episodes. They didn’t renew the contract because the show was too edgy for them."

Unfortunately, that also means the customer-service episode that triggered those treasured proctology-convention yuks, which was supposed to go up on the public station’s Web site on June 15, has been delayed till July 1 as Plotnick figures out new hosting.

But at least the assembled vipers will continue to writhe unchecked. Inspired by Plotnick’s favorite sports talk shows, Nest of Vipers aims to issue a weekly breath of venomous, randomized air in an ever-constricting radio landscape. "So often on radio there’s a bunch of experts pontificating about whatever," he told me earlier. "This is more about real people talking about real experiences," or like hanging with the gritty raconteurs at your favorite dive bar. The next episode, for instance, sounds like a doozy: Bucky Sinister talks about working the phones at PlayStation on Christmas morning, and Bedard has a yarn about biting into a Ghirardelli chocolate bar and finding a maggot — thinking it’s his big payday, he returns it to the company. You have been served! *

HARRY AND THE POTTERS

With Jurassic Park IV: The Musical

Fri/29, 8 p.m., $12

Slim’s, 333 11th St., SF

(415) 522-0333

www.slims-sf.com

NEST OF VIPERS

www.nestofviperspodcast.typepad.com

www.myspace.com/nestofviperspodcast

GET INTO THE BAND

CAVE SINGERS


Seattle Matador starlets break out the rustic initial Invitation Songs. Wed/27, 9 p.m., $8–$10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

ORGANIZED GRIND


Jamin and J-Dubber combine protest gangsta with ye olde funk and minihyph on Grind Pays (Organized Grind). Thurs/28, 10 p.m., call for price. Fourth Street Tavern, 711 Fourth St., San Raphael. (415) 454-4044

BRIAN ENO’S 77 MILLION PAINTINGS


Partake in the Hot Jet’s imagescape of "visual music." Fri/29–Sun/1, 8 p.m.–2 a.m., $20–$25. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org

ALBUM LEAF AND ARTHUR AND YU


Incoming Korg attack! James LaValle’s gorg dream orchestrations cavort with Lee and Nancy–esque vocals. With Under Byen. Sat/30, Slim’s, 333 11th St., SF. (415) 522-0333, www.slims-sf.com

AUDRYE SESSIONS


The Oakland combo parties over its new CD — after vocalist Ryan Karazija spent a very unlucky Friday the 13th in April being brutally mugged and left in a pool of blood with a fractured skull after a Minipop show at Mezzanine. Sat/30, 10 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455, www.bottomofthehill.com

RACCOO-OO-OON


On Behold Secret Kingdom (Release the Bats), the night critters generate a fine squall of free jazz, noise, drone, and jungle psychedelia. Knocking over trash cans never sounded so intentional. Tues/3, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923, www.hemlocktavern.com

Court smacks SF Planning Dept.

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By Tim Redmond

The Chron buried the news deep in the local section, but a June 22 state Court of Appeal decision on the validity of the Housing Element of the city’s General Plan was a huge slap in the face to the mayor and the planning director.

In essence, the court ruled that the city can’t adopt the new Housing Element without doing an environmental impact report. You can read the decision here.

I’ll admit: The folks who sued, a group of West side homeowners who don’t want more density in their neighborhoods, are not my favorite activists. I’ve never thought it was fair that all the density had to go on the East side of town, and that nobody West of 19th Ave. even had to think about it.

That’s the essence of the suit: The Housing Element might encourage more housing on the West side of town, and might allow housing without a lot of parking, and that might lead to congestion and traffic issues. As my old friend Ron Curran used to say, Boo Fucking Hoo: The rest of us in town have lived with those issues for years, and anyone with any sense knows that new housing in this overdeveloped town will need to be transit-oriented and not car-oriented.

Still, the plaintiffs made an excellent point: The Planning Department should have done an EIR on the Housing Element. IN fact, the Planning Department should do a lot better in the environmental review department generally. You just go forawrd with these big projects and zoning changes and refuse to acknowledge the impacts, and you’re eventually going to get smacked.

Essencia

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By Paul Reidinger


› paulr@sfbg.com

The name "Anne Gingrass" carries a certain magic in San Francisco culinary circles, but it’s a name that will no longer do. Gingrass was the Spago-trained chef who, with her then-husband, David Gingrass, opened Postrio in 1989, as a prelude of sorts to launching their own place, Hawthorne Lane, six years later. Somewhere along the way, the marriage broke up — not an unfamiliar story among restaurant couples — and earlier this year Gingrass remarried. (She is now known as Anne Paik, according to the Web site of her Desiree café, www.desireecafe.com). Perhaps the hullabaloo associated with this large personal event contributed to the delay in opening her latest venture, Essencia. The new restaurant (in the onetime Pendragon Bakery space in Hayes Valley) was supposed to welcome its first guests on or about Valentine’s Day, but in fact the doors didn’t swing open until May.

One obvious question to ask is: was the wait worth it? The pretty easy answer there is yes. Less easy to answer is the question why Paik, long one of the great apostles of California cuisine, would open a Peruvian restaurant — although, in fairness, it must be said that Essencia’s menu, indeed its gestalt, nods to California as much as to Peru. The place certainly has the modern, metro-California look; it’s surprisingly small, with only a dozen or so tables, and the interior design consists largely of wood floors, mocha paint, and a profusion of large plate-glass windows that look out onto the always bustling intersection of Hayes and Gough streets.

The appeal of Peruvian cooking to a California sensibility isn’t so mysterious, really. We are, either way, in the New World, on the shores of the Pacific, with mountains nearby and a mélange of human heritage — Indian, European, and Asian — on hand to stretch any parochial understandings of food. There are differences between the two Pacific states, of course: while California, when not mountainous, tends toward desert, Peru is junglier and more tropical and the home of — besides potatoes — various fruits (lucana, guanavana) that tend toward dessert. More anon.

But the similarities between the cousins are unmistakable too, and they are the foundation for much of Essencia’s menu. A fava bean salad ($11.50), for example, is a ritual of spring in these parts, and Essencia’s version, with its naps of frisée and its halved cherry tomatoes, could have come right from the kitchen at Hawthorne Lane — except for a scattering of those big, ivory white Peruvian corn kernels that look like teeth. A filet of baked halibut ($23.50), embedded in a pad of chickpea purée, with a handful of whole fried chickpeas tossed over the top like buckshot, also seemed to have a distinct northern edge. (The accompanying sauce, of shrimp and clams, seemed almost classically French.) And a triple chicken sandwich ($11.75) — "a kind of club," we were told by our informative and occasionally overinformative server — had no discernable Peruvian angle at all. Its white bread, trimmed of crust, was like something from an English high tea, while its fillings (of white chicken meat, walnut paste, and avocado slices) could only be described as very tasty regardless of provenance.

Still, aficionados of Peruvian standards will not be disappointed. Of course there is ceviche, although at least one version, of kampachi ($12) — a white-fleshed fish from the Hawaiian islands — was presented to us carpaccio-style, the tissues of flesh laid out on the plate like skins on the floor of a cave dweller’s abode. More striking was the aji pepper sauce slathered over the top; it was the yellow color of French’s mustard and offered a sharp belt of pepper and acid up the nostrils. I liked it, but my companion thought it overwhelmed the delicate fish, and I saw her point.

Potatoes are less commonplace than on other Peruvian menus around town but are used to good effect. The potato and crab salad ($13.75) turned out to be a cross between a napoleon and a sandwich, with the crab meat forming a seam between two oval pads of yellow (and cold) mashed potatoes, which had been fearlessly spiked with cayenne and lime juice. We might have expected some kind of potato preparation with the pork medallions ($19.50), but instead the crusted roulades of meat were plated with tacu-tacu, a tasty legume and rice croquette made here with mashed golden lentils and finished with a sash of bacon. The plate also included a side garden of julienned red and yellow bell pepper.

For me the one irresistible Peruvian dessert is alfajores ($4.50), the butter cookies filled Oreo-style with dulce de leche (sugar caramelized in milk). Essencia’s cookies, to judge from their tender snap, are not only house made (with real butter) but baked daily, and there is a coconut variant to the dulce de leche — a bit darker in color, with definite coconut perfume.

The sweets on the whole strike a light note. Peruvian tropical fruits figure in various mousses and flans, while the workaday but lovable orange turns up — in thin rounds dusted with cinnamon and overlaid like a poker hand — on a plate of madeleines ($7). There is a globe of vanilla ice cream too, just to keep everybody happy. And for a quasi–<\d>petits fours fix, how about a selection of candies ($7), including burnt caramels, nougat, and flavored almonds, from the Miette shop just down the block?

Essencia’s high pedigree suggests that it will grow, somewhere, somehow, but for the moment a big part of the restaurant’s charm is its smallness. And the choicest seats in the house could be at the trapezoidal table for two behind the entryway. It’s the restaurant’s equivalent of the newlyweds’ suite.*

ESSENCIA

Lunch, Mon.–Sat., 11:30 a.m.–2:30 p.m. Dinner: Mon.–Sat., 5–10 p.m.

401 Gough, SF

(415) 552-8485

www.essenciarestaurant.com

Beer and wine

AE/MC/V

Noisy

Wheelchair accessible

{Empty title}

0

Emergency fund-raiser!

Hello,

I would first like to thank everyone in the community for the support we
have received over the past 6 years we have existed. We have always
maintained ourselves as a group run by artists and for artists.

The problem that we are facing now is a financial one.

1. S. Slater and Son are trying to collect $4,300 for our percentage of
building maintenance costs for October – December 2006

2. We are unable to make a payment plan with the landlord and must pay
this bill in one lump sum.

3. We are certain that the landlord will give us a similar bill, for the
first half of 2007, at the begining of next month or in September, so we
need to raise an additional $4000.

Art SF has provided a space for local emerging artists for years. We have
never charged artists any commission for any art sold through us. We are
an all volunteer run organization and have dedicated ourselves to our
local art scene. All money raised goes directly to keep our space open to
the public. We have been here for the community, and now we are asking
the community to be here for us. We are in a crisis situation and need
our community support more than ever.

To donate to help save Art SF or for more information, email:

joemama@spaz.org

Please help to spread the word.

Below is an announcement about our emergency gallery opening coming up
this Friday:

our last show???????

hey everyone, the community art space, ARTsf, that we run in the mission,
is in danger of going under!!!!!! we are throwing a party to raise money
to keep the space alive, right now there are 8 artists in residence and a
number of community events constantly taking place here. If we lose the
space, it would be horrible!!! please stop by this gallery opening and
show your
support, its going to be good, i promise….

Friday, July 27th
Doors @730 Music@800
110 Capp St @ 16th

sliding scale $7-$7 million

with over 40 artists including:

Alphonso Entrada
Allyson Dutra
Andrew Beals McPherson
Cami Willis
Casper
Chamille Estrada
Claire Hummel
Cuba
Donna Wood
Erin D’silva
Faith Allen
G.T. Singh
Ian Hill
Ian Mullen
Jai Carrillo
Joan Zamora
Joe Ertl
Joe Mama
Joe Twistie
Joseph Heren
Josh and Scott
Judy Berberian
Kara Marie
K2
Marisa Rocke
Nate Orman
Pete Doolittle
Philip Milic
Pierre Pressure
Ralph Granich
Ryan Coffey
Sadie Mellerio
Scott Williams
Sholeh Asagary
Steve Bird
Tanya
Vi Hoang

Music with:
Tiger Honey Pot
Ferocious Few
Fluff Gurl
Sugar Butt Tiger
People People (featuring members of Two Gallants and Trainwreck Riders)
Baby bear tiger bear (featuring members of All My Pretty Ones)

DJ Mochipet and friends (Daly City Records)
DJ Coma

help keep art in the mission!!!

peace
joe mama

Flaming creators

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› johnny@sfbg.com

They’ve got passion to burn, whether there’s 100 percent pride or a potent dose or two of critical shame in their game. They’re the dozen-plus-one LGBT artists who constitute this year’s lineup of flaming creators — individuals and groups adding radical perversity, butch dyke glitter, b-boy funk, punkified monkey love, dandified bear flair, and more to the Bay Area. It seems apt to pun off the title of Jack Smith’s still-revelatory 1963 film Flaming Creatures in uniting this wildly varied group: all of them ignore or defy the conformist strains of mainstream gay culture to blaze new trails of truth and fantasy.

NAME Keith Aguiar

WHAT I DO Currently, I am photographing a community of queer artists who continue to resist assimilation and express themselves freely without compromise to both hetero and homo normative values that have imprisoned so many of our generation. I want the viewer to enter my world of rich color, texture, and chaos to find the intricate beauty that comes from reconnecting with more primitive forms of expression. More recently my work has been progressing to include portraits, erotic photography, and even a few landscapes. I’m currently seeking funds for my next show and have started to do commissioned work on the side.

MOTTO Create your own reality. Live your own myth. Be your own God.

MORE KeithAguiarPhotography@gmail.com; www.flickr.com/photos/untamedvessels

NAME Emerson Aquino

WHAT I DO I’m cofounder and executive artistic director of the nonprofit professional dance company Funkanometry San Francisco. In 2005, I helped establish the Funksters Youth Dance Company through summer camps and dance-intensive programs. I’ve trained and danced with groups such as 220, Anarchy, Culture Shock Oakland, and SWC and showcased my choreography with Funkanometry SF in the Bay Area, Los Angeles, Chicago, San Diego, and Bogotá, Colombia. My most recent project is an all-male performing group called Project EM, featuring 12 principal dancers.

MOTTO Life’s not about how much money you make; it’s about the number of people you inspire.

MORE emerson@funkanometrysf.com; www.funkanometrysf.com; www.myspace.com/project_em

NAME Dreamboat, Where Are You? (Carrie Baum and Jessica Fudim)

WHAT WE DO We’re a punk pop duo with choreographed vaudevillian antics and a penchant for monkeys, monsters, and Yiddish innuendos. We’ve been described as "the Buzzcocks meet the Muppets." We’ll be leading a Dancers’ Group Rock Theater workshop July 21, and we also have our own projects: Carrie’s Exit Sign: A Rock Opera and Jessica’s dance show Please Feed My Animal will both be previewing at CounterPULSE’s "Rock 4 Art" benefit Aug. 4. (Carrie also runs Big Star Printing; Jessica is a certified Pilates trainer.)

MOTTO Be sure to share your cookies.

MORE www.myspace.com/dreamboatwhereareyou

NAME Edie Fake

WHAT I DO Food fetish zines (Foie Gras), dirty comics (Gaylord Phoenix, Anal Sex for Perverts, Rico McTaco), apprentice tattoos, perv-formance art, rare appearances, desert adventures, and general feminism.

WORDS OF WISDOM Someone was yelling on the bus the other day that anal sex produces no children.

But that is false!

Anal sex produces

ILLEGITIMATE GOLDEN CHILDREN

and they grow up to become

THE PERVERT SAINTS OF THE CATACOMBS.

MORE www.ediefake.com

NAME James Gobel

WHAT I DO Paint, serve as a member of the California College of the Arts faculty, chub 4 chub.

WORDS OF WISDOM I hope my paintings make people want to be big, bearded, and queer. I could be wrong, but I think it was fellow whiskered gay chubby chaser and one-time San Franciscan Alice B. Toklas who said, "I loves ’em tubby, and so should you!"

MORE www.heathermarxgallery.com; jamesgobel@hotmail.com

NAME David King

WHAT I DO I make collages, which often syncretize the camp and the spiritual. Some of my work can be seen at Ritual on Valencia during June.

WORDS OF WISDOM I don’t have words of wisdom. I have dissertations of wisdom, to which I subject only my most tolerant friends, who have other reasons to love me.

MORE www.davidkingcollage.com

NAME Torsten Kretchzmar

WHAT I DO Present good old electropop music with a German twist.

MOTTO My motto is "I know what girls like." I really do! With the hip music of the Men of Sport, I present this old Waitresses song in my three new video clips. The DVD release party will be Aug. 5 at Club Six, and I expect a lot of guys to show up to find out about my secret.

MORE www.kretchzmar.com

NAME Dolissa Medina

WHAT I DO Experimental films mostly, but I plan to move into more multimedia and installation work at UC San Diego, where I’ll be starting an MFA program this fall. I’m interested in San Francisco history, Latino and queer experiences, and mapping urban space through mythologized storytelling. Last year I produced Cartography of Ashes for the 100th anniversary of the 1906 earthquake; we projected the film onto the side of a fire station in the Mission District. My film 19: Victoria, Texas will also be on display at Galería de la Raza this August and September.

MOTTO Viva la caca colectiva!

MORE mercurious3@yahoo.com

NAME Lacey Jane Roberts

WHAT I DO I make large-scale, site-specific knitted installations that often involve guerrilla action. My work, which is knitted by hand and on children’s toy knitting machines, aims to traverse boundaries of art and craft, the handmade and the manufactured, as well as categories of gender and class, through fusing seemingly contradictory materials, methods, and contexts. Additionally, my work seeks to illuminate the connections between craft and queerness and shift this position into one of agency and empowerment.

MOTTO I don’t really have a motto, but I would like to thank my friends for always showing up and helping me install, especially in places where I am not supposed to.

MORE www.laceyjaneroberts.com

NAME Erik Scollon

WHAT I DO I try to queer up our ideas about what art can do by remaking and repurposing functional objects. At the same time, I’m trying to retell new histories in old languages. I want to make objects that exist in between the sculptural and the functional in an effort to insert art back into everyday life.

WORDS OF WISDOM Art objects are useless; craft objects are utilitarian.

MORE www.erikscollon.net

NAME Jonathan Solo

WHAT I DO Draw, eat, sleep, sex, draw, dance, laugh, cry, scream … not in that particular order. I roam the city and its late-night haunts with my beautiful, crazy, talented friends, protected by a black rose on my chest and my custom Jobmaster 14-hole oxbloods. I have a piece in a current group show at Catharine Clark Gallery and a solo show there next year. I also have contributed to the Besser collection at the de Young, opening this October.

WORDS OF WISDOM I observe the beauty and decay of humanity. Aren’t the strange the most interesting, powerful, and telling of who we are? I’m fascinated by the amount of energy we use to oppress our true selves. I say fuck ’em! Own who you are and walk forward boldly — it’s made me a more sensitive artist, lover, friend, son, and brother.

MORE www.cclarkgallery.com; (415) 531-3376

NAME Matt Sussman

WHAT I DO I am a freelance film writer, and I DJ under the moniker Missy Hot Pants. My friends and I run a party in Oakland called Dry Hump. Our sets include everything from Gui Boratto to Baltimore club remixes to Ethel Merman doing disco. We’re playing Juanita More’s Playboy party at the Stud on June 30, so come work off your post-Pride hangovers.

MOTTO "Make visible what, without you, might perhaps never have been seen." Robert Bresson.

MORE www.myspace.com/thedryhump

NAME Jamie Vasta

WHAT I DO Working with glitter and glue on stained wood panels, I create "paintings" of figures exploring dark, dazzling landscapes. I am interested in predatory beauty and the balance (or imbalance) between nature and culture. My work is currently on view in the group show "Stop Pause Forward" at the Patricia Sweetow Gallery. I’ll be having a solo show there in mid-October.

WORDS OF WISDOM Glitter connotes an image of cheapness made glamorous — the superficial, the frivolous. But to dazzle is to have power — this is something drag queens have known all along.

MORE www.jamievasta.com; www.patriciasweetowgallery.com *

Canton Seafood and Dim Sum Restaurant

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› paulr@sfbg.com

If children should be seen but not heard, and writers should be read but neither seen nor heard, what does this tell us about restaurant signage? Certainly that it should be seen and, ideally, read. Signage isn’t everything, but it tells us a lot about a place even before we step inside. If signage is going to be conspicuous, it ought to be stylish, as at Dosa and Ziryab, and if it’s going to be inconspicuous, as at many of the highest-end places around town, then the place had better be so good that we’ll find it despite the lack of a beckoning beacon. The splendor inside had better balance the lack or near lack of street presence.

What, then, are we to make of conspicuous but unstylish signs, such as the one that hangs above Canton, a Cantonese seafood and dim sum restaurant on Folsom I’ve zoomed past a million times over the years without pausing to consider because the cheap, blaring, generic yellow sign above the door all but dared me to stop in for some mediocre, greasy food, and who needs that? Bad Chinese food isn’t hard to find in San Francisco, alas, and one of the easier ways to find it is to look for those turmeric yellow signs that are the Asian equivalents of all-American roadside-diner signs, complete with a Coke (or Pepsi) blurb and logo.

Canton, moreover, has hung its jaundiced shingle in a part of town that’s moved notably upmarket in the more than 20 years the restaurant has dwelled in the neighborhood. The old warehouses and industrial plants are gone or transformed now, and the area’s restaurants are tuned into the tourist and convention frequencies being broadcast from the nearby Moscone Center and its coterie of hotels and museums. Canton looks like a throwback, a piece of old furniture abandoned by the curb with a hand-lettered "free" sign taped to it — but it is not.

For one thing, the restaurant is one of a handful in town to offer the Cantonese specialty nor mai gai ($20), the skin of a whole chicken, stuffed with sausage-dotted sticky rice and deep-fried. The dish is more interesting for its presentational value and as a textural adventure than as one of taste, since in the mouth it’s basically rice with a hint of salty sweetness (from the Chinese sausage) and a bit of poultry crunch (from the skin). Much of the flavor comes from the accompanying mystery sauce, a kind of sweet-sour vinaigrette laced with rounds of scallion.

We could not say where the rest of the chicken went, though some of the meat might have found its way into the chicken chow mein ($7), fat noodles tossed with chopped scallions and a soy-based sauce. And the remainder of it, cut into strips and sautéed to a golden crispness, might have ended up in the excellent chicken salad ($7.50), with a thick honey-soy vinaigrette served on the side. The kitchen, in fact, does a nice job all the way around in the crispy department, from salt and pepper spare ribs ($8.50) to the similar but even better salt and pepper sea bass ($18), slightly curly flaps of creamy flesh within a delicate golden envelope.

Cantonese cooking is known for its seafood variations and for its mild subtleties. These themes intersect in the seafood combo ($12), a large clay pot filled with prawns, squid, and scallops atop a medley of vegetables, among them snow peas, water chestnuts, and shreds of carrot and napa cabbage. The broth that hydrates this little world tends toward reticence, but you will find that the vegetables, when you reach them, have been tarted up nicely with ginger, whose clear, strong flavor shines like a light in a dim room.

But not all Cantonese subtlety has to do with seafood. Snow peas beef ($8.50) proves that meat too can show well with gentle handling, although it must be said that beef is among the most forgiving of ingredients and is often excellent with little or no help at all. Here the supporting cast includes a shower of snow peas, bright green as spring, and a slightly sweet sauce with flecks of crushed peppercorn.

Practically every Chinese restaurant of note in town offers some version of duck buns, and Canton ($13) is no exception, although there is a twist. The half duck is brought tableside and first stripped of its reddish gold skin, which is then served in steamed buns, along with plum sauce and scallion tips shredded to look like pieces of frisée. While these are eaten, the skinless bird is carved up and the meat passed around the table. I liked this little drama in two acts, but I did find the skinless, bunless meat to be a bit naked.

Although Chinese artistry in soup making cannot be doubted, and although I have had some excellent dessert soups over the years — fruit soups, mainly — I just don’t warm to the sweet red-bean soups that bring many a Chinese dinner to a close. Canton’s entry ($3) looked quite familiar, like muddy river water with bobbing unmentionables, and it tasted like what it was: cooked beans with some sugar added. I would recoil less, I think, if it weren’t served hot. Heat, on the other hand, became the shredded pork soup ($3.50), an early-on course made memorable by the ghostly intensity of dried scallops.

Canton is modestly if neatly fitted out, but the space is magisterial: as enormous as a ballroom, with a coffered glass ceiling and a far wall lined with aquariums in which the more alert members of the day’s catch await some sign that their turn is imminent. *

CANTON SEAFOOD AND DIM SUM RESTAURANT

Daily, 10:30 a.m.–9:30 p.m.

655 Folsom, SF

(415) 495-3064

www.cantonsf.com

Beer and wine

AE/MC/V

Comfortable noise level

Wheelchair accessible

The Muppets take San Francisco

0

› a&eletters@sfbg.com

Be warned: the following is in no way a professional, measured critique of the career and oeuvre of one Jim Henson, master puppeteer, kiddie empire creator, and upcoming Yerba Buena Center for the Arts retrospective honoree. Oh, no. Below are the semicoherent ravings of a Muppet-philiac Henson fangirl. One whose first experience of the legitimate thea-tah was not The Pirates of Penzance but "Pigs in Space." One whose initial exposure to the ways of l’amour involved a pig and a frog getting it on after extensive rounds of bike riding and loaded sexual repartee. One who breaks into Muppet palsy — spastic flailings of staccato, head-wagging ecstasy — whenever she hears The Muppet Show siren song of "It’s time to play the music / It’s time to light the lights." One who, in her aggressively weird late teens, sported a sassy shag haircut dyed a deep shade of Grover blue because, perhaps, she secretly wished she were a Muppet.

And who could blame me, uh, her? After all, Muppets can do anything, and they usually have a good time doing it. These anarchic, orgiastic amalgams of felt, foam, and fun fur are investigative reporters, musicians, demolition experts, hack comics, boomerang-fish throwers, mad scientists, misunderstood performance artists, masters of the ancient art of ka-rah-tay, and so much more. Above all, they are vaudevillians with the incessant desire to entertain — just like their ingenious creator. Part Walt Disney (minus the Nazi sympathizing), part Groucho Marx — and looking like the cloned offspring of Lyle Lovett and Jesus Christ — the late Henson was nevertheless about as unassuming as they come. He is universally remembered as the nicest guy you’ve ever met (or, in my case, wish you had). But while his Muppets may have gained superstardom on Sesame Street, it may surprise some to know that cooperation didn’t always "make it happen" in Henson’s working relationships.

"We were very competitive with each other," director and longtime Henson collaborator Frank Oz (the voice of the inimitable Miss Piggy) admitted when I used a recent promotional tour for an Oz project as a chance to quiz him, quickly, about his Muppet past. "We put each other in lousy situations and tried to screw each other over." Of course, that’s not to say Henson was the Eve Harrington (as in All About Eve) of the puppet world. He valued collaboration with his fellow artists above all else; competition was a creative catalyst. "He appreciated everybody else’s work too," Oz, who calls Henson a "genius," clarifies. "There was a camaraderie, a great affection amongst all of us."

Henson’s creative fervor and Puritan work ethic helped make the Muppets a success, but so did his business acumen, something he leavened with that patented nice-guy attitude. "He really wanted everyone to be happy in a business deal," says Muppet performer (the Great Gonzo) and Marin resident Dave Goelz, who worked with Henson from the early ’70s until Henson’s sudden death from pneumonia in 1990. "The reason Jim was such a good businessman was very simple: people loved to work with him." Goelz, who will make appearances at the YBCA on June 21 and 22 to introduce "Muppets 101," fondly remembers the sense of community Henson fostered, having never experienced the tug-of-war that characterized Henson’s relationship with Oz.

The YBCA retrospective is thrillingly comprehensive, although it could be more cohesive. The three Muppet features being screened comprise what I like to call "the real original trilogy": 1979’s The Muppet Movie, 1981’s The Great Muppet Caper (viva Charles Grodin!), and 1984’s The Muppets Take Manhattan. Also included are assorted Muppet marginalia (Mike Douglas appearances, the infamous "Sex and Violence" Muppet Show pilot, some fantastic behind-the-scenes footage), forays into less kid-friendly puppetry (a betighted David Bowie in the Terry Jones–penned Labyrinth, the gloriously strange Dark Crystal), early commercial and experimental work, and later TV work like Fraggle Rock, the corny yet inspired (the Muppet modus operandi) ’30s gangster-movie send-up Dog City, and episodes of the gothic fairy-tale theater The Storyteller.

The Muppets aren’t lowering the stage curtain anytime soon. In addition to a planned Dark Crystal sequel, a Fraggle Rock movie is in the works. Disney bought the rights to the Muppets in 2004 (something, believe it or not, Henson was trying to make happen shortly before his death, recognizing that the juggernaut could give his franchise the protection it deserves). And the Jim Henson Co. continues to produce work in part inspired by Henson, like the film adaptation of Neil Gaiman’s MirrorMask. Still, no one has the gall to suggest it’s like it used to be. "Sammy Davis Jr. died on the same day," Oz notes. "There’s no other Sammy Davis Jr., and there’s no other Jim Henson."

Why exactly have the Muppets managed to endure? The answer, according to Goelz, is simple. "They are us," he says. "They describe a world that’s filled with conflict, but nonetheless they’re motivated by charity. It all came out of Jim’s philosophy. He believed that people are basically good, and he operated that way."

So it turns out I am a Muppet after all. The really good news, it seems, is that we all are. Corny? Maybe. But also pretty damn inspired.*

MUPPETS, MUSIC, AND MAGIC

June 21–July 1; $6–$8

Yerba Buena Center for the Arts Screening Room

701 Mission, SF

(415) 978-2787

www.ybca.org

The budget’s opening battle

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› sarah@sfbg.com

Mayor Gavin Newsom and Sup. Chris Daly have been engaged in a high-profile clash over city budget priorities in recent weeks. Newsom appeared to win the latest battle when he galvanized an unlikely coalition and Daly clashed with some of his progressive allies, prompting Board of Supervisors president Aaron Peskin to remove Daly on June 15 as chair of the Budget and Finance Committee.

"This is not about personality, and it shouldn’t be about the mayor’s race. It should be about making sure we have a good budget," Peskin told the Guardian shortly before announcing that he would be taking over as Budget and Finance chair just as the committee was beginning work on approving a budget by July 1.

Yet this latest budget battle was more about personalities and tactical errors than it was about the larger war over the city’s values and spending, areas in which it’s far too early for the Newsom camp to declare victory. The reality is that Newsom’s "back-to-basics budget" — which would increase spending for police and cityscape improvements and cut health services and affordable-housing programs — is still likely to be significantly altered by the progressives-dominated Board of Supervisors.

In fact, while the recent showdown between Newsom and Daly may have been diffused by Daly’s removal as Budget and Finance chair, it’s conceivable that a clash between Newsom and the supervisors is still on the horizon. After all, eight supervisors voted for a $28 million affordable-housing supplemental that Newsom refused to sign, and the mayor could yet be forced to decide whether to sign a budget that lies somewhere between his vision and Daly’s.

Stepping back from recent events and the supercharged rhetoric behind them, a Guardian analysis of the coming budget fight shows that there are difficult and highly political choices to be made that could have profound effects on what kind of city San Francisco becomes.

If Daly wanted to spark a productive dialogue on whether the mayor’s budget priorities are in the best interests of the city, he probably didn’t go about it in the right way. But the approach seemed to be born of frustration that the mayor was refusing to implement a duly approved program for an important public need.

Daly has argued that when he introduced his $28 million affordable-housing supplemental in March, he thought it would be "noncontroversial." Last year the board approved and Newsom signed a $54 million supplemental budget, including $20 million in affordable-housing funds. Daly wrote on his blog that he hoped his latest $28 million request would help "stem the tide of families leaving San Francisco, decrease the number of people forced to live on the streets, and help elders live out their days with some dignity."

But Newsom objected, first criticizing Daly in the media for submitting it too late, then refusing to spend money that had been approved by a veto-proof majority, with only his supervisorial allies Sean Elsbernd, Michela Alioto-Pier, and Ed Jew opposed. Daly pushed back against what he loudly labeled the mayor’s "backdoor veto," which he considered illegal.

"You may not believe the question of affordable housing and affordability is more important than redesigning the city’s Web site or perhaps installing cameras in police cars or fixing a pothole, but to say that the money does not exist is a lie," Daly said at a board meeting.

So when Newsom submitted his final budget June 1, Daly proposed restoring the funding and taking away $37 million from what he called the mayor’s "pet projects." His suggestion triggered a political firestorm, since his targets included a wide array of programs, including $700,000 for a Community Justice Center, $3 million for one police academy class, $10.6 million for street repairs and street trees, $2.1 million to expand the Corridors street cleaning program, and $500,000 for a small-business-assistance center. In their place, Daly argued, the city would be able to restore funds cut from affordable housing, inpatient psychiatric beds, and services for people with AIDS.

In addition to uniting against him those constituencies whose funding he targeted, Daly’s proposed cuts in law enforcement — and his brash, unilateral approach to the issue — threatened to cost him the support of Sup. Ross Mirkarimi, a progressive with public safety credentials who represents the crime-plagued Western Addition. So it was a precarious situation that became a full-blown meltdown once the Newsom reelection campaign started phone banks and e-mail blasts accusing Daly of endangering public safety and subverting the normal budget process.

Pretty soon, with Daly’s enemies smelling blood in the water, it became a sort of feeding frenzy, and various groups urged their members to mobilize for a noon rally before the June 13 Budget and Finance Committee meeting. "We are a sleeping giant that has awakened," small-business advocate Scott Hauge claimed as he e-mailed other concerned stakeholders, who happened to include Friends of the Urban Forest and public housing activists, thanks to Daly’s call for a $5 million cut in Newsom’s Hope SF plan, which would rebuild public housing projects by allowing developers to also build market-rate condos at the sites.

"Mirkarimi seems to feel strongly about having cops and infrastructure, which are typically the priorities of conservatives," Daly told the Guardian as he announced plans to cancel the June 13 budget hearing, which he did after accusing Newsom of engaging in illegal electioneering.

Daly also accused Newsom of abusing his power by securing the City Hall steps for a budget rally at the same time, date, and place that Daly believed his team had secured — a mess-up city administrator Rohan Lane explained to us as "an unfortunate procedural thing."

But while Daly told us he "needed to hear from progressives who enjoy diversity, because if we don’t get more affordable housing dollars, San Francisco is going to become increasingly white, wealthy, and more conservative," all anyone could hear the next day was a pro-Newsom crowd chanting, "No, Supervisor Daly, no!" outside City Hall.

Newsom spoke at the rally and claimed that Daly’s proposal to cut $5 million from Hope SF would eliminate "$95 million in local money to help rebuild San Francisco’s most distressed public housing," a figure that includes the bond issue Newsom is proposing. With the 700 to 900 market-rate units included in the program, Newsom claims the cuts will cost the city $700 million in housing.

"Stop the balkanization of San Francisco!" Rev. Al Townsend roared, while Housing Authority Commissioner Millard Larkin said, "People are living in housing not fit for animals. Protect policies that give people a decent place to live."

"This is about your priorities," Newsom said as he made the case that fixing potholes, sweeping streets, and putting more cops on the beat are now San Francisco’s top concerns.

"I’ve never seen this type of disrespect to the public process," Newsom said, addressing a crowd that included a couple of Daly supporters holding "Homelessness is not a crime" signs alongside people dressed as trees, a dozen people in orange "Newsom ’07" shirts, Newsom campaign operative Peter Ragone, and former Newsom-backed supervisor candidates Doug Chan and Rob Black (the latter of whom who lost to Daly and now works for the San Francisco Chamber of Commerce).

"Gavin Newsom’s budget reflects that he has been listening to you. It’s not something he has dreamed up is his ivory tower," Townsend said, while Kelly Quirke, executive director of Friends of the Urban Forest, pointed out that Daly’s proposal would mean the 1,500 trees that the Department of Public Works planted this year "would not be watered," and Police Commissioner Yvonne Lee said the proposal would "eliminate 50 new officers that could be on streets, plus a $400,000 system to identify the source of gunfire."

What Newsom’s supporters didn’t mention was that his proposed budget, which would add $33 million for the Police Department to help get more officers on the streets and pay existing officers more, also would drastically shift the city’s housing policies by transferring about $50 million from existing affordable-housing and rental-support programs into spending on home ownership and development of market-rate units. And that comes as the city is losing ground on meeting a goal in the General Plan’s Housing Element of making more than 60 percent of new housing affordable for low-income residents.

Daly doesn’t think people fully understand the implications of Hope SF and said public hearings are needed so they "can understand it better." Yet the Newsom rally still touted the mayor’s concern for those in public housing projects.

"We’re not interested in rebuilding unless the tenants are supportive," Doug Shoemaker of the Mayor’s Office of Housing told the Guardian, promising that existing public housing units will be replaced "on a one-to-one basis" and noting that 85 affordable rentals, along with 40 to 50 units for first-time home buyers at a below-market rate (for a household of two with an income of about $58,000 annually) and hundreds of market-rate condos, will be built.

"The market-rate condos will cross-subsidize the rebuilding of public housing," said Shoemaker, who claims that the "lumpiness of the mayor’s budget" — in which home-ownership funding increases by $51 million, while programs benefiting the homeless and senior and families renters appear to have been cut by $48 million — "is best understood over the long term" and is related to the redevelopment projects in Bayview–Hunters Point and Mission Bay.

"The hardest thing about explaining these figures is that it sounds like a game of three-card rummy, but we need to fuel whatever is coming down the pipeline," he said.

The confusing fight over affordable housing has even split its advocates. Coleman Advocates for Children and Their Families publicly urged Daly not to hold Hope SF funds hostage to his housing supplemental, while the Family Budget Coalition urged Newsom and the supervisors to "work together to find at least $60 million during the add-back process to prioritize affordable housing."

But with Daly gone from the Budget and Finance Committee, how will his proposals and priorities fare? Sources say Peskin was irritated with Daly’s budget fight and his recent Progressive Convention — both actions not made in consultation with colleagues — as well as his increasingly public spat with Mirkarimi. Yet Peskin publicly has nothing but praise for Daly and supports many of his priorities.

"We are working with the same schedule that Daly’s office laid out," Peskin said, noting that a lot of the decisions about funding will depend on "what ends up coming from the state." San Francisco could still lose money from the state or federal budget. During a June 18 budget hearing, Sup. Bevan Dufty introduced a motion to amend the mayor’s interim budget by appropriating $4 million for HIV/AIDS services, to be funded by General Fund reserves, for use by the Department of Public Health.

This was one of Daly’s top priorities, and as the hearing proceeded, it became clear that there was a method in the former chair’s apparent budget-dance madness. Newsom’s budget would restore $3.8 million of the $9 million in AIDS grants lost from federal sources, with Newsom asking Congress to backfill the remaining reductions to the Ryan White Care grant. Sup. Sean Elsbernd questioned the wisdom of appropriating $4 million now, when the feds may yet cough up, and Mirkarimi questioned whether doing so would send Washington the message that it doesn’t need to help us.

"It’s a discussion we have every year," Controller Ed Harrington said. He recommended appropriating $4 million now and sending the following message: "Yes, we think this is important, we’ll try and figure out how to fix it, but this shows it isn’t easy. It’s a political call rather than a technical one."

In the end, the Budget and Finance Committee voted 3–1, with Sup. Tom Ammiano (the only supervisor to publicly support Daly’s alternative budget) absent and Elsbernd dissenting, to appropriate $4 million, on the condition that if additional federal and state funds are granted to backfill the Ryan White Care grant, the controller will transfer the $4 million augmentation back to the General Fund.

The same kind of balancing act is expected on Daly’s other suggestions to restore funding for affordable housing and public health departments, so it’s still too early to tell whether his priorities might ultimately win the war after losing the battle.*

Steven T. Jones contributed to this report.

For more details on the city budget process and a schedule of Budget and Finance Committee meetings, visit www.tiny.cc/BJRSN.

Flipping for Pride

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› culture@sfbg.com

It isn’t easy being a male cheerleader. Never mind that any cheerleading above the junior high school level requires not only coordination, commitment, skill, and athleticism but also just plain balls. Cheerleading carries a stigma of being fluffy, froofy, and effeminate: if sports were food, many people would consider cheerleading cotton candy. And that’s just for women. God forbid you should have a Y chromosome and think it might be fun to do back tucks, throw people into the air, or dance in sync with 20 other people. If you’re a spirit-squad hetero, you probably spend all your time proving it. And if you’re gay? Better bone up on those self-defense classes — and then get ready for your career as a wisecracking, flamboyant sitcom roommate.

That is, unless you’re a member of CHEER SF, the world’s first and longest-running LGBT-identified cheerleading squad. Yes, you’ve seen them at practically every major queer-oriented event, but what do you really know about them? Though the all-volunteer squad is officially coed, its makeup of more than 30 members now tends to be 75 percent male, and most of them are gay — CHEER SF started in 1980, in fact, as an all-gay male squad of five members. Even more important, they’re serious cheerleaders, performing gravity-defying stunts, remarkably syncopated dance moves, awe-inspiring gymnastics, and all. Volunteers are asked to make a one-year commitment, show up for three-hour rehearsals every Tuesday, and promise to perform 10 times a year (with another 20 events optional). Not to mention the financial investment: polyester performance uniforms, plus T-shirts, shorts, and shoes, which can add up to $400 before cheer camp and travel costs.

No, this is no swishy, ironic version of Will Ferrell’s famous SNL skits. This is the kind of squad that, if you saw them compete on CNN, would make you go, "Holy crap, they’re amazing."

I BELIEVE I CAN FLY


Look closely and you’ll see something else that sets CHEER SF apart, aside from its dude-to-dudette ratio: inclusiveness of ethnicities, sizes, ages, and gender identifications. And if you have any familiarity with cheerleading, you’d notice something else unusual: men in the air.

In traditional cheerleading, men and women have traditional roles. Men are bases and tumblers, valued for strength and stability. Women are fliers and dancers, valued for lightness and cuteness in a short skirt. Not so with CHEER SF, which has been sending men into the air for 20 years. The result is not only revolutionary — something that, like sideways haircuts and oversize sunglasses, the mainstream has finally picked up on way after the gay community discovered it — but also spectacular.

"Guys that fly, they’re awesome," said main choreographer and creative director Morgan Craig, a former dancer and gymnast who joined the squad after he was handed a flyer in the Castro 16 years ago. "Right now, one of our male fliers does a double full basket."

I’m not touching that comment with a 10-inch pole.

Of course, not all guys can, or want to, fly. That’s why women were invited to join the squad eight years ago: there just weren’t enough small men who wanted to be thrown into the air to execute collegiate-level stunts. Now, with a coed squad, CHEER SF gets the best of both worlds: female fliers with their natural lightness, as well as male fliers, who tend to be stronger and also carry their weight in different places — making for different and often more daring stunts.

WE’RE HERE, WE CHEER


So who are these people? Former cheerleaders, dancers, and athletes. Those with experience and those with the desire to get some. People who make cheer their life, like Craig, who coaches high school and all-star teams, teaches tumbling for cheerleaders, and mixes cheer music (!) for a living. And people who hold down noncheer day jobs, like 49-year-old Steve Burke, who works as a vocational rehabilitation counselor.

"My life is doing good things and getting paid for it and doing good things and not getting paid for it," he said.

Oh yeah. Did I mention one tiny detail? CHEER SF saves lives. Its mission is to raise money to help those with HIV, AIDS, cancer, and other life-challenging diseases. Some proceeds come from performance fees (CHEER SF has performed everywhere from Singapore to San Diego), but most are donations dropped in the "spirit bucket" passed around at every performance. In its 27-year history, the group has raised nearly $100,000, Burke said, "mostly one dollar at a time." This year, it expects to make its largest donation ever — more than $30,000.

Burke said the do-gooding is the primary reason CHEER SF is just as fun, if not more, as the cheering he did at Sacramento State in 1980. Back then "you were out there supporting your teams and your school, and that was really rewarding," he said. "But with CHEER SF, everybody’s our team."

SPIRIT FINGERS!


As for the current state of men in cheerleading, Burke and Craig say it isn’t as bad as it used to be, thanks in large part to Bring It On (a.k.a. the Best Movie Ever) and regular CNN coverage of cheerleading competitions, which bring to light just how cool — and difficult and dangerous — cheerleading can be.

But with charity cheer squads modeled off CHEER SF popping up all over the country, it wouldn’t be a stretch to say our local LGBT-identified team has had something to do with heating up the cheerleading climate too.

As Burke said, "Cheerleading can change the world."<\!s>*

www.cheersf.org

www.myspace.com/CHEERSF

The Queer Issue: Pride event listings

0

› culture@sfbg.com

PERFORMANCES AND EVENTS

WEDNESDAY 20

“Out with ACT” American Conservatory Theatre, 415 Geary; 749-2228, www.act-sf.or. 8pm, $17.50-$73.50. ACT presents this new series for gay and lesbian theater lovers, including a performance of Molière’s The Imaginary Invalid and a reception with complimentary wine and a meet and greet with the actors. Mention “Out with ACT” when purchasing your tickets.

“Queer Wedding Sweet” Jewish Community Center of San Francisco, 3200 California; 438-9933, www.jccsf.org/arts. 8pm, $36. The JCCSF presents the West Coast premiere of Queer Wedding Sweet, an “exploration of queer weddings and commitment ceremonies through stories, song, juggling, and comedy.” Featured performers include Adrienne Cooper, Sara Felder, Marilyn Lerner, Frank London, and Lorin Sklamberg.

BAY AREA

“Queer Cabaret” Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. 8pm, $15-20. Big City Improv, Jessica Fisher, and burlesque dancers Shaunna Bella and Claire Elizabeth team up for an evening of queer performance celebrating Pride. Proceeds will go to the Shotgun Players’ Solar Campaign.

“Tea N’ Crisp” Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. 8pm, $25. Richard Louis James stars as gay icon Quentin Crisp in the Shotgun Players’ production of this Pride Week tribute.

THURSDAY 21

“Here’s Where I Stand” First Unitarian Church and Center, 1187 Franklin, SF; (415) 865-2787, www.sfgmc.org. 8pm, $15-45. The world’s first openly LGBT music ensemble will be kicking off Pride Week with a range of music from Broadway to light classical. Includes performances by the Lesbian/Gay Chorus of San Francisco, San Francisco Gay Men’s Chorus, and the San Francisco Lesbian/Gay Freedom Band. Concert also takes place same time on Sat/22.

“Thursday Night Live” Eagle, 398 12th St, SF; (415) 625-0880, www.sfeagle.com. 1pm, $10. Support Dykes on Bikes at their 30th anniversary Beer/Soda Bust and catch these glitzy vixens as they share the stage with Slapback.

Veronica Klaus and Her All-Star Band Jazz at Pearl’s, 256 Columbus, SF; (415) 291-8255, www.jazzatpearls.com. 8 and 10pm, $15. The all-star lineup features Daniel Fabricant, Tom Greisser, Tammy L. Hall, and Randy Odell.

FRIDAY 22

“Glam Gender” Michael Finn Gallery, 814 Grove; 573-7328. 7-10pm. This collaboration between photographer Marianne Larochelle and art director Jose Guzman-Colon, a.k.a. Putanesca, kicks off Pride Weekend by celebrating San Francisco’s queer art underground.

Pride Concert Yerba Buena Center for the Arts, 701 Mission. SF; 7 and 9pm, Copresented by the Lesbian/Gay Chorus of San Francisco and the San Francisco Lesbian/Gay Freedom Band, this 29th annual Pride concert promises to be a gay time for all.

San Francisco Trans March Dolores Park, 18th St and Dolores; 447-2774, www.transmarch.org. 3pm stage, 7pm march; free. Join the transgender community of San Francisco and beyond for a day of live performances, speeches, and not-so-military marching.

BAY AREA

Queer Stuff Pride Talent Showcase Home of Truth Spiritual Center, 1300 Grand, Alameda; 1-888-569-2064, www.queerstuffenterprises.com. 7:30pm, $8. This showcase features the music of Judea Eden and Friends, Amy Meyers, and True Magrit, plus the comedy of Karen Ripley.

SATURDAY 23

Dykes on Bikes Fundraiser Eagle, 398 12th St, SF; (510) 712-7739, www.twilightvixen.com. 1pm. Twilight Vixen Revue will perform at the beer bust at the Eagle. Stop by before heading to the march.

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-6pm, free. Celebrate LGBT pride at this free outdoor event featuring DJs, speakers, and live music. This is the first half of the weekend-long celebration sponsored by SF Pride. Also Sun/24.

Mission Walk 18th St and Dolores, SF; (503) 758-9313, www.ebissuassociates.com. 11am, free. Join in on this queer women’s five-mile walk through the Mission.

Pink Triangle Installation Twin Peaks Vista, Twin Peaks Blvd parking area, SF; (415) 247-1100, ext 142, www.thepinktriangle.com. 7-11am, free. Bring a hammer and your work boots and help install the giant pink triangle atop Twin Peaks for everyone to see this Pride Weekend. Stay for the commemoration ceremony at 10:30am.

“Remembering Lou Sullivan: Celebrating 20 Years of FTM Voices” San Francisco LGBT Center, Ceremonial Room, 1800 Market, SF; (415) 865-5555, www.sfcenter.org. 6-8pm, free. This presentation celebrates the life of Louis Graydon Sullivan, founder of FTM International and an early leader in the transgender community.

“Qcomedy Showcase” Jon Sims Center, 1519 Mission, SF; (415) 541-5610, www.qcomedy.com. 8pm, $8-15. A stellar cast of San Francisco’s funniest queer and queer-friendly comedians performs.

San Francisco Dyke March Dolores Park, Dolores at 18th St, SF; www.dykemarch.org. 7pm, free. Featuring Music from Binky, Nedra Johnson, Las Krudas, and more, plus a whole lot of wacky sapphic high jinks.

SUNDAY 24

LGBT Pride Celebration Civic Center, Carlton B. Goodlett Place and McCallister, SF; (415) 864-3733, www.sfpride.org. Noon-7pm, free. The celebration hits full stride, with musical performances and more.

LGBT Pride Parade Market at Davis to Market at Eighth St, SF; (415) 864-3733, www.sfpride.org. 10:30am-noon, free. With 200-plus dykes on bikes in the lead, this 36th annual parade, with an expected draw of 500,000, is the highlight of the Pride Weekend in the city that defines LGBT culture.

CLUBS AND PARTIES

WEDNESDAY 20

“Gay Pride in the Mix” Eureka Lounge, 4063 18th St, SF; (415) 431-6000, e.stanfordalumni.org/clubs/stanfordpride/events.asp. 7-9pm, no cover. An intercollegiate LGBT mixer in an upscale environment, with drink and appetizer specials available. Alumni from Ivy League and Seven Sisters schools, Stanford, MIT, and UC Berkeley welcome.

Hellraiser Happy Hour: “Pullin’ Pork for Pride” Pilsner Inn, 225 Church, SF; (415) 621-7058. 5:30-8pm, free. The Guardian‘s own Marke B. will be pullin’ pork and sticking it between hot buns with the help of the crew from Funk N Chunk. You might win tickets to the National Queer Arts Festival, but really, isn’t having your pork pulled prize enough?

THURSDAY 21

“A Celebration of Diversity” Box, 628 Divisadero, SF. 9pm-2am, $20. Join Page Hodel for the return of San Francisco’s legendary Thursday night dance club the Box for one night only, sucka!

Crack-a-Lackin’ Gay Pride Mega Party Crib, 715 Harrison, SF; (415) 749-2228. 9:30pm-3am, $10. Features live stage performances and, according to the press release, “tons of surprises.” I’m not sure how much a surprise weighs, so I don’t know how many surprises it takes to add up to a ton. It’s one of those “how many angels fit on the head of a pin?” things.

“Gay Disco Fever” Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 9pm-2am. I can’t figure out who does what at this event. Courtney Trouble and Jenna Riot are listed as hosts, and Campbell and Chelsea Starr are the DJs, which I guess makes drag king Rusty Hips “Mr. Disco” and Claire and Shaunna the “Disco Queens.” It takes a village to raise a nightclub. That’s a whole lotta fabulousness under one roof.

“Girlezque SF” Rickshaw Stop, 155 Fell, SF; www.myspace.com/girlezquesf. 9pm, $10-15. This supposedly sophisticated burlesque party for women features the erotic stylings of AfroDisiac, Sparkly Devil, Rose Pistola, and Alma, with after-party grooves by DJ Staxx. Hopefully, it’s not too sophisticated &ldots;

Pride Party Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. 9pm-2am, free. Make this no-cover throwdown your first stop as you keep the march going between the numerous after-parties.

FRIDAY 22

Bustin’ Out II Trans March Afterparty El Rio, 3158 Mission, SF; (415) 510-677-5500. 9pm-2am, $5-50, sliding scale. Strut your stuff at the Transgender Pride March’s official after-party, featuring sets from DJs Durt, Lil Manila, and Mel Campagna and giveaways from Good Vibes, AK Press, and more. Proceeds benefit the Trans/Gender Variant in Prison Committee.

Cockblock SF Pride Party Fat City, 314 11th St, SF; (415) 568-8811. 9pm, $6. DJs Nuxx and Zax spin homolicious tunes and put the haters on notice: no cock-blockin’ at this sweaty soiree.

“GIRLPRIDE” Sound Factory, 525 Harrison, SF; (415) 647-8258. 9pm-4am, $20. About 2,500 women are expected to join host Page Hodel to celebrate this year’s Pride Weekend, and that’s a whole lotta love.

Mr. Muscle Bear Cub Contest and Website Launch Party Lone Star Saloon, 1354 Harrison, SF; (415) 978-9986. 11pm, $19.95. Join contestants vying for the title of spokesmodel of Muscle Bear Cub. The winner receives $500 cash and a lifetime supply of Bic razors. Don’t shave, Bear Cub! Don’t you ever shave!

Uniform and Leather Ball SF Veterans War Memorial, 401 Van Ness, Green Room, SF; www.sfphx.org. 8pm-midnight, $60-70. The men’s men of the Phoenix Uniform Club want you to dress to the fetish nines for this 16th annual huge gathering, featuring Joyce Grant and the City Swing Band and more shiny boots than you can lick all year. Yes, sirs!

SATURDAY 23

“Old School Dance” Cafè Flore, 2298 Market at Noe, SF; (415) 867-8579. 8pm-2am, free. Get down old-school style at the Castro’s annual Pink Saturday street party, with sets from DJs Ken Vulsion and Strano, plus singer Moon Trent headlining with a midnight CD release party for Quilt (Timmi-Kat Records).

Pride Brunch Hotel Whitcomb, 1231 Market, SF; (415) 777-0333, www.positiveresource.org. 11am-2pm, $75-100. Honor this year’s Pride Parade grand marshals: four hunky cast members from the TV series Noah’s Arc; Marine staff sergeant Eric Alva, the first American wounded in Iraq; and Jan Wahl, Emmy winner and owner of many funky hats.

“Puttin’ on the Ritz” San Francisco Design Center Galleria, 101 Henry Adams, SF; (650) 343-0543, www.puttinontheritzsf.com. 8pm-2am, $85. Bump your moneymaker at this all-lady event. Incidentally, the performer who brought “Puttin’ on the Ritz” back to popularity on early ’80s MTV was none other than Taco.

“Queen” Pier 27, SF; www.energy927fm.com. 9pm, $45. Energy 92.7 brings back the dynamism of the old-school San Francisco clubs for this Pride dance-off. Peaches and Princess Superstar headline. Wear your best tear-away sweats and get ready to get down, Party Boy style.

“Rebel Girl” Rickshaw Stop, 155 Fell, SF; wwww.rebelgirlsf.com. 9pm-2am, $10. Rebel Girl brings the noise for this one, with go-go dancers, Vixen Creations giveaways, drink specials, and, you know, rebel girls.

“Sweat Special Pride Edition” Lexington Club, 3464 19th St, SF; (415) 863-205, www.lexingtonclub.com. 9pm-2am, free. DJ Rapid Fire spins you right round round with a sweaty night of dancing and grinding.

SUNDAY 24

Dykes on Bikes Afterparty Lexington Club, 3464 19th St, SF; (415) 863-2052, www.lexingtonclub.com. Noon, free. How do they find time to ride with all these parties?

“Gay Pride” Bambuddha Lounge, 601 Eddy, SF; (415) 864-3733, www.juanitamore.com. 3pm, $25. Juanita More! hosts this benefit for the Harvey Milk City Hall Memorial, with a DJs Derek B, James Glass, and fancy-pants New York City import Kim Ann Foxman. It also includes an appearance from silicone wonder Miss Gina LaDivina. Fill ‘er up, baby!

“Pleasuredome Returns” Porn Palace, 942 Mission, SF; (415) 820-1616, www.pleasuredomesf.com. 9pm, $20. You have to get tickets in advance for the onetime reopening of the dome in the Porn Palace’s main dungeon room. When you’re done dancing, visit the jail, bondage, or barn fantasy rooms and make that special someone scream “Sooo-eeeee!”

The Queer Issue: Rainbow retirement

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Lionel Mayrand spent more than a decade working with the elderly. He helped train staff for the National Meals for the Elderly Project and wrote the first grant application for Elderhostel, an international senior travel network. Along the way, Mayrand found and lost one of the great loves of his life. "I am an AIDS widower," he says. "My financial life was wiped out by the illness of my partner in life and business. I lost so many friends to AIDS, I’m starting to forget their names." Recently, the sixtysomething tax specialist noticed the Senior Services meal program located near his house and suddenly found himself wrestling with the idea of attending. It was not so much a matter of pride or of realizing his age, but of community. With his unique life experiences, would he feel welcome?

QUEER PIONEERS


Getting older is a challenge for many people. But retired LGBTs often face unique difficulties. They feel a sense of isolation and discrimination — more hurdles for a group that weathered straight hatred and the AIDS pandemic. There’s also a lack of established infrastructure particular to their needs: many LGBT people of the baby boom generation, which is just now hitting retirement age, had to leave their families behind in order to live openly, so they may not have an inheritance or traditional family support to turn to. And because AIDS left so few survivors of earlier queer generations, the health care system is woefully unprepared to meet current senior queer physical and psychological needs. In a way, today’s senior queers are pioneers.

"Queer seniors often lack the family support systems that older straights take for granted," says Michael Adams, executive director of New York–<\d>based Services and Advocacy for GLBT Elders, or SAGE. Now 29 years old, SAGE is the oldest and largest organization in the country focusing on the needs of LGBT seniors. "Many queers may have been disconnected from their birth families for many years, and they’re less likely to have had children of their own. Older queers are also likelier to live alone and less likely to be in relationships," Adams says.

Meanwhile, older queers also face more discrimination from senior organizations, nursing homes, and health care providers, he adds. Some groups, such as the Red Cross, are committed to discrimination for religious or philosophical reasons. In other organizations, individual staffers may just have an issue. Worst of all, "a lack of support in the LGBT community itself" exacerbates this problem, Adams says. "There’s ageism in every community, but when you’re talking about a population of seniors that faces such difficulty in the senior world," the indifference of the LGBT community compounds the problem.

Local organizations, however, are stepping up to provide the kind of help non-LGBT seniors might not get from their nuclear families or the gay community at large. The queer-oriented New Leaf Outreach to Elders in San Francisco offers 24 senior activities and 50 meetings per week at different sites around the city, as well as health and counseling services at its clinic on Hayes Street. And New Leaf isn’t afraid to use the past to help the future.

"The way in which the gay and lesbian communities mobilized to take care of the HIV pandemic has become a model for organizations taking care of straight people," says Bill Kirkpatrick, a New Leaf social services worker. Even mainstream organizations taking care of the elderly are learning from the queer response to HIV, he says. "As the epidemic created models for us to take care of ourselves, the same thing is happening in the aging community."

TAKING IT STRAIGHT


Accommodating the needs of queer seniors doesn’t mean reinventing the wheel, Kirkpatrick adds. A big part of his work at New Leaf involves helping LGBT people connect with traditionally straight, more established programs. "We want to make sure these services have been culturally trained," Kirkpatrick says. New Leaf takes LGBT seniors to staff meetings at organizations like Meals on Wheels and other home health care agencies so the seniors can tell their stories and educate workers.

But what about the seniors themselves? Kirkpatrick says a big part of his job is working to gain the trust of "someone who has survived by hiding from the mainstream services and is distrustful." New Leaf organizes volunteers to visit the homes of isolated seniors and check on them. The organization takes great care to avoid pathologizing problems like depression, isolation, and low self-esteem as if they’re strictly mental health issues, Kirkpatrick says.

SAGE provides many of the same services as New Leaf, but it also lobbies for public policies that are designed to advance the rights of LGBT seniors. "Too often, LGBT seniors have not been on the radar screen when it comes to the policies and programs that get developed for seniors at the state and national level," Adams says. In 2005, SAGE sent the first openly gay delegate to the White House Conference on Aging, an event that happens once every 10 years. "Those are the kinds of places where policy gets made, [and] funding streams and priorities get influenced."

SAGE also provides counseling on sexuality. The rate of HIV infection among older people is increasing, according to the National Institutes of Health. And recent studies have shown that HIV and other STDs are more likely to go undiagnosed in seniors because doctors assume older people don’t have sex or engage in other risky behavior.

Some seniors with HIV have been living with it for years, but others have acquired it recently. Many are taking advantage of the increased opportunities for sex thanks to Viagra — often without protection, Adams says.

A HOME OF THEIR OWN?


Another challenge facing LGBT seniors: when a same-sex partner dies, the surviving partner may not be able to inherit a pension or Social Security benefits. Transferring the title on a house can be more difficult for couples who aren’t legally married, notes Moli Steinert, executive director of Open House, a San Francisco nonprofit dedicated to building LGBT senior residences. Steinert is trying to get approval from the city for Open House’s first housing project, at 55 Laguna Street, part of a larger redevelopment project on that site. She says Open House is also in the process of identifying a low-income housing site. "Our mandate is really to develop mixed-income housing. You just can’t get housing all in one location for all populations, so we’re working on trying to find land that will lend itself to filling out the spectrum of needs in our community," she says.

Open House educates health service organizations about LGBT senior issues and reaches out to isolated queer seniors, similar to what New Leaf is doing. And Open House advocates for LGBT seniors at the citywide level, trying to make sure housing and other services are open to queers.

What exactly makes housing LGBT-friendly? According to Steinert, it’s a matter of making sure queer culture is represented and the staff is trained to recognize the needs of the population. For example, a transgender resident of a nursing home may need help with bathing and wouldn’t want an attendant who’s insensitive or transphobic.

"It would not be easy for an LGBT senior to feel at home in a traditional senior housing facility," Steinert says. "They would basically need to go back in the closet. They would not feel able to disclose their partner or their history and feel like it would be accepted." Even if you succeeded in training the staff to be sensitive, you might not change the culture among the people who’ve been living in the facility for years, she points out.

The first LGBT-focused housing facility for seniors in the Bay Area will probably be the Barbary Lane Senior Communities at Lake Merritt in Oakland. Preleasing began March 1, and people will start moving in this fall. The Barbary Lane team is transforming the classic art deco Lake Merritt Hotel into a safe space for seniors, doing everything from doubling the size of the elevators to using universal design to get rid of knobs and handles. The kitchens and bathrooms in the apartment units are designed to be easy to use for disabled people and people with arthritis or other mobility issues.

With the Parlor Suite starting at $3,295 and the Merritt Grand at $4,295, you couldn’t accuse Barbary Lane of being low-income housing. But these prices are typical for retirement communities, and they include meals and other amenities seniors would otherwise have to pay for separately, says David Latina, Barbary Lane’s president. "A schoolteacher could afford to live here," he adds. Hard-up residents could share a studio apartment, he suggests. Programming and activities will be queer focused, and Barbary Lane will try to involve the local queer community as much as possible, opening its lavish dining area to outside events such as queer weddings and fundraisers.

Barbary Lane will only house people who are mostly able to take care of themselves. Once they need more than an assisted-living level of care, they’ll have to move to a nursing facility or nursing home. When that happens, Barbary Lane will make sure they go to facilities that are LGBT-friendly and have well-trained staff, according to Latina.

Latina says his organization aims to open five more facilities in California and is partnering with another organization to open a facility in New York. There are 17,000 queer seniors in the Bay Area alone, Latina claims, and even if only a quarter of them are looking to move into retirement homes, that could mean more than 4,000 residents for places like Barbary Lane. Rainbow flags flying over retirement communities could become a common sight in the near future.<\!s>*

www.sageusa.org

www.newleafservices.org

www.openhouse-sf.com

www.barbarylanesenior.com

Wayfaring stranger

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"I never imagined doing this." It’s a sentiment that Mariee Sioux, a singer-songwriter from Nevada City, returns to many times in our phone conversation: specifically, her genuine surprise that adapting her poetry to music has resulted in a life as a touring musician. "I was terrified playing at that show," she says mirthfully, describing her first big out-of-town gig at Brightblack Morning Light’s Quiet Quiet Ocean Spell Festival in Big Sur. "The whole tour that followed helped me get used to performing…. It sucks being scared all the time."

Sioux did seem a little shy — or quiet, anyhow — the first time I saw her play, but it only served to underline the concentrated energy of her music. Spiritual poems attuned to animals and ancestors, songs like "Wizard Flurry Home" and "Buried in Teeth" burrow deep inside you, with reams of words propelled by intuitive, circular guitar patterns. The circumstances of the show — organized by friends in a eucalyptus grove overlooking Berkeley — certainly helped, though I imagine Sioux’s diamond-in-the-rough talent would have been just as readily apparent in a club.

The compositions Sioux performed that night — most from her self-released EP, A Bundled Bundle of Bundles — seemed pointedly unhurried, more akin to the folk sprawl penned by Michael Hurley and Joni Mitchell than your typical verse-chorus-verse songwriting. Her guitar melodies are often a step behind her alliterative narrations, so it makes sense that the words came first. "I always wrote, since I was little … weird writing," she explains. "And I was just surrounded by music, so I guess this all started when me and a couple of friends wanted to start learning guitar. We formed this little girl band." She laughs. "And on my own time I started making these songs."

As is so often the case, the turning point came on a journey. "I left for Patagonia for three months, and I took my guitar with me because that was my new thing I had found. So I took it with me, and I had lots of solitary time in Patagonia," she recalls. "So I just wrote more songs and practiced and basically taught myself guitar." It was only through the prodding of friends that Sioux entertained the idea of recording these new songs: "I wouldn’t have even thought that people would want to hear it."

If word hadn’t gotten out of Grass Valley, it’s easy to imagine Sioux’s music being rediscovered some years down the line. Unshaped, personal to the point of being hermetic, this is the stuff record collectors live for. As it happened, though, Brightblack Morning Light has employed the singer-songwriter in a steady opening gig following that Quiet Quiet appearance, and now Nevada City’s Grassroots Records is readying her first full-length album, Faces in the Rocks, for a September release.

When talk turns to the album, Sioux gushes about collaborating with Gentle Thunder, an American Indian flute player who "felt this immediate connection to the project," and her bluegrass musician father (the two duetted at the Great American Music Hall a few months ago). And it sounds like she’s found a good partner in Grassroots, a homespun label with plenty of singer-songwriters on the roster. Label founder Marc Snegg writes, "Mariee’s songs, poetry, singing and performance dig deep in time, soar high in spirit, and possess a breadth of natural wisdom beyond her years or any years."

Still, while it might just be the jet lag following a European tour with Brightblack talking, Sioux sounds a little tentative about the musician’s life on the phone. She’s stoned on the album but wondering when things might settle down. "I’ve just been going for over a year. I haven’t really lived anywhere. I need a fixed point…. I want to decorate a room," she says. When focusing on the music, though, her view on itinerancy takes on a different, more redemptive cast. "It’s hard to pour your heart out so many times," she muses, "but it’s also refreshing, or even renewing in a way."*

MARIEE SIOUX

With Alela Diane, Aaron Ross, and Lee Bob Watson

Tues/26, 9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com