SoMa

The Bike Issue: Behind the pack

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Also in this issue:

>>10 things Bay Area cyclists should know

>>Don’t Stop: Bike lessons from Idaho

› steve@sfbg.com

There’s a strange dichotomy facing bicycling in San Francisco, and it’s spelled out in the San Francisco Municipal Transportation Agency’s "2007 Citywide Bicycle Counts Report," which features a cover photo of Mayor Gavin Newsom and me pedaling up Market Street together on Bike to Work Day two years ago.

That photo, its context, and the information contained in the report tell the story of a city that at one time set the pace for facilitating bicycling as a viable alternative to the automobile. But that city has been passed up since then by cities such as Chicago, New York, Washington DC, Seattle, and Portland, Ore.

San Francisco still has a higher per-capita rate of bicycle use than any major city in the United States, and that number has been steadily rising in recent years, even as construction of new bike facilities has stalled. The report’s survey found a 15 percent increase since the first official bicycle count was conducted in 2006.

"This increase is especially significant when viewed in light of the injunction against the City’s Bicycle Plan. This injunction has stopped the City from installing any new bicycle facilities since June 2006. Despite a lack of improvement or additions to the City’s bicycle route network, cycling use in San Francisco appears to be increasing," the report read.

It’ll take at least another year for city officials to wrap up the environmental studies on the 56 proposed bike projects and get Judge Peter Busch to lift the injunction (see "Stationary biking," 5/16/07). But it’s still an open question whether San Francisco’s three-year hiatus will be followed by the rapid installation of new bike lanes and other facilities.

City officials express confidence, and there are some hopeful signs. Newsom has been focused on environmental initiatives, the MTA has beefed up its bike staff from six full-time slots to nine, advocacy groups like San Francisco Bicycle Coalition are at the peak of their numbers and influence, and all involved say promoting bicycling is a cheap, effective way of reducing greenhouse gas emissions, air pollution, and traffic congestion.

"I’d be very surprised if, within six months after the injunction being lifted, we don’t see a record number of bike lanes striped," said MTA spokesperson Judson True.

Yet there are still political barriers to overcome in a city where cars are the dominant transportation option — and the first barrier is Mayor Newsom. He has yet to show a willingness to back his green rhetoric with policies that actually take space from cars, which many of the bike lane projects will entail.

"I think we have seen this mayor talk big on some environmental problems, but I’ve been disappointed that on transportation, that thinking hasn’t been turned into action yet," said SFBC executive director Leah Shahum, whom Newsom appointed to the MTA board but then removed earlier this year before her term expired, a sign of the complex and largely adversarial relationship between the mayor and bicyclists.

Newsom has been able to avoid tough decisions on bikes and cars for the past two years because of the injunction and the wait for Muni and traffic congestion studies, which are being released throughout 2008. But that’s about to change with the court’s ban on new bike projects slated to end next year. So will Newsom, who may be running for governor at the time, be willing to make controversial decisions that back up all his green talk? It’s an open question.

The common denominator in all the cities that have pedaled past San Francisco in recent years is that they’ve had strong mayors who have embraced cycling and partnered with bike advocates to change the rules of the road, often contracting them to work directly on projects.

"We’re poised for it, but will we act on it?" Shahum said of the potential for a bike boom in San Francisco. "It’s going to be a real test next summer and I think the mayor’s role is crucial."

THE GREEN BUG


Like many big city mayors, Newsom has become enamored of all things green at the same time that he’s trying to manage an overtaxed transportation system. He is pushing for Muni improvements and has voiced support for congestion pricing initiatives that could make driving a car more expensive.

"This trend of big city mayors focused on transportation to deal with environmental problems is spreading, and I think Newsom has caught that bug," Shahum said.

SFBC and other groups have been meeting regularly with Wade Crowfoot, the mayor’s new director of climate change initiatives, to push the bike plan work forward, create an aggressive implementation strategy, and craft new initiatives like the recently unveiled "Healthways" proposal to close down the Embarcadero to cars on summer Sunday mornings, an idea borrowed from Bogotá, Colombia.

It’s a sea change from that ride I took with Newsom two years ago, three days after he vetoed Healthy Saturdays, which would have created another day of car-free roads in Golden Gate Park. He labeled the bike advocates as "divisive," and told me his veto decision was influenced by "people in the neighborhoods who just came out in force in ways that, frankly, I didn’t expect."

Those feelings, held by the half of San Franciscans who use a car as their primary mode of transportation, haven’t gone away. Newsom’s advisers and the MTA staffers working on the Bike Plan acknowledge the political challenges in completing the bike network, which advocates say is an important prerequisite for convincing more people that cycling is a safe, attractive option.

I asked Oliver Gajda, who is leading the MTA’s bike team, whether the 56 projects he’s now working on would be queued up and ready to build once the injunction is lifted. While the technical work will be done, he said that most projects still will require lots of community meetings and negotiations.

"Some of the projects will take a couple years of work with the community, and some will take less," Gajda said. "When you discuss the potential of removing lanes or parking spots, there are lots of different interests in San Francisco that have concerns."

That’s where the rubber meets the road. Yes, everyone wants to see more cycling in San Francisco — Newsom two years ago even set the goal of 10 percent of all vehicle trips being made by bicycle by 2010, a goal that nobody interviewed for this article thinks the city will meet — but is the city willing to take space from cars?

"The public priorities are already correct, but we need political leadership to implement those priorities even when there’s opposition," said Dave Snyder, transportation policy director with the San Francisco Planning Urban Research Association.

Crowfoot said Newsom is committed to creating better alternatives to the automobile.

"The mayor is fully supportive of expanding the bike network and that will involve tradeoffs," Crowfoot said, acknowledging that some projects involve losing lanes or parking spaces to close the bike network’s most dangerous gaps. "To the extent that the bike network continues to be a patchwork, people won’t get on bikes."

But the mayor also has been fully supportive of the Transit Effectiveness Project’s proposal to reform Muni, even though he recently suggested opposition to proposed parking fine increases might mean that some TEP proposals need to be scaled back.

Skeptics also note that Newsom removed Shahum from the MTA and has appointed no one else with connections to the bicycling community since then, even though that body has sweeping new authority under last year’s Proposition A to implement the bike plan and make decisions about which transportation modes get priority and funding.

"I’m pushing for that, and we’ll see what happens," Crowfoot said of his efforts to get a complete bike network going during the Newsom administration’s reign, acknowledging that, "the proof is in the pudding."

ZERO-SUM GAME


San Francisco’s strong bicycle advocacy culture, the creation of lots of new bike lanes between 2000 and 2004, and innovations like Critical Mass and the sharrow (a painted arrow on the road indicating where bikes should safely ride) made this city a leader in the bicycling movement.

Yet it is only in the last few years, when San Franciscans have been sidelined by the injunction, that the movement really gained mainstream political acceptance and begun to make inroads into the dominant car culture of the United States, slowly and belatedly following the lead of European cities like Amsterdam and Copenhagen.

"Interest in bike-friendly policies is surging, along with the growing number of adults who are riding more. Moreover, the movers and shakers of the biking scene are often smart, always passionate, and they believe strongly in what they are doing. Even when such groups are in the minority, they often enjoy significant political success, and they should never be discounted," J. Harry Wray, a political science professor from DePaul University in Chicago, argues in his new book Pedal Power: The Quiet Rise of the Bicycle in American Public Life (Paradigm, 2008).

Jeffrey Miller, executive director of Thunderhead Alliance, a national umbrella organization supporting regional bicycle advocacy groups, told us he’s pleased with the movement’s progress in recent years.

"There’s been an awakening by the decision-makers in both government and businesses that bicycling and walking can solve a lot of the environmental problems we’re facing," Miller said.

He cited Portland, Ore., Chicago, Seattle, Washington DC, and New York as the cities leading the way in prioritizing bicycling and creating systems that encourage the use of bikes, and said he was sad to see the setbacks in San Francisco.

"But advocates in each of those cities will say there’s so much more work to be done," Miller said.

Most of that work centers on changing how drivers and planners think about cities, and especially with those who see the competition for space as a zero-sum game. Miller noted that it’s good for motorists when more people are encouraged to opt for alternate forms of transportation.

"If you just get 10 to 20 percent of the drivers to use those other modes, it frees the freeways up for cars as well," Miller said. "I don’t see why we go out of our way to favor cars over every other form of transportation."

Like many advocates, he said a strong and consistently supportive mayor is crucial to change the priorities in cities.

"We have an executive leader in Mayor Daley who believes strongly that the bicycle is a big part of the solution to our environmental problems," said Rob Sadowsky, director of the Chicagoland Bicycle Federation.

"We have an incredible partnership with the city," he said, noting that the organization often works directly on city contracts to create more bicycle facilities, something that happens in other bike-friendly cities like Portland and New York. But it doesn’t happen much in San Francisco.

"There’s a real sense that we’ve turned a critical corner and things that we’re been fighting for, for years now, are in sight," said Paul Steely White, executive director of Transportation Alternatives in New York. "In the last year, there have been some significant policy advances."

Like Mayor Daley in Chicago, New York Mayor Michael Bloomberg has become a vocal advocate of green transportation alternatives and has been willing to stand firm against displaced drivers.

"Anything you give to cyclists is basically taken away from automobiles," White said, adding that New York officials "have not shied away from taking parking away, or even a lane on Ninth Avenue. And that shows how serious they are."

The problem isn’t just San Francisco’s, but California’s as well. It is the state’s decades-old California Environmental Quality Act that was used to stall the Bike Plan and make bike projects so cumbersome. Sadowsky said bike projects in Chicago are relatively easy to implement, with little in the way of hearings or environmental studies needed.

Oregon laws also helped make Portland a national leader, with a requirement that all new road construction include bike lanes, paid for with state funds. Yet here in the small, 49-mile square that is San Francisco, with ideal weather and a deeply ingrained bike community, many say the city could be on the verge of regaining its leadership role in the bicycle policy.

A poll conducted in November 2007 by David Binder Research found that 5 percent of residents use a bicycle as their main mode of transportation, and that 16 percent of San Franciscans ride a bike at least once a week. Even more encouraging is the fact that most reasons cited for not biking — not enough bike lanes or parking, bad roads, feeling threatened by cars — are all things that can be addressed by smart bike policies.

"If it’s going to happen anywhere, it’s going to happen in San Francisco — as far as making more bicycling a reality," Gajda told us. "I really feel like we’re poised after the injunction to take it to the next level."

GET INVOLVED

The SFMTA has a series of upcoming workshops on the city’s Bike Plan and network:

Central Neighborhoods May 21, 6–7:30 p.m., SoMa Recreation Center Auditorium, 270 Sixth St.

Southeastern Neighborhoods May 22, 6–7:30 p.m., Bayview Anna E. Warden Branch Library, 5075 Third St.

Western Neighborhoods June 3, 6–7:30 p.m., Sunset Recreation Center Auditorium, 2201 Lawton.

Northern Neighborhoods June 4, 6–7:30 p.m., Golden Gate Valley Branch Library, 1801 Green.

BIKE TO WORK DAY, MAY 15

Biking is easier and more fun than many people realize, so Bike to Work Day is the perfect excuse to try it on for size. There will be energizer stations all over town for goodies and encouragement, and lots of fellow cyclists on the road for moral support, including group rides leaving 11 different neighborhoods at 7:30 a.m. After work, swing by the SFBC’s Bike Away from Work party from 6–10 p.m. at the Rickshaw Stop, 155 Fell St. For more details, visit http://www.sfbike.org/

The new San Francisco Planning Commission

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By Marc Salomon
Sweet turnabout at the Planning Commission last evening. Who of us on the east side can forget the heady days of the dot.com boom, when Willie Brown was running the City like a personal piggy bank for his developer cronies (instead of Newsom who gives it all away and gets nothing in return) which resulted in live work lofts sprouting like bulky tall mushrooms throughout the Mission, SOMA and the 3d street corridor?

The language used to justify these yuppie monstrosities was truly twisted, most of it mouthed by Willie Brown’s short leashed then-Planning Commission president Anita Theoharis. The logic went as follows: we need more housing, so let’s build live work lofts. We can build live work lofts in the districts zoned industrial, where housing is banned, because live work lofts are not housing. This reasoning enriched the builders while impoverishing the community as lofts were not charged for their impacts like housing because, silly, lofts are not housing.

But things have changed now.

Rising rents in San Francisco

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small rent.jpg
I’ve accomplished a difficult feat that may become impossible in coming years: I rented a room in a decent neighborhood in San Francisco for $550. It wasn’t easy. Searching Craigslist, spamming my friends, and looking at about 20 apartments over the last couple weeks has been like having another part-time job. And my success story was only the result of finding a tiny room in a rent-controlled four-bedroom apartment where some good friends live.
Rents and the number of apartment-seekers are both on the rise and the number of rental units is falling, a perfect storm hitting low-income San Franciscans who hope to stay in The City.

“The rents are definitely going up on the vacant units, and for various reasons, the supply is declining,” says Ted Gullicksen, executive director of the San Francisco Tenants Union. Some of those reasons include condo conversions (which number 2500 since 2003, according to the latest Planning Department figures), demolitions, temporarily rented SoMa condos taken off the rental market, and would-be home owners driven to rent by foreclosures, still-high prices, and fear that they bottom still hasn’t been reached (check here for some interesting rental data compiled from Craigslist listings).

Growing up

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› news@sfbg.com

GREEN CITY Arguments about urban sprawl and the need to drastically improve transit services at the Transbay Terminal are driving plans for massive new skyscrapers in the SoMa District. Although the project is still in its initial phase, as many as seven towers — some higher than the Transamerica Pyramid — would surround the centerpiece Transbay Tower.

At an April 30 public hearing on the project at Golden Gate University, about 150 people, mostly developers and architects, voiced their opinions as they listened to the city’s updates on the proposal. For the most part, the business community audience wanted buildings as high as possible and felt that even the city’s most ambitious proposal, to build a Transbay Tower more than 1,200 feet high — almost twice the height of One Rincon Hill — was insufficient.

"I support raising the heights. By increasing density, we’re taking better care of our environment," Rincon Hill resident Jamie Whitaker told the room.

The original plan called for a 550-foot Transbay Tower, but the city wants to double its height to ensure sufficient funds for the Transit Center, the Caltrain extension, and other infrastructure improvements. The project’s environmental impact report will study three height options: 850, 1,000, and 1,200 feet. The addition of a couple of hundred feet would raise revenue from about $150 million to between $310 million and $410 million, according to the San Francisco Planning Department.

Although increasing the height of the planned office buildings will bring in more money for other improvements, the increased density comes with transit and quality of life costs. Some worry that the higher population will create an unlivable space.

"Mission Street is turning into a canyon," Jennifer Clary, president of the urban environmental group SF Tomorrow, told the Guardian. "Already there are virtually no parks in this side of the city. They’re creating a demand for more open space, but they’re not fulfilling it."

Although a new park will extend about 11 acres on the roof of the Transbay Terminal, some existing open spaces may be in jeopardy. If the Transbay Tower is higher than 1,000 feet, it will cast a shadow for part of the day over Justin Herman Plaza and possibly Portsmouth Square.

Even though Proposition K, which passed in 1984, states that new buildings cannot cast shadows on public parks, the city’s planning department has the ability to waive that rule. "The law says no new ‘significant’ shadows, so it’s really a judgment call and can be interpreted in a variety of ways," Joshua Switzky, project manager for the San Francisco Planning Department told the Guardian.

For example, the city allowed the Asian Art Museum, remodeled in 2003, to cast a small shadow over Civic Center Plaza. "Shadow impacts can be precisely calculated, and we’re working to mitigate the impact on parks," Switzky said.

In addition to thoughts on how to keep parks sunny, several ideas to ease congestion were introduced at the meeting, including changing one-way streets, restricting terminal access to public vehicles, installing more bike lanes, and increasing curb width.

According to a 2004 Planning Department study, 70 percent of downtown workers commute using public transit, 17 percent drive, and the rest walk or bike. Sufficient funding has yet to be secured to connect Caltrain tracks to the Transbay Terminal, instead of its present end at 4th and King streets. Either way, the planning department hopes to increase commuters using transit by 6 percent, according to the April 2008 Transit Center District Plan.

"Right now all we have is a huge skyscraper for a bus terminal, and it’s not clear if the city will invest the extra money from taller buildings to improve transit," Clary told us.

The planning department estimates it will need an additional $1.9 billion to connect Caltrain, and if it doesn’t reach that goal, SoMa may be inundated by even more cars since there will be no direct commute route from the Peninsula to the new Transbay Terminal offices. In November, California voters will decide on a $10 billion bond measure to create a high-speed rail line linking Los Angeles to San Francisco at the new Transbay Terminal, the centerpiece of the planned project.

The next public meeting will be held at Yerba Buena Center for the Arts on Thursday, May 8 at 5:30 p.m.

Summer 2008 fairs and festivals

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Grab your calendars, then get outside and celebrate summer in the Bay.

>Click here for a full-text version of this article.

ONGOING

United States of Asian America Arts Festival Various locations, SF; (415) 864-4120, www.apiculturalcenter.org. Through May 25. This festival, presented by the Asian Pacific Islander Cultural Center, showcases Asian Pacific Islander dance, music, visual art, theater, and multidisciplinary performance ensembles at many San Francisco venues.

Yerba Buena Gardens Festival Yerba Buena Gardens, Third St at Mission, SF; (415) 543-1718, www.ybgf.org. Through Oct, free. Nearly 100 artistic and cultural events for all ages take place at the Gardens, including the Latin Jazz series and a performance by Rupa & the April Fishes.

MAY 10–31

Asian Pacific Heritage Festival Oakland Asian Cultural Center, 388 Ninth St, Oakl; (510) 637-0462, www.oacc.cc. Times vary, free. The OACC presents hands-on activities for families, film screenings, cooking classes, and performances throughout the month of May.

MAY 15–18

Carmel Art Festival Devendorf Park, Carmel; (831) 642-2503, www.carmelartfestival.org. Call for times, free. Enjoy viewing works by more than 60 visual artists at this four-day festival. In addition to the Plein Air and Sculpture-in-the-Park events, the CAF is host to the Carmel Youth Art Show, Quick Draw, and Kids Art Day.

MAY 16–18

Oakland Greek Festival 4700 Lincoln, Oakl; (510) 531-3400, www.oaklandgreekfestival.com. Fri-Sat, 10am-11pm; Sun, 11am-9pm, $6. Let’s hear an "opa!" for Greek music, dance, food, and a stunning view at the Greek Orthodox Cathedral of the Ascension’s three-day festival.

MAY 17

Asian Heritage Street Celebration Japantown; www.asianfairsf.com. 11am-6pm, free. The largest gathering of Asian Pacific Americans in the nation features artists, DJs, martial arts, Asian pop culture, karaoke, and much more.

Saints Kiril and Methody Bulgarian Festival Croatian American Cultural Center, 60 Onondaga; (510) 649-0941, www.slavonicweb.org. 4pm, $15. Enjoy live music, dance, and traditional food and wine in celebration of Bulgarian culture. A concert features special guests Radostina Koneva and Orchestra Ludi Maldi.

Taiwanese American Cultural Festival Union Square, SF; (408) 268-5637, www.tafnc.org. 11am-5pm, free. Explore Taiwan by tasting delicious Taiwanese delicacies, viewing a puppet show and other performances, and browsing arts and crafts exhibits.

Uncorked! Ghirardelli Square; 775-5500, www.ghirardellisq.com. 1-6pm, $40-45. Ghirardelli Square and nonprofit COPIA present their third annual wine festival, showcasing more than 40 local wineries and an array of gourmet food offerings.

BAY AREA

Cupertino Special Festival in the Park Cupertino Civic Center, 10300 Torre, Cupertino; (408) 996-0850, www.osfamilies.org. 10am-6pm, free. The Organization of Special Needs Families hosts its fourth annual festival for people of all walks or wheels of life. Featuring live music, food and beer, a petting zoo, arts and crafts, and other activities.

Enchanted Village Fair 1870 Salvador, Napa; (707) 252-5522. 11am-4pm, $1. Stone Bridge School creates a magical land of wonder and imagination, featuring games, crafts, a crystal room, and food.

Immigrants Day Festival Courthouse Square, 2200 Broadway, Redwood City; (650) 299-0104, www.historysmc.org. 12-4pm, free. Sample traditional Mexican food, make papel picado decorations, and watch Aztec dancing group Casa de la Cultura Quetzalcoatl at the San Mateo County History Museum.

MAY 17–18

A La Carte and Art Castro St, Mountain View; (650) 964-3395, www.miramarevents.com. 10am-6pm, free. The official kick-off to festival season, A La Carte is a moveable feast of people and colorful tents offering two days of attractions, music, art, a farmers’ market, and street performers.

Bay Area Storytelling Festival Kennedy Grove Regional Recreation Area, El Sobrante; (510) 869-4946, www.bayareastorytelling.org. Gather around and listen to stories told by storytellers from around the world at this outdoor festival. Carol Birch, Derek Burrows, Baba Jamal Koram, and Olga Loya are featured.

Castroville Artichoke Festival 10100 Merritt, Castroville; (831) 633-2465, www.artichoke-festival.org. Sat, 10am-6pm; Sun, 10am-5pm, $3-6. "Going Green and Global" is the theme of this year’s festival, which cooks up the vegetable in every way imaginable and features activities for kids, music, a parade, a farmers’ market, and much more.

French Flea Market Chateau Sonoma, 153 West Napa, Sonoma; (707) 935-8553, www.chateausonoma.com. Call for times and cost. Attention, Francophiles: this flea market is for you! Shop for antiques, garden furniture, and accessories from French importers.

Hats Off America Car Show Bollinger Canyon Rd and Camino Ramon, San Ramon; (925) 855-1950, www.hatsoffamerica.us. 10am-5pm, free. Hats Off America presents its fifth annual family event featuring muscle cars, classics and hot rods, art exhibits, children’s activities, live entertainment, a 10K run, and beer and wine.

Himalayan Fair Live Oak Park, 1300 Shattuck, Berk; (510) 869-3995, www.himalayanfair.net. Sat, 10am-7pm; Sun, 10am-5:30pm, $8.This benefit for humanitarian grassroots projects in the Himalayas features award-winning dancers and musicians representing Nepal, Tibet, Bhutan, India, Afghanistan, Pakistan, and Mongolia. Check out the art and taste the delicious food.

Pixie Park Spring Fair Marin Art and Garden Center, Ross; www.pixiepark.org. 9am-4pm, free. The kids will love the bouncy houses, giant slide, petting zoo, pony rides, puppet shows, and more at this cooperative park designed for children under 6. Bring a book to donate to Homeward Bound of Marin.

Supercon San Jose Convention Center, San Jose; www.super-con.com. Sat., 10am-6pm; Sun., 10am-5pm, $20-30. The biggest stars of comics, sci-fi, and pop culture — including Lost’s Jorge Garcia and Groo writer Sergio Aragonés — descend on downtown San Jose for panels, discussions, displays, and presentations.

MAY 18

Bay to Breakers Begins at Howard and Spear, ends at the Great Highway along Ocean Beach, SF; www.baytobreakers.com. 8am, $39-59. See a gang of Elvis impersonators in running shorts and a gigantic balloon shaped like a tube of Crest floating above a crowd of scantily clad, and unclad, joggers at this annual "race" from the Embarcadero to the Pacific Ocean.

Carnival in the Xcelsior 125 Excelsior; 469-4739, my-sfcs.org/8.html. 11am-4pm, free. This benefit for the SF Community School features game booths, international food selections, prizes, music, and entertainment for all ages.

BAY AREA

Russian-American Fair Terman Middle School, 655 Arastradero, Palo Alto; (650) 852-3509, paloaltojcc.org. 10am-5pm, $3-5. The Palo Alto Jewish Community Center puts on this huge, colorful cultural extravaganza featuring ethnic food, entertainment, crafts and gift items, art exhibits, carnival games, and vodka tasting for adults.

MAY 21–JUNE 8

San Francisco International Arts Festival Various venues, SF; (415) 399-9554, www.sfiaf.org. The theme for the fifth year of this multidisciplinary festival is "The Truth in Knowing/Threads in Time, Place, Culture."

MAY 22–25

Sonoma Jazz Plus Festival Field of Dreams, 179 First St W, Sonoma; (866) 527-8499, www.sonomajazz.org. Thurs-Sat, 6:30 and 9pm; Sun, 8:30pm, $40+. Head on up to California’s wine country to soak in the sounds of Al Green, Herbie Hancock, Diana Krall, and Bonnie Raitt.

MAY 24–25

Carnaval Mission District, SF; (415) 920-0125, www.carnavalsf.com. 9:30am-6pm, free. California’s largest annual multicultural parade and festival celebrates its 30th anniversary with food, crafts, activities, performances by artists like deSoL, and "Zona Verde," an outdoor eco-green village at 17th and Harrison.

MAY 25–26

San Ramon Art and Wind Festival Central Park, San Ramon; (925) 973-3200, www.artandwind.com. 10am-5pm, free. For its 18th year, the City of San Ramon Parks and Community Services Department presents over 200 arts and crafts booths, entertainment on three stages, kite-flying demos, and activities for kids.

MAY 30–JUNE 8

Healdsburg Jazz Festival Check Web site for ticket prices and venues in and around Healdsburg; (707) 433-4644, www.healdsburgjazzfestival.com. This 10th annual, week-and-a-half-long jazz festival will feature a range of artists from Fred Hersch and Bobby Hutcherson to the Cedar Walton Trio.

MAY 31

Chocolate and Chalk Art Festival North Shattuck, Berk; (510) 548-5335, www.northshattuck.org. 10am-6pm, free. Create chalk drawings and sample chocolate delights while vendors, musicians, and clowns entertain the family.

Napa Valley Art Festival 500 Main, Napa; www.napavalleyartfestival.com. 10am-4pm, free. Napa Valley celebrates representational art on Copia’s beautiful garden promenade with art sales, ice cream, and live music. Net proceeds benefit The Land Trust of Napa County’s Connolly Ranch Education Center.

MAY 31–JUNE 1

Union Street Festival Union, between Gough and Steiner, SF; 1-800-310-6563, www.unionstreetfestival.com. 10am-6pm, free. For its 32nd anniversary, one of SF’s largest free art festivals is going green, featuring an organic farmer’s market, arts and crafts made with sustainable materials, eco-friendly exhibits, food, live entertainment, and bistro-style cafés.

JUNE 4–8

01SJ: Global Festival of Art on the Edge Various venues, San Jose; (408) 277-3111, ww.01sj.org. Various times. The nonprofit ZERO1 plans to host 20,000 visitors at this festival featuring 100 exhibiting artists exploring the digital age and novel creative expression.

JUNE 5–8

Harmony Festival Sonoma County Fairgrounds, Santa Rosa; www.harmonyfestival.com. $30-99. One of the largest progressive-lifestyle festivals of its kind, Harmony brings art, education, and cultural awareness together with world-class performers like George Clinton and Parliament Funkadelic, Jefferson Starship, Damian Marley, Cheb I Sabbah, and Vau de Vire Society.

JUNE 7–8

Crystal Fair Fort Mason Center; 383-7837, www.crystalfair.com. Sat, 10am-6pm; Sun, 10am-5pm, $6. The Pacific Crystal Guild presents two days in celebration of crystals, minerals, jewelry, and metaphysical healing tools from an international selection of vendors.

BAY AREA

Sunset Celebration Weekend Sunset headquarters, 80 Willow Road, Menlo Park; 1-800-786-7375, www.sunset.com. 10am-5pm, $12, kids free. Sunset magazine presents a two-day outdoor festival featuring beer, wine, and food tasting; test-kitchen tours, celebrity chef demonstrations, live music, seminars, and more.

JUNE 8

Haight Ashbury Street Fair Haight and Ashbury; www.haightashburystreetfair.org. 11am-5:30pm, free. Celebrate the cultural contributions this historical district has made to SF with a one-day street fair featuring artisans, musicians, artists, and performers.

JUNE 14

Rock Art by the Bay Fort Mason, SF; www.trps.org. 10am-5pm, free. The Rock Poster Society hosts this event celebrating poster art from its origins to its most recent incarnations.

BAY AREA

City of Oakland Housing Fair Frank Ogawa Plaza; Oakl; (510) 238-3909, www.oaklandnet.com/housingfair. 10am-2pm, free. The City of Oakland presents this seventh annual event featuring workshops and resources for first-time homebuyers, renters, landlords, and homeowners.

JUNE 14–15

North Beach Festival Washington Square Park, 1200-1500 blocks of Grant and adjacent streets; 989-2220, www.sfnorthbeach.org. 10am-6pm, free. Touted as the country’s original outdoor arts and crafts festival, the North Beach Festival celebrates its 54th anniversary with juried arts and crafts exhibitions and sales, a celebrity pizza toss, live entertainment stages, a cooking stage with celebrity chefs, Assisi animal blessings, Arte di Gesso (Italian street chalk art competition, 1500 block Stockton), indoor Classical Concerts (4 pm, National Shrine of St. Francis), a poetry stage, and more.

BAY AREA

Sonoma Lavender Festival 8537 Sonoma Hwy, Kenwood; (707) 523-4411, www.sonomalavender.com. 10am-4pm, free. Sonoma Lavender opens its private farm to the public for craftmaking, lavender-infused culinary delights by Chef Richard Harper, tea time, and a chance to shop for one of Sonoma’s 300 fragrant products.

JUNE 7–AUG 17

Stern Grove Music Festival Stern Grove, 19th Ave and Sloat, SF; www.sterngrove.org. Sundays 2pm, free. This beloved San Francisco festival celebrates community, nature, and the arts is in its with its 71st year of admission-free concerts.

JUNE 17–20

Mission Creek Music Festival Venues and times vary; www.mcmf.org.The Mission Creek Music Festival celebrates twelve years of featuring the best and brightest local independent musicians and artists with this year’s events in venues big and small.

JUNE 20–22

Jewish Vintners Celebration Various locations, Napa Valley; (707) 968-9944, www.jewishvintners.org. Various times, $650. The third annual L’Chaim Napa Valley Jewish Vintners Celebration celebrates the theme "Connecting with Our Roots" with a weekend of wine, cuisine, camaraderie, and history featuring Jewish winemakers from Napa, Sonoma, and Israel.

Sierra Nevada World Music Festival Mendocino County Fairgrounds, 14480 Hwy 128, Boonville; (917) 777-5550, www.snwmf.com.Three-day pass, $135; camping, $50-100. Camp for three days and listen to the international sounds of Michael Franti & Spearhead, the English Beat, Yami Bolo, and many more.

JUNE 28–29

San Francisco Pride 2008 Civic Center, Larkin between Grove and McAllister; 864-FREE, www.sfpride.org. Celebration Sat-Sun, noon-6pm; parade Sun, 10:30am, free. A month of queer-empowering events culminates in this weekend celebration: a massive party with two days of music, food, and dancing that continues to boost San Francisco’s rep as a gay mecca. This year’s theme is "Bound for Equality."

JULY 3–6

High Sierra Music Festival Plumas-Sierra Fairgrounds, Quincy; (510) 547-1992, www.highsierramusic.com. Ticket prices vary. Enjoy four days of camping, stellar live music, yoga, shopping, and more at the 18th iteration of this beloved festival. This year’s highlights include ALO, Michael Franti and Spearhead, Built to Spill, Bob Weir & RatDog, Gov’t Mule, and Railroad Earth.

JULY 4

City of San Francisco Fourth of July Waterfront Celebration Pier 39, Embarcadero at Beach; 705-5500, www.pier39.com. 1-9:30pm, free. SF’s waterfront Independence Day celebration features live music by Big Bang Beat and Tainted Love, kids’ activities, and an exciting fireworks show.

JULY 5–6

Fillmore Jazz Festival Fillmore between Jackson and Eddy; www.fillmorejazzfestival.com.10am-6pm, free. More than 90,000 people will gather to celebrate Fillmore Street’s prosperous tradition of jazz, culture, and cuisine.

JULY 17–AUG 3

Midsummer Mozart Festival Various Bay Area venues; (415) 392-4400, www.midsummermozart.org. $20-60. This Mozart-only music concert series in its 34th season features talented musicians from SF and beyond.

JULY 18–AUG 8

Music@Menlo Chamber Music Festival Menlo School, 50 Valparaiso, Atherton; www.musicatmenlo.org. In its sixth season, this festival explores a musical journey through time, from Bach to Jennifer Higdon.

JULY 21–27

North Beach Jazz Fest Various locations; www.nbjazzfest.com. Various times and ticket prices. Sunset Productions presents the 15th annual gathering celebrating indoor and outdoor jazz by over 100 local and international artists. Special programs include free jazz in Washington Square Park.

JULY 26, AUG 16

FLAX Creative Arts Festival 1699 Market; 552-2355, www.flaxart.com. 11am-2pm, free. Flax Art and Design hosts an afternoon of hands-on demonstrations, free samples, and prizes for kids.

JULY 27

Up Your Alley Dore Alley between Folsom and Howard, Folsom between Ninth and 10th Sts; www.folsomstreetfair.com. 11am-6pm, free. Hundreds of naughty and nice leather-lovers sport their stuff in SoMa at this precursor to the Folsom Street Fair.

AUG 2–3

Aloha Festival San Francisco Presidio Parade Grounds, near Lincoln at Graham; www.pica-org.org/AlohaFest/index.html. 10am-5pm, free. The Pacific Islanders’ Cultural Association presents its annual Polynesian cultural festival featuring music, dance, arts, crafts, island cuisine, exhibits, and more.

AUG 9–10

Nihonmachi Street Fair Japantown Center, Post and Webster; www.nihonmachistreetfair.org. 11am-6pm, free. Japantown’s 35th annual celebration of the Bay Area’s Asian and Pacific Islander communities continues this year with educational booths and programs, local musicians and entertainers, exhibits, and artisans.

AUG 22–24

Outside Lands Music & Arts Festival Golden Gate Park; www.outsidelands.com. View Web site for times and price. Don’t miss the inaugural multifaceted festival of top-notch music, including Tom Petty, Jack Johnson, Manu Chao, Widespread Panic, Wilco, and Primus.

AUG 25–SEPT 1

Burning Man Black Rock City, NV; www.burningman.com. $295. Celebrate the theme "American Dream" at this weeklong participatory campout that started in the Bay Area. No tickets will be sold at the gate this year.

AUG 29–SEPT 1

Sausalito Art Festival 2400 Bridgeway, Sausalito; (415) 331-3757, www.sausalitoartfestival.org. Various times, $10. Spend Labor Day weekend enjoying the best local, national, and international artists as they display paintings, sculpture, ceramics, and more in this seaside village.

AUG 30–31

Millbrae Art and Wine Festival Broadway between Victoria and Meadow Glen, Millbrae; (650) 697-7324, www.miramarevents.com. 10am-5pm, free. The "Big Easy" comes to Millbrae for this huge Mardi Gras–style celebration featuring R&B, rock ‘n’ roll, jazz, and soul music, as well as arts and crafts, food and beverages, live performance, and activities for kids.

AUG 30–SEPT 1

Art and Soul Festival Various venues, Oakl; (510) 444-CITY, www.artandsouloakland.com. 11am-6pm, $5-$10. Enjoy three days of culturally diverse music, food, and art at the eighth annual Comcast Art and Soul Festival, which features a Family Fun Zone and an expo highlighting local food and wine producers.

SEPT 1–5

San Francisco Shakespeare Festival Various Bay Area locations; www.sfshakes.org. This nonprofit organization presents free Shakespeare in the Park, brings performances to schools, hosts theater camps, and more.

SEPT 6–7

Mountain View Art and Wine Festival Castro between El Camino Real and Evelyn, Mountain View; (650) 968-8378, www.miramarevents.com. 10am-6pm, free. Known as one of America’s finest art festivals, more than 200,000 arts lovers gather in Silicon Valley’s epicenter for this vibrant celebration featuring art, music, and a Kids’ Park.

SEPT 20–21

Treasure Island Music Festival Treasure Island; treasureislandfestival.com. The second year of this two-day celebration, organized by the creators of Noise Pop, promises an impressive selection of indie, rock, and hip-hop artists.

SEPT 28

Folsom Street Fair Folsom Street; www.folsomstreetfair.com. Eight days of Leather Pride Week finishes up with the 25th anniversary of this famous and fun fair.

Listings compiled by Molly Freedenberg.

Bumping and thriving

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› a&eletters@sfbg.com

"Crazy be the knowledge of self." If you’re into conscious hip-hop, you might expect such an interpersonal refrain as this intro to Black Spade’s "Good Crazy" on his intricately self-produced debut, To Serve with Love, out last month on Om Hip Hop, an imprint of San Francisco’s Om Records. Still, there’s something new going on here, something hot that snags your mind and your kicks and refuses to let go.

Maybe it’s Spade’s technique. The rapper otherwise known as Veto Money easily shifts between samples from every genre imaginable, funked-out click tracks, alien blips reminiscent of delightfully geeky hip-hop producers such as Styrofoam, and choruses that sound like he’s singing to you personally. His tight flows simulate a head bobbing up and down and grinning by pushing syllables into full beats, with rhymes and emphases hitting on downbeats instead of more typical upbeat syncopation.

Or maybe it’s just a simple sense of freedom. Remember when freedom was fun? Om Hip Hop is doing for the experimental hip-hop community what they’ve become known for worldwide in the electronic music world: finding talented musicians who could be superstars but are more interested in the music than in superficial fame, connecting them with other mavericks, and giving them free reign to rock the house. It’s the hip-hop version of what the Los Angeles CityBeat has dubbed Om’s effective "anti-superstar-DJ music policy."

"I’ve never worked on a project I didn’t believe in 100 percent," said Jonathan McDonald, speaking in Om’s SoMa headquarters, surrounded by countless promo discs and magazines. McDonald, who started out as an intern at Om while he was working as the hip-hop buyer at Amoeba Music, is now in charge of A&R and publicity for Om Hip Hop. He was psyched two years ago when Om founder Chris Smith decided to create and devote resources to the new imprint. Hip-hop was integral to Smith’s original vision for Om in 1995, said McDonald. "But when dance culture really took off in the city, Om followed," he said. The phenomenal success of Mark Farina’s Mushroom Jazz Vol. 1 (1996)still Om’s bestselling record — outplayed early hip-hop projects such as People Under the Stairs.

With a stage name that plays on race, death, and the name of a ’70s New York street gang, Black Spade easily shifts between social critique ("Head Busters fightin’ security at the Mono / Should I sell dope or slave at McDonald’s?") and romanticism ("Excuse me miss, I know we’re fighting / But what is that smell? It’s so exciting"). Yet another Om Hip Hop artist, Crown City Rockers’ Raashan Ahmad, who now resides in Oakland, expands this sense of storytelling on The Push, which will be out in May. Considering everything from his mother’s battle with cancer to the birth of his son, Ahmad’s liquid lyricism takes us on a striking emotional ride, with stops for inspiration ("The linguist synonymous with soul power") and praise ("Hip-hop saved my life"). "I wanted to show all sides of hip-hop — and all sides of me," said Ahmad, on the phone from Los Angeles. By offering unprecedented support, Om let him create an album that even shows his "insecurities," he said. "Everything they said they’d do, they’ve done. They gave me complete creative freedom."

In June, Om will release the One’s Superpsychosexy. McDonald hopes that the Spade and Ahmad discs will help prep listeners for the Charlotte, N.C., artist’s "left field" sound, which includes hypnotic production and elastic, naughty-and-nice soul vocals. The One, né Geoffrey Edwards, would probably think of this pre-exposure as foreplay. "Superpsychosexy is music to make babies to. No, scratch that — it’s music to practice making babies to!" he said with a laugh, on the phone from his home. The One’s father is a minister. From a young age, his family was encouraged to create on multiple instruments, and on tracks such as "Drippin," and "Milkshake Thick," he summons some very hot demons.

The mixture of local and global artists has played a major role in Om Records’ success. Their Bay Area talent includes Zeph and Azeem; Zion I and the Grouch; and J Boogie’s Dubtronic Science, which has a new full-length coming later this year. Om has also formed a partnership with imeem, a San Francisco social networking site based around music, which McDonald believes will be a "driving force in new media."

It’s a perfect match. Om Hip Hop is all about community and shows no signs of slowing down. Colossus’s West Oaktown (2005), the first Om Hip Hop release, presented original funky tracks alongside hip-hop remixes, so you could feel the DJ at work. Om’s "Spring Sessions" show at the Mezzanine is bound to see some healthy human remixing, live and in the house. *

BLACK SPADE

With Supreme Beings of Leisure, Turntables on the Hudson, Samantha James, and J Boogie’s Dubtronic Science

Fri/18, 10 p.m., $15

Mezzanine

444 Jessie, SF

www.mezzaninesf.com

Cooking for cancer

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By Alex Felsinger

Hours after heart surgery, while still in her bed on the cardiac floor of the hospital, doctors gave Kristen Doyle’s mother a hamburger for her first meal. Doyle knew this was common practice. But as a registered and practicing nurse with an interest in nutrition and preventative medicine, she’d always been disgusted that doctors allowed patients to eat fatty, processed foods instead of directing them towards a healthier lifestyle.

In 2004, after a 12-year nursing career, Doyle could no longer stomach the hypocrisy. In search of a way to help people beyond diagnostics and treatment, she enrolled in Bauman College of Holistic Nutrition and Culinary Arts. The incident with her mother later that year confirmed what she’d suspected: she’d never use her nursing degree for traditional practices again. Now she’s a personal chef for cancer patients, diabetics, and other people with special nutritional needs.

But while the new job she started in 2005 pays the bills, Doyle wasn’t satisfied she was helping enough people. “I’m only reaching a couple of families each week,” Doyle said. “If you’re paying for a personal chef, you’re probably upper or middle class, but this information should be available to everyone.”

Doyle’s answer? A healthy, cancer-preventing diet through free weekly cooking and nutrition classes held at the Institute on Aging, UCSF, and most recently, the SOMA Whole Foods.

talking.jpg
Photo by Glenn McElhose

Superlist: Hot shaves

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Oh, the beard. You’ve seen it all over the city on all kinds of faces. It’s both the Scandinavian overgrowth of a hipster on a fixie and the trimmed-up, yuppified smarm of the suit sitting next to you on the 47. The bald 43-year-old in the Ozzfest T-shirt: he wears the hell out of it in an attempt to distract attention from his retired scalp.

We love it. Eventually, though, it starts to itch or begins to rub your significant other the wrong way. Here’s your answer: ooh, the hot shave. Many barbers will tell you they no longer perform this time-consuming yet important service. But the following will gladly and skillfully remove your chinstrap and leave you feeling smooth again.

A shave is a bit pricier at the Art of Shaving (845 Market, SF; 415-541-9801, www.theartofshaving.com), located inside the Westfield Mall, than at a typical barber shop. Last shave starts at 8:30 p.m., so they’re great in a pinch.

Everything, including your shave, seems to cost $16 at Asano (3312 Sacramento, SF; 415-567-3335), an appointment-only hole in the wall off Presidio Ave. With only one or two chairs going at any given time in this tiny space, you’d better call ahead.

Say bye-bye in style to last year’s neck-beard trend at the Barber Lounge (854 Folsom, SF; 415-934-0411, www.barberlounge.com). With two barbers on deck, including San Francisco Barber College graduate Rick Cortezzo, this self-described "ultrahip" full-service salon in an artsy SoMa loft can provide all the requisite new-school pamper while giving you a hot-towel shave that would make Gramps proud.

Dwayne Robinson, founder and executive director of Bayview Barber College (4912 Third St., SF; 415-822-3300, www.bayviewbarbercollege.com), teaches his young pupils everything they need to know to pass the state exam, with a five-hour evaluation that includes a practical on the hot shave. On top of such fundamentals as foot position, lather control, the 14-stroke sequence, and the all-important hot-towel finish, Dwayne stresses the importance of a polished customer-service approach to all aspects of the barbering craft. You can come in and get a super-affordable shave from one of his students any time after 10 a.m., when class instruction ends. Stick around for the joke-cutting and some half-reliable dating tips.

Ask for Victor at Exchange (435 Pine, SF; 415-781-9658). He’s the only one who performs the hot shave at this classic establishment, which is built into the side of a downtown Pine Street slope. Barber rumor has it that Victor’s shaves are the best in the city, so it’s probably worth the wait.

Founders Kumi Walker and Sean Heywood designed MR. (560 Sacramento, SF; 415-291-8800, www.mrthebarbershop.com) as a high-end local service for the manly needs of Financial District execs and other fine gents. Featuring huge plasma TVs, a shoeshine bench, plush seating, and a full-service bar, MR. provides its clientele with all the trappings of an upscale lounge. Though one-off shave arrangements can be made, MR. also offers a monthly membership, at a steep price, in exchange for 24 hours’ worth of styling service.

Ask your Mission bartender, he’ll tell you that at Willy’s (3227 22nd St., SF; 415-826-2344) they still do things the old way: a close shave, a nice hot towel, and good conversation. Although Willy no longer runs the shop, this spot is a surefire bet, and walk-in friendly.

The newly remodeled space at Sunset Barber Service (1374 Ninth Ave., SF; 415-564-4744) feels like home, what with its hardwood floors, finished counters, warm color scheme, and "mature" reading material. Jay and his father have been running this neighborhood outlay for 40 years and have seen all the fads come and go: the Faux Manchu, the Lonely Mennonite, the Mandlebar, and let us all wistfully recall the Amorous Marine.

Piqueo’s

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› paulr@sfbg.com

When Carlos Altamirano opened his first restaurant, Mochica, on a drab block of Harrison Street in SoMa more than four years ago, I thought: well, Peruvian, that’s interesting, but how good could it be if he had to put it there? Then I went and found out how good it could be: way good, extraordinary, probably the best Peruvian food in the city. Few pleasures are as exquisite as that of finding one’s expectations exceeded.

And yet, in unlooked-for success, danger can lurk, too. If your first restaurant turns out to be marvelous, people will expect your other restaurants to be marvelous, maybe even more marvelous. The word, from two summers ago, that Altamirano would be taking over the original Moki’s space in Bernal Heights to open a Mochica sibling wasn’t surprising, but it did lead me to suppose that the new place would be at least as good as the older one and, at the same time, wonder if and how it could be. Would it be disappointing if Piqueo’s, the new restaurant, were only as good as Mochica, not better?

One way out of this gilded conundrum might be to serve a slightly different sort of food at each locale. Altamirano describes the menu at Piqueo’s as "contemporary" Peruvian cuisine — "traditional" Peruvian, "with a California twist." (Mochica, incidentally, serves "fusion Peruvian cuisine," according to the Web site.) The description is fair enough in that vague, diplomats-having-frank-discussions way, but it does not begin to capture the wonder of the sauces, which, in their variety, sophistication, and vividness, are so good we actually requested glasses to drink them from, once we’d run out of sopping and soaking material. If you associate sauces with a certain sort of snooty French cooking, you will find revelation at Piqueo’s.

The menu card itself is an unwieldy artifact. It’s oversized — it could pass as a modestly shrunken reproduction of the Declaration of Independence — and like that worthy document it’s filled with text, in small, difficult-to-read lettering. One evening we had to whip out our Peepers (those wallet-size magnifying glasses, so no, it’s not what you think) to be able to read the menu. Rarely do you see so many choices except at Chinese restaurants, and when a kitchen must turn out such a broad range of dishes, you wonder if it isn’t trying to spread too little butter over too much bread.

But you don’t get bread at Piqueo’s: You get little dishes of crispy, spicy chickpeas, tossed with scallion mince and some mild white vinegar. They’re no good for sauce reclamation, but they are addictive. You empty the dish and another soon appears, and by the time you’ve emptied that, you are presented with a platter of seviche, maybe the mixto version ($17), an embarrassment of peeled shrimp, sea scallops, mussels, yam chunks, kernels of Peruvian corn, and a few slivers of fresh ginger bathing in a glow-in-the-dark sauce of lime juice and two kinds of chili pepper, rocoto and aji limo. The sauce was almost like a distillate of V-8 juice, and when the seafood was gone, we poured the remnant into a cordial glass and made a small toast to the next course.

After such puckering heat, a bit of aromatic sweetness is indicated. How about a salad of quinoa ($9) — the grain of the Inca — perfumed with mint? I was expecting something like couscous, but the salad was a real salad: a bowlful of mixed greens, with the cooked quinoa scattered like cheese crumblings over the lettuces and a lively but well-mannered supporting cast of halved black olives, red bell pepper julienne, and more Peruvian corn kernels tossed into the mix. Vinaigrette: lush and balsamicky, a hint of caramel sweetness.

As familiar as Peruvian corn (a.k.a. cancha) may have become in recent years, at least to those who haunt Peruvian restaurants, its appearances have remained confined (in my experience) to off-the-cob bit parts. But Piqueo’s offers cancha steamed on skewered cobs ($9) in a fabulous, turmeric-yellow aji sauce. The corn itself was a little bland (though it doesn’t stick in your teeth the way the ordinary kind can), but the sauce was so good that we pleaded for, and were brought, a plate of toasted baguette rounds to clean it up with.

Bread recurred (in a kind of late-inning rally) as part of a fried-smelt sandwich ($9) enlivened by sprigs of fresh cilantro. Smelt is a fresh-water fish not often seen in restaurants around here — I associate it with the Great Lakes and early-spring fishing expeditions by night along Chicago’s lakefront — but there is a variety native to the Sacramento-San Joaquin Delta, so it’s not necessarily an exotic delicacy.

Also not exotic delicacies, but delicious all the same, are calamari tubes ($19), closed off at one end like pastry piping bags, filled with chorizo, and grilled. The tubes (which look like elongated dreidels) are plated with broad, flat white beans, a jumble of watercress, and yet another wondrous sauce, this one called chupe.

If there is a slight letdown, it has to do with the dessert menu. Many of the usual suspects can be found here, from alfajores (the little cookies) to suspiro to passion-fruit mousse. After some squabbling ("Gentlemen, draw your Peepers"), we settled on the chocolate cake ($10) with ice cream. The ice cream, made with lucuña, a tropical fruit native to Peru, was a pretty orange-pink color but disappointingly granular, which suggested it had melted and been refrozen. The cake, on the other hand, a disk held within a rim of crushed nuts, was outstanding: a mousse cake, smooth and dense as night. No sauce needed.

PIQUEO’S

Daily, 5:30–10:30 p.m.

830 Cortland, SF

(415) 282-8812

www.piqueos.com

Beer and wine

AE/DC/MC/V

Moderately noisy

Wheelchair accessible

Dining in the off-hours

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LATE LUNCHES One of the things that makes Don’t-call-it-Frisco such a fine place is the disproportionate ratio of successful slackers to office drones who live here. You know the type: they sleep in until 10, read the whole newspaper over a bagel and coffee, get some sort of exercise, and then spend the rest of the day creatively earning money. I’m one of them — hell, you’re probably one of them. Waiters, bartenders, freelance mortgage brokers, writers, graphic designers … there are all sorts of creative types doodling around the city during off hours, working after the sun goes down and eating their meals whenever they please. The only problem? When you finish breakfast at 11 a.m., you want lunch around 3 or 4 p.m. — and many power-lunch spots serving the corporate world close between 2 and 5 p.m., when the earliest cocktailer trickles in. So where do late lunchers eat? For those of you who think outside the cubicle, here are a few restaurants that’ll serve you no matter what time the lunch urge strikes.

Everything about Bar Bambino (2931 16th St.; 701-8466, www.barbambino.com) is carefully rustic. In the restaurant’s front window, a rough-hewn community table seats 10 and a soft white Italian marble bar reaches all the way back to an open section of the kitchen, displaying cheeses and charcuterie. A few scattered indoor tables give way to a quiet, heated outdoor patio. The menu shows owner Christopher Losa’s love for northern Italy, where he lived for several years: the food is simple, traditional Italian, like the polpetti, pork-and-veal meatballs in a rich tomato sauce with dark chard. There’s nothing superfluous on the plates (order some sides for that), and the dishes are affordable. "I’m all about gastronomic progression, but how many times a week can you eat peppered sardines in cilantro foam?" laughs Losa. "Sometimes you just want a plate of really good pasta." The highly polished Italian wine list offsets Bar Bambino’s simple food.

If you want to know where the really good meals are, follow the chefs. When San Francisco’s culinary heroes have slept off last night’s shift (and postshift drinks) and finished their coffee, they head to Sunflower (506 Valencia and 3111 16th St.; 626-5022) for cheap and authentic Vietnamese eats. Sunflower has two locations: a tiny (like, four tables tiny) space on Valencia and a larger dining room around the corner on 16th Street. Both locations share the same kitchen, which speedily produces hangover-curing dishes like sticky wontons (stuffed with pork, rolled in rice, and deep-fried) and all kinds of pho, with the requisite Mission vegan options available. The industrial-strength Thai iced tea or coffee is sweetened by plenty of condensed milk and will keep you buzzing long into the evening. The produce is fresh and the meat is nondubious, something of a rarity for a pho restaurant.

Absinthe (398 Hayes; 551-1590, www.absinthe.com) hasn’t gotten a lot of press in the past couple of years, but that’s not because the restaurant has slipped any. The Yelpers and the new-restaurant junkies may have gone to feed on fresh prey, but good ol’ Absinthe remains a staple of opera diners and cocktail connoisseurs. The bar’s lounge area stays open through Absinthe’s lunch rush, dinner rush, and the post-opera blitz. Sure, you’ll drop some coin on a meal at Absinthe (a decadent lunch for two plus cocktails runs about $100), but you’ll eat, and be treated, like royalty. Forget about the tired waitstaff dying to drop the checks so they can go home — the service here is as good as the Chartreuse cocktails and the fresh crab.

Restaurant Lulu (816 Folsom; 495-5775, www.restaurantlulu.com) is a total find in the restaurant wasteland that makes up this part of the SoMa corridor. It has the best salty, lemony mussels around, hands down. The industrial-chic decor is at odds with the impeccable and friendly service (read: no pretense, no attitude). Lulu’s is perfect for a hefty lunch circa 3 p.m., after a midday spin at the San Francisco Museum of Modern Art or the Yerba Buena Center for the Arts.

The kitchen at Perbacco (230 California; 955-0663, www.perbaccosf.com) will only do a bar menu between lunch and dinner, but it’s worth a trip to the heart of the Financial District for some ultra-authentic Italian snacks and drinks. The house specialty is the charcuterie plate (the sassy little meat-chef slices everything on a vintage machine right behind the bar), but everything’s good. Try their signature cocktail as a brightly acidic complement to the heavy, comforting meatiness offered on the rest of the menu.

OK, so you never want to hear the words "Asian fusion" again. I know: I don’t either. But buck up and check out Ozumo (161 Steuart; 882-1333, www.ozumo.com) on the backside of Steuart. If you just can’t bear to order anything with the word "fusion" in its name (your loss), you can still try the sushi. Ozumo is where the other servers in the area head for their post-lunch-shift drink — in case you wonder who the raucous group in the front lounge are. If you sit up there too, you can even pick up a wireless signal from next door. Hey, it’s like you really are in an office … but with cocktails. Viva la SF-slacker lifestyle! (Ella Lawrence)

Shelter shuffle

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EDITOR’S NOTE Guardian reporter Amanda Witherell and intern Bryan Cohen spent almost a week staying in various San Francisco homeless shelters. To get an unfiltered look at the conditions, they didn’t identify themselves as journalists, so some names in this story have been changed to protect people’s privacy. Their undercover reporting was supplemented with extensive research and on-the-record interviews with key officials, providers, and recipients of homeless services.

>>Read Amanda Witherell’s nightly shelter journals, with photos

>>Read Bryan Cohen’s nightly shelter journals, with photos

>>Homeless people share their stories

>>The mayor’s Feb. 14 press conference about homeless shelters

It’s about quarter past seven on a Thursday night, and I’m late for curfew. Not even during my wildest high school days did I have to be home by a certain time, but tonight, 29 years old and sleeping in a homeless shelter, I’m supposed to be in by 6:30 p.m.

Heading down Fifth Street toward the shelter, I wonder what I’ll do if I lose my bed for being late. Can they set me up at a different shelter? Will I have to head back to a resource center in the Tenderloin or the Mission District to wait in line for a reservation somewhere else? Either way, I could be walking the streets for the next few hours, so I adjust my heavy backpack for the journey. Waiting to cross Bryant Street, I stare up at the large, hulking building with its utilitarian name, Multi-Service Center South, and notice there are no shades on the windows in the men’s dorm. Since it’s lit from within, I can clearly see someone standing beside his cot, clad in nothing but blue plaid boxers, obviously unaware that he’s so exposed. I wonder if the windows would be shaded if it were the women’s room. Maybe that’s why we sleep in the basement.

Inside the door I shed my pack and step through the metal detector. The security guard dutifully pats it down and pushes it back into my arms. At the desk I give the last four digits of my Social Security number and am checked in. No questions about being tardy. I’m in.

I’m also late for dinner. A staffer hands me two unwrapped sandwiches from a reused bread bag under the counter. Ham, mustard, and American cheese between two pieces of cheap, sliced bread. After two days in the shelter I still haven’t seen a piece of fruit or a vegetable. I wrap the sandwiches in the newspaper under my arm and head down to my bunk. On the stairs I pass a guy and nod hello. He nods back, then calls out, "Hey, can I ask you something?"

I turn. "Sure."

"What’s a nice girl like you doing in here?"

I shrug and step back, unsure of what to say.

"I’m not trying to mess with you," he says. "I’m not fucking with you. I don’t do drugs. I’m straight. I don’t mess with anything," he goes on, trying to reassure me.

I believe him and dish it back. "Then what’s a nice guy like you doing in here?"

He laughs and shrugs. He tells me he doesn’t really stay here. It’s just for a couple of days. He lives in a $200 per week hotel in Oakland, but if he stays there more than 28 consecutive days, it becomes residential and the rates go up, so he clears out for a few days every month and comes here. The hotel’s nicer than this, he claims. It’s clean and safe, and he has his own space. "I can walk around in my underwear," he says.

We sit on the stairs, talking about how you lose all your privacy when you stay in a shelter, how the regimentation is reminiscent of prison. There are no places to go and be on your own, rest, and be quiet. Once you’re in for the night, you can’t leave except to step out for a smoke.

I ask if he has a job. He tells me he’s a chef for Google. I raise an eyebrow, recalling that the company’s stock is hovering somewhere between $600 and $700 per share right now. The pay isn’t the problem — he gets $16 an hour, but he’s been out of town for a while, caring for a sick family member, and has just returned. He got his job back, but only part-time, and he lost his home.

He’s wary of being on welfare — that’s not the way his mother raised him — but he’s in the County Adult Assistance Program, which gets him $29 every two weeks, a guaranteed bed at the shelter, and a spot on a waiting list for a single-room-occupancy hotel room, the bottom rung on the permanent-housing ladder.

What he really wants is a studio, but his searches haven’t turned up anything affordable. He needs a little boost of cash for a security deposit on an apartment, but when he asked the General Assistance Office if it could help him out with that, the answer was no.

His brow furrows with concern, and then the conversation turns to me. "You got a job?" he asks.

What can I say? I’m a reporter for a local newspaper. I’ve heard that some of the city’s homeless shelters are lacking basic standards, accessing a bed can be complicated, and services are scattered. I thought I’d come find out for myself.

Here’s what I learned: San Francisco has a cumbersome crazy quilt of programs, stitched together with waiting lists and lines. Policies that are written on paper and espoused in City Hall are often missing in shelters. Some rules don’t seem to exist until they’ve been broken. Others apply to some people, but not all. Getting a bed is a major hurdle, and I say that as a stable, able, mentally competent, sober adult.

And once you’re in, it’s sort of like sitting in a McDonald’s for too long. Years ago a friend told me the interiors of fast food restaurants are deliberately designed to make you feel a little uncomfortable. They don’t want you to get too cozy; they want you to eat and leave, making way for the next hungry mouth they can feed.

In other words, shelters are designed to make people not want to use them.

The only information I took with me was a one-page handout I got from a San Francisco Police Department Operation Outreach officer. He said it’s what cops and outreach workers give to people they come across who are sleeping on the streets. I figure if it’s good enough for them, it’s all I need to navigate the system.

The map, as it were, is a cramped, double-sided list of places to get free meals, take showers, store your stuff, sober up, and, of course, get a bed.

For the bed, it instructs, you have to go to a resource center and make a reservation. Some of the resource centers are also shelters. Some aren’t. Some are just reservation stations. They all have different operating hours and are located all over the city, but mostly in the Tenderloin and South of Market.

It takes me a while to puzzle out which ones are open, where exactly they are, then which is closest to me. Phone numbers are also listed, so I assume it’s like making a hotel reservation and dial one up on my cell phone.

The first number doesn’t work. There’s a digit missing. Dialing methodically down the list, I discover that none of the numbers connect me to a person. This is obviously not the way to go.

The way I ultimately get into a shelter is not the way you’re supposed to. In San Francisco’s system, you’re not supposed to just walk up to a homeless shelter and get a bed, but that’s what I do.

At first the woman behind the counter at MSC South tells me the only open beds are across town, at Ella Hill Hutch in the Western Addition. Then another staffer looks at the clock and says he’s not sending me out there. He’ll "drop" beds instead.

The city’s 1,182 beds for single adults are managed through an electronic database called CHANGES. It’s a modern-day improvement on people roaming from shelter to shelter everyday, putting their names on lists for possible beds. Launched in 2004, CHANGES now does that electronically and maintains profiles of people who use the system. If you’ve been kicked out of a shelter, missed your tuberculosis test, or not shown up for curfew, CHANGES knows and tells on you.

Every day around 8 p.m. shelter staff trawl through the reservations and drop the no-shows, cancellations, and reservations that have expired or whose makers have moved on to hospitals, rehab, the morgue, or — less frequently — housing.

MSC is allowed to make reservations for any shelter except itself — that’s against policy. I learn this the next morning, and I’m told it’s because there’s too much corruption and favoritism. MSC is apparently one of the better shelters, so to keep clients from cutting deals with staff, the policy doesn’t allow clients to reserve a bed there.

But after half an hour the staffer hooks me up for a two-night stay, bending the rules to do so. While I’m waiting, he turns away a client who had a seven-day bed but didn’t show up the previous night. The guard confiscates his fifth of vodka, and he gets an earful about drinking.

When the city’s shelter system was born in 1982, it was first come, first serve at the doors of churches and community centers. President Ronald Reagan’s cuts to federal domestic spending landed hard on low-income people, so then-mayor Dianne Feinstein called on local organizations to temporarily house and feed the growing number of street sleepers.

Throughout the ’80s wages stagnated while the cost of living soared: between 1978 and 1988 the average rent for a studio apartment in San Francisco jumped 183 percent — from $159 a month to $450. Twenty years later it’s $1,114. In 1978 the Housing and Urban Development budget was $83 billion. Today it’s $35.2 billion, almost nothing by federal budgetary standards, and almost no new public housing units have been built since 1996, while 100,000 have been lost.

Every year the federal government spends almost twice as much on a single attack submarine as the Department of Housing and Urban Development spends on homeless assistance. State and local governments have been left to pick up the hefty price tag.

San Francisco spends more than $200 million on homelessness, through services, financial aid, supportive housing, emergency care, and shelter beds. There are 13 city-funded shelters, four resource centers, and three reservation stations in San Francisco. The Human Services Agency spends $12.5 million per year on shelters through contracts with nonprofit managers. The Department of Public Health also manages two contracts, for a battered women’s shelter and a 24-hour drop-in center.

But it’s not enough: the nonprofits supplement operating expenses with grants and private donations and recently relied on a special allocation of $300,000 to purchase basic supplies like soap, towels, hand sanitizer, sheets, pillows, and blankets.

James Woods, a spry 51-year-old wearing a red Gap parka barely zipped over his thin, scarred chest, rattles off the places he’s lived: Detroit, Atlanta, Seattle, San Francisco, Louisville, Ky., and his hometown, Nashville, Tenn. "Out of all the cities I’ve been in, this is the only city where you have to go and make a reservation for a bed at the rescue mission all the way across the city in order to come back to the place you started," he says, jabbing the floor of MSC with his cane. "I can’t even make a reservation here for a bed here. They’ll send me across the city to another place to do that."

Woods has been pounding the pavement between MSC and the Tenderloin AIDS Resource Center for eight months. Every day around 3:30 p.m. he heads to the Tenderloin, where he gets in line for a bed. Woods has a fractured hip and arthritis, pins in his knees and feet, and hepatitis C. He’s been HIV-positive since 2002. He walks with a limp that can transform into a springy, stiff-legged canter when he chases the 27 bus down Fifth Street.

Rather than tote all of his possessions with him, he hides them in the drawer of an emergency bed at MSC, so it’s imperative that he get back there every night. Sometimes he waits hours for an MSC bed to open up.

Though Woods speaks highly of some city services, swooning a little when he mentions his doctor at the Tom Waddell Health Center, the daily bed hunt has left him exhausted and disgusted with the city. "They’ve got the program designed to run the homeless off," he says. "They have it as hard and difficult as possible for you to take a breath, take a rest, get a routine."

While a person can reserve a bed for one to seven nights and, if on General Assistance, make arrangements through a caseworker for 30- to 90-day stays, Woods has rarely been able to procure a bed for longer than one night. "Maybe twice I’ve gotten a seven-day bed," he says.

The inability to connect people with beds is not lost on city officials. Mayor Gavin Newsom’s recently hired homeless policy director, Dariush Kayhan, told me, "I really want to solve the issue of the juxtaposition of vacant beds and homeless people on the streets. That to me is untenable."

However, he only discussed the issue in terms of people who’ve chosen not to use the shelters and are sleeping in the street. To him, empty beds signify that there’s more than enough shelter for people. "At this time there’s no plan to expand any shelter beds, and I think homeless people, in many ways, many of them vote with their feet and have decided that shelter’s not for them," he said.

But the Guardian found that even if you are willing and waiting for a bed in a place where someone can presumably connect you with one, it often doesn’t happen.

According to the 2007 Homeless Count, there are 6,377 homeless people in San Francisco. The nine year-round single-adult shelters have enough beds to accommodate one-third of that population. Other emergency facilities shelter some of the overflow on a seasonal basis. The remaining homeless sleep in jails and hospitals, respite and sobering centers, parks and sidewalks.

People also pile up at Buster’s Place, the only 24-hour drop-in resource center in the city, where they slump all night in chairs, forbidden by staff to sleep on the floor.

It took Guardian writer Bryan Cohen five nights to find a spot at a shelter. He spent Jan. 20 and 21 at Buster’s waiting to see if a bed would open up. None did. According to the shelter vacancy report for those two nights, there were 108 and 164 beds set aside for men that went unfilled. On an average night this January, a month marked by cold weather and flooding rain, 196 beds were empty.

Buster’s does not have access to CHANGES but can apparently call shelters and ask about empty beds. I was at the Providence Foundation shelter one night and overheard a call come through and shelter staff tell whoever rang that no, they couldn’t bring more people here. There were four empty mats beside me.

Laura Guzman, director of the Mission Neighborhood Resource Center, said CHANGES was a breakthrough in getting people into beds, but when it was first launched in 2004, things were different. "You had a choice. Shelter of choice was much easier to achieve. Then Care Not Cash happened," she said.

Most of the city’s beds are assigned to beneficiaries of certain programs, like Swords to Ploughshares and Newsom’s signature plan Care Not Cash, or to people with mental health or substance abuse issues who have case managers.

Though beds can be turned over to the general public when they are dropped after curfew, one wonders how effectively that happens.

The challenges are worst for Latinos, refugees, and immigrants, who face language barriers and the potential hurdle of illegality.

As a result, they flood one of the few places they can get in. Dolores Street Community Services reported the second-lowest vacancy rate in January, just 5 percent. The 82-bed program hosts a waiting list and is one of the more flexible in the city — deliberately so, as many of its Latino participants have jobs or work as day laborers. Marlon Mendieta, the executive program director, says, "They have a plan and just need to save up some money to move into a place."

However, rising rents have made moving on difficult. "We have people who are basically just cycling from one shelter to another," Mendieta said. "We see some who exit our shelter, find housing, but might end up back at the shelter if rent goes up or they lose work."

Providence is one of the sparest of homeless facilities and is located in a Bayview church. Unlike at other shelters, there’s no hanging out here. When the doors open at 9:30 p.m. about 90 people with reservations are already lined up in the rain on its dark side street.

We receive one blanket apiece, and the men shuffle into the gym while I follow the other females into a smaller side room, where 12 mats are laid out on two ratty tarps. Several women immediately lie down, speechless.

The cook gives a quick blessing when plates of food arrive on two sheet pans: spaghetti, heavily dressed salad, limp green beans mixed with cooked iceberg lettuce, and a very buttery roll. It’s all heavy and slightly greasy, but also warm and a closer approximation of a square meal than any of those offered by the other shelters I’ve stayed in so far.

Moments after I finish eating the lights are turned off, even though a couple of women are still working on their meals. A shelter monitor comes through and confiscates our cups of water, saying she just refinished the floors in here and doesn’t want any spills. I notice that unlike at other shelters where I’ve stayed, none of the women here have bothered to change into pajamas. Some haven’t even removed their shoes. I follow suit, tucking my jacket under my head for a pillow and pulling the blanket around me.

When the lights come back on at 5:45 a.m., I understand why no one changed: there’s no time to get dressed. Shelter monitors enter the room, rousting sleepers with catcalls to get up and get moving. One turns on a radio, loud. They’re brisk and no-nonsense, grabbing blankets and shoving them into garbage bags, pulling mats into a stack at the edge of the room.

A woman becomes perturbed by being hustled and talks back to the shelter monitor. A verbal battle ensues, with the client picking up her mat and throwing it across the room, scattering her possessions. "What a woman, what a woman," the shelter monitor yells. "We’ll see if you get a bed here tonight."

Another staffer comes through with a toxic-smelling aerosol, which she sprays around us as we get ready to leave. The bathroom, the cleanest I’ve come across in the city’s shelter system, is still a clusterfuck as a dozen women wait to use the three toilets and two sinks. One stall has a broken door, and the only morning conversation is apologies to the occupant.

Even though the contract between Providence and the HSA says the former will provide shelter until 7 a.m., it’s a little after 6 a.m. and all 90 of us are back out on the street, rubbing sleep from our eyes, shivering in the dark dawn, and waiting for the Third Street T line. When the train comes, most of us board without paying and ride back toward the city center to get busy finding some breakfast and making preparations for where to stay tonight. I have four hours before I have to be at work.

Shucrita Jones, director of Providence, later tells me the shelter’s materials have to be cleaned up by 7 a.m. because the church is booked for other activities. "We turn the lights on at 6. The clients have at least until 6:10 to get up. We encourage everyone to be out of there by 6:15 so we can be clear of the building by 6:30," she says. To her defense, she adds that the shelter monitors often let people in earlier than the contracted time of 10 p.m. and that when the weather is particularly nasty she’ll open the doors as early as 8:30 p.m. to let people in out of the cold.

As for the discrepancy between empty mats in the shelters and people going without beds, she blames the reservation system. "CHANGES has a lot of glitches," she says. "It’s got a lot of errors the city and county [are] trying to fix."

What I witness isn’t as bad as what I hear. In the shelters everyone has a horror story — some are about how they got there, others about what’s happened to them since they arrived. Nearly all include a questionable experience with staff — from witnessing bribes for special treatment to being threatened with denial of service for complaining. Their observations echo mine: the administration and certain high-level staffers exhibit genuine concern and an ability to help when you ask, but lower-tier workers aren’t as invested in providing good service.

Tracy tells me she sent her daughter to private school and considers herself a victim of the dot-bomb era and an illegal eviction that landed them at the Hamilton Family Center. "We were given one blanket. It was filthy. It had poo on it, and, I’m not kidding, there were even pubic hairs," she says.

She describes the shelter’s intake process as similar to that of jail bookings she’s seen on television. Six days later she and her child were thrown out. No reason was given, though she’s convinced it’s because a staff member overheard her complaining about a recent incident involving another client sneaking in a gun. When she was told to leave immediately, she wasn’t informed that she had the right to appeal. So she and her daughter hastily gathered their things and hit the dark Tenderloin streets.

A grievance system exists for people who’ve been hit with denial of service, or DOS’d, the colloquial term for kicked out. But the process can take months. Shelter managers I spoke with don’t deny that stealing is rampant, favoritism exists, and complaints occur — the greatest number about staff and food.

General complaints are supposed to be handled within the shelter, though they may be copied to the city’s Shelter Monitoring Committee. The SMC submits quarterly reports to the Board of Supervisors, Mayor Newsom, and the public, which show regular instances of inconsistent and unsafe conditions, abusive treatment, and a lack of basic amenities like toilet paper, soap, and hot water.

Those reports prompted Sup. Tom Ammiano to sponsor legislation mandating standards of care for all city-funded shelters (see "Setting Standards," 1/30/08). The new law would create baseline standards and streamline a complaint and enforcement process.

According to the HSA, many of these standards are already policies included in the contracts with the nonprofits that run the shelters, requirements such as "provide access to electricity for charging cell phones."

During my stay at the Episcopal Sanctuary, I asked the shelter monitor on duty where I could plug in my cell phone and was told I couldn’t. When I asked why not, the only reply was that it’s against shelter policy. At Ella Hill Hutch Community Center, Cohen was told he could plug in but at his own risk — his unattended phone would probably be stolen.

I reviewed all of the contracts between the city and the nonprofit shelter providers, as well as the shelter training manual that’s given to staff. I was unable to find the same list of policies the HSA gave to the budget analyst. I asked HSA executive director Trent Rhorer how these policies have been communicated to the shelter staff, but he did not respond by press time.

While the ability to charge a cell phone seems relatively minor, its ramifications can be huge. The first time James Leonard met with his case manager at Next Door shelter, he knew exactly what he needed to get back on his feet: bus fare to get to and from three job interviews he’d already scheduled, a clothing voucher so he’d have something nice to wear when he got there, and a couple of dollars for the laundry facilities at the shelter. He also needed to charge his cell phone to confirm the interviews. He said he was denied all four things.

The standards of care, if passed, could improve access to those basic provisions, but some in the Mayor’s Office have balked at the estimated $1 million to $2 million price tag. The budget analyst’s final report is scheduled for release Feb. 14, in time for a Feb. 20 hearing at the Budget and Finance Committee.

Deborah Borne, medical director of the DPH’s Tom Waddell clinic, is a proponent of the standards from a public health perspective. "For me, I’m looking at decreased funding and how can I best affect the most population with what remains," she said.

Dirty shelters can help spread disease outside their four walls, as clients leave every day to use municipal services like buses, libraries, trains, and restaurants, which we all enjoy. Borne says this is something that’s been tackled by other facilities that house large numbers of people and is long overdue in the shelters.

"You can argue about whether we should or shouldn’t have shelters, but there are no city, state, or federal regulations for them. There are tons of regulations for the army, for public schools and colleges, but we put people in shelters and there’s none," she said. To her, San Francisco is on the cutting edge of care with this legislation. "I can’t wait until we do this on a state level," she said.

Kayhan said he and the mayor support the spirit of the legislation and have no problems with most of the no-cost items, but the price tag for staffing, training, and enforcement is a concern. "I think when you’re looking at how much money you’re going to spend on homelessness overall," he told us, "I would rather allocate additional resources to create another unit of housing for someone as opposed to enhancing the service model of the shelters."

Every day he’s on duty in the Tenderloin, police captain Gary Jimenez comes across homeless people — or people who seem homeless but aren’t.

"One day on Turk Street, I came by a long line of people drinking. I was walking with a Homeless Outreach Team officer, and he said he knew them all. Only about 20 percent of them were actually homeless. They don’t want to sit in their rooms drinking. We give people housing but we don’t acclimatize them, get them used to being inside. They want to do what they’ve been doing, and they go out on the streets to do it. It’s social," he said.

Larry Haynes agrees. "It’s lonely and depressing in your room," he says. He lost his Beulah Street apartment through an Ellis Act eviction and has been living in the Vincent Hotel for three years, after a nine-month stint in the shelter system. He’s a tenant representative now, advocating for improved conditions in the SROs, which still beat the shelters.

"The criticism I hear from people on the streets is that there are some good shelters but you can’t get in them," Jimenez said. "Then there are shelters that are open that you can go to, but you wouldn’t want to because they’re really bad."

He tells me he’s visited shelters but finds it difficult to get a feel for how valid the complaints are. "I can’t tell without waking up there or knowing what it’s like to be thrown out on the street at 6 a.m. in the cold when there’s nothing open," he said.

The Shelter Monitoring Committee has requested that HSA staff stay in shelters at least once to get firsthand experience, but it’s yet to receive confirmation that this has occurred. When we asked Rhorer about the policy, he said, "There are 1,800 employees who work for HSA, so there is no way of knowing if any of them have been homeless and used the shelter system."

In our first conversation, Kayhan told me he had never stayed in a shelter. In a later interview, when I asked what he thought about the public perception of the shelters, he said, "I’m just not sure that the criticism that I hear around the shelters as being dangerous hellholes — or whatever has been said — matches what I see in the shelters or what I read with respect to incident reports or what I hear at the Shelter Monitoring Committee or at the shelter directors’ meetings. So perception is reality."

"Housing first" has been Mayor Newsom’s modus operandi for handling homelessness, and it’s a good one — the idea being to stabilize people, whatever condition they’re in: drunk or sober, clean or using, ill or able, young or old, alone or with family.

The city’s 10-Year Plan to End Chronic Homelessness, released in 2004, recommended 3,000 units of supportive housing to get the chronically homeless off the streets. Kayhan confirms the Mayor’s Office of Housing is on track to meet that goal through master-leasing SROs and building or renovating new affordable units, where occupants will get supportive services.

The chronically homeless, a catchall term for folks who stick to the streets and don’t or aren’t able to use the system, have been the mayor’s target and Kayhan’s priority. This makes sense because they’re the most visible face of homelessness.

Last year’s city budget allowed a tripling of staff for the Homeless Outreach Team, which works diligently to move the most entrenched homeless off SoMa side streets and out of encampments in Golden Gate Park. A special allocation of shelter beds was set aside for them, and those who refused shelter were put directly into stabilization units in SROs, bypassing the shelter system entirely.

For some, this has been great. It’s how Leonard finally started to make some progress. He bailed on the shelters after having his possessions thrown out three times by staff and hit the streets, where HOT found him, deemed him "shelter challenged," and moved him into a stabilization unit.

"I feel almost as good today as the day before I became homeless," he tells me one afternoon in January. The Bay Area native is hoping to transition into a subsidized rental soon.

Twenty-five percent of shelter staff are required to be homeless or formerly homeless. Some shelters hire up to 80 percent. Tyler is one of them — he lives at MSC South but works for Episcopal Community Services, which runs Sanctuary, Next Door, and the Interfaith Emergency Winter Shelter Program. He shows me his pay stub to prove it, and I note that every two weeks he takes home more than I do. "Yeah, I make good money," he agrees.

He’s been looking for an apartment, but rents are high and he hasn’t found anything good. A plan to move in with a family member fell through, so he’s just hanging out on the housing wait list. "What I really want to do is see what they’re going to do for me. I’ve been on [Personal Assistance Employment Services] for six months. Where is my SRO if I can afford to pay for it? So obviously that shit doesn’t work," he says.

He’s bitter about the effect the Golden Gate Park sweeps have had on the SRO stock. "They got SROs right away," he said of the 200-plus people who were removed from the park by HOT, put into stabilization beds, and transitioned to SROs. "They took them right away ’cause Gavin had to clean that shit up," he says.

Tyler, like many people I spoke with, keeps as sharp an eye as possible on City Hall. They read the papers and have opinions informed by firsthand experience about programs like Care Not Cash. They know Kayhan is making $169,000 per year and they’re making $29 every two weeks.

One morning, coming out of the bathroom at Sanctuary, I stop to study a posting for affordable housing on a bulletin board. It’s a studio for $863 per month, more than I pay for my one-room Mission flat. The longer I stay in the shelters and the more people I talk to, the less secure I feel in my economic stability.

Ruby Windspirit has been homeless since Jan. 14, two days before I started my tour of the shelters. The 59-year-old Irish Navajo was attending school in Portland, Ore., studying photography and science, when she became ill with bone cancer. She came to San Francisco to convalesce closer to her daughter, who lives in a one-bedroom apartment in the Castro with three other people.

Windspirit knew she couldn’t stay on the couch for too long and made a reservation for a $27 per night hotel in the Tenderloin. Despite the reservation, she couldn’t get in for two days and the bed she was ultimately given was two box springs with a piece of plywood for support. The sheets were dirty. She left after two weeks and entered the shelter system. She says Next Door is "150 percent better" than the hotel. She has a bed off the floor and the extra blanket her doctor recommended, though she was scolded for trying to plug in her phone.

I try to imagine what people like Windspirit would do if there weren’t shelters. But the Ten Year Council also recommended a phasing out of shelters within four to six years, to be replaced by 24-hour crisis clinics and sobering centers.

There are 364 fewer shelter beds in San Francisco than when Newsom became mayor. This year more may go. The city is currently requesting proposals to develop 150 Otis, which serves as a temporary shelter and storage space for homeless people, into permanent supportive housing for very-low-income seniors. About 60 shelter beds will be lost.

The HSA confirmed there are currently no plans to open any more shelters in San Francisco. The last plan for a new shelter — St. Boniface — fell through, and the money that was set aside for the project still languishes in an HSA bank account. Midyear budget cuts proposed by the mayor put that money on the chopping block.

Buster’s Place is also on the list of cuts. By April 15, the only place where someone can get out of the elements at any time, day or night, could be closed for good.

Kayhan, who previously oversaw Project Homeless Connect, Newsom’s private-sector approach to the problem, agreed that shelters will always be needed. What he worries about are the people who become dependant on them and refuse housing offers, although he’s also thinking about ways that shelters could be more amenable.

"I’d like to look at the next step with Homeless Connect to try and institutionalize that in the way we do business specifically in the shelters," he said, imagining a shelter pilot of one-stop shopping for services.

But just three weeks into his new job Kayhan was reaching out to constituents to try to figure out what isn’t working. He told us, "What I’m trying to do since I came into this position is be on the street and measure the impact the system is having on those that are on the street day in and day out and try to see what part of the system isn’t working properly or needs to be resourced differently so that we don’t see homeless people, long term, on the streets."

One night at MSC, in the bathroom before bed, a young woman tells me her story while I brush my teeth and she washes off her makeup. Not too long ago she drove here from Florida to meet up with her boyfriend. They were hanging out on the street one night when a cop came by, cited him for an open container, and discovered he had a warrant. Now he’s in jail in San Rafael.

She started sleeping in her Suburban while she looked for job and a place to stay. One night while she slept, parked at Castro and Market, she was hit by a drunk driver. She lifts a hank of long blond hair and shows me a bright pink tear of stitches above her temple. An ambulance took her and the drunk to the hospital. Her totaled car was towed. When the hospital found out she had no place to go, it sent her here.

"Now I’m in a fucking homeless shelter," she says, genuinely aghast at the situation and truly lost about what to do. She has her bed for five more days.

She could get a job. She says, "I have hella references," from working in restaurants for years. She could sleep in one of her friends’ cars, but it seems like so much work: waking up in the car, going to a resource center or shelter to wash up, then going to work.

We joke about living in the shelter. "Yeah, you can come over," she imagines telling her friends. "Dinner’s at 4:30."

"You’ve got to leave by 10," I say.

"It’ll be fun. We can hang out and smoke on the patio," she says.

I don’t know what else to say, except "Good luck." I know what it’s like to chase a boyfriend to San Francisco. I remember sleeping in my car when I was 21, during a strange time between graduating from college and getting a place to live for the summer in a town where housing was tight. I think about my little sister, packing up her Subaru one day and taking off to Miami, where she didn’t know a soul. You have a little money, a lot of hope, and that youthful sense of invincibility, but sometimes it all comes down to luck.

I bid her good night, pack up my toiletries, and wipe my face with my shelter-issued towel. It smells vaguely of bleach and shit.

› amanda@sfbg.com

Bryan Cohen contributed to this report.

G-Spot: Everyone’s a wiener

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› marke@sfbg.com

You’d think that amid all of the bell tolling and hand-wringing about DIY online media proliferation, professionally produced gay porn would have gone the way of the floppy disk and dial-up modem long ago. (Remember waiting 20 minutes for free stud-muffin bitmaps to download, pixel by aching pixel, onto your 10-inch monitor? Ah, AOL blue balls. Whither the ’90s?)

But no – gay porn is the new fireplace. You can hardly turn around in most finer homo homes and gardens without some two-dimensional boy butter spattering your delicate cheekbones. Gooey! And every edgy hetero is at least partially versed in the extensive oeuvres of quasi-professional online sites like Bait Bus or His First Huge Cock, if only because sticky fingers often click too quickly on flickering banner ads.

Gay porn’s also big business, of course, and an especially homegrown one. Almost all of the most profitable studios are based in San Francisco – a rare case of several giants of an industry being located within mere blocks of one another. SoMa has become the Wall Street of Crisco.

The reasons behind this multimillions-generating clusterfuck are myriad: mainly, the local economic advantages, cultural environment, and plethora of scruffy multiculti boys (all the rage among a rapidly globalized audience) make SF a much more fertile gay porn hot spot than the traditionally down-and-dirty San Fernando Valley. Also, many big studios are the bastard children of SF’s Falcon Studios, the granddaddy purveyor of male video erotica headed by the late, irascible Chuck Holmes, for whom our groundbreaking Charles M. Holmes LGBT Community Center was affectionately named.

And it doesn’t hurt that Silicon Valley is a whip flick down the freeway. Gay porn studios have been aggressively savvy about riding the online wave to solvency, even if lately that’s meant a hilariously regrettable spate of behind-the-scenes blogs and vids that feature pec-implanted gym queens sashaying nude around Palm Springs pools and fussing over which pair of snakeskin trousers go with which Tony Lamas. Decisions.

Yet despite the buttloads of profit, cornered markets, community accolades, and extensive and rabid fan bases, gay porn studios – like cuddly-wuddly gay porn stars themselves – have massive inferiority complexes. They want recognition, dammit! Thus the annual Golden Globes of filmed homosexual obscenities, the GayVN Awards, presented by venerable gay porn insider news source GayVN (recent headline: "Jock Itch in the Can!"). Last year’s awards presentation at the Castro Theatre — open to the public – was a raucous, substar-studded affair featuring MC Kathy Griffin and more fashion nightmares than you could shake a spangled man boa at. This year’s awards show expands to the Giftcenter Pavilion – because, really, doesn’t this celebration require an entire pavilion? – and although no D-list host has been announced, fan tickets are being snatched up at a robo-thrusting pace.

A quick and gleeful scan gleans from among the 2008 nominees: Gaytanamo for Best Leather Video (when, oh when, will someone make Fahrenheit 9"x11"?); Tiger’s Eiffel Tower: Paris Is Mine!, Gunnery Sgt. McCool, and Rocks and Hard Places for Best Video; the mathematically challenging Bottom of the Ninth: Little Big League 3 for Best Direction, and, inevitably, Buckback Mountain (Best Specialty Release) and Bi Pole Her (Best Bisexual Video, duh). There are awards for Best Box Cover Concept, Best Music, and the always bracingly racist Best Ethnic-Themed Video: (Arabian Tales 1-2? Spilling the Tea? Queens Plaza Pickup 2, surprisingly not about migrant-worker prostitution? Only the judges can decide.

But most enticing of all, barring any prerecorded acceptance speeches — and despite the writer’s strike – there will be actual humans in attendance, the real faces behind the fornication, in all of their fleshy solidity, crossing their powder-encrusted pinkies and gazing hopefully, hazardously into the glare of their peers’ applause or opprobrium. The meltdowns will be spectacular!

GAYVN AWARDS

Feb. 16, 6 p.m., $100

Giftcenter Pavilion

888 Brannan, SF

(415) 861-7733

www.gayvnawards.com

G-Spot: Getting girls

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› culture@sfbg.com

Within minutes of meeting Nicole Halpern, an instructor at the One Taste Urban Retreat Center in SoMa, I was naked and bent over with my ass in her face. In fact, in her naked yoga class there was nothing but penises and vaginas, dangling breasts and balls as far as the eye could see.

I’d come to the center to do research on what I’d heard was a sex cult, and by the looks of things the rumors weren’t far off. In fact, as I’d entered the center on my way to class, I got the feeling my story was writing itself. I would talk about how the receptionists at the front desk had to stop groping one another in order to greet me, how the women looked younger than the men, and how all the signs of new age spirituality — earth tones, organic food, Birkenstocks — seemed a cover for what I sensed was actually a coven of perverts.

One Taste helps people attain deeper connection through sexual experimentation. The most hardcore members have given up their normal lives to frolic in nonmonogamous bliss at the retreat center, which, along with yoga studios, also houses a café, a lounge, and a system of co-ed dorms where members work long nights testing taboos. The idea is that if you free your sex, the rest will follow. To this end, the center also offers public classes in touching, genital stroking, and even prostate massage. Weird shit, right?

So as I relaxed into my second downward dog, I smiled, assuming I’d found the perfect subjects for my anti–Valentine’s Day story, a tongue-in-cheek commentary on all of the weirdos in this city who believe sex is something more than a basic human need. It would be investigative journalism at its finest: "I Joined a Sex Cult," by Justin Juul.

But it didn’t work out that way. It was the last thing I expected, but this naked yoga stuff was making me happy. The shock of public nudity was forcing me to let down my guard and experience the moment for what it was: exciting and naughty. I wanted more.

I decided making fun of these people would be too easy — and dishonest. It seemed that a little sexploration really might benefit the soul. So instead of rushing home afterward to write a sarcastic piece about sex freaks, I swallowed my cynicism and asked Halpern if I could come back sometime.

"If you really want to see what we’re all about, you’ll take the Man Course," she said. And with that, my fate was sealed.

My research later that night revealed that the Man Course would involve 10 "extremely orgasmic" women who’d spend an entire day fielding questions and revealing their secrets to a small group of men. It was boot camp for jilted lovers, designed to help downtrodden men build confidence and score more chicks.

It all sounded great for 40-year-old virgins, but what could I, a young journalist with a girlfriend at home, expect to gain? I wasn’t sure, and neither was my girlfriend. "Sounds like some Venus versus Mars bullshit," she said. "Men and women are more similar than different. It sounds like a way for sleazy men to hang out with young girls to me."

I was afraid she might be right, but I decided to go for it anyway. After all, I hadn’t expected the yoga class to be anything but funny. Maybe I could learn something in the Man Course. After all, although our relationship is great, I can’t say I understand my girlfriend any better now than I did when I tricked her into liking me three years ago.

So two weeks later I was back at the center.

The dudes in the lobby on the morning of class were visibly nervous. They weren’t as ugly as I had imagined, but they all reeked of desperation, their trembling hands running through their hair, their eyes darting. I felt a surge of superiority wash through me as I watched these poor souls drink coffee and wait for instructions. One Taste might be able to teach them something, but I was sure I was way too cool to learn anything here.

Orientation began with an introduction exercise. A man asked each of us to say our name and tell the group a problem we have with women. The first person wondered why he could never please women even though he spent so much time doing things they claimed to want, like buying dinner and opening doors. The next wondered why women seem to want to be taken care of but often become ornery when you treat them like children.

As I listened, my confidence began to evaporate. I didn’t know the answers to any of these questions either, and new ones were popping up. Why does my girlfriend give me that weird look when I talk about articles I read in Vice magazine? Why does she always say she feels like she doesn’t know me? This group confessional was making me worry about my relationship. It also bonded me to these other men, all utterly confused and ready to figure shit out.

And then the women arrived.

The energy in the room grew tense as the women, ranging from 22 to 55 years old, filed in with Halpern at their helm. One by one the girls took off their jackets, adjusted their skirts, and joined our circle, engaging as many men as possible in suggestive eye contact. The room was dead silent until Halpern clapped her hands and said, "Welcome to the Man Course!"

The next hour involved more introductions. The women stated their names and gave a brief description of their personal games — coyness, deliberately confusing eye play, and false flirtatiousness were among the most popular — and the men were asked to explore their own shortcomings. "Hi," a student named John said. "I feel like I’m trapped in a nice-guy shell and that women think I’m boring."

"Well," Halpern said. "Today we’re gonna get dirty. We’re gonna get you out of that box and get really messy. Can you handle that? Are you ready to get messy?"

John said he was ready. "Then let’s see you do something messy right now," Halpern said. John grinned and got up, pumped his pelvis in the air, and said, "Yeah, baby, let’s get mess-say!" The girls giggled.

The other men and I went through a similar deal. We confessed to a particular problem and were then asked to directly address it. The shy guys were asked to speak more, the mean guys were asked to be nice, and I was asked to drop my cool-guy act. In exchange the women promised to stop playing their games. No bitchy auras, pouty mouths, or condescending giggling from the women, and no false bravado, competitiveness, or calculated detachment from the guys. We were just a bunch of humans now, willing participants in a sexually charged science lab. It was both scary and liberating.

We spent the rest of the afternoon doing one-on-one vulnerability exercises, such as making judgments based on appearance, pointing out flaws, and even asking a girl on a date, risking rejection. The most intense exercise, though, was one in which the women shared their fantasies.

The girl I was paired with, a blue-eyed fresh-out-of-college type, had a mouth like a sailor and the mind of a teenage boy. "I want to go out with a stranger and then leave early to lick his balls," the girl said. "I want to suck his cock and stick my tongue in his asshole." Like all of the other exercises, this one suggested that although women may seem very different from men, they’re really just as horny and perverted — and as confused, embarrassed, and shy about it — as we are.

The rest of the day was similarly enlightening. There were touch exercises that included dancing and massage, more talking exercises, and even a mock date. All of the exercises worked to dissolve our ingrained ways of being, so the men in the class could see the women for what they actually are: people.

I left feeling happy and horny, ready to tell my girlfriend about all of the cool stuff I’d learned — namely, that she and the girls at the center weren’t all that different. It seemed the girls of One Taste actually shared my girlfriend’s outlook. Although it was billed as a man-centric healing session, the Man Course felt more like therapy for humans, its primary message being that we are all fundamentally the same. And it did surprise me, just as the yoga experience had. It forced me out of my comfort zone and into the unknown. It was an entire day of emotional nakedness, which, I learned, can be as just as exciting and therapeutic as physical nakedness.

The women of One Taste taught me a few important lessons. One was that my girlfriend is pretty damn smart. Men and women really do have a lot more in common than it seems. Second was that I could probably stand to open up a little more, to focus less on being cool and more on being myself. And finally, even though they may seem a little New Agey, the people at One Taste are very brave and extremely well-intentioned.

The next time I set out to ridicule an unsuspecting group of swingers, I’ll make sure they deserve it first.

Democratic Party Time

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About 75 Democrats clenching glasses of beer and wine gawk at plasma TV’s at Jillian’s bar in SOMA tonight predicting which candidate will win California and eventually the presidency.

San Francisco based Democracy Action is hosting the party for Democrats who eagerly await the primary results. They debate whether Obama or Clinton is the better choice.

“It’s too early to say who’s going to win,” Alec Bash, President of Democracy Action, told the Guardian. “Back in ’04, we thought Kerry would win by a landslide.”

Slim’s slimed

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› kimberly@sfbg.com

SONIC REDUCER There are eight jillion stories in the naked, nervous-Naughties city, and one of the increasingly common tales is that of the wannabe slicker who lays out that down payment for a little piece of gritty ‘n’ shitty, gorgeous ‘n’ porous, wild ‘n’ wooly San Francisco. And then supposed slick realizes, "Hey, I’m tired of stepping over panhandlers, looking for parking, and listening to car alarms, building fans, BART musicians, construction blare, and city hubbub in general." Translation: "I actually want to live in Concord, San Carlos, or Corte Madera." So the square spoiler in this happily unholy round hole of a town decides to wreck things for everyone.

That sort of inane, fish-outta-water resolve is, unfortunately, threatening Slim’s, the linchpin of the 11th Street–SoMa club scene since chart topper Boz Scaggs first opened the respected nightspot two decades ago, the site of many a memorable night of music and a venue that, legend has it, bands like Built to Spill have pledged their loyalty to because of its dedication to stellar sound. One of Slim’s neighbors tipped me off last month that the hall — which has consistently passed all sound tests conducted by the city’s Entertainment Commission — was being besieged weekly by a lone complainer living in Juniper Alley. All of this came to a head in December 2007 when the accuser ordered citizen’s arrests of two of Slim’s night managers on three occasions — after, Entertainment Commission industry representative Terrance Alan says, police refused to issue noise-violation citations of their own because they couldn’t hear any vioutf8g sound issuing from Slim’s. The arrests have led the Department of Alcohol Beverage Control to bring an enforcement action against Slim’s liquor license, which may close the club for 15 to 25 days after an April hearing.

"She has been threatening to do this for a while," Slim’s co-owner Dawn Holliday told me. The complaining neighbor and her partner have been registering noise complaints for the past two years, Holliday added, though no other neighbors have complained, and in 2000 all of the area’s condo and live-work residents signed a deed restriction making it clear that the district is a mixed-use neighborhood subject to noise, odors, and other industrial activities 24-7. Nonetheless, Holliday continued, "she calls the police on average four nights a week. The Entertainment Commission has gone into their house and done readings in the house, done readings out in front of house, and we do readings in front of their house every night with a decibel meter on the most sensitive reading you can get, and we are always compliant. It didn’t satisfy them."

One of the charges against a Slim’s manager was dismissed, but both staffers are still due to go to court for the two arrests in February and March. "I’m hoping they let these kids off," Holliday said. "I’ve gone to [San Francisco Police Department’s] Southern Station and asked them to wait for me to come over or Boz to come over and arrest us. It’s not fair that employees get arrested. We’re the two owners that live the closest, and both of us would take tickets before our employees."

Holliday is confident — after going into mediation, consulting with sound guru Charles Salter, and taking actions like installing a new insulated roof and a special four-tiered back door — that a resolution is possible. Still, the idea that one sour grape can pull down another great venue is troubling. "This is a situation where you can see how the system, which was designed to have respect for all the citizenry, can be used by this vexed complainer," Alan said. "They’ve created this history of complaints based only on their complaints. It’s going to cost Slim’s a lot of money and cost their managers a lot of sleepless nights, who want to go on and have a life. And they won’t be able to if they are found criminally liable for this. Imagine, you’re just doing your job …"

And hey, that’s another reason why so many of us come to this cow town in the first place: to work and to cozy up closer to that golden cow pumping pomegranatinis, the raucous crafters of musical ambrosia, et al. Fess up: you didn’t move to SF to feel good about driving a Prius or down Starbucks. What you can’t find regularly in Concord or Corte Madera — and what so many of us continue to crave — is that non-government-regulated minimum requirement of fun: loud, smelly, still safe, inconvenient, sprinkled with homeless parking valets, and still unlike anything you’ll get in the sticks.

For more, see Sonic Reducer Overage at www.sfbg.com/blogs/music.

HOWLIN RAIN MAKE THEIR MOVE

Howlin Rain and Comets on Fire’s Ethan Miller has plenty of news about: HR’s superfine new LP, Magnificent Fiend, will be released March 4 on SF’s Birdman label and HR’s new imprint, Columbia Records cohoncho Rick Rubin’s American Recordings. Why jump? Miller told me he was enticed by larger studio budgets and the opportunity to be produced by Rubin, whom the frontman praised as someone who "seems to chip away at all those extraneous things and just draw out the essential fluids onto the tape.

"Those are the reasons," Miller said. "This is not the type of record deal where you get a million-dollar check and drive away in a Rolls-Royce, and you’re, like, ‘Fuck, cool, man, they bought me a Corvette, and now everyone can just go get wasted on coke and it doesn’t matter now, man!’ And then, whoa, a year later you’re kicked off the label, and you’re, like, ‘Fuck, I blew my $2 million advance now. This sucks! Now I’m a fucking nobody!’ That’s not this."

HOWLIN RAIN

With Black Mountain

Mon/4, 8 p.m., $14

Independent

628 Divisadero, SF

www.theindependentsf.com

Portrait of the artist as an old cop

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› gwschulz@sfbg.com

Imagine Gary Delagnes, president of the San Francisco Police Officers Association, pondering the impact of abstract expressionism on the American zeitgeist with a far-off gaze. Or picture him dressed in fashionably tight jeans, walking his fixed-gear bike to the San Francisco Academy of Art University with a leather portfolio tucked under his skinny arm.

Does that seem incongruous to you? It does to us as well. After all, Delagnes is the very antithesis of an art school student. So why are the POA and Delagnes, a brutish former narcotics officer, lobbying the San Francisco Planning Commission on behalf of the Academy of Art?

The academy, which has been rapidly snapping up properties around town to accommodate its ambitious expansion plans, has become an entity of increasing concern in San Francisco’s dicey world of land-use politics.

The for-profit school, which costs students around $16,500 per year to attend, today owns or controls more than 30 properties across the city, half of which are used to house its students, and expects to take over nearly a dozen more to accommodate approximately 14,500 students by 2017.

In the meantime, the school is facing several enforcement actions initiated by the Planning Department for brazenly making building conversions without bothering to obtain proper permits.

Delagnes was nonetheless first in line at a September 2007 commission meeting held to address the academy’s pending enforcement cases and praised the school as a tremendous asset to the academic community.

"I think that their reputation in San Francisco is unquestioned as some of the finest, true San Franciscans that I know," Delagnes said of the wealthy Stephens family, which owns the Academy of Art. "They are heavily involved and invested in the city of San Francisco and care deeply about its future."

Delagnes’s lobbying on behalf of the academy surprised and appalled at least one commissioner, Hisashi Sugaya, who told the POA president that he was "really offended" someone representing law enforcement was carrying water for a private art school that had flouted the law by racking up alleged planning and building code violations.

Responding in the union’s newsletter, POA vice president Kevin Martin reached a dizzyingly patriotic pitch in denouncing Sugaya as a liberal and demanding he apologize not just to Delagnes but also to the entire union for "demeaning our president" and "censuring his freedom of speech."

Delagnes admitted to the Guardian that his testimony was essentially a "quid pro quo." The academy has supported the POA, even offering special summer apprenticeships to the children of its members. "I’m sure that they were thinking, ‘You know what? The POA is a pretty powerful organization. It wouldn’t hurt to get close to them,’<0x2009>" Delagnes said. "Here came this problem with the Planning Commission. They called me and said, ‘Hey, would you mind going up there and basically saying that we’re a good organization? We’re good people.’<0x2009>"

During the meeting, school president Elisa Stephens, who did not return calls, portrayed the academy as a simple mom-and-pop business ignorant of planning politics and intending to fully cooperate with the city.

"My grandfather was an artist…. We’re an integral part of this community," Stephens told the commissioners. "I live in this community. We’ve been here since the late 1800s. We’re dedicated to this city…. I apologize for not being involved in city politics. I’m involved in education."

But city staffers implied there’s more to the academy’s troubles than a few honest mistakes. In March 2007, the school was hit with a litany of alleged code violations, including 14 properties converted without conditional-use permits and seven made into group housing or modified for other school uses without building permits, Planning Department records show.

Before last year the academy had never submitted an institutional master plan to the city, even though San Francisco’s Planning Code has required them from universities since the 1970s, particularly for a scattered campus that’s in a position to dramatically alter the face of downtown, where the school is primarily located and its private transit buses are ubiquitous.

The academy finally turned one over in 2007 after city planners issued a citation in summer 2006. Afterward the department visited all of the school’s properties and discovered multiple problems with use permits, plus an additional property the academy had recently acquired but didn’t include in its plan.

Code enforcers tried to negotiate with the school, planning staffer Scott Sanchez told the commission. But after department personnel outlined the March 2007 violations for the academy, it simply continued onward, converting 601 Brannan for its own use without any building permits and doing the same at the Star Motel on Lombard, this time without a conditional-use application.

As the department worked to keep up, the academy purchased four new buildings and put its eye on another, all between spring and fall 2007.

"All of our information about their new facilities came from members of the public…. It wasn’t actually through the academy, with whom we thought we had a dialogue about their institutional master plan," Sanchez told the Guardian. "We had something ongoing with them, yet they were not informing us of their new acquisitions, and they weren’t obtaining proper permits for them."

The school, in fact, is accelerating plans to convert 575 Sixth St., known as the San Francisco Flower Mart, into studio space, despite opposition from the Mayor’s Office, the Planning Commission, and the Board of Supervisors. The 30 floral business tenants that currently inhabit the building received eviction notices dated Christmas Eve 2007.

A future academy gymnasium is slated for 620 Sutter, but building it would result in the eviction of the Lorraine Hansberry Theatre, a 25-year-old institution specializing in African American stage performances. The academy already converted part of the building to group housing without a permit.

So what else is the POA getting for its support of the arts? For one, the Academy of Art was a $5,000 putf8um sponsor of the POA’s 2007 charity golf tournament at the StoneTree Golf Club in Novato, beating out dozens of other donors for the top of the list. The exclusive title was used for only three other contributors.

The union’s November 2007 newsletter, which appeared just after Delagnes voiced his support for the school, announced that academy president Stephens had also given POA members working at the police department’s Southern Station in SoMa 15 free underground parking spots on Bluxome, just a short walk from the Hall of Justice and the union’s headquarters.

And that’s the art of politics in San Francisco.

Year in Music: Move me

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It was during my early teens that the obsession struck. I oversaw the building of a stage, booked a bunch of bad garage bands, and charged $10 for admission to boondocks Maryland’s first semiannual Punk Fest. During my high school years I snuck into the seediest venues that Baltimore and Washington DC had to offer — still the scariest I’ve seen to date. By my arrival in San Francisco, I was a full-fledged music scene devotee, immediately taking a job at the Great American Music Hall to pay the rent during college. My SoMa warehouse hosted concerts a few times a month — my bed was a futon unrolled over a segment of 58 Tehama’s stage. For years my drinks were comped, my seats were great, and I was always on the guest list.

It wasn’t until the final months of 2006 that I realized I’ve spent most of my postpubescent life inside concert venues. It was getting increasingly difficult to ignore my ringing ears, to justify the copious waves of shift-off cocktails, and to keep my love for music intact. Flag down any soundperson, bartender, or bouncer working anywhere in the city tonight, and they’ll tell you the music industry breeds bitterness.

How to live in San Francisco without working in the music business? At least my job kept me firmly in the so-called creative class — a label that made me feel much better about my financial situation. Moving to a less expensive city could mean a better standard of living and a way to cut the industry apron strings for good. My husband, having spent more than a decade working in music stores, was game. His only stipulation was that he would not, under any condition, be taking a record store job ever again.

We caught a train to Chicago, where my husband promptly took a job at a record store. I managed to stay away from music for a month, instead focusing my energies on writing food reviews for local publications. But by the time the festival season rolled around, the prospect of seeing Patti Smith perform against the impressive skyline of my new hometown ruined everything. The University of Chicago recently published a study comparing the music scenes of American’s top metropolises. Chicago kicked some serious ass. The study described Chi-town as "a music city in hiding."

I doubt I’ll ever shake music totally, but living in Chicago has taught me it doesn’t have to be a way of life anymore. When it comes to the scene these days, I’m nothing more than a music fan in hiding.

TOP 10


1. During my last night at the Great American Music Hall, I danced like crazy to the Preservation Hall Jazz Band.

2. Tyva Kyzy. Anyone who missed this all-female group of Tuvan throat singers is probably still kicking themselves.

3. Barbarasteele’s 7-inch release party at Cafe du Nord blew some minds. Rest in peace, Mike J.

4. Patti Smith performing at Lollapalooza in the pouring rain.

5. No, I wasn’t among the Milanese elite who got to see Ennio Morricone at La Scala opera house, but just knowing about this show makes me a better person.

6. Rediscovering Townes Van Zandt’s Live at the Old Quarter, Houston, Texas (Snapper UK).

7. The Scotland Yard Gospel Choir, The Scotland Yard Gospel Choir (Bloodshot).

8. Thanks, Sopranos, for making Journey relevant again.

9. Happy centennial to the glorious buildings that house the Great American Music Hall and the Cafe du Nord.

10. De la Soul closing out the Pitchfork Music Festival in style — with a little help from Prince Paul.

Polishing SPUR

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› amanda@sfbg.com

Wedged among the commerce, tourism, and white-collar businesses north of Market Street is the slim entry to 312 Sutter, easy to miss unless you happen to be searching for the San Francisco Planning and Urban Research Association. SPUR occupies the fourth and fifth floors of the building — and occupies them completely. Cubicles are close and overstuffed. Conversations compete. Space for meetings is a hot commodity. Four bicycles, ridden to work by staff members, are crammed in a side room where languish a half century’s worth of policy papers, photographs, and planning documents generated by the active public interest think tank.

It looks more like a struggling nonprofit than one of the most influential policy organizations in town, one supported by the city’s richest and most powerful interests.

"This is why we’re building the Urban Center," said Gabriel Metcalf, the youthful executive director of the 48-year-old organization, clad in a dark suit and sipping from a Starbucks coffee cup while he roams the fourth floor office space searching for any available real estate to sit and talk.

He settles on an open-faced workroom with empty seats. They circle a table covered with a thick ledger of plans for SPUR’s new Urban Center, a $16.5 million, 12,000-square-foot four-story building at 654 Mission that the group is building with more than $8 million in public money.

Plans for the center include a free exhibition space, a lending library, and an evolution of the group’s current public education program, now consisting of noontime forums, to include evening lectures and accredited classes. Though the center will house meeting rooms for SPUR’s committees and offices for its staff, the suggestion is that the new space will be a more public place.

And SPUR seems to be searching for a new public image.

For years the organization was synonymous with anything-goes development, ruinous urban renewal, and an economy policy that favored big business and growth at all costs. Today SPUR’s staffers and some board members present a different face. The new SPUR features open debate and seeks consensus; phrases like sustainability and public interest are bandied about more than tax cuts and urban renewal.

But San Francisco progressives are a tough crowd, and SPUR’s history — and, frankly, most of its current political stands — makes a lot of activists wonder: Has SPUR really changed its spurs? And can a group whose board is still overwhelmingly dominated by big business and whose biggest funders are some of the most powerful businesses in town ever be a voice of political reason?

As one observer wryly noted, "I’ve yet to see SPUR publicly denounce a development project."

SPUR considers itself a public policy think tank, a term that conjures an impression of lofty independence. But the group has, and has always had, a visible agenda. SPUR members regularly advocate positions at public meetings, and the group takes stands on ballot measures.

And it has a painful legacy. "We have a dark history," Metcalf admits, referring to the days when "UR" stood for "urban renewal," often called "urban removal" by the thousands of low-income, elderly, and disabled people, many African American and Asian, who were displaced by redevelopment in San Francisco.

That history — and the fact that SPUR’s membership is largely a who’s who of corporations, developers, and financiers — has caused some to raise questions about the public money the group has received for the new Urban Center.

"They’re not an academic institution," said Marc Salomon, a member of the Western SoMa Citizens Planning Task Force who’s butted heads with the group. "There’s no academic peer review going on here. The only peer review is coming from the people who fund them."

Yet prominent local progressives like artist and planning activist Debra Walker, veteran development warrior Brad Paul, and architect and small-business owner Paul Okamoto have joined the SPUR board in recent years. "There’s a bunch of us that have come in under the new regime of Gabriel Metcalf because there’s a real aching need for a progressive dialogue about planning," said Walker, who thinks SPUR is making concerted efforts to inform its policies with the points of view of a broader constituency. "I think SPUR is engaged in those conversations more than anyone."

SPUR defines its mission as a commitment to "good planning and good government." Though a wide range of issues can and does fall under that rubric, the 71 board members and 14 staff tend to focus on housing, transportation, economics, sustainability, governmental reform, and local and regional planning, and their agenda has a dogged pro-growth tinge.

SPUR likes to trace its history to the post–1906 earthquake era, when the literal collapse of housing left many people settling in squalid conditions. The San Francisco Housing Association was formed "to educate the public about the need for housing regulations and to lobby Sacramento for anti-tenement legislation." A 1999 SPUR history of itself places its genesis in the Housing Association, though other versions of the group’s history suggest a slightly different taproot.

According to Chester Hartman’s history of redevelopment in San Francisco, City for Sale (University of California Press, 2002), the 1950s were a time when corporate-backed regional planners were envisioning a new, international commercial hub in the Bay Area. They were looking for a place to put the high-rise office buildings, convention centers, and hotels that white-collar commerce would need. Urban renewal money and resources were coming to the city, and San Francisco’s Redevelopment Agency identified the Embarcadero and South of Market areas as two of several appropriate places to raze and rebuild.

The agency, however, was dysfunctional and couldn’t seem to get plans for the Yerba Buena Center — a convention hall clustered with hotels and offices — off the ground. The Blyth-Zellerbach Committee, "a group the Chamber of Commerce bluntly described as ‘San Francisco’s most powerful business leaders, whose purpose is to act in concert on projects deemed good for the city,’<0x2009>" as Hartman writes, commissioned a report in 1959 by Aaron Levine, a Philadelphia planner, which identified the Redevelopment Agency as one of the worst in the nation and recommended more leadership from the business community. The San Francisco Planning and Urban Renewal Association was born, funded by Blyth-Zellerbach, whose leaders included some corporations that still pay dues to SPUR, like Bechtel, Bank of America, Wells Fargo, and Pacific Gas and Electric Co.

John Elberling, a leader of the Tenants and Owners Development Corp., a group representing the people who were trying to stay in the area, was one of many activists who litigated against the city’s plan and managed to wedge some affordable housing into the developers’ vision of South of Market. SPUR, he told us, was "explicitly formed to support redevelopment issues in the ’60s and ’70s."

By 1974, when Paul began fending off redevelopment efforts around the Tenderloin and directed the North of Market Planning Coalition, "all through that period SPUR was viewed by the community as a tool for the Chamber of Commerce," he said.

In 1976, "Urban Renewal" became "Urban Research," a move away from the tarnished term. The 1999 commemoration of SPUR’s 40th anniversary is a somewhat sanitized history that never presents the faces of the people who were displaced by the program; nor does the analysis nod significantly toward the neighborhood groups and activists who were able to mitigate the wholesale razing of the area.

That’s still a soft spot for SPUR, some say. "They’re uncomfortable with questions of class. Those questions tend to be glossed over," said Tom Radulovich, executive director of Livable City and a SPUR board member from 2000 to 2004.

Metcalf doesn’t duck the issue. "If you’re a city planner, you’ve got to meditate deeply on urban renewal, even though you didn’t do it. It’s the only time in urban history that planners were given power, and that’s what they did with it," he said.

Besides a long friendship with powerful businesses, SPUR has frequently enjoyed an intimate relationship with city hall. "They morphed in the ’80s into a good-government, good-planning group, but in fact they were really tight with the [Dianne] Feinstein administration," Elberling said. "One of the ways you got to be a city commissioner was by being a member of SPUR. Feinstein’s planning and development club was SPUR."

Mayor Feinstein’s reign is often remembered as a boom in downtown development — at least until 1985, when San Franciscans for Reasonable Growth succeeded in passing Proposition M, a measure severely limiting annual high-rise development. SPUR opposed the measure and still supports increased height and density along transit corridors in the city.

"SPUR always goes with more," Radulovich said. "Sometimes there’s a trade-off between sustainability and growth, and I don’t have much confidence they won’t go with growth."

A March SPUR report, "Framing the Future of Downtown San Francisco," is one example of a cognizance of other options, weighing the pros and cons of expanding the central business district or transforming it into a "central social district": "While office uses remain, the goal of a CSD is to create a mixed-use, livable, 24-hour downtown neighborhood." Another line in the report offers a telling look at how SPUR thinks: "Economic growth in the CSD model may be diminished as the remaining sites for office buildings become used for new residential, retail, or other non-office uses."

Retail means, in fact, economic growth. A 1985 Guardian-commissioned study of small businesses in San Francisco, "The End of the High-Rise Jobs Myth," found that most of the new jobs created in the city between 1980 and 1984 were not in the downtown office high-rises but around them. Businesses with fewer than 99 employees had generated twice as many jobs as those with more employees.

While the numbers may be different today, the concept that neighborhood-serving retail keeps a local economy healthy has only grown stronger, as has public sentiment against chain stores. Yet SPUR opposed a proposition calling for conditional-use permits for formula retail, which voters approved in 2006.

Over the years SPUR’s political record has been checkered. Though the group talks the good-government talk, it opposed propositions establishing the city’s Ethics Commission and reforming the city’s Sunshine Ordinance. According to Charley Marsteller, a founder of Common Cause and a longtime good-government advocate in San Francisco, "Common Cause supported initiatives in 1995, 1997, 1999, 2000, 2002, and 2005. SPUR opposed all of them."

This November, SPUR came out in favor of Proposition C, which calls for public hearings before measures can be placed on the ballot, but opposed Question Time for the mayor. The group gave a yes to the wi-fi policy statement and approved establishing a small-business assistance center — contrary to past stances.

SPUR isn’t afraid to defend its positions. "Those who disagree with a conclusion SPUR reaches object to us presenting our ideas as objectively true rather than as values based," Metcalf notes in the May SPUR report "Civic Planning in America," in which he surveys other similar organizations.

"And in truth, evidence and research seldom point necessarily to one single policy outcome, except when viewed through the lens of values. We want to stop sprawl. We want housing to be more affordable. We want there to be prosperity that is widely shared…. Perhaps it’s time to grow more comfortable with using this language of values," he writes.

Paul, who’s now program director for the Haas Jr. Fund and has served on the SPUR board for seven years, says the group is indeed changing. "Over the last six to eight years I’ve noticed a real shift on the board," he said. "We have really intense and interesting discussions about issues. People feel they can speak their mind."

Okamoto, a partner in the Okamoto Saijo architectural firm, thinks this is the result of a fundamental shift in planning tactics, due to a more recent and deeper comprehension of the coming environmental crises. "Global climate change is moving things. I think SPUR’s going in the same direction," he said. Okamoto joined SPUR "because I’d like to see if I could influence the organization toward sustainability. Now we have a new funded staff position for that topic."

And yet the fact remains that only 5 of the 71 board members — about 7 percent — can be described as prominent progressives. At least half are directly connected to prominent downtown business interests.

And a list of SPUR’s donors is enough to give any progressive pause. Among the 12 biggest givers in 2006 are Lennar Corp., PG&E, Wells Fargo, Westfield/Forest City Development, Bechtel, Catellus, and Webcor.

In the past 10 years SPUR’s staff has doubled, signaling a subtle shift away from relying mainly on the research and work of board members. One of the newest positions is a transportation policy director, and that job has gone to Dave Snyder, who helped revive the San Francisco Bicycle Coalition in 1991, founded Livable City, and spent seven years on SPUR’s board before taking the job.

Having occupied the new post for a year, he said, "If I left, it wouldn’t be because I didn’t like SPUR. The debates we have at the staff level are more open than I expected."

Proposition A, the November transportation reform measure, is one example of the group’s new approach. The group voted a month earlier than usual to endorse a measure that was directly in opposition to the interests of one of its biggest funders, Gap billionaire Don Fisher (the Gap is also a member of SPUR). According to Walker, when the SPUR board vetted the endorsements the number of no votes for Prop. A was in the single digits. "I was so surprised," she said.

SPUR opposed Proposition H, a pro-parking countermeasure largely funded by Fisher, and worked with progressives on the campaign.

Metcalf noted it was the ground troops who made all the difference. "We don’t have [that kind of] power, and there are other groups that do. We wrote it, but we didn’t make it win. The bike coalition and [Service Employees International Union Local 1021] did," he said.

Sup. Aaron Peskin, who brokered much of the Prop. A deal, called it a sign of change for SPUR. "They probably lost a lot of their funders over this."

Radulovich is still dubious. He jumped ship after witnessing some disconnects between the board and its members. Though SPUR asks members to check their special interests at the door, Radulovich couldn’t say that always happened and recalled an example from an endorsement meeting at which a campaign consultant made an impassioned speech for the campaign on which he was working.

As far as his board membership was concerned, Radulovich said, "there were times I definitely felt like a token…. Development interests and wealthy people were much better represented."

Some say that isn’t about to change. "SPUR has been, is, and I guess always will be the rational front for developers," said Calvin Welch, a legendary San Francisco housing activist. "The members of SPUR are real estate lawyers, professional investors, and developers. Its original function was to be the Greek chorus for urban renewal and redevelopment."

Welch and Radulovich agree SPUR doesn’t represent San Franciscans, and Welch suggests the Dec. 4 Board of Supervisors hearing on an affordable-housing charter amendment was a case in point. "The people who got up to speak, I’d argue that’s San Francisco, and it doesn’t look a fucking thing like SPUR."

SPUR recently applied for a tax-exempt bond capped at $7 million from the California Municipal Finance Authority to help pay the cost of SPUR’s new Urban Center. It’s a standard loan for a nonprofit — SPUR is both a 501(c)(3) and 501(c)(4) — but some neighborhood activists raised questions about whether SPUR’s project is an appropriate expense for taxpayer cash.

"There’s no city money going toward the Urban Center, but by using tax-exempt bond financing they’re depriving the US Treasury of tax revenues," Salomon said. "The people who are funding SPUR can afford to buy them a really nice building, with cash."

The Urban Center also received a $231,000 federal earmark from Rep. Nancy Pelosi, whose nephew Laurence Pelosi is a former SPUR board member. Another $967,500 will come to SPUR from the California Cultural and Historical Endowment, which voters set aside through Proposition 40 to fund projects that "provide a thread of California’s cultural and historical resources."

Metcalf said SPUR isn’t sitting on a pile of cash: "We’re not that wealthy. We just don’t have that level of funding." The group’s endowment is small, and according to its 2006 annual report, revenues were $1.8 million, 90 percent of that from memberships and special events. The annual Silver Spur Awards, at which the group celebrates the work of local individuals, from Feinstein to Walter Shorenstein to Warren Hellman, is one of the biggest cash cows for SPUR, typically netting more than half a million dollars.

So far most of the funds for the Urban Center have come from donations raised from board members, individuals, businesses, and foundations. Metcalf defends the use of public funds. "For a group like SPUR that needs to be out in front on controversial issues, our work depends on having a diverse funding base. The Urban Center is part of that," he said.

The new headquarters is modeled on similar urban centers in Paris and New York, places that invite the public to view exhibits and get involved in answering some of the bigger planning questions cities are facing as populations increase and sprawl reigns. According to SPUR, this will be the first urban center west of Chicago, and the doors should open in 2009.

Walker, who’s been a board member for about a year, isn’t ready to say SPUR has been transformed. "It’s in my bones to be skeptical of SPUR," she said. "I have a different perspective than most of the people who are on SPUR, but the membership is different from the people who are funding it. I still think we need to have a more progressive policy think tank as well."

Walker recruits for SPUR’s membership development committee and said some of her suggestions have been well received. "The reality is, the progressive community is really powerful here when we come together and work on stuff. You can’t ignore us. Rather than fight about it, SPUR is offering some middle ground."

The Elationists: Seizing the day after

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By Benedict Sinclair

The Foundation for the Preservation of Fantastic Possibilities lies behind black double doors, like any you’d happen upon in a SOMA alley. They stand without a grandiose poster or sign to mark the entrance. Unexpected, for a crew bearing such a title. A simple white “444” points the way. Inside a sign reads “Behold! Behind every calamity lies possibility!” It is the mythological starting point, in the shot heard ‘round the world sense, once spoken aloud by VeryVery Morley in that transitional breath between the Victorian Era and World War I. A table waited nearby with two warm pots of melted chocolate. The Elationists, a spiritualist-art movement that followed on the heels of the 1906 San Francisco earthquake, are said to have used an exotic mix of spices in their cocoa elixir, a mix I couldn’t well find distinctions within as the thick drink made tracks across my palette.

Archival film, displayed on video screens, was layered with a suspicious digital static. Actors attempted the earliest of film methods to document their all-night parties, garbed in mythological outfits and those of relatively decadent, imperial civilizations like Ancient Greece and Egypt. Sync sound film hadn’t yet matured but the Elationists, in a rationale for the phenomenon, carried a reputation for experimenting. Music replicating the Edison phonograph tunes they’d spin during screenings was heard alongside.

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Photo by Lisbeth Ortega

Housing reform, now

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OPINION The Board of Supervisors is poised to vote on a crucial charter amendment to set aside more than $30 million per year for new housing. Since the mayor is talking about a huge budget crisis and a lot of people may complain that more funding for affordable housing will make the flow of red ink worse, it’s important to understand what this issue is all about.

While many of us are aware of the exodus of working-class people, most San Franciscans are unaware that the city is in the final stages of the largest rezoning effort of the past 50 years. The Eastern Neighborhoods plans will set new land-use rules for the Mission District, eastern SoMa, Potrero, the Central Waterfront, and parts of Bayview.

Those areas are going to be opened up to vast new developments, including as many as 20,000 new housing units and tens of thousands of square feet of new commercial development. I can think of no greater opportunity — nor any greater potential disaster — than the Eastern Neighborhoods rezoning effort.

Opening up the Eastern Neighborhoods for new housing without a commitment from the city to provide more resources for affordable units will guarantee that the new neighborhoods will exclude working-class residents and exacerbate the affordable-housing crisis in San Francisco for years to come.

In the Mission and many other districts, despite the cry for more affordable housing, the city has not prioritized housing for working-class San Franciscans. We hear a lot of talk from city hall, but in reality most of the new housing that gets built is far too expensive for most residents. This is a huge crisis — and the charter amendment will finally give affordable housing its rightful attention from the city.

We can’t accept a plan that relies only on the market to produce and fund some affordable housing. We’ve seen what that means: for more than seven years, while the community has waited for the Eastern Neighborhoods plans to be completed, housing for the wealthy has been built and housing for everyone else has been an afterthought. The Board of Supervisors has set an ambitious goal — 60 percent of all new housing should be below market rate — but the Planning Department and the Mayor’s Office of Housing have failed to produce a comprehensive strategy to meet that target.

So despite the budget crisis, the timing of the Affordable Housing Charter Amendment could not be any better. A measure that designates a significant amount of money every year for housing for working-class San Franciscans can finally bring accountability and a commitment from the city to build and retain affordable housing and plan for inclusive new neighborhoods.

We can’t sit idly by while the disparities widen between rich and poor, whites and people of color — or we will wake up 15 years from now and see the result, the continued exodus of working-class families and other lower-income communities. San Francisco is the only city I know of whose Latino population is stagnant and whose African American population is declining. The time to act is now. The Board of Supervisors should approve the Affordable Housing Charter Amendment, making it one of the key issues in 2008 for San Franciscan progressives.

Eric Quezada

Eric Quezada is the executive director of Dolores Street Community Services and a candidate for District 9 supervisor.

Pyramental

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› superego@sfbg.com

SUPER EGO Books are cool, and they can make you taller. Often they even tell you things, things you never thought you’d want to know. They’re like platform heels that talk! But they speak in a flippant whisper, and what they say is delicious.

Sure, books may not be able to dish on how Tyra got rid of her "vag arms" this season (hello, Scotch tape in her hairy pits) or why that one annoying girl on the 22 Fillmore’s still pumping that goddamn "Hot Pocket, drop it" song on her tinny-ass cell phone over and over, a mound of discarded sunflower seed shells scattered around her pastel Superfecta IIs. (Please go download some Lupe Fiasco "Superstar" to your knockoff Chocolate already, sweetie. Seriously. It’s November.)

What books can tell you sometimes is that you’re right. I love that! Take The Warhol Economy: How Fashion, Art, and Music Drive New York City, by Elizabeth Currid, a new spine that fingerless-gloved intellectuals are cracking all over the Muni. It basically argues that — fuck Wall Street — the arts are the real forces that drive Manhattan’s hopping money market. (Too bad the best new artists can only afford to live in Queens now.) And guess where the linchpins are? Where art, fashion, and music intersect and all the brainy hotties trade lucrative ideas? That’s right: night clubs. All the fabbest deals are made on the dance floor, Ms. Elizabeth says, and nightlife, in which "creative minds set the future trends," should be boosted to top priority by any wannabe successful city, extralegal activities be damned. Of course she’s talking about New York, so her tome’s a tad inapt for our little blow jobs–for–tourists trade show here. But still, nightlife rules! One day it’ll make us all rich and famous! In your face, space coyote.

Speaking of books: I once dated a tech bear. It was the mid-’90s, the Interweb was still shiny, and bears hadn’t morphed into hedge-trimmed candy ravers yet. Don’t hate! Tech bears were hot — I’m still an all-day sucker for them — and this one, like so many others of his ilk, not only could build a Unix server out of two Cherry Coke cans and a pizza box but also spent his nights tripping on krunk and composing ambient electronic odes to his heroes Brian Eno and Arthur Russell. I couldn’t drag his ass onto a dance floor to save my life, but his windowless bedroom in the Tenderloin was a glittery cornucopia of strobe effects and rapid-fire bleeps. Go figure.

If only there had been some kind of school for him to attend, some place that would have guided him toward a career in digital-audio arts before he blew his mind on meth and moved back to the Midwest to become a gay trucker for Montgomery Ward!

Better late than never, maybe; now there is. Pyramind, a full-on media music and production school, is taking over SoMa and providing some of San Francisco’s brightest club-music makers with the skills to conquer the digital world. I recently found myself being chaperoned, somewhat bewildered, through Pyramind’s labyrinthine main campus by director and president Greg Gordon, in the company of old-school dance floor mover and shaker Paul dB. As they led me from one cavernous, soundproofed room to the next, each full of top-flight equipment, giant projection screens, a plethora of enormous monitors, and some mighty fine-looking students, I realized: maybe I should just give up writing and start composing the soundtrack for Halo 4. I could help launch a puke-colored Mountain Dew energy drink in 2009!

My temporary flight of fancy — how could I ever give up getting kind of paid to down well-vodka cosmos and introduce you to several psycho drag queens almost every week? — wasn’t such a pie in the sky. Pyramind’s hooked up with major prestidigitalators like Apple, Ableton, Digidesign, M-Audio, and Propellerhead. Students get possible career leads and exposure to some of the biggest biggies — Pyramind calls these companies "strategic partners," but to me a strategic partner is someone you sleep with to get back at your ex.

But the school is just part of a grand master plan. Pyramind is octopoid, with recording studios, a distribution service, international programs, a music label called Epiphyte headed by industry legend Steffan Franz, a well-established musical showcase–club night called TestPress that’s expanding to other cities (and has spawned an Epiphyte-released CD of bouncy tunes), and, with the recent acquisition of another huge campus a few doors down from the main one, an independent party venue. Pyramind’s stacked. And hey, in case any terrorists were thinking of hijacking any future Pixar productions (although wasn’t Cars terrifying enough?), Pyramind’s got the seal of approval, I shit you not, from Homeland Security. Calling all tech bears: drop that Cheeto and get in the digi-know now.

www.pyramind.com


www.epiphyterecords.com/

From our Bay to Norway

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› johnny@sfbg.com

I hear a new world calling me. It’s beeping transmissions from some faraway place in the future and the past where a mysterious craft hovers near calypso rock and choruses of friendly voices — some human, some not — echo or call to each other. It’s a free-floating territory charted by someone obsessed with creating and sharing sounds that would otherwise go unheard. Only those with a similar obsession seem to respond to its clarion call.

I hear a new world, so strange and so real. Something tells me this world has ties to Norway and the Bay Area, that it streams from Oslo to San Francisco and back. Along the way it opens doors — some familiar, some not — to unheard-of zones. In Norway it can’t help isoutf8g and celebrating a conga rhythm from a vintage Michael Jackson track. It also combines the famous chords of Richard Strauss’s Thus Spake Zarathustra and the roller coaster sensuality of Donna Summer’s Giorgio Moroder–produced "I Feel Love" in order to fill and feel space with as much pleasure as possible. In San Francisco it forms warm electronic waves, uses white magic to surf those waves’ white diamond tips at midnight, and then wakes up the next morning with a heartbreaking conversational hymn.

I hear a new world, haunting me from beyond the known realms of space disco, the shorthand term writers have applied to the music of Norway’s Lindstrøm (who has combined Strauss with Summer), Prins Thomas, and Todd Terje (the aforementioned Jackson mix master). It asks me to explore the songs of San Francisco musicians who offer clues to — and share — those Norwegians’ vast and prodigious love of sound and song. It suggests I contact Sorcerer (a.k.a. Daniel Judd) and Hatchback (a.k.a. Sam Grawe), brothers in oceanic melody and rhythm, who have both been remixed by Thomas. It tells me to talk with Dominique Leone, whose gorgeous and deranged pop will soon be released by Lindstrøm on his Feedelity label. It implores that I reach across this small town of super sounds to speak with Arp’s Alexis Georgopoulos, who has forged a cluster of electro-Nordic projects in which beauty emerges — with a sunlike glow — from intensity.

I hear a new world, calling me to chart links between musicians in San Francisco and in Norway, to discover that neighboring, unacquainted San Francisco sound makers can share friendships with the same Norwegian musicians. Perhaps this musical passage from Norway to our Bay is pure folly. Perhaps the seaside Northern European kingdom recently voted the most peaceful country in the world by the Global Peace Index doesn’t share the same spirit as coastal Northern California. Perhaps the country that remained neutral in World War I and rebelled against insurgent World War II Nazism doesn’t have much in common with Bay Area resistance. Perhaps Oslo and San Francisco only share a pocket-size but ferocious love of black metal. I still hear a new world — how can I tell what’s in store for me?

THE BEACHSIDE BRAIN WAVES OF SORCERER


Donna Summer has already come and gone on the jukebox of the Van Ness corner bar with the bright yellow sign as Sorcerer’s Daniel Judd looks at the cover art for Prins Thomas’s Cosmo Galactic Prism (Eskimo). Thomas’s epic, oft-resplendent two-CD mix opens with "I Hear a New World," the title track of producer Joe Meek’s innovative 1960 exploration of the outer spaces of stereo and studio sound. It then segues into the country twang and power-chord dub of "Devil Weed and Me," by the late-’70s Nashville, Tenn., session-player supergroup Area Code 615. "It’s funny that the CD starts that way," Judd says with characteristic almost-sly-or-shy understatement. "My friend Sam [Grawe, of Hatchback,] is a big fan of Area Code 615, and I love "I Hear a New World." The fact [Thomas] put those two songs together is weird, like he was reading our minds."

Encyclopedic musical passions bring serendipity. But Thomas and Judd’s bond dives deeper: Thomas has remixed "Surfing at Midnight," the slow-blooming single from White Magic (Tirk), the first album Judd has recorded as Sorcerer. White Magic is a casual labor of love (all too rare in these studied-yet-throwaway days) that’s easy to fall for on the first listen. Judd — who sometimes writes about music for the Web site Dream Chimney — is still capable of the Johnny Marr–like rush, push, and spangled jangle he brought to the band Call and Response, but freed from group strictures he lands on a relaxed approach to writing and recording that allows for gorgeous chord changes, compositions that morph, and keyboards and guitars that shimmer.

White Magic’s track listing primarily consists of two-word titles — "Airbrush Dragon," "Egyptian Sunset," "Bamboo Brainwave" — that inspire visualization, and on MySpace, Judd invents a variety of apt and funny pseudogenres, such as "’80s montage music," to describe the Sorcerer sound. "So many friends, when I played [Sorcerer’s] music for them, would say, ‘This would be great for an ’80s movie scene or a montage,’" he explains when asked about the various substyle terms he coined on a lark. "I definitely grew up during that period and watched the movies, so it’s ingrained. I thought I might as well just go for it. I like having some humor and playfulness, like Thomas Fehlmann, the Kompakt [label] guy who was in the Orb…. At some point [more recently] electronic music got caught up in always trying to do something new. That’s fun for the musician but not always for the listener. In my stuff the beat isn’t what’s making you go, ‘Oh wow.’ If it’s happening, it’s from the chords."

Judd and his girlfriend recently moved from Oakland — where he’d also spent much of his early childhood with a mom who loves Prince — into the Mission. Sorcerer, however, can usually be found loitering on either side of a magic door where kitsch transforms into loveliness. One side of that door definitely opens onto the beach. White Magic‘s "Blind Yachtsman" is a love child born from Takeshi Kitano’s Zatoichi: The Blind Swordsman and yacht rock. Judd often draws on whatever he’s listening to or watching, but other seafaring Sorcerer songs, such as "Surfing at Midnight" and "Hawaiian Island," flow directly from his experiences while surfing and scuba diving.

"Maybe the beach represents this free place, away from computers and technology," Judd posits when I mention that Norwegian counterparts such as Terje (whose MySpace interests are "Coconuts, Hawaiian sunsets, moose/dolphins/unicorn/practically everything in a sunset") share his fondness for littoral motifs. Whether discussing his girlfriend’s most recent Midnites for Maniacs–ready movie rental (Side Out, a beach volleyball drama starring C. Thomas Howell) or a weekend visit to Nippon Goldfish Co. on Geary ("You’re so close to the animals, and they look kind of crazy"), Judd keeps returning to the waterfront. "In the ocean," he notes, "you feel like there’s almost no rules. You’re having fun, and it’s almost dangerous fun — a kind that you don’t find in the city."

THE RISING AND SETTING SUNS OF ARP


A setting sun, bisected by clouds, hovers over darkening ocean waves on the cover of In Light, the first album by San Francisco’s Arp; the title, drawn in slim neon-tube cursive by San Francisco artist Tauba Auerbach, is suspended from the upper left-hand corner of a tangerine and gold sky. The summer sun happens to be setting outside the upper Guerrero living room window of Arp’s Alexis Georgopoulos as he talks about this image (partly inspired by the melancholic found-film cosmograms of visual artist Tacita Dean) and how it relates to the music on the album, which will be released by the Oslo label Smalltown Supersound next month.

"An overwhelming number of people still tend to think of electronic music as being cold," Georgopoulos says while sitar notes from an LP quietly resonate through his and roommate Kathryn Anne Davis’s blue-walled apartment, where a large chunk of coral rests on a clear Plexiglas coffee table. "I wanted to make something that was warm, that had human qualities, that was a little worn, and that — along with the imagery of the record — dealt with memory, the degradation of memory, and revisionist memory. I also wanted to make something that referenced landscape and light and natural things in a way that wasn’t new age." I point to a fat tome about the proto–new age label ECM on a nearby bookcase, which Georgopoulos built. "Proto–new age music, if you select carefully, can be amazing," he responds. "Even the kernels of early sequencing in Ash Ra Tempel sound really radiant."

If a new age of electronic music spanning from San Francisco to Oslo is dawning (or setting), then Georgopoulos — a chief member of Tussle until just after the group recorded last year’s Telescope Mind (Smalltown Supersound) — has taken it to the bridge and maybe even been the bridge. In 2002, after writing about the graphic design of Smalltown Supersound’s Kim Hiorthøy for Tokion, Georgopoulos — who edits the music section of SOMA magazine and sometimes contributes to the Guardian — offered to put together a Bay Area showcase at Club Six for the label. "I don’t think he had done anything like that before; he just wanted to have us over, which was very generous," label owner Joakim Hoaglund recalls via e-mail before turning to a discussion of his and Georgopoulos’s latest collaboration. With Arp, "it’s a relief [for me] to do a small personal project. Maybe it’s just me, but I feel [In Light] has this great and unique mix of US West Coast art and culture with European avant-gardism and kraut rock. It’s a very special album."

Clutter and clusters are on Georgopoulos’s mind as we discuss music and its surroundings. "I was a huge stacker [of books and records]," he says when I mention his well-ordered home studio. "But I take after my mother — she’s very neat and feels like she can’t do the work she needs to do unless things are organized." The first-generation American child of parents from France and Greece, Georgopoulos has chosen the dreamy, maternal lull of a track titled "St. Tropez" to open In Light before "Potentialities" surges out of speakers (or from headphones) with a subtly rising force that’s ultimately awesome to behold. Most of In Light‘s seven meditative tracks were first showcased in a 2006 group exhibition at New Langton Arts, where up to two listeners could climb into a feather bed enclosed in a small podlike space. "It wasn’t cerebral. It wasn’t about dissecting a suspended space," Georgopoulos says. "Though with a lot of [Arp]’s music, suspension is one of the effects I’m trying to create."

For Georgopoulos, Arp’s state of suspension runs counter to different kinds of tension. While discussing his love for the analog organ-drum machine sounds employed by groups such as Cluster (a few of whose albums have just been reissued by Oakland label Water), Suicide, and Spacemen 3, he notes that "too much electronic [today] sounds like coke-related music." In contrast, Arp’s electronic music is humane — a rarity not just in electronic music but also on the streets of San Francisco during the Gavin Newsom era, when homelessness has become more difficult and abject and attitudes toward it more hostile. "I can’t remember the last time I left the house and didn’t have a confrontation with a very disturbing sight, and after a long time that really starts to chip away at you," Georgopoulos says. "I drove a cab for four years, until 2004, and when I think about it I can’t believe that I did. It suited my life at the time, but you’re interacting with [people on] PCP, meth, and all kinds of shit — you just never know. Now that I don’t drive a cab I’m hardly ever in the Tenderloin."

PRINS THOMAS, LINDSTRØM, AND THE INTERNATIONAL UNDERGROUND


Wearing a pair of shades, Prins Thomas is chatting with the doorman of his hotel in the Tenderloin when I stumble out of a taxi to interview him. It’s a sunny, hot late afternoon, but Thomas — who has just woken up — isn’t exactly on Norway time or California time. Later in the evening he’ll be DJing Gun Club’s night at Temple Nightclub. Right now, though it’s too late for lunch and too early for dinner, the moment calls for a meal, so we settle into a restaurant on Polk Street. "I used to play in Oslo for the same people again and again," he says after we order food. "Now I can travel and meet like minds. It’s inspiring to meet people who can help you out and who you can help out."

In San Francisco two such people are Sorcerer’s Judd and Hatchback’s Grawe. Only after remixing tracks by Judd’s and Grawe’s solo projects did Thomas discover (by following Web links) that they also record together as Windsurf. Next year he plans to release some Windsurf recordings on a new label, Internasjonal, that will step outside the Norwegian and dance music confines of his established label, Full Pupp. This season, though, he and Lindstrøm have released — in addition to a variety of vinyl projects — a full-length collaboration (Reinterpretations, the beat-driven follow-up compilation to their 2006 debut on Eskimo) and individual mix CDs. Lindstrøm has contributed a chapter to the mix series Late Night Tales (released by the label of the same name), while Thomas has unleashed Cosmo Galactic Prism (Eskimo), a two-and-a-half-hour CD cornucopia that moves from strange and delightful multigenre tracks by Glissandro 70 (the bizarrely beautiful "Bolan Muppets") and Metalchicks (the awesome "Tears for Fears/Conspiracy") through Hawkwind into the classic disco of "Get Down Boy" by Paper Dolls.

"I thought it fit the whole collection as an introduction," Thomas says when I ask him about Cosmo Galactic Prism‘s opener, "I Hear a New World," which Arp’s Georgopoulos also says he’s included in mixes. "It kind of sets the tone — it’s so freaky that anything that comes after it is going to sound pretty normal. When I first heard it I couldn’t tell if it was new or old. There’s a similar quality to a track by Art Blakey called "Oscalypso" [from the 1956–57 album Drum Suite, now on Dusty Groove]. The drums are so distorted that it sounds relevant next to new, compressed dance music, even though it’s 50 years old."

It isn’t surprising that Thomas’s expansive love for and knowledge of music stems from his family. "My stepfather has been as obsessed with music [as I am]," he explains while charting Lindstrøm’s background in country and gospel bands and his own early days DJing hip-hop records at youth clubs. Thomas’s stepfather "would play Ry Cooder and the Sex Pistols for me. He had the Robert Christgau Consumer Guide books, which are great. I think it’s funny how [Christgau] can write similarly about an Eric Clapton album and a Chic album. For me, it really isn’t about bad music or good music, but about music that excites you and music that doesn’t."

It also probably isn’t surprising that one genre Thomas’s stepfather didn’t like — prog rock — figures heavily in his and Lindstrøm’s music. As for newer terms or styles, like Lindstrøm (who good-naturedly told me, "I guess the good thing is that some people are telling me I invented a genre"), Thomas has a sense of humor about the phrase space disco. "It could have been a lot worse," he says. "It could have been called crunk or syrup [Houston’s cough syrup–influenced hip-hop sound]. In my hometown, at underage school dances 15-year-old girls used to soak their tampons in moonshine. I guess that’s the Norwegian version of syrup."

UP, UP, AND AWAY WITH DOMINIQUE LEONE


When I meet Dominique Leone, he’s sitting in a San Francisco café that might have the highest number of laptops per square foot. Leone has one too, but instead of staring into its screen he’s feverishly using a pencil to draw on a page in a sky blue Strathmore sketchbook. I’m not surprised, because scribbler nonpareil Sol LeWitt caps a list of audio and visual influences on Leone’s MySpace page. That site also offers an opportunity to hear the gorgeous song "Conversational," on which Leone’s spare keyboard arrangement and ascendant choirboy-gone-slightly-cuckoo voice update the plaintive yet celestial highlights ("I’ll Be Home," "Living Without You") of Harry Nilsson’s classic 1970 cover collection Nilsson Sings Newman (Buddha).

Leone’s MySpace page contains audio treats, but what about his sketchbook page? It turns out he’s drawing, in his words, "a giant skyscraper-sized robot that streams music and scents into the air and every 10 minutes or so spews out free kittens." Indeed, Leone’s sketch does look a bit like that, so when he says he’ll try his hand at an idea I have — a constellation that playfully demonstrates links between San Francisco and Norway musicians — I take him up on the offer.

Though Leone doesn’t include himself in the finished rendering ("More an exploding molecule than a constellation," he says), which accompanies this article, he belongs in a nearby orbit, thanks to his collaborations with Lindstrøm. In addition to providing the quiet heart of that artist’s Late Night Tales mix, "Conversational" is also featured on an EP, simply titled Dominique Leone, that Lindstrøm is releasing next month on Feedelity (with art by Hiorthøy) as a precursor to Leone’s album. The gonzo centerpiece of the EP is "Clairevoyage — a Medley Performed by the 16th Rebels of Mung," on which Lindstrøm and Oslo Bee Gees maniacs Mungolian Jet Set, responding to Leone’s song "Claire" (on the EP’s B-side), construct a 12-minutes-plus propulsive fantasia that builds to a helium-voiced climax not far from the munchkin antics of Meek’s "I Hear a New World." Leone is no slouch at reaching countertenor octaves naturally or through tape manipulation. But since the EP also credits Mungolian figures named Katzenjammer and Izzy Tizzy as vocalists, it’s anyone’s guess as to who has inhaled a few balloons before singing.

Leone says he grew up listening to the Beatles and the Beach Boys, and the latter’s influence is especially apparent in the semielated, semiagitated high harmonies that fly through intricately braided compositions like his "Nous Tombons dans Elle." A self-described "band nerd" in high school and music major at Texas Tech University, he feels a kinship with the more overtly postmodern academic songwriting approaches of friends such as Matmos and Kevin Blechdom. To Lindstrøm, though, he’s a 21st-century answer to the progressive pop of Todd Rundgren (who happens to be a favorite of Sorcerer as well). "I remember the first time Lindstrøm wrote to me [about my music]. He was talking about Paul McCartney, but his big thing was Rundgren," Leone says with a laugh. "I wasn’t a big Rundgren fan, but [Lindstrøm] wasn’t the first person to listen to my music and mention Rundgren.

"The first track [‘Forelopic Bit’] on Lindstrøm and Prins Thomas is, to me, the best example of how to make a dance track from prog and fusion influences," Leone notes before adding some observations that probably stem from his experience as a freelance music writer for Pitchfork more than from his far-flung everyday listening tastes, which have ranged from salsa to bluegrass over the past few months. "A lot of people are trying to [bring prog and fusion to dance floors] right now. You can go out [to a club] and hear these Balearic and beardo DJs just playing tracks. Sometimes that works, and sometimes it doesn’t. But Lindstrøm is one of the few guys who are actually trying to make original songs incorporating those influences."

A HATCHBACK DRIVE TO WINDSURF


Sam Grawe of Hatchback and Windsurf sings the praises of his Sony tape recorder as I place my old, cheap, and wonderful Panasonic next to some glasses of wine on a table in his home recording studio. Plastic owl wall fixtures and a rug with shaded steps of color that resemble the volume bars of a digital stereo rest above and below the assortment of keyboards (including that prized prog possession, the Rhodes) in the room. "You can listen to instrumentals as background music, but I’ve always been into [moments] when music connects you with what’s happening or what you’re doing," Grawe says. "So much of my [youth] was spent driving around the rural countryside and finding the perfect song. Sound can fulfill an opening or void in your emotional experience. Images can be part of it, smell can be part of it, but sound can take it to another level."

Grawe’s sympathy for trusty old tape recorders, his playfully decorated recording space, and the attentiveness to setting in his reminiscence all make sense — by day he is the editor in chief of the modern architecture and design magazine Dwell. By night and whenever else he can find the time, he listens to and makes music. It’s an enduring passion that goes back to high school years spent using MIDI to put music theory into practice and compose fugues in the manner of Rick Wakeman and Emerson, Lake and Palmer. "The guy who stocked the import section [at a nearby record store] was some crazy prog freak," Grawe remembers. "A friend of mine had The Gibraltar Encyclopedia of Progressive Rock, so I could read about some crazy Italian or German band and then go to the mall and buy the CD."

"White Diamond," the 21st-century prog rock of Gibraltar that Hatchback has just made public (on the UK label This Is Not an Exit), showcases the fuguelike interplay between simplicity and complexity in Grawe’s compositions. While a 17-minute remix by Prins Thomas adds club elements, the original version, with its hallucinatory, starlit varieties of arpeggio, makes for an ideal personal soundtrack. Hatchback’s next 12-inch release on This Is Not an Exit, a track called "Jet Lag," is funkier yet similarly majestic, layered, and emotive. In both cases vocals would be a pointless distraction — synthesizers seem to sing to one another, becoming increasingly, endearingly creaturelike by song’s end. "Friends chide me for not knowing the words to songs I’ve heard a thousand times," Grawe says after testifying to his love for the film scores of Vangelis, Piero Umiliani, and Francis Lai. "But often a little synth part [in a song] is more interesting to me."

Grawe sings on some of the Windsurf songs that he and Judd have recorded for Prins Thomas to release on Internasjonal. Windsurf allows him to tap into a longtime interest in duos and groups ranging from the many projects of Yellow Magic Orchestra’s Haruomi Hosono and Neu!’s Michael Rother (Grawe recently contributed liner notes to an upcoming reissue of Rother’s first solo album, 1977’s Flammende Herzen, by Oakland’s Water) to … Steely Dan. "To a lot of people they embody what’s wrong with music," Grawe says of the last. "But to me they embody everything that’s right. Not only is their music well crafted, but some of their lyrics, to me, are on a par with [Bob] Dylan."

As for Oslo and San Francisco, Grawe — who recently created a Venn diagram for Mike Bee of Amoeba Music that illustrates the fusion of influences within Sorcerer, Hatchback, and Windsurf — welcomes the growing, glowing galactic prism formed by artists from both areas who have an affinity for one another’s music. "I think it’s interesting that all these records happened without [the people involved] ever meeting in person or sometimes even talking on the phone," Grawe says. "It’s all been through the Internet. It was great to finally see [Thomas] when he came to town and hang out, have dinner, and play records. We connected instantly."

I HEAR A NEW WORLD


To trace musical connections between a pair of geographical areas is reductive. The artists I’ve written about love music from a number of other countries (Germany and Brazil, to name just two) and cumulatively have friendships with contemporary musicians from all over the globe. But in focusing on sonic signals being sent forth between Norway and our Bay, signals that have yielded some of my favorite recordings of the past year, I also discovered unexpected commonalities that open into new words about — and worlds of — sound. Almost all of the San Francisco musicians I spoke with also write about music, and three of them are journalists, for example. It seems the divisions between writers and musicians continue to blur, leading to the formation of a new music of the spheres.

When Joe Meek composed and recorded I Hear a New World: An Outer Space Music Fantasy (RPM) in England in 1960, his intense, obsessive love of music and sound resulted in the audio equivalent of what is called visionary. But he remained isolated. Today it’s great to see — and hear — figures such as Meek and disco innovator Arthur Russell living on, their spirits floating through many people’s songs and being revived in upcoming documentaries. Meek heard a new world of sound, calling him and haunting him. He couldn’t tell what was in store for him, but his new world of sound has arrived. It spans from Norway and our Bay to the farthest reaches of inner and outer space.

Hear it!

www.dominiqueleone.com

www.feedelity.com

www.myspace.com/feedelity

www.myspace.com/arp001

www.myspace.com/dominiqueleone

www.myspace.com/fullpupp

www.myspace.com/hatchback76

www.myspace.com/mungolianjetset

www.myspace.com/prinsthomas

www.myspace.com/sorcererjams

www.myspace.com/toddterje

www.myspace.com/windsurfmusic

www.smalltownsupersound.com

www.sorcerermusic.com

Sex cakes for you

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Intrepid reporter Justin Juul hits the streets each week for our Meet Your Neighbors series, interviewing the Bay Area folks you’d like to know most.

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Jerry Carson, the proud owner of The Cake Gallery in SOMA, which specializes in erotic cakes, is one of the nicest dudes you will ever meet. It wouldn’t be so weird if you bumped into him on the street or saw him at the grocery store, but when you’re standing in his tiny den of cock-cakes and pussy-pops, his demeanor seems a little out of place. Carson serves as a walking, breathing challenge to our stereotypical assumptions about x-rated bakers. He doesn’t wear chaps — at least not to work — and he doesn’t have a handle-bar mustache. In fact, he actually looks and dresses a lot like my high school history teacher back in Michigan. Hmmm.

SFBG: So what’s your deal? How’d you find yourself in San Francisco?
Jerry Carson: Well…when I got out of the Army in 1972, I decided I didn’t want to live in Pittsburgh anymore, and I had always loved San Francisco, so I just sort of packed up and moved. I’ve been here ever since.

SFBG: And that’s when you decided to fulfill your lifelong dream of owning an x-rated cake store?
Carson: Yeah…well, I bought this shop from a gay couple about twenty years ago. They used to run a normal cake-shop, but when I got a hold of it, I looked around at the neighborhood and thought these people need something different. I also wanted to have an excuse to talk dirty to girls on the phone.

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SFBG: When you say “something different,” are you referring to the gigantic cock/ass cake with spunk-icing in the glass case over there?

After the jump: Safe for eating, but NSFW!

Making naked pretzels

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By Justin Juul

I heard about this Naked Yoga thing via my part-time gig at going.com where I have to scan websites and magazines looking for quirky festivals, art openings, open-bars, etc. When I find a good event, I do a little write up, find a good image to accompany the text, and then I post the whole thing on the site. It sounds like a pretty easy job, I know, but it’s always hard to find things that haven’t already been posted by another stringer. So when I found the catalog for One Taste in SoMa, I was thrilled.

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Upward kitty?

Their mission statement claims that “One Taste is an urban retreat center dedicated to bringing conscious awareness to the senses. They embrace all levels of being; our bodies, our emotions, our minds and our spirits — while promoting a healthy balance between them.” It sounds kinda corny, but I had a hunch that all the new-age rhetoric was a just a gloss the organization was using to put a positive spin on their obsession with sex. The catalog’s cover featured a huge black and white shot of a naked woman and the calendar inside, which I was going to suck dry for material, was full of classes like “naked yoga,” “exploring our lust,” and “prostate massage w/ live demonstration.”

Normally I would have just picked a few events, written a few blurbs, and cashed my check, but as fate would have it, the editor at another one of my freelance gigs sent out a query to see if anyone knew anything about naked yoga. I do, I said. And with that, my fate was sealed. At nine o clock the very next morning I was pedaling toward SoMa, yoga mat in hand, mentally preparing myself to be naked in front of strangers.

As I approached the corner of Folsom and Seventh my mind grew heavy with doubt. Am I packing enough heat? I wondered. Is my belly too big? Are my poor arms too thin?