Tech Archives — Page 5 of 48 — San Francisco Bay Guardian Archive 1966

Boom asks “What’s the matter with San Francisco?” and offers insightful answers

Sasha Cuttler

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June 19, 2014

Boom asks “What’s the matter with San Francisco?” and offers insightful answers

“What’s the matter with San Francisco?” asks the Summer 2014 issue of the Boom: A Journal of California, a quarterly magazine produced by the University of California Press, tapping an amazing array of writers to explore the struggle for the soul of San Francisco that has captured such widespread media attention in the last year.

The question on its cover, which all of the articles in this beautifully produced 114-page magazine explore from varying perspectives, is a nod to Thomas Frank’s insightful 2004 book, What’s the matter with Kansas? And the answer in both cases, argue writers Eve Bachrach and Jon Christensen in their cover story article, is the people.

“Specifically, the people who act time and again against their own interests, people who adhere to a narrow political line, whether it’s antipopulist in the nineteenth century or antiprogressive in the twentieth. By focusing on one set of values, this analysis asserts, the people don’t notice what they’re really losing until it’s too late — and San Francisco is no different,” they write.

At this important moment in time, San Francisco is fighting to retain the last significant remnants of the cultural and economic diversity that have made this such a world-class city, with today’s hyper-gentrification building off of previous waves of displacement to change the city in fundamental ways.

Sure, this struggle between capital and community has been part of San Francisco since its founding, a dynamic that animates our civic life and feeds important political movements that trickle out across the country. And local writer/historian Chris Carlsson has a great article documenting those movements, from the Freeway Revolt of the 1960s to the pro-tenant and anti-displacement activism around the last dot.com boom.

“Read one way, this short history demonstrates the relentless power of money in defining who is a San Franciscan and who can stay and who must go. But read another way, this history shows that there is historic precedent for optimism that the worst consequences of today’s creative destruction of the city can be averted if we know and use our history,” Carlsson wrote.

But in a Q&A interview with author Rebecca Solnit, both celebrates that dynamic and explains why things are different this time: “You can image San Francisco as full of dynamic struggle that’s been pretty evenly matched between the opposing sides since the Gold Rush. There have always been idealists and populists and people who believe in mutual aid in the City of San Francisco. And there have also been ruthless businessmen and greedy people: the ‘come in and get everything and be accountable to nobody and hoard your pile of glittering stuff’ mentality has been here since the city was founded. But it has not been so powerful that it has rubbed out the other side.

“Now, however, it feel like Silicon Valley is turning San Francisco into its bedroom community. There’s so much money and so much power and so little ability to resist that it is pushing out huge numbers of people directly, but it is also re-creating San Francisco as a place that is so damn expensive that nobody but people who make huge amounts of money will be able to live here.”

After building off of previous gains, the capitalists of today, those who refuse to even acknowledge the political landscape and dynamics that have been developed over generations, seem to be moving in for the kill, armed with more powerful weapons of accumulation and displacement than their predecessors had or were willing to deploy.

“So what’s the matter with San Francisco? It’s becoming a bedroom community for Silicon Valley, while Silicon Valley becomes a global power center for information control run by a bunch of crazy libertarian megalomaniacs. And a lot of what’s made San Francisco really generative for the environmental movement and a lot of other movements gets squeezed out. And it feels like the place is being killed in some way,” Solnit said.

Yet the issue pointedly avoids falling into us-vs.-them traps or trite demonization of techies, ultimately seeking to provide a more nuanced look at the city’s current cultural and economic clashes than the various East Coast publications have brought to the task. And the best of it is “The Death of the City? Reports of San Francisco’s demise have been greatly exaggerated.”

Written by Rachel Brahinsky, a former Bay Guardian staff writer who is now a professor at the University of San Francisco, the article echoes other concerns about the threats and challenges facing San Francisco, but she finds a potential “seed of the solution” in the city’s current zeitgeist.

For one thing, she challenges the convenient blaming of “techies” for the problems facing San Francisco, noting that some of the city’s best progressive organizing has been done by those with skills and/or jobs in the technology sector, often by people who despise the corporate managers and investors who run the industry as much as outsiders do.

“The problem isn’t tech, but corporate tech,” she writes.

Brahinsky also urges readers to broaden their lenses to consider San Francisco as part of the broader Bay Area, which now much confront the growing challenges of rising economic inequality and gentrification as a region, using the clashes here as a catalyst to finally pursue what she calls “ethical urbanism.”

“What is to be done? There is no lone policy shift that will salve these corporate tech wounds. There are many good solutions under debate now; with continued pressure they may become law in the same way that rent control moved from impossible to mainstream in 1978,” she writes.

The prescription she then offers includes fostering greater community engagement, developing regional policies that promote “community development without displacement,” not blaming techies for the sins of landlords, finding ways to increase the density of development without displacing or sapping vital public services, using open source tech tools to increase awareness and broaden the progressive movement, and “you need to fight like hell for the kind of city you want.”

Finally, in closing, she writes, “The San Francisco region’s most potent dreams are made of the kinds of struggles that refuse the sweeping change brought by the economistic forces of urbanism. What we witnessed in the winter of 2014 was a reawakening of this side of ‘San Francisco,’ a part of the city as mythic and real as the Gold Rush. The ongoing cacophony of protests, corporate tech-activist happy hours, housing lectures and forums, and the ballast of anti-eviction committees brought together by two months of tenants conventions are all signs of this legacy regathering steam. What happens next?”

As Ellis Act reform bill faced death, where was Ron Conway?

Erica Hanna

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June 19, 2014

26

As Ellis Act reform bill faced death, where was Ron Conway?

One week and one day — that’s how long Sen. Mark Leno has to push his Ellis Act reform bill through two committees in order for it to go before to the assembly floor, making its prospects for passage this year look dim.

The push would have been easier if it hadn’t lost yesterday’s vote, 3-4, in the Assembly Committee on Housing and Community Development. Now the bill’s passage is a herculean task that even Leno admits is a tough slog.

“I’d say it’s challenging,” Leno told us yesterday. San Franciscans have been displaced by real estate speculators, a dozen or more of whom are regularly “flipping” homes for profit and using the Ellis Act to clean out longtime renters. If passed, the bill would restrict the use of the Ellis Act to those who’ve owned their homes for five years or longer, allowing property owners to eventually get out of the rental business, as supporters of the Ellis Act say it was intended for.

“Bill Closing Ellis Act Loophole for San Francisco Fails in Assembly,” was the headline of Leno’s press release on yesterday’s action. But “fails” seems to imply a strong effort that fell short of the mark, when the reality of was that some of the bill’s highest profile and most powerful alleged supporters were missing in action: the tech industry and venture capitalist Ron Conway.

When Leno’s Senate Bill 1439 was announced in April, the “Godfather of Silicon Valley” Ron Conway stood before the microphone and cameras and announced the technology industry’s intent to protect tenants from being displaced by real estate speculators. Conway is a wealthy “angel investor” who cashed in big on companies like Twitter. Later on, he became Twitter’s greatest champion as he smooth-talked San Francisco government into providing big tax breaks to move Twitter into the mid-Market area.

In return, Mayor Ed Lee was counting on Conway and other tech titans to butress the other sectors of San Francisco, and to protect the people who were being evicted en masse.

Conway pledged as much when his tech group, SF.citi, started a petition drive to support Ellis Act Reform.

Part of the tech backlash occurring in SF right now is due to evictions by real estate speculators. Please help stop evictions in SF by having your Company sign on to the below letter for Senator Leno.

The bill would prohibit rental property owners in San Francisco of less than five years from invoking the Ellis Act, threatening to invoke the Ellis Act, or prosecuting an unlawful detainer (eviction) action based on the Ellis Act.

Real estate speculators are misusing California’s Ellis Act to evict long-term rent paying tenants, who have done nothing wrong but are casualties of a loophole in the Act that must be closed to prevent further displacement.

The Ellis Act was adopted to allow landlords to exit the rental business, not to give windfall profits to speculators willing to exploit the Act by entering the rental business just to exit it. These speculators are exploiting a loophole in the Act that allows them to buy a building and then immediately “exit the rental business” through mass evictions of low and middle-income tenants. The stories are heartbreaking, with families, seniors, and disabled San Franciscans losing their long-term homes.

We strongly support the passage of SB 1439.

Ron Conway

Chairman, sf.citi

Writing pretty words and posing for pretty pictures seemed to be the extent of Conway’s support. Meanwhile, the opposition built up its ranks.

At the committee hearing yesterday, lobbyists on behalf of the California Association of Realtors and very wealthy elderly folks told misleading tales of woe, crowding the room to convince the five California politicians to kill the Ellis Reform bill that would affect mostly just San Francisco.

“What we’re trying to do is keep honest, law-abiding San Franciscans in their homes,” Leno told the committee yesterday. But that wasn’t the committee’s concern. Ultimately, they were concerned about the bottom line. As Tim Redmond at 48hills reported yesterday, Committee Member Cheryl Brown, D-San Bernadino, said her brother told her the bill “is taking my property.”

Those who defended the bill were scant: Jeff Buckley of the Mayor’s Office, Dean Preston from Tenants Together, Sara Shortt of the Housing Rights Committee of San Francisco, and Committee Member Tom Ammiano, among others.

Perhaps having a wealthy tech giant in the room, say, a Twitter representative or Conway himself, may have tipped the scales in Leno’s favor. Conway’s frequent lunch partner Mayor Ed Lee even sponsored the bill. But still, no tech workers, no tech CEOs, not even someone glued to their iPhone raised their voices to defend tenants at the committee. Not even Conway.

When we called and emailed Conway for a response, all we received was an automatic reply saying “I am currently traveling will read email sporadically during this time.”

It’s too bad he wasn’t traveling to Sacramento.

A high price

Michael Redmond

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June 17, 2014

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cheryl@sfbg.com

LIT Andy Hall was five years old in 1967, a kid living at the base of Denali, North America’s tallest peak. His father, a National Park Service veteran, took a job overseeing Mount McKinley National Park (as it was then called) just months before a climbing party known as the Wilcox Expedition encountered a freak storm near the summit. Seven of its 12 members died in one of the mountain’s most enduring tragedies.

Hall, who grew up to be the editor and publisher of Alaska magazine, was always haunted by the incident, which he chronicles in Denali’s Howl: The Deadliest Climbing Disaster on America’s Wildest Peak (Dutton, 252pp., $27.95). These days, he lives north of Anchorage in the small community of Chugiak. I called him up to discuss his book, a page-turner that’s as much about memory as it is about mountaineering.

SF Bay Guardian Why did you decide to write a book about the Wilcox Expedition?

Andy Hall I’d been working at a magazine for about 16 years, and I started feeling like I needed a change. I’d been close to this thing because my dad had been the park superintendent, and I’d run into a lot of people who’d been involved in it one way or another. I saw how it affected them still. I thought, “Well, I’ve got a great story sitting right here in my lap.”

At the time I started [writing the book], my dad had died five years prior. Some of the guys who’d been involved were getting up there in age. I thought, if I’m gonna do this, I gotta do it now. There were times I regretted not sitting down and having a formal interview with my dad about it, but I had talked with him enough that I knew what happened, and I knew there was a lot more material I could dig into.

SFBG Beyond the folks in your community, how did you track down your sources?

AH Some of the key players I did already know. But the ones that I really wanted to find were more difficult. For example, I wanted to find Gary Hansen, who’d managed the Alaska Rescue Group, the civilian rescue organization [that had attempted to help the climbers]. He left Alaska in the early 1970s, but I knew he was an architect, and I’d heard he’d gone to California. I’m not a detective, but I just thought: Look for someone who’s licensed in both Alaska and California. He got on the line after I called his office and said, “You found me!” Once I connected with him, he made even more recommendations, and it went on from there.

SFBG How did you extract the truth from the various stories you were being told?

AH Memory was definitely a big player. [Survivors] Joe Wilcox and Howard Snyder had both written books; I read both, and there were conflicts. If I could investigate [discrepancies] in person, I would. Then, there were original letters, documents, and journals, and I read what everybody wrote, but I would go beyond that. In the National Park archives, there were longhand accounts that had been written immediately after the incident.

In my dad’s desk, I found a reel-to-reel tape that had interviews with the would-be rescuers from the Mountaineering Club of Alaska. It was their firsthand account of finding artifacts [from the Wilcox Expedition], and then finding [the first three] bodies. So I had these early-as-possible accounts, and I would compare them to what was written later. Some people maintained a pretty solid account of what happened throughout, while others were less consistent.

In the case of Joe Wilcox, I think he wanted to make sure that people didn’t think the men on his team were incompetent. I don’t think he needed to do that, but I think he really wanted them to be portrayed in a positive light.

SFBG Building off that last thought, Denali’s Howl opens with a section listing each man’s climbing credentials. They weren’t inexperienced by any means. Did clashes within the group lead to their downfall?

AH One of the things I wanted to do with the book was contextualize the climb in the day, in the environment. In the 1960s, climbing was something you did as a group. This wasn’t a guided climb. Joe was the organizer, and he did try to lead, but he wasn’t the guide. Today, a hired guide could look at you and say, “You’re getting the early stages of altitude sickness,” and send you back down the mountain. He’s in charge, and you have no choice.

In this incident, it was a bunch of guys, essentially peers, some of whom had more experience than others, but they were climbing together. There were conflicts, but I don’t think there were any more than in successful climbs — and I don’t think they were the deciding element of the tragedy.

SFBG The book really shows how mountaineering has changed.

AH Denali National Park is now a major destination. There are more climbing rangers on the mountain at this moment, probably, than in the entire park in ’67. Back then, there were an average of about 20 people climbing the mountain in a given year. Today, a couple of thousand summit each year. It’s an industry now. There are satellite phones, [high-tech] weather reports, and a high-altitude helicopter standing by ready to respond. In 1967, these guys went up in what Joe called “the age of self-reliance” — they knew they were up there on their own. *

ANDY HALL

Thu/19, 7pm, free

Book Passage

51 Tamal Vista, Corte Madera

www.bookpassage.com

Get up

Michael Redmond

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June 17, 2014

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marke@sfbg.com

SUPER EGO Fellow freakazoids, I’m disturbed. There’s an alarming new microtrend in nightlife: daylife. More specifically: morninglife. Halp!

First NYC’s Daybreaker party hit our shores a couple weeks ago, enticing hundreds of people to line up outside Audio at 8am for two hours of pre-work dancing ($15-$20) that apparently involved giant jellyfish costumes, a brass band (just to make sure you were awake?), and Four Barrel coffee — no alcohol here. I didn’t make it, because fuck that. But I was intrigued! Daybreaker’s AM disc jockey DJ Bradley P is a quality cutie, and the after-vids were rad. I’m waiting to hear if more are in the works.

Now comes Morning Gloryville from London (Wednesday, June 25, 6:30am-10:30am, $20. Heron Arts, 7 Heron, SF. www.morninggloryville.com), which places itself at the nexus of Burning Man, Ministry of Sound, and 24-Hour Fitness. Kind of a spiritual neon-flashmob throwdown, with wigs, massages, and smoothies. “Rave your way into the day!” It looks real cute. And exhausting.

I should have seen this coming the moment fluorescent Fitbits and post-ironic ’80s “Get Physical” dance routines started hitting the dance floors. Of course, SF has a long, glorious, deranged history of morning parties, from 6am Sunday Church at the End Up in the ’70s to recent blasts at North Beach’s Monroe and our own occasional Morning Glory party. I’ve loved dancing in the wee hours ever since I hung out in West Berlin in the ’80s and discovered high school kids hit the clubs before going to school.

But this new wave is just so darn wholesome — complete with slick marketing campaigns, relentless cheerfulness, and franchise ambitions. Despite my liver’s squeaky pleas, I’m not quite ready to come over to the “nightlife as workout routine” side, let alone sans cocktails. At least not yet. Yes, this fantastic ass came from tripping the light fantastic four-six nights a week. But these massive biceps? Grasping my vodkas, dear. Perhaps one day I’ll see the light.

BAIKAL

Sound Department continues to delve monthly into the more thought-provoking side of electronic music. This 11th installment features Berlin multi-layerist Baikal, who’s been building a body of impeccable (yet quite danceable) tech-work.

https://www.youtube.com/watch?v=roAxi8EQ6dk

Fri/20, 9pm-3am, $10. Monarch, 101 Sixth St., SF. www.monarchsf.com

GRIT & GLAMOUR

New show “Gorgeous” at the Asian Art Museum challenges and redefines the notion of beauty in “Eastern” art: Fantastic-sounding opening party makes it all come to life, with deep techno tunes from Dr. Sleep and Robot Hustle, bounce jams from DavO and Natalie Nuxx, vogue extravaganza from House of Nu Benetton, milky tea, fresh nail designs, full bar, and an afterparty at the Stud.

Fri/20, 7pm-11pm, $20–$25. Asian Art Museum, 200 Larkin, SF. www.asianart.org

LEE BANNON

Based-goth monthly funhole 120 Minutes presents this brilliant, trip-hoppy Ninja Tuner, drifting on gorgeous, post-glitch waves to the darker side.

Fri/20, 10pm, $8–$10. Elbo Room, 647 Valencia, SF. www.elbo.com

LOCO DICE

Maestro of that muscular quasi-minimal Ibiza sound — and not bad to look at, either — Mr. Dice blew me away last time he touched down, a couple years back. He’ll be on the 1015 system this time: All aboard the silver spaceship.

Fri/20, 9pm-4am, $20–$25. 1015 Folsom, SF. www.1015.com

LOUIE VEGA

Here’s a “flashback” night for ya: Master at Work and Latin house legend. He’ll be stretching back into his roots with some Afrobeat, samba, disco, and soul at Mighty. With old school heroes David Harness and Jayvi Velasco.

Fri/20, 10pm-4am, $20 advance. Mighty, 119 Utah, SF. www.mighty119.com

KAFANA BALKAN

“Join us for wild brass, abandon, and reverberating floors” — you can say that again, as this whirling, stomping Balkan delight returns to its Rickshaw Stop home. DJ Zeljko, Fanfare Zambaleta live band, Elizabeth Strong, and the Foxglove Sweethearts belly dancers bring gypsy joy to an adoring crowd.

Sat/21, 9pm, $15. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

MAYA JANE COLES

The superfly UK whiz kid with a knack for connecting dance music history dots continues to thrill in the spotlight. She’s headlining a powerhouse night featuring NYC early-’90s fantasist Kim Ann Foxman, Alex Arnout, Young Marco, Bells & Whistles, and more at the As You Like It party.

https://www.youtube.com/watch?v=eV4ZiUSFvIQ

Sat/21, 9pm-5am, $20–$25 advance. Public Works, 161 Erie, SF. www.ayli-sf.com

WERD.

The classic Sunday weekly ran at now-closed Otis Lounge for more than seven years — now it’s at Monarch and sweeter than ever. This week’s ace tech-house guest Peter Blick helps break things in.

Sun/22, 9pm, $5. Monarch, 101 Sixth St., SF. www.monarchsf.com

Disrupting the classroom

Michael Redmond

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June 17, 2014

10

joe@sfbg.com

Programmers-in-training line the work tables at HackReactor, a software engineering boot camp many in the tech community call a “university disruptor” due to its speed in training coders. Those hunched over computers are typing their way toward a goal: joining the ranks of the 12-week course’s alumni, now employed at tech companies like Adobe, Beats Audio, Pandora, and Hipmunk. But walk past the rows of intensely driven (yet casually dressed) engineers and you’ll also encounter the program’s unlikely new trainees: San Francisco high school students.

Tech company HackReactor and nonprofit Mission Bit are co-training San Francisco Unified School District students for the summer, and throwing them into the trenches with pre-professional engineers.

Soon, these students will be proficient coder kids.

“Mission Bit gave us our first understanding of what javascript was,” Gisela, a 17-year-old Lowell High School student told us. “Hack Reactor said ‘now make a game,’ and threw me into the code.”

The free program is a new extension of Mission Bit’s after-school coding classes, offered this year at Mission High School, a SFUSD public school, and Lick Wilmerding High School, which is private. The semester program is paid for by tech companies: mainly WeChat (Tencent America), with in-kind sponsors including Salesforce, HackReactor, DeNA, Brightroll, AdRoll, Rackspace, co.lab, and Tagged. The summer program is fully paid for by HackReactor.

It also comes at a crossroads for San Francisco: Its communities of color are being priced out just as its tech industry is searching for ways to enroll more diverse workers.

Though many pin the displacement problem on the rising cost of housing, there’s also another less-spoken-of culprit: Local tech companies draw many applicants from around the world to fill jobs instead of hiring local residents.

This may be due in part to lack of trained prospective employees locally.

There’s a broken education pipeline between local schools and the tech sector, both sides admit. The new effort by Mission Bit and HackReactor may be a first step towards plugging the leak. If the program is successful, subsequent iterations may establish the first stable pathway to technology sector jobs for San Francisco students.

Though the intern program is still in its beta phase, it shows much promise, and comes at a dire time for the city.

PROBLEMS CONVERGE

The summer coding program may hold solutions for three problems that coexist simultaneously: displacement of communities of color, the tech sector’s shocking lack of diversity, and the SFUSD training gap.

The city’s Mission District, often pointed to as tech workers’ most desired neighborhood, saw 1,400 Latinos leave between 1990 and 2011, while its white population grew by over 2,900, according to a recent study by Causa Justa, Just Cause.

The tech industry has a complementary problem: Google recently revealed its employees are 70 percent men and 61 percent white. Just five percent of Google’s workforce is black or Hispanic. Though the Asian population is 30 percent of its workforce, that’s still out of line with the significant Asian presence in the Bay Area.

Sources tell us Google puts heavy effort into diversity recruitment and likely had better percentages than the rest of the industry. Google claimed in myriad news reports that potential employees of color were difficult to find.

But SFUSD’s 52,000 students are 25 percent Latino, 41 percent Asian and 10 percent African American, so why not recruit students from our diverse local public schools, bolstering San Francisco’s flailing middle class at the same time?

That brings us to our last problem. Until recently, the SFUSD only taught computer science in three of its 17 high schools: Balboa, Galileo, and Lowell. There’s a tech training gap in San Francisco, making the leap for SFUSD students to the tech sector all the less likely.

The SFUSD is now taking steps to rectify this, but the change will take time.

“SFUSD sees teaching coding, digital literacy and computer science as critical to preparing our students for success,” SFUSD spokesperson Gentle Blythe told the Guardian. “We have a long-term plan in place for how we are phasing in teaching computer science, including coding, throughout a student’s K-12 career.”

SFUSD launched computer science courses in two additional schools last year: Wallenberg and Washington. More are on the way, Blythe said. Other schools host coding tutoring programs. One organization, Code.org, led a “day of code” where thousands of SFUSD students to tried a hand at rudimentary programming exercises.

But in order to really tackle the gap, SFUSD teachers and students will need hands-on training with coders and software engineers. That’s where Mission Bit and HackReactor come in.

STARTING SMALL

Tyson Daugherty founded Mission Bit after a startling realization: San Francisco schools weren’t prepared to teach his children how to enter the tech industry.

Daugherty was on the business side of tech, starting his first company in 1999. After moving to the city he wanted schools where his children, ages 5 and 2, could one day train to join his industry.

“I became incredibly frustrated with what I was finding in public schools,” he said, sitting with us in HackReactor’s Market Street office. “These kids are learning fundamental material in science and math, but there’s a disconnection to application and purpose.”

Mission Bit was born, with a simple objective of increasing coding education in local schools.

Gisela’s Lowell High School classes were rigorous, she said, but while programming her first game she relearned physics all over again.

“I’m making a game where each player has a ball, they bounce against each other to bounce the player into the hole,” she told us. Her technical mentor, Kwyn Alice Meagher, gave her a physics crash course to get the ball to bounce just right.

“[In school] I learned the logic of physics but not the application,” Gisela said. “Now that I understand the purpose of learning it, I’m figuring it all out.”

The students start at Mission Bit learning HTML, Javascript, CSS3, Ruby, SQL and Sinatra, with instruction provided by volunteers from local technology companies. Daugherty told us over 60 volunteers emailed Mission Bit after they reached out for potential teachers, and the nonprofit could only utilize 30. Those additional volunteers will get a chance to teach students in the upcoming fall after school program.

Once students “graduate” Mission Bit it’s time to join the workforce. Gisela and two other students jumped to an internship at HackReactor, where they’re putting their coding knowledge to practical use.

Isaac Zimmern, a graduating Lowell senior, is one of those other students. He celebrated working side by side with mentors while he programmed, inspiring him to pursue computer science in college.

And though Gisela and Zimmern are both from Lowell, many schools were represented in Mission Bit’s program. In one office a group of about a dozen students sat at computers, programming Android phones to play a simple game resembling “Doodle Jump.”

They hailed from a myriad of schools: Raoul Wallenberg, Balboa, Lowell and more. Douglas Mejia, 18, let us see his “Doodle Jump” clone. Its theme music popped on loud, singing “I ain’t sayin’ she’s a gold digger, but she ain’t messin’ with a broke — — -,” and on-screen Kanye West hopped from platform to platform.

Mejia smiled proudly as he showed us his game. He said he wasn’t interested in making games while in school, but Mission Bit turned him into a believer. Now he’ll study computer science at the University of San Francisco.

Mission Bit’s class body is 8 percent African American, 24 percent Latino, and over 50 percent Asian, according to the company’s internal data (that’s in line with SFUSD’s own demographics). Nearly half of the students come from the south side of San Francisco, around the Ingleside District.

The program is still small, but Daugherty says it’s designed with scalability in mind. There’s potential for these students to one day not only fill tech’s diversity gap, but to allow tech jobs to be filled by San Franciscans, born and raised.

But Daugherty says such goals are secondary. The focus is on the students.

“The industry has a very specific agenda about where they want their engineers diversified,” he said. “If this is where our students want to go, we’ll support them. But there are other paths to take.”

Students can use their programming skills in many jobs and industries, he said, not just tech.

Still, the students will have an opportunity to visit local tech companies Square, AirBnb and others, meeting engineers who one day may be peers. Daugherty calls these people “touch points,” making social contacts for mentorships and job seeking that blue-collar SFUSD students may not have themselves.

Ultimately, the program “lets you get programming skills without going through the money filtering step of a university,” said Anthony Phillips, CEO of Hack Reactor. Counter to the belief in pure meritocracy many in tech swear to, Phillips acknowledged he had help: his brother, a Twitter employee. When Phillips first learned code and started to fumble, his brother told him “you’re so smart, but so dumb. Just keep doing it.”

So Phillips aims to do the same for the students at HackReactor. He’s like a coach in the corner for new boxers taking their aim at advanced coding skills.

“Not everyone has someone there that can say, ‘just keep doing it,'” Phillips said.

Now these students do.

Guardian Intelligence: June 18 – 24, 2014

Michael Redmond

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June 17, 2014

0

GET SMOKEY

The 77th season of the always free, always packed Stern Grove Festival kicks off this Sunday, June 22 with an afternoon of hits like “Shop Around” and “You Really Got a Hold On Me” from R&B legend and former Miracles frontman Smokey Robinson. The man’s still going strong at age 74, so what excuse do you have not to trek out to the park to see him? The show kicks off at 2pm with opener Patti Austin; get there early if you’re interested in visibility. For info: www.sterngrove.org.

TRANSIT SWITCHEROO

Last week, the Bay Guardian hosted a feisty community forum titled Bikes, Buses, and Budgets: How to create the transportation system San Franciscans need. One audience member piped up during our question-and-answer session with a bold proposal: Stakeholders should be made try out different modes of transit to understand the challenges people encounter getting around. Think cops on bikes joining the clutch of cyclists making their way up Market Street at rush hour, or top-ranking Muni officials sent to languish on the T-Third platform after dark, when the train runs excruciatingly slow. It’s like that old saying, bus a mile in another person’s shoes …

WEED COP RETIRES

Captain Greg Corrales of Park station is retiring, news likely so spur whoops, hollers, and massive rips from oversized blunts from the stoners of Hippie Hill. Corrales has long run undercover stings to catch pot deals, because you know, that shit’s SO DANGEROUS. Though undercover pot stings are so Summer of Love, we will miss Corrales’ colorful newsletters, which he paraphrased in his farewell email. “On Wednesday, after turning in all my gear, I opted to check conditions on Haight Street one last time…I was unable to spot any suspicious scoundrels skulking sinisterly. Purveyors of pernicious poison, in possession of passels of The Weed with Roots in Hell were nowhere to be seen. I knew then that I could go home.”

SHINY NEW APPLE

As part of a new deal to save beloved local video store, Le Video, Green Apple Books is set to open a new store location August 1. But because every minor update about the marriage (okay, okay, co-habitation) of two of our favorite indie stores is exciting, seeing the new store’s logo made us go “squee!” The new location will be called Green Apple Books on the Park, and a blog post from the store says it will feature more “breathing room” for events. Because as we all know: reading is sexy, but it’s even sexier to read together. (Fun fact: Guardian publisher Marke B. managed Green Apple’s previous Sunset outpost, Ninth Avenue Books, in the 1990s.)

ELDERLY UBERS SPURNED

Uber drivers are part of two systems: the fancy-pants town cars of UberBLACK and the regular-Joe cars of UberX. In a new email from Uber to its drivers, the company laid out plans to phase out cars older than 2006 by January, 2015 and cars older than 2011 in June, 2015 from UberBLACK. All those UberBLACK drivers stuck with cars older than 2011 will be pushed onto UberX, and take a big ol’ hit to their profits as well. Uber’s recent valuation of $17 billion (a figure that’s been disputed) is apparently giving it the clout to push out thousands of drivers nationwide.

GLASS SKEWERED

Last week the Daily Show with Jon Stewart fired a shot straight at Google Glass and everyone’s favorite Glasshole: Sarah Slocum (she of the “hate crime” attack at Molotov’s bar in Lower Haight). “These Philip K. Dicks are on a mission to bring us all into the future,” correspondent Jason Jones narrates. One person defends Google Glass to Jones as an interface between the user and the real world, in an example of the all-too-common tech evangelist gobbledygook. Jones calls him out: “Do you guys hear yourselves talk? Interface between you and the real world… those are called eyes.”

WE WERE QUEER HERE

San Francisco has a lot to offer on the surface (killer views, tasty snacks, etc.), but it also has a remarkably rich hidden history. Get a peek behind the curtain Sat/21 at “Step Back: A Walking and Reading Tour of Old Queer North Beach,” led by author Nan Alamilla Boyd (Wide Open Town: A History of Queer San Francisco to 1965) that explores the historic ‘hood’s queer past. Meet at City Lights Books at 4pm and get ready for pop-up performances — by the likes of Lil Miss Hot Mess, Kat Marie Yoas, Maryam Farnaz Rostami, and others — bringing bygone eras to life. And talk about radical: it’s free! www.radarproductions.org

CONDOR FLIES

Historic strip joint the Condor Club — first “home of topless” and launchpad for famous erotic dancers like Carol Doda (pictured) is celebrating its 50th anniversary Thu/19, 8pm-2am, with a hot-hot-hot burlesque extravaganza. Tireless drag heroine D’Arcy Drollinger will play Doda herself, with performances by Los Shimmy Shakers, Roxanne Redmeat, Sugarcane Jane, Princess Pandora, and many more. Period attire encouraged! See www.condorsf.com for more details.

HELLO 70

A group of local nightlife players have purchased the set of huge warehouse structures on Pier 70. “Dating back to the turn of the 19th century, the structures that remain at Pier 70 are rooted deep in San Francisco’s ship building history,” they say. “These buildings are now being re-purposed for unique, one-of-a-kind events — for 30 to 13,000.” So far, the “soft launches” have included a free movie screening of seminal Steve McQueen action flick Bullitt. But starting 1pm, Sat/21, an enormous “Community Showcase” featuring more than 50 local vendors, a car show, giant rollerskating rink, free salsa lessons, and live performances will introduce everyone to the new spaces. Bonus: at 8pm a “Great Gatsby Spectacle” brings back the roaring ’20s with live bands and DJs and dancers, and features a screening of Baz Luhrmann’s The Great Gatsby. www.facebook.com/pier70partners

Picture of SF’s extreme income equality worth thousands of words

Sasha Cuttler

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June 16, 2014

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Picture of SF’s extreme income equality worth thousands of words

Sometimes visuals paint a picture in a visceral way that mere numbers can’t, and that was the case when the Anti-Eviction Mapping Project recently released a graph highlighting the magnitude of San Francisco’s high rate of income inequality growth and how it compares to other major cities around the country. San Francisco’s purple bubble is floating way up, all alone, above Atlanta, Georgia’s orange bubble and everyone else closely grouped together.

The graph’s findings reveal the sad but well-known fact that San Francisco is widely unequal, and it comes as little surprise that from 2007 to 2012, SF saw its income gap grow faster than any other major city in the United States.

The visualization cited a Brookings Institute report on income inequality released in February, which found the income of San Francisco’s low-earning residents (more specifically, those in the 20th percentile of yearly income) dropped by an average of $4,000 during that timespan, while the highest-earning residents (the 95th percentile) saw their income jump by an average of $28,000 over the same period. The latter figure was the largest gain in any American city, and it affirms what’s already clear to city residents: The rich are getting richer while the poor continue to get poorer.

That message might seem like old news to those familiar with San Francisco’s income inequality issues, but the truly alarming part of the study is the rate at which the trend is occurring. Though it provides further confirmation of an unpleasant fact that has plagued San Francisco residents for years, the unprecedented speed of the income gap’s increase is especially startling given the efforts to rectify the issue. As the mapping project pointed out, “trickle-down economics does not appear to be working” in San Francisco.

The gap has become so pronounced that the city’s 2012 GINI Coefficient (which measures income distribution) of .523 would make it the 14th-most economically unequal country in the world if San Francisco were its own nation. That’s right in line with countries that are widely known for their income inequality, like Paraguay and Chile, and more than twice as unequal as top-ranked Sweden.

Perhaps the best indication of this growing division has been the drastic increase in evictions throughout the city. The Anti-Eviction Mapping Project has worked to shed light on the issue, releasing time lapses showing the evictions while making it clear that seniors and disabled people aren’t immune to the trend either.

The Anti-Eviction Mapping Project is probably best known for protesting the Google tech buses, whose effects on local communities they’ve researched extensively. The organizations’ maps showlinks between the location of bus stops and a large number of evictions in the same areas.

Developing nations with income gaps akin to San Francisco’s don’t have tech buses driving around their streets, so it’s no surprise that the buses’ unpaid use of public bus stops hasn’t left residents of lower income areas particularly thrilled, especially with the tech sector pushing up the price of housing in those areas while contributing heavily to the results of the Brookings Institute report.

Streetcar standoff

Erica Hanna

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June 10, 2014

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joe@sfbg.com

San Francisco’s municipal transportation system stood still, stranding middle class riders. Riots raged throughout the city as over 1,500 streetcar drivers, known as carmen, literally fought with bottles and stones for higher wages. Left with few options, stranded San Franciscans took to other means to get to work: by foot, by bicycle, and by horse-drawn carriage.

The year was 1907, and United Railroads carmen raged against their Baltimore-based bosses in a year-long strike, in the wake of the great earthquake and fires that leveled much of the city of St. Francis. It was a clash that made last week’s Muni driver sickout look tepid and tame by comparison.

It was one of the single bloodiest strikes in San Francisco history,” Fred Glass, a California labor history teacher at City College of San Francisco, told us. “People were killed on both sides as the cars were run by armies of scabs.”

But minus the violence, the century-old union action has eerie parallels to last week’s Muni sickout, the “non-strike” in which nearly 500 Muni drivers left buses stagnant in garages across San Francisco. The similarities begin with anti-union sentiment in the mainstream press.

As the conservative-leaning San Francisco Chronicle did during this sickout, one of the city’s papers-of-record, The Call, lambasted the unions and city officials alike in 1907.

“Two of the most essential public utilities, the streetcar monopoly and the telephone monopoly, are tied up,” The Call wrote in a front-page editorial on May 06, 1907. “Where — and the question must suggest itself irresistibly to every man with a spoonful of brains — where does the public get off?”

A mob of strikers circle a streetcar at Turk and Fillmore, one site of violence during the 1907 carmen’s strike. San Francisco Examiner file photo courtesy of Market Street Railway, home of lots of interesting SF public transportation history.

The Call offered to publish the tirades of everyday citizens. Today, we can hear the hew and cry more directly. Last week, #MuniSickOut was a top San Francisco trending Twitter hashtag, as irate tweeters pounded their thumbs on smartphones with thoughts like that of user @ReggieMuth: “Grind the city to a halt? You should pay the consequences.”

Muth’s sentiment was echoed by many on the Twitterverse, and angry citizens emailed city leaders as well. One constituent wrote to Sup. David Chiu’s office that, “Public transportation workers held the public hostage for their greedy demand on pay and benefits.”

The San Francisco Municipal Transportation Agency proposed Muni workers pay into their pensions more than it was offering in salary increases, amounting to a pay cut of $1.10 per hour. Muni workers make on average $29.52 an hour, the sixth-highest paid transit workers in the nation, according to the SFMTA. But San Francisco also has the highest cost-of-living in the country.

Transit Workers Union Local 250-A President Eric Williams told us most Muni drivers were long ago priced out of living in San Francisco. “The only members that live inside the city are those who purchased a home 20 or so years ago,” he told us. “The majority of our members live outside the city.”

Muni workers’ wages used to be mandated to be the second-highest in the nation. But in 2010 voters passed Proposition G, requiring Muni worker wages be negotiated and subjected to binding arbitration that the union says is skewed in the city’s favor. But Prop. G and the city charter also prevents workers from striking, hence the drivers calling in sick en masse.

By modern standards the Muni sickout was labeled extreme, by the Chronicle and others. San Franciscans of 1907 feared the URR carmen’s strike for another reason: The workers were ready to die for their cause. Market Street Railway and issues of The Call recalled the strike christened on a day known as Bloody Tuesday.

On May 07, 1907, a mob of URR carmen formed outside the Turk and Fillmore carbarn. At 3:25pm, six streetcars emerged, greeted by a hail of sticks and stones from the strikers. The cars were driven by scabs who crossed the picket lines. More dangerously, they were also manned by gunmen at the behest of the infamous URR strikebreaker, James Farley.

A second pelting of sticks and stones drew action: Farley and his men opened fire on the crowd. Bullets sprayed wildly into nearby police and union men alike. The strikers ran for cover and fired back. A gun battle echoed past what is now a Bi-Rite grocery, ending only when the strikers lacked the ammo to carry on.

“CAR STRIKE LEADS TO BLOOD” read The Call’s headline on Wednesday, May 08, 1907. The first to die was 19-year-old James Walsh, a teamster who was shot through the head. Ultimately, two died and 20 were injured that day. The strikers would bear six fatalities by 1908.

BLOODY TUESDAY "The Call" — May 08 by Joe Fitzgerald Rodriguez

San Francisco is not only experiencing transit strike deja vu, but a repeat of the economic circumstances around the historical Bloody Tuesday, with a wealth gap approaching historic highs. According to the Pew Research Center, in 2012 the top 1 percent of Americans took home about 22 percent of the nation’s wealth, and the bottom 90 percent of the country took home less than 50 percent of the nation’s wealth.

A look at a graph of income inequality shows two giant spikes of the 1 percent’s massive wealth, one spire in the modern era, and another spire planted firmly in the gilded era of the early 1900s, altered only by the Great Depression and the leveling economic policies adopted to address it.

“We’re back to the level of inequality that existed at that time now,” Glass said. “To me that suggests there’s the potential for that kind of explosive conflict between classes.”

The 1907 strike was one in a series of labor battles around the country as wealth became consolidated in fewer and fewer hands, peaking with the stock market crash of 1929, after which the continuing hard times led to one of the most famous union actions in San Francisco history: The Longshoreman’s Strike of 1934.

Led by Australian-born Harry Bridges, the Longshoreman’s Strike seized San Francisco even more boldly than on Bloody Tuesday, with other unions participating in a General Strike that paralyzed the city. That and other labor battles compelled Congress to adopt the National Labor Relations Act, cementing union power that strengthened the middle class, which is today disappearing.

Harry Bridges’ brought the city of San Francisco to a standstill.

“It’s poor or rich in this city,” TWU’s Willliams told us. “There’s no in between, that’s no secret.”

But worse than just a hollowing out of San Francisco’s middle class, modern workers teeter on the edge. Creatives, designers, tech employees, and other professionals are increasingly independent contractors, “freelancers” with little wage or job security protections. Many tech workers, notably younger and libertarian-leaning, also may have little experience with unions, Glass said.

The difference in sentiment between the 1900s and now may be that of will. Glass tells a story from one of his History of California Labor classes. The year was 1991, and as is usual with most community colleges, Glass’ class drew people of a wide range of ages.

“One of my students was a woman in her late 70s,” he recalled, “and she listened as I talked about the situation before the Longshoreman’s Strike. I mentioned some people were disappearing, people lost their jobs, there was a dark mood, even suicides. She stopped me right there.”

“She said ‘I was there, and what you’re saying is completely wrong. Sure, some people despaired, but when we organized, we had hope.You want to know about despair? Now is the real despair, because people don’t think they can change anything.'”

Dark/light

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June 10, 2014

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marke@sfbg.com

SUPER EGO Vampires beware, or at least grab a pair of killer shades. A recent, very late walk of shame (both heels broken but my rep intact) revealed that afternoon outdoor parties are currently raging full-tilt. So invite me to your dang retro-fidget-yacht-goth-IDM BBQ already! I promise not to spill anything. Everybody looks great in hot sauce, anyway.

Soundtracks for this week: infamous local synth-dance act The Soft Pink Truth’s brain-melting return Why Do the Heathens Rage: Electronic Profanations of Black Metal Classics, Quivver’s groovy (and timely) extended rework of “Ain’t Nothin’ Going On But the Rent,” and DJ Greg Wilson’s psychedelic-funk mixtape Blind Arcade Meets Super Weird Substance In The Morphogenetic Field. OK, let’s go.

HI LIFE

Glorious global soul weekly Afrolicious may have moved on to conquer the world as a touring act, but don’t cry: In its place is this tropical beats and live funk jams showcase from key Afrolicious members. “Expect elevation,” say DJs Pleasuremaker and Izzy Wise.

Thursdays starting Thu/12, 9pm, $6. Elbo Room, 647 Valencia, SF. www.elbo.com

RANDOM RAB

Beautifully constructed, all-encompassing post-Orb grooves that hit a global ambient-funk sweetspot from this San Franciscan. Support from local bass-tech heroes Justin Martin and J. Phlip (and a dozen more), plus mindbending décor and organic treats from the Symbiosis crew.

Thu/12, 9pm-3am, $15–$20. 1015 Folsom, SF. www.1015.com

ADULT.

Live Detroit art-tech darlings were lumped in with electroclash back in the day, but they cut oh so much deeper. With brainy-cute goth-raver Pictureplane, ghostly White Ring, and evil siren/playmate Tamara Sky, this will certainly be an edgy night of stylish Friday 13 dread.

Fri/13, 9pm-late, $15–$20. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

DANNY KRIVIT

Body and Soul legend (and my eternal DJ crush) brings his rare Latin house and gorgeously smooth mixing style to the Salted party, with Miguel Miggs, Julius Papp. and much-loved Naked Music vocalist Lisa Shaw.

Sat/14, 10pm-late, $10–$20. Mighty, 119 Utah, SF. www.mighty119.com

JACQUES RENAULT

Beam me up! The DFA disco-funk addict possesses one of the sharpest sensibilities out there, sending dancers to truly cosmic places. Hosted by the fantastic, female-powered Isis party.

Sat/14, 9:30pm-3:30am, $10 advance. Public Works, 131 Erie, SF. www.publicsf.com

SUNSET ISLAND

Our incomparable summer nightlife season continues, marked by the Sunset crew’s passing annual parties. Time for this “electronic music picnic” on Treasure Island, which — squee!!! — features Phuture, the dudes from Chicago who basically invented acid house. Also on hand: Detroit whiz kid Kyle Hall and Awesome Tapes From Africa, which is exactly what it sounds like. Acid sunshine, y’all.

Sat/14, noon-9pm, $10–$30. Great Lawn, Treasure Island. www.tinyurl.com/sunsetisland2014

DAYTIME REALNESS

I admit it, I had my doubts about this monthly afternoon party at first — everyone seemed to be smiling so hard in the pics, I thought they’d eat me. Especially towering drag hostess Heklina (who just bought the old club Oasis at 11th and Folsom, btw.) Then I went and got completely sucked in, in a non-oral way. Gorgeous mixed crowd, insanely good beats from DJs Stanley and Carnita — special guests this month Guy Ruben and beloved Trannyshack regular Pinky Ring — synchronized dance numbers, wild drag shenanigans, and Sneaky’s BBQ. Shit got real.

Sun/15, 2pm-8pm, $6 before 3pm, $8 after. El Rio, 3158 Mission, SF. www.elriosf.com

DISCO DADDY

Who knew a gay leather biker bar could get this steamy? If you’re looking for an authentic homosexual disco experience (who isn’t), DJ Bus Station John and his crate of vinyl 12-inches will put some soul in your gloryhole at this monthly get-down.

Sun/15, 7pm-2am, $5. SF Eagle 398 12th St, SF. www.sf-eagle.com

Stage Listings: June 11-17, 2014

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June 10, 2014

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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

“The Bakla Show 3” Bindlestiff Studio, 185 Sixth St, SF; http://baklashow3.bpt.me. $10-20. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm. Through June 28. Three short works focusing on the struggles of Pinoy LGBT youth.

Body of Water Southside Theater, Fort Mason Center, Bldg D, Third Flr, Marina at Laguna, SF; www.brownpapertickets.com. $15-35. Opens Fri/13, 7:30pm. Runs Fri-Sat, 7:30pm; Sun, 2:30pm. Through June 28. A Theatre Near U presents an original indie-rock teen musical, with songs by Jim Walker.

The Weir Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm. Through July 12. Shelton Theater performs Conor McPherson’s acclaimed tale about a spooky night in an Irish pub.

BAY AREA

American Buffalo Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Previews Fri/13-Sat14 and June 18, 8pm; Sun/15, 2pm; Tue/17, 7pm. Opens June 19, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. through July 13. Aurora Theatre closes its 22nd season with David Mamet’s powerful drama.

ONGOING

Brahmin/I: A One-Hijra Stand-Up Comedy Show Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Wed-Sat, 8pm. Through June 28. Crowded Fire Theater presents Aditi Brennan Kapil’s “outrageous play masquerading as a stand-up comedy routine.”

The Crucible Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $10-35. Thu/12-Sat/14, 8pm; Sun/15, 7pm. Custom Made Theatre Co. performs Arthur Miller’s drama.

Devil Boys From Beyond New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Buddy Thomas and Kenneth Elliot’s campy sci-fi saga.

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Previews Thu/12-Fri/13, 8pm. Opens Sat/14, 8:30pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through July 12. Dan Hoyle presents his latest solo show, about the search for real-world connections in a tech-crazed world.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat-Sun, 5pm. Extended through July 13. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

God Fights the Plague Marsh San Francisco Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-100. Previews Sat/14, 8:30pm; Sun/15, 7pm. Opens June 21, 8:30pm. Runs Sat, 8:30pm; Sun, 7pm. Through Aug 10. The Marsh presents a solo show written by and starring 18-year-old theater phenom Dezi Gallegos.

Homo File CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $20-35. Fri/13-Sat/14, 8pm; Sun/15, 7pm. Writer-designer-director Seth Eisen’s homage to queer rebel Samuel Stewart (1909–1993), whose polymorphous career spanned the better part of the 20th century, was last seen at CounterPULSE in a trim and appealing 40-minute version that capped his artistic residence there in 2012. Since then the work has ballooned across two acts and, unfortunately, lost its focus. What was a compact but meaningful exploration of a polymath and sexual rebel, boldly negotiating the social hierarchies of a deeply repressive and homophobic culture, has become a vague, sometimes difficult to follow story with little more to recommend it than a hedonistic joie de vivre (though even the raunch feels listless and somewhat perfunctory). The expanded production still sports the playful puppetry (shadow and otherwise), overhead and video projections, and aerial choreography of the original — and these do produce some interesting or enjoyable moments — but the show’s polyphonic elements get drastically watered down in a sprawling, lumbering, and unevenly performed dramatic narrative. This is marked by a lot of leaden dialogue and underwhelming songs in scenes that feel either unnecessary or under-explored. The subject (played dutifully but without much illumination by Brian Livingston), along with a seven-actor ensemble of supporting characters, traverses the mutually exclusive worlds of academia and the literary avant-garde (where Michael Soldier as both sexologist Alfred Kinsey and Gertrude Stein is a notable treat); the working-class homosexual underworld of sailors and tattoo parlors; and even the conventionality of a part-time heterosexual romance (where a nicely understated Katharine Otis as Emmy Curtis begins to cast an intriguing angle on Stewart’s complex makeup). But the import of Stewart’s unique vantage and influence on it all as well as his peculiar aloofness in the midst of everything are fuzzily evoked at best. For all the media employed to depict him and his world, we come away with little sense of either. (Avila)

The Homosexuals New Conservatory Theatre Center, Decker Theatre, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. This mildly intriguing and fitfully engaging drama from rising Chicago playwright Philip Dawkins (whose Failure: A Love Story is currently having its Bay Area debut at Marin Theater Company) explores the tensions — sexual, generational, and otherwise — among a small circle of mostly gay friends via a central figure, Evan (a sharp Robert Rushin), who ends up in relationships with almost everyone. Beginning in 2010, as 29-year-old Evan breaks up with older histrionic theater director Peter (a drolly world-weary Matt Weimer), each successive scene jumps back two years and one relationship, until the final scene unites the entire circle as they welcome naïve Iowa teen Evan out of the closest and to the big city. It’s also a new millennium, of course, some distance now from Stonewall and the first wave of the AIDS crisis, and one of the more interesting aspects of the drama (which benefits from an overall strong cast under the direction of Arturo Catricala) is the generational divide between Evan and his circle. This divide feels downright political in the aggressive showdown between Evan and the apathetic art teacher and predatory libertine Mark (a persuasive Keith Marshall), but there’s a political edge at the outset, in Evan’s pointed refusal to join Peter in referring to himself as a “homosexual,” insisting instead on the word “gay” tout court. Despite this underlying issue and some witty dialogue, however, there’s little of interest in most of the dynamics between Evan and his circle. The play’s structure accordingly becomes a slightly tedious countdown, at least until the final scene, which cashes in on the power of hindsight to produce a limited, wistful tremor of reflection. (Avila)

In the Tree of Smoke Great Star Theater, 636 Jackson, SF; www.brownpapertickets.com. $25. Thu-Sat, 8pm. Through June 28. Circus Automatic performs an new evening of immersive, experimental circus.

Macbeth Fort Point (beneath the Golden Gate Bridge), SF; www.weplayers.org. $30-75. Thu-Sun, 7pm. Through June 29. We Players’ latest site-specific undertaking is nothing less than the Scottish play at San Francisco’s historic Civil War-era Fort Point, under the southern base of the Golden Gate Bridge. And a better location for Shakespeare’s brooding, bloody, and spooky civil war drama is hard to imagine. The grandeur of the multi-story red-brick edifice with its mammoth steel doors, magnificent inner courtyard, graceful arches, spiral stairwells, mysterious passageways, canon casemates looking onto the Pacific — as well as old canons and cannonballs — add up to a deeply atmospheric setting. Moreover, directors Ava Roy and John Hadden and their production team make good use of it, moving the audience around the grounds for the better part of three hours amid picturesque staging of scenes, a wonderfully powerful quartet of musicians (made up of percussionist Brent Elberg, trumpeter Aaron Priskorn, saxophonist Charlie Gurke, and trombonist Mara Fox alternating with Rick Brown), and reverberant cries from the weyard sisters (Julie Douglas, Maria Leigh, Caroline Parsons), the enraged MacDuff (Dixon Phillips), or usurper Macbeth’s hapless victims. As the titular hero-villain, John Hadden is generally imposing if not always convincing, while Ava Roy’s forceful Lady M cuts an elegant, at times ethereal figure in her magnificent black gown (the admirable costumes throughout are by Julia Rose Meeks and Master Seamstress Dana Taylor). In general, the acting proves the weakest link, but the overall spectacle makes this a unique and rather compelling outing. (Avila)

The Orphan of Zhao ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Opens Wed/11, 8pm. Runs Wed-Sat and June 24, 8pm (also Wed and Sat, 2pm); Tue/17, 7pm. Through June 29. Tony winner BD Wong stars in James Fenton’s acclaimed Chinese-legend adaptation at American Conservatory Theater.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Extended through June 28. Five years ago, Thrillpeddlers breathed new life into a glitter-dusted piece of Sixties flotsam, beautifully reimagining the Cockettes’ raunchy mock-operetta Pearls Over Shanghai (in collaboration with several surviving members of San Francisco’s storied acid-drag troupe) and running it for a whopping 22 months. Written by Cockette Link Martin as a carefree interpretation of a 1926 Broadway play, the baldly stereotyped Shanghai Gesture, it was the perfectly lurid vehicle for irreverence in all directions. It’s back in this revival, once again helmed by artistic director Russell Blackwood with musical direction by Cockette and local favorite Scrumbly Koldewyn. But despite the frisson of featuring some original-original cast members — including “Sweet Pam” Tent (who with Koldewyn also contributes some new dialogue) and Rumi Missabu (regally reprising the role of Madam Gin Sling) — there’s less fire the second time around as the production straddles the line between carefully slick and appropriately sloppy. Nevertheless, there are some fine musical numbers and moments throughout. Among these, Zelda Koznofsky, Birdie-Bob Watt, and Jesse Cortez consistently hit high notes as the singing Andrews Sisters-like trio of Americans thrown into white slavery; Bonni Suval’s Lottie Wu is a fierce vixen; and Noah Haydon (as the sultry Petrushka) is a class act. Koldewyn’s musical direction and piano accompaniment, meanwhile, provide strong and sure momentum as well as exquisite atmosphere. (Avila)

Seminar San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $20-100. Wed/11-Thu/12, 7pm; Fri/13-Sat/14, 8pm (also Sat/14, 3pm). San Francisco Playhouse performs Theresa Rebeck’s biting comedy.

“Sheherezade 14” Exit Theater, 156 Eddy, SF; www.playwrightscentersf.org. $25. Thu-Sat, 8pm. Through June 21. The Playwrights’ Center of SF and Wily West Productions host this annual festival of fully-produced short plays.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $65-100 (gambling chips, $7-10 extra; after-hours admission, $10). Wed-Sat, 7:30, 7:40, 7:50, 8pm, and 9pm admittance times. Extended through June 21. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

36 Stories by Sam Shepard Z Below, 470 Florida, SF; www.36stories.org. $35-55. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through June 22. Word for Word has been at the business of putting literature on the stage, verbatim, for some time, and far from slowing down, this new production shows the company operating at the height of its powers. Among the best manifestations of the company’s particular concerns and talents, 36 Stories by Sam Shepard not only shows off the considerable virtues of Shepard’s short-story writing (usually overshadowed by his justly acclaimed plays) but unfolds as a stellar piece of theater in its own right. Shrewdly adapted and directed by company charter member Amy Kossow, the production repeatedly finds opportunities in the writing for dramatic transmission and exchange among the performers — a kick-ass ensemble composed of Patrick Alparone, Carl Lumbly, Delia MacDougall, JoAnne Winter, and Rod Gnapp as “The Writer” — the latter a sleepless wanderer crisscrossing the country by car, from whose head and manual typewriter the low characters, tall tales, and electrical encounters issue forth with sharp, sometimes zany humor; smoldering sexual heat; and a shapeless foreboding. Word for Word’s loyal fans need little encouragement, but all interested in a gratifying night in the theater will want to catch this one before it goes. (Avila)

Too Much Light Makes the Baby Go Blind Boxcar Theatre, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri-Sat, 9pm. Ongoing. The Neo-Futurists perform Greg Allen’s spontaneous, ever-changing show that crams 30 plays into 60 minutes.

Triassic Parq Eureka Theater, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Wed-Sat, 8pm (also June 21 and 28, 2pm). Through June 28. Ray of Light Theatre presents the Bay Area premiere of Marshall Pailet’s musical involving “dinosaurs, show tunes, and sex changes.”

Walk Like A Man Costume Shop, 1117 Market, SF; www.therhino.org. $15-35. Wed/11-Sat/14, 8pm; Sun/15, 3pm. Falling in love with your boss, surviving child abuse, losing a loved one in war, dealing with your straight daughter’s shame around her mom’s butch wardrobe — these are only a few of the circumstances encountered in a raucous and affecting evening of celebrating desire and being true to yourself, as Theatre Rhinoceros presents 10 stories of love and sex among a diverse set of African American women. Culled from the titular collection of erotic fiction by Atlanta-based author Laurinda D. Brown, the evening unfolds with a pert and playful finesse thanks to director John Fisher and a strong, charismatic five-women ensemble (made up of Alexaendrai Bond, Kelli Crump, Nkechi Emeruwa, Daile Mitchum, and Desiree Rogers). Sexy and brazen, raunchy and wrenching, this series of vignettes, spread out over two acts, comes with nary a dull moment and plenty of climaxes. (Avila)

BAY AREA

Candida Town Hall Theatre, 3535 School, Lafayette; www.townhalltheatre.com. $20-32. Thu/12-Sat/14, 8pm. Town Hall Theatre performs the Shaw classic.

The Crazed Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through June 23. Central Works performs Sally Dawidoff’s play, based on Ha Jin’s novel about coming of age in Communist China.

Daylighting: The Berkeley Stories Project Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (June 22, show at 2pm). Through June 22. Shotgun Players present Dan Wolf’s new play inspired by real-life tales from Berkeley residents past and present.

Dead Man’s Cell Phone Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. $22. Fri-Sat, 8pm; Sun, 2pm. Through June 28. Masquers Playhouse performs Sarah Ruhl’s imaginative comedy.

Failure: A Love Story Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Tue and Thu-Sat, 8pm (also Sat/14 and June 28, 2pm; June 19, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 29. Marin Theatre Company performs Philip Dawkins’ play about love and loss, with puppets and live music.

Hershey Felder as Leonard Bernstein in Maestro Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $29-87. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 22. Juno-winning actor and musician Hershey Felder (George Gershwin Alone) performs his latest solo show.

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-89. Tue, Thu-Sat, 7:30pm (also Sat and June 26, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 29. Berkeley Rep’s Tony Taccone, a comrade of Tony Kushner’s from way back in the Angels in America days, directs this revised version of the playwright’s 2009 play, whose long title is a riff on an earlier one by George Bernard Shaw. It concerns the fractured Italian American family of a diehard Communist longshoreman named Gus (Mark Margolis in an impressive, anchoring performance), now retired, who has announced his intention to kill himself and leave his Brooklyn brownstone to the grown children to sell and divide among themselves. In today’s inflated real estate market, that’s not chump change either. His announcement plunges the family into chaos, though truth be told they were all kind of a mess already. Son Pill (Lou Liberatore) is a married gay high school history teacher having a torrid affair with a young hustler (Jordan Geiger), which has already cost him $30,000 of his sister’s hard-earned money. His sister, Empty (Deidre Lovejoy), meanwhile couldn’t care less about the baby to whom her partner (Liz Wisan) is about to give birth, courtesy of the donated sperm from her kid brother Vito (Joseph J. Parks) — who comes across as the contrarian of the family: he’s neither gay nor a Communist. Other significant others are on hand, as well as Gus’s sister Clio (an effective, comically deadpan Randy Danson), a onetime nun who later became a Maoist in Peru and now seems some sloshy mix of the two. And for that reason she, along with Gus, symbolizes more than most the real dilemma here: a lack of something to believe in, of a structure for explaining and shaping experience and modeling action toward a better (post-capitalist) world. At nearly four hours, the play is Kushner’s version of the great American three-act family drama — those personal yet prophetic portraits by your O’Neills, your Millers, your Shepards. Tracy Letts made a similar bid with 2007’s August: Osage County. I don’t think either play really makes it into the pantheon, but while Letts’ play was ultimately slicker, more entertaining, Kushner’s has more in it, more to talk about of real relevance. Not that the production isn’t also entertaining — stage business with pregnant lesbians and mysterious briefcases buried in the wall are deployed to elating effect. But the play’s various subplots and characters are not equally interesting and the machinations of the plot and the sometimes-overlapping dialogue can be overwrought. But despite the tedium this produces, the political questions opened up here are liable to continue rattling around the brain after the curtain comes down, leaving one with a small but worthwhile buzz. (Avila)

Marry Me A Little Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 8pm); Sun, 2 and 7pm. Through June 29. TheatreWorks performs Stephen Sondheim’s intimate musical.

Nantucket Marsh Berkeley MainStage, 2120 Allston, Berk; www.themarsh.org. $25-100 (all tickets include a picnic dinner). Thu and Sat, 7pm. Extended through July 19. Nantucket Island, a wisp of shifting sand 30 miles off the coast of Cape Cod, Mass., is the evocative setting for this autobiographical story from writer-performer Mark Kenward — less the tourists’ Nantucket of summer holidays, mind you, than the inhabitants’ gray and isolated winter. And just as its bleak weather stood for the tempestuous mood of Herman Melville’s Ishmael before he sets sail again in Moby Dick, so the environment for Kenward’s coming-of-age darkly foreshadows a terrible downward spiral. The only son and oldest child of two in a nuclear family from Normal, Ill., that really seemed to fit the bill — complete with a dad who, “in his entire life, only missed four days of shaving” — Mark becomes the odd-boy out upon the Kenwards’ relocation to the remote island. An affable, poised, physically demonstrative performer with a residual Midwestern charm, Kenward describes an upbringing in a household overshadowed by a high-strung, controlling, deeply unhappy mother who, as luck would have it, also becomes his high school English teacher. This relationship is the ground for much of the play’s humor, but also a trauma that blows in like a winter squall. Directed keenly, if perhaps a little too stiffly, by Rebecca Fisher, and accompanied at points by a watery island backdrop (courtesy of video designer Alfonso Alvarez), Nantucket discharges some of its messy human themes a bit too neatly but maintains an inescapable pull. (Avila)

Other Desert Cities Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $10-26. Thu/12, 7:30pm; Fri/13-Sat/14, 8pm; Sun/15, 2pm. Ross Valley Players perform Jon Robin Baitz’s Pultizer-nominated drama about a tense family holiday.

South Pacific Cushing Memorial Amphitheater, 801 Panoramic Hwy, Mill Valley; www.mountainplay.org. $20-60. Sun/15, 2pm (arrive one hour prior to show time). Mountain Play Association performs the classic Rodgers and Hammerstein musical.

The 25th Annual Putnam County Spelling Bee Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.centerrep.org. $37-65. Wed, 7:30pm; Thu-Sat, 8pm (also Saturdays in June, 2:30pm); Sun, 2:30pm. Through June 21. Center REP performs the Tony-winning musical by William Finn and Rachel Sheinkin.

PERFORMANCE/DANCE

“Bitch and Tell: A Real Funny Variety Show” Kunst-Stoff Arts, One Grove, SF; www.brownpapertickets.com. Fri/13-Sat/14, 8pm. $8-10. Footloose presents this variety show with Bob McIntyre, Nick Stargu, Carolina “CoiCoi” Duncan, and others.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. June 22, 29, July 12, 19, and 27, 6:30pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Dash: Improv in a Flash” Un-Scripted Theater Company, 533 Sutter, Second Flr, SF; www.un-scripted.com. Sat, 10pm. $15. Ongoing through Aug 30. A late-night, free-form improv show with Un-Scripted Theater Company.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/11, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: “Judy Kaye Sings Bernstein and Sondheim,” Thu/12-Fri/13, 8pm, $35-50; Christine Ebersole in “Strings Attached,” Sat/14-Sun/15, 7pm, $60-85.

“Global Dance Passport Showcase” ODC Dance Commons Studio B, 351 Shotwell, SF; www.odctheater.org. Sat/14, 8pm; Sun/15, 4 and 7pm. $10. ODC presents a sampler of world dance.

“Hubba Hubba Revue’s Burlesque Nation” DNA Lounge, 375 11th St, SF; www.dnalounge.com. Fri/13, 9:30pm. $15-30. Burlesque performers from NY, Miami, LA, Germany, Australia, and more.

“Imaginary Activism: The Role of the Artist Beyond the Art World” Modern Times Bookstore Collective, 2919 24th St, SF; (415) 282-9246. Sat/14, 8pm. Free. A new monologue by acclaimed performance artist Guillermo Gomez Peña.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

Natasha Carlitz Dance Ensemble Dance Mission Theater, 3316 24th St, SF; www.carlitzdance.org. Fri/13-Sat/14, 8pm. $15-18. Performing Momentum, dance works exploring the magic of mathematics.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. $12. Ongoing. A new, completely improvised show every week.

“Rites and Passages” Nourse Theatre, 275 Hayes, SF; www.cityboxoffice.com. Sat/14, 8pm. $18-36. The San Francisco Girls Chorus closes its season with a concert of music by Eastern European composers (Bartók, Stravinsky), plus performances by the Joe Goode Performance Group and pianists Kanoko Nishi and Sarah Cahill.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. $5-10. “New Talent Show,” Wed-Thu, 7. Ongoing. “The Cellar Dwellers,” stand-up comedy, Wed-Thu, 8:15pm and Fri-Sat, 7:30pm. Ongoing.

“Sojourners” Commonwealth Club of California, 595 Market, SF; www.magictheatre.org. Mon/16, 6pm. Free. Staged reading of Nigerian storyteller Mfoniso Udofia’s new work. Presented as part of the Magic Theatre’s Martha Heasly Cox Virgin Play Series.

“This Lingering Life” Z Space, 450 Florida, SF; www.theatreofyugen.org. Previews Thu/5, 7pm. Opens Fri/6, 8pm. Wed/11-Thu/12, 7pm; Fri/13-Sat/14, 8pm. $15-50. Theatre of Yugen performs the world premiere of Chiori Miyagawa’s drama, inspired by nine Japanese Noh plays from the 14th century.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Free. Through Oct 26. This week: Destani Wolf, Thu/12, 12:30-1pm; Venezuelan Music Project, Fri/13, 11-11:30am; “The Art of the Descarga” with the John Santos Sextet, Sat/14, 1-2:30pm; Native Contemporary Arts Festival, Sun/15, noon-3pm; “Poetic Tuesday,” Tue/17, 12:30-1:30pm.

BAY AREA

“Immigrant Stories: Personal Stories Honoring the Immigrant Experience” La Peña Cultural Center, 3105 Shattuck, Berk; www.livingartsplayback.com. Sat/14, 8pm. $18-20. Playback Theater presents an evening dedicated to honoring the experiences of immigrants, with audience input guiding the performance.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“The Next Big Thing” Laney College Theater, 900 Fallon, Oakl; www.bigmoves.org. Sat/14, 8pm; Sun/15, 2pm. $18. Big Moves presents its all-new dance and music spectacular, featuring residence dance company emFATic DANCE.

“Precious Drop: Our Relationship to Water” Malonga Casquelourd Theater, 1428 Alice, Oakl; www.afriquesogue.com. Sat/14, 7pm; Sun/15, 2pm. $10-15. Live music, dance, and multimedia elements contribute to this contemplation of water and culture, inspired by African folklore.

“Virago Theatre Company New Play Reading Series” Flight Deck, 1540 Broadway, Oakl; www.theflightdeck.org. Wed/11, 5:30pm; June 18, 25, and July 2, 7pm. Wed/11, $10-25; other dates free. This week: Danii Kharms: A Life in One Act and Several Dozen Eggs by Nancy Cooper Frank. *

SFMTA launches “Google Bus” pilot program map, promises increased enforcement

Erica Hanna

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June 10, 2014

11

SFMTA launches “Google Bus” pilot program map, promises increased enforcement

The Google Bus plan is now rolling forward. Last night [Mon/9] the San Francisco Municipal Transportation Agency released a map of shuttle stops to be studied in the contentious commuter shuttle pilot program, and proposed new means of cracking down on shuttle scofflaws.

The released map shows a peppering of dots representing what the SFMTA is calling “pilot network zones,” essentialy bus stops to be shared by Muni and commuter shuttles alike. The SFMTA will study those pilot network zones, measure impacts to Muni shuttles, and the zones will soon be marked up with signage denoting them as a commuter shuttle stops.

The site of the first and many subsequent Google Bus protests, Valencia and 24th street, is included among the proposed stops. Many of those protesters highlighted the lack of enforcement around the shuttle stops highlighted by a glaring set of numbers: Since January, San Francisco issued over 13,000 citations against double-parkers in red zones, but only 45 went to commuter shuttles. The shuttles use of those stops were, at the time (and even now) illegal, protesters said.

Carli Paine, the head of the commuter shuttle pilot program at SFMTA, told us now there’ll be increased enforcement.

“Implementation will include placards on the vehicles, signage at the zones that are in the pilot network, and additional enforcement,” she confirmed for us, in an email. The SFMTA also launched a special web form for lodging complaints about the commuter shuttles.

SFMTA surveyed tech companies, citizens, and government to decide which stops to study. Per SFMTA:

In February, the SFMTA collected requests from shuttle service providers and resident suggestions on what stops should be included in the pilot through an interactive website and open houses. We reviewed requests from shuttle service providers and suggestions from residents to develop a pilot network of zones that is a combination of:

Zones requested by shuttle service providers

Zones requested by residents

Alternative zones within a few blocks of requested zone locations

New white zones in locations where demand is high but sharing with Muni would likely disrupt Muni service for inclusion in the pilot network

Zones with Muni service every 10 minutes or less, most zones along Muni’s busiest routes and lines, and flag stops (stops that are in the street, away from the curb) on the bicycle network were not included in the proposed pilot network of shared bus zones.

The website that SFMTA referred to crowdsourced feedback from San Franciscans, an interactive map where anyone could place pinpoints proposing shuttle stops. Some jokers pinned proposed shuttle stops in the San Francisco Bay and the ocean. Some had reasoned arguments against corporate shuttles. “There should be a designed [sic] bus stop for the big corporate buses and not public bus stops,” read one post. Others were more flip, like the push-pin on Alcatraz, reading “Make ’em swim!”

SFMTA’s Proposed Commuter Shuttle Network 140609 by Joe Fitzgerald Rodriguez

Above we’ve embedded the commuter shuttle map.

Interestingly, the hotly contested tax that the SFMTA planned to levy against commuter shuttle companies of $1 per stop, per day may be revised.

“The permit and use fee will be updated based on actual project costs and actual stop events proposed as part of the permitting process,” the SFMTA stated in an email announcement of the new commuter shuttle project map. “The SFMTA Board will hold a public hearing to adopt the adjusted fee, if different from earlier calculations.”

The Guardian obtained a cost breakdown of the shuttle program from the SFMTA, and the numbers do seem to be fairly rough.

Cost Breakdown of SFMTA “Google Bus” commuter shuttle pilot program by Joe Fitzgerald Rodriguez

Above we’ve embedded the cost estimate of the commuter shuttle program, obtained through a public records request under the Sunshine Ordinance.

The shuttle pilot program proposed to fund 312 hours of work for transit planners and engineers each, annually. Notably, 4,000 hours are slated for a parking control officer, and 520 for a senior parking control officer annually. The two officers together are estimated to cost $300,000 annually. Double that estimate, as the project is slated to run two years.

The SFMTA board will meet to approve any new fees for the program during its July 15 meeting. There will also be a public SFMTA engineering meeting on June 20 (10am, City Hall, Room 416) to discuss changes to the commuter shuttle pilot program.

The map also denotes sidewalk white zones for shuttle use for commuter hours, between 6-10am and 4-8pm.

The shuttle pilot program will officially begin August 1. It’s still an open question what effect, if any, the current lawsuit concerning environmental review of the shuttle stops will have on the program.

Venture capitalist cat-fight as Ron Conway angrily defends Mayor Ed Lee

Erica Hanna

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June 9, 2014

133

Venture capitalist cat-fight as Ron Conway angrily defends Mayor Ed Lee

Wealthy Silicon Valley venture capitalist Ron Conway shouted down a fellow VC at Bloomberg’s Next Big Thing summit, after VC Chamath Palihapitiya dared criticize Ron’s biggest political investment: Mayor Ed Lee.

For context, Conway has been dubbed the “Godfather of Silicon Valley,” a capitalist Michael Jordan who invests lots of money in the tech industry (like Twitter) and politicians who support it. His catfight with Palihapitiya will no doubt be re-tweeted and Facebooked amongst the tech elite for days to come. Or you know, minutes to come. After all, there are great cat videos out there.

But for us common folk, it’s useful to listen to hear what Palihapitiya had to say about innovating new ways to fundraise for the affordable housing stock in San Francisco, and Conway’s error-filled arguments.

Conway sounded like an outraged muppet, but Palihapitiya took it all in stride.

“Ron, all I was talking about is you can make very simple economic measures to fund all of that and more,” Palihapitiya argued on stage at the conference. Conway wasn’t having it, and interrupted him.

“Then you said you recommend companies give 1 percent of their equity,” Conway shouted.

Palihapitiya fired back, calmly. “Ron listen, there are people in this city now who are really frustrated, you see it with the riots,” he said. Conway countered that Lee was making an effort to address it. “Effort is fine,” Palihapitiya replied, “but you have to see the follow through.”

Conway started shouting about Lee’s promise to build 30,000 housing units by 2020: “30,000 units, Ed Lee has a mandate to build 30,000 units. Is that not enough?”

Importantly, new reports from the San Francisco Public Press show the mayor’s 30,000 proposed units are partially a sham: 40 percent of those units are units are already being built, including existing public housing units simply being renovated. Only 6,000 affordable housing units would be new — making Conway’s shouting equal to only so much hot air.

housing graph

“You can provide economic frameworks for all these problems,” Palihapitiya told Conway from the stage. He mentioned perhaps instituting an affordable housing tax on businesses. “Imagine how many units you can build,” he said, “300,000, a million! Making [Ed Lee’s plan] a magnitude or more impactful. That’s all I’m saying.”

When Conway mentioned Google’s contributions to Muni, Palihapitiya countered. “Ron, you could’ve taxed those guys at Google $10 million and Google would’ve paid.”

We called Conway for a response to his tirade, and he told us “I’m in a meeting. I can email you a statement.” We sent him an email, but aren’t holding our breath for a reply.

Either way, it’s something new to see someone in tech actually challenge the weak crumbs the tech industry has dropped from its table for San Francisco residents. It’s almost, dare we say, disruptive.

Listen: Katie Day’s anti-tech bro jam “San Francisco (Before the West Falls)”

Steven T. Jones

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June 3, 2014

79

Between POW!’s “Hi-Tech Boom,” the schticky “Google Bus Song” from Cachebox, and Violent Vickie’s “Fuck You!!!!!”, it’s safe to say San Francisco musicians — the ones that are left here, haha! sorry — are currently leading the nation in anti-gentrification music.

This is a good thing, of course. It means the city still has a pulse. You know what we’ve been sorely lacking, however? As Emma Goldman basically said, give the people a summery, socially conscious anthem we can fucking dance to.

Enter Katie Day, who self-released her new EP, Burn It to the Ground, yesterday. There’s a lot to like here, including a love song for the Lower Haight, but the instant earworm is a semi-tongue-in-cheek indie-electro-pop jam called “San Francisco (Before the West Falls),” with shimmery, bubble-gum synths and keys layered with lyrics that lament the bygone days when coffee was 80 cents, and give serious side-eye to the tech bros moving into her neighborhood: “Someone told me about the boys next door/They put the boards on the window of the record store/And now the kids don’t get to play no more…”

“The extreme wealth disparity we’re experiencing in SF as a result of tech can make living here as an artist straight-up oppressive, but I think having a song that speaks to that oppression and makes you want to get up and dance anyway can negate any feeling of self-pity, even if you’re living under constant threat of eviction while there’s trained German Shepherd acting as an elevator operator at the Google office,” Day wrote me when I asked about her inspirations. “It’s something they can’t take away from you.”

Get your un-gentrifiable dance on when she plays with Stages of Sleep, New Spell, and Memory Motel this Sat/7, 8pm at Amnesia.

Theater Listings: June 4 – 10, 2014

Michael Redmond

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June 3, 2014

0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For complete stage listings, see www.sfbg.com.

THEATER

OPENING

Brahmin/I: A One-Hijra Stand-Up Comedy Show Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Previews Thu/5-Sat/7, 8pm. Opens Mon/9, 8pm. Runs Wed-Sat, 8pm. Through June 28. Crowded Fire Theater presents Aditi Brennan Kapil’s “outrageous play masquerading as a stand-up comedy routine.”

God Fights the Plague Marsh San Francisco Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-100. Previews Sat/7 and June 14, 8:30pm; Sun/8 and June 15, 7pm. Opens June 21, 8:30pm. Runs Sat, 8:30pm; Sun, 7pm. Through Aug 10. The Marsh presents a solo show written by and starring 18-year-old theater phenom Dezi Gallegos.

In the Tree of Smoke Great Star Theater, 636 Jackson, SF; www.brownpapertickets.com. $25. Opens Thu/5, 8pm. Runs Thu-Sat, 8pm. Through June 28. Circus Automatic performs an new evening of immersive, experimental circus.

The Orphan of Zhao ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Previews Wed/4-Sat/7 and Tue/10, 8pm (also Sat/7, 2pm); Sun/8, 2pm. Opens June 11, 8pm. Runs Wed-Sat and June 24, 8pm (also Wed and Sat, 2pm); June 17, 7pm. Through June 29. Tony winner BD Wong stars in James Fenton’s acclaimed Chinese-legend adaptation at American Conservatory Theater.

“Sheherezade 14” Exit Theater, 156 Eddy, SF; www.playwrightscentersf.org. $25. Opens Fri/6, 8pm. Runs Thu-Sat, 8pm. Through June 21. The Playwrights’ Center of SF and Wily West Productions host this annual festival of fully-produced short plays.

BAY AREA

Dead Man’s Cell Phone Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. $22. Opens Fri/30, 8pm. Runs Fri-Sat, 8pm; Sun/8, 15, and 22, 2pm. Through June 28. Masquers Playhouse performs Sarah Ruhl’s imaginative comedy.

Failure: A Love Story Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Previews Thu/5-Sat/7, 8pm; Sun/8, 7pm. Opens Tue/10, 8pm. Runs Tue and Thu-Sat, 8pm (also June 14 and 28, 2pm; June 19, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 29. Marin Theatre Company performs Philip Dawkins’ play about love and loss, with puppets and live music.

Hershey Felder as Leonard Bernstein in Maestro Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $29-87. Previews Thu/5, 8pm. Opens Fri/6, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 22. Juno-winning actor and musician Hershey Felder (George Gershwin Alone) performs his latest solo show.

Marry Me A Little Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Previews Wed/4-Fri/6, 8pm. Opens Sat/7, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 8pm); Sun, 2 and 7pm. Through June 29. TheatreWorks performs Stephen Sondheim’s intimate musical.

ONGOING

The Crucible Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $10-35. Thu-Sat, 8pm; Sun, 7pm. Through June 15. Custom Made Theatre Co. performs Arthur Miller’s drama.

Devil Boys From Beyond New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Buddy Thomas and Kenneth Elliot’s campy sci-fi saga.

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Previews Thu/5-Fri/6 and June 12-13, 8pm; Sat/7, 8:30pm. Opens June 14, 8:30pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through July 12. Dan Hoyle presents his latest solo show, about the search for real-world connections in a tech-crazed world.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat-Sun, 5pm. Extended through July 13. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Homo File CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $20-35. Fri-Sat, 8pm; Sun, 7pm. Through June 15. Eye Zen and CounterPULSE present Seth Eisen’s interdisciplinary performance about queer author and tattoo artist Sam Steward.

The Homosexuals New Conservatory Theatre Center, Decker Theatre, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Philip Dawkins’ play about a young man struggling with his identity amid a new group of friends.

Macbeth Fort Point (beneath the Golden Gate Bridge), SF; www.weplayers.org. $30-75. Thu-Sun, 7pm. Through June 29. We Players performs the Shakespeare classic at the historic fortress at Fort Point.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Extended through June 28. Five years ago, Thrillpeddlers breathed new life into a glitter-dusted piece of Sixties flotsam, beautifully reimagining the Cockettes’ raunchy mock-operetta Pearls Over Shanghai (in collaboration with several surviving members of San Francisco’s storied acid-drag troupe) and running it for a whopping 22 months. Written by Cockette Link Martin as a carefree interpretation of a 1926 Broadway play, the baldly stereotyped Shanghai Gesture, it was the perfectly lurid vehicle for irreverence in all directions. It’s back in this revival, once again helmed by artistic director Russell Blackwood with musical direction by Cockette and local favorite Scrumbly Koldewyn. But despite the frisson of featuring some original-original cast members — including “Sweet Pam” Tent (who with Koldewyn also contributes some new dialogue) and Rumi Missabu (regally reprising the role of Madam Gin Sling) — there’s less fire the second time around as the production straddles the line between carefully slick and appropriately sloppy. Nevertheless, there are some fine musical numbers and moments throughout. Among these, Zelda Koznofsky, Birdie-Bob Watt, and Jesse Cortez consistently hit high notes as the singing Andrews Sisters-like trio of Americans thrown into white slavery; Bonni Suval’s Lottie Wu is a fierce vixen; and Noah Haydon (as the sultry Petrushka) is a class act. Koldewyn’s musical direction and piano accompaniment, meanwhile, provide strong and sure momentum as well as exquisite atmosphere. (Avila)

Savage in Limbo Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $25. Wed/4-Fri/6, 8pm; Sun/7, 2pm. Rabbit Hole Theater Company performs John Patrick Shanley’s Bronx-set drama.

Seminar San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $20-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/8, 2pm. Through June 14. San Francisco Playhouse performs Theresa Rebeck’s biting comedy.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman, this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot — all of it played to the hilt by an excellent cast. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $65-100 (gambling chips, $7-10 extra; after-hours admission, $10). Wed-Sat, 7:30, 7:40, 7:50, 8pm, and 9pm admittance times. Extended through June 21. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed as a fractured super-narrative, there’s a way the piece becomes specifically and ever more subtly about time itself. (Avila)

36 Stories by Sam Shepard Z Below, 470 Florida, SF; www.36stories.org. $35-55. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through June 22. Word for Word performs director Amy Kossow’s original adaptation of Shepard’s poetry and fiction.

Too Much Light Makes the Baby Go Blind Boxcar Theatre, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri-Sat, 9pm. Ongoing. The Neo-Futurists perform Greg Allen’s spontaneous, ever-changing show that crams 30 plays into 60 minutes.

Triassic Parq Eureka Theater, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Wed-Sat, 8pm (also June 21 and 28, 2pm). Through June 28. Ray of Light Theatre presents the Bay Area premiere of Marshall Pailet’s musical involving “dinosaurs, show tunes, and sex changes.”

Walk Like A Man Costume Shop, 1117 Market, SF; www.therhino.org. $15-35. Wed-Sat, 8pm; Sun, 3pm. Through June 15. Falling in love with your boss, surviving child abuse, losing a loved one in war, dealing with your straight daughter’s shame around her mom’s butch wardrobe — these are only a few of the circumstances encountered in a raucous and affecting evening of celebrating desire and being true to yourself, as Theatre Rhinoceros presents ten stories of love and sex among a diverse set of African American women. Culled from the titular collection of erotic fiction by Atlanta-based author Laurinda D. Brown, the evening unfolds with a pert and playful finesse thanks to director John Fisher and a strong, charismatic five-women ensemble (made up of Alexaendrai Bond, Kelli Crump, Nkechi Emeruwa, Daile Mitchum, and Desiree Rogers). Sexy and brazen, raunchy and wrenching, this series of vignettes, spread out over two acts, comes with nary a dull moment and plenty of climaxes. (Avila)

BAY AREA

The Crazed Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through June 23. Central Works performs Sally Dawidoff’s play, based on Ha Jin’s novel about coming of age in Communist China.

Daylighting: The Berkeley Stories Project Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (June 22, show at 2pm). Through June 22. Shotgun Players present Dan Wolf’s new play inspired by real-life tales from Berkeley residents past and present.

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-89. Tue, Thu-Sat, 7:30pm (also Sat and June 26, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 29. Berkeley Rep performs the West Coast premiere of Tony Kushner’s latest play.

The Letters Harry’s UpStage, Aurora Theatre Company, 2081 Addison, Berk; www.auroratheatre.org. $28-32. Wed/4-Sat/7, 8pm; Sun/8, 2pm. American playwright John W. Lowell’s The Letters harkens back to Stalinist days and some unspecified ministry, where a dutiful staff goes about censoring the personal and openly homoerotic correspondence of an iconic Russian composer (Tchaikovsky). Directed by Mark Jackson for Aurora Theater’s new upstairs black box, the two-hander is cleverly crafted for the most part. Unfortunately, as a cat and mouse game the stakes, and the arc of the story, feel more fantastical then pressingly contemporary. (Avila)

Mutt: Let’s All Talk About Race La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu/5-Sat/7, 8pm; Sun/8, 7pm. Impact Theatre and Ferocious Lotus Theatre Company present the world premiere of Christopher Chen’s political satire.

Nantucket Marsh Berkeley MainStage, 2120 Allston, Berk; www.themarsh.org. $25-100 (all tickets include a picnic dinner). Thu and Sat, 7pm. Through June 14. Acclaimed solo performer Mark Kenward presents his “haunting yet hilarious” autobiographical show about growing up on Nantucket. *

Events: June 4 – 10, 2014

Michael Redmond

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June 3, 2014

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Listings are compiled by Guardian staff. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Selector.

WEDNESDAY 4

Anne Germanacos Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author discusses her latest book, Tribute.

“Litquake’s June Epicenter” Hotel Rex, 562 Sutter, SF; www.litquake.org. 7pm, $5-15 suggested donation. Geoff Dyer launches his new nonfiction book, Another Great Day at Sea, and discusses it with Chris Colin.

“Radar Superstar” San Francisco Public Library, Koret Auditorium, 100 Larkin, SF; www.radarproductions.org. 6-8pm, free. Michelle Tea hosts this celebration of the Radar Reading Series’ 11th birthday, with Julian Talamantez Brolaski, Anna Margarita Albelo, Achy Obejas, and Martin Sorrondeguy.

THURSDAY 5

“After Hours: Thursday Night at the Jewseum” Contemporary Jewish Museum, 736 Mission, SF; www.thecjm.org. 6-8pm, free with museum admission, $5 after 5pm. Happy-hour fun with live music, specialty cocktails, a vintage-couture installation using live models, a challah braiding demo, and more.

Robert Dawson Hattery, 414 Brannan, SF; www.eventbrite.com. 7pm, $15. The photographer discusses The Public Library: A Photographic Essay.

Walter Mosely Book Passage, 1 Ferry Bldg, SF; www.bookpassage.com. 6pm, free. The acclaimed novelist reads from his racy new work, Debbie Doesn’t Do It Anymore.

“Shipwreck: Tournament of Champions” Booksmith, 1644 Haight, SF; www.booksmith.com. 7pm, $10 (includes drinks). Six writers “destroy one great book, one great character at a time;” this episode unites a cast of Shipwreck all-stars to take down Gone With the Wind.

FRIDAY 6

“The Sketchbook Project” Classic Cars West, 411 26th St, Oakl; www.sketchbookproject.com (check website for additional dates and locations). 6-10pm. Also Sat/7, 1-5pm. Free. The Sketchbook Project Mobile Library visits First Friday Art Murmur and Saturday Stroll with its collection of thousands of handmade sketchbooks.

SATURDAY 7

Philippine Independence Day Celebration: Lumago Lampas (Grow Beyond) Rhythmix Cultural Works, 2513 Blanding, Alameda; www.rhythmix.org. 7pm, $15-25. Celebrate with performances by Parangal Dance Company, musician Ron Quesada, artist Kristian Kabuay, and more. Presented by the American Center of Philippine Arts.

“Reflections of Me and My World 2014” Oasis Gallery at American Steel Studios, 1960 Mandela, Oakl; www.ahc-oakland.org. 3-6pm, free. ArtEsteem’s 16th annual exhibit highlights work created by local youth in collaboration with West Oakland artists.

Union Street Festival Union between Gough and Steiner, SF; www.unionstreetfestival.com. 10am-6pm, free (tasting tickets, $30-35). Through Sun/8. This 38-year-old festival features tasting pavilions highlighting Bay Area craft beers and wines. Each block of the fest will also have a themed “world,” centered around fashion, culinary arts, tech, locals, crafts, and fitness.

Yerba Buena Art Walk Between Market and Folsom and Second and Fifth Sts, SF; yerbabuena.org/artwalk. 12:30-6pm, free. Yerba Buena Alliance presents this neighborhood showcase, highlighting galleries, exhibitions, and institutions throughout the downtown cultural center.

SUNDAY 8

Haight Ashbury Street Fair Haight between Stanyan and Masonic, SF. www.haightashburystreetfair.org. 11am-8:30pm, free. Live music on two stages, plus over 200 vendor booths, highlight this groovy tradition.

Queer Comics Expo Cartoon Art Museum, 655 Mission, SF; www.cartoonart.org. 11am-5pm, $6-8. Learn about the LGBTQ world of comic books at this first-time event, featuring artists, authors, and costumed fans. Part of the National Queer Arts Festival.

Sunday Streets San Francisco Great Highway, SF; www.sundaystreetsst.com. 11am-4pm, free. Head to the edge of San Francisco and Golden Gate Park to enjoy car-free streets.

MONDAY 9

Cheryl Lu-Lien Tan Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The editor discusses new collection Singapore Noir

TUESDAY 10

Sheila Bapat Booksmith, 1644 Haight, SF; www.booksmith.com. 7:30pm, free. The author discusses Part of the Family? Nannies, Housekeepers, Caregivers and the Battle for Domestic Workers’ Rights.

Eric Baus City Lights Bookstore, 261 Columbus, SF; www.citylights.com. 7pm, free. The author celebrates The Tranquilized Tongue, the latest in the City Lights Spotlight Poetry series. *

“E” is for “evidence”

Michael Redmond

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June 3, 2014

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Former Mayor Willie Brown was infamous for keeping the workings of San Francisco government secret. Now his successor, Mayor Ed Lee, has codified government secrecy into written policy.

A Bay Guardian review of Lee’s newest public records retention schedule found the mayor granted himself the ability to destroy public records with broad power: deleting emails deemed “routine,” drafts of legislation, and records of telephone calls to the office of the mayor.

The policy should have anyone interested in government transparency up in arms. It potentially flouts the California Public Records Act, as well as the city’s Sunshine Ordinance, state and local laws granting citizens and journalists alike the legal right to keep tabs on what goes on under the hood of the political machine.

Emails, which Lee’s policy says the Mayor’s Office can destroy, are a particularly powerful tool for keeping government in check.

“Sources can be less than reliable, but an email speaks for itself,” said James Wheaton, senior counsel for the First Amendment Project, a group that defends the public’s right to government information. “Emails are a unique window into the way an institution functions. We call these things ‘paper trails.'”

But the paper trail used to track the mayor is kept in the shadows by his new policy, the most recent crack to appear in an eroding wall of public trust in open government.

LET THE SUNSHINE IN

Reporters and engaged citizens depend on access to public records to do the everyday dirty work of keeping an eye on government.

In 2010, reporters from the Los Angeles Times investigated the town of Bell’s corrupt network of city officials (including the mayor and police chief), who swindled money from city coffers. Public record requests of their emails revealed brazen exchanges: “I am looking forward to seeing you and taking all of Bell’s money?!”

Closer to home, public records allowed a Sacramento Bee investigative reporter to uncover perilous corrosion in the new eastern span of the Bay Bridge, leading to a public outcry over a threat to public safety.

The Guardian, long critical of mayoral backdoor deals, often requests emails from government agencies to track people in power. “Behind the Tweets [3/11],” relied on emails obtained from the Mayor’s Office of Economic and Workforce Development to chronicle how Twitter wrangled local lawmakers into weakening the benefits it had to supply the city in exchange for its much-contested tax breaks.

A recent Guardian investigation led us to the mayor’s newly minted policy. When Guardian Editor in Chief Steven T. Jones requested email correspondence from the Mayor’s Office, we were told the emails may have been deleted, leading us to ask a reasonable question.

“What the hell?!”

VANISHING PAPER TRAIL

On April 22, the Guardian made a Sunshine Ordinance request to the Mayor’s Office for communications involving Tenderloin power broker Randy Shaw and the Tenderloin Museum project that he and Lee launched at a press conference the previous day.

A week later we obtained two emails from Shaw copied to city government officials: one supporting Ellis Act reform, and another calling for a city crackdown on the Turk and Leavenworth Smoke Shop.

We spoke to Kirsten Macaulay, who handles Sunshine requests for the Mayor’s Office, and asked about something quite curious: Even though Lee and his office were involved in a press event with Shaw on April 21, there were no emails or other messages setting up that event or coordinating when the mayor would speak.

We asked where those emails were, and got an astounding answer: They may have been deleted, she said, a regular practice for emails deemed to be “routine.”

“We don’t have a record retention policy against deleting emails,” she said.

That seemed to explain a number of suspicious responses to routine records requests we’ve made after politically charged decisions.

After a controversial behind-closed-doors political move by power broker (and Lee ally) Rose Pak to replace progressive Police Commissioner Angela Chan with a former Ed Lee campaigner, Victor Hwang, the Guardian requested emails from the mayor’s office concerning either candidate.

“This office is confirming that we do not have any responsive documents,” Macaulay wrote in reply to our request.

When we made similar requests of city supervisors, we received more than 70 emails per supervisor, supporting and decrying both candidates. The emails were like a trail of bread crumbs leading back to power broker Pak, revealing all the community members who had stepped in as proxies on her behalf to flex political muscles.

No such luck with the mayor.

The idea that not a single soul would send an email to Lee, nor would he or his staffers send a single email regarding the appointment of Chan, or of her opponent, just isn’t credible.

The Guardian pushed on the issue and obtained a copy of the records retention policy from the Mayor’s Office. The Mayor’s Office drafted a new version of that policy, which was quietly approved by Lee’s Chief-of-Staff Steve Kawa as well as City Attorney Dennis Herrera in February.

We’ve been pushing for more information on how that policy differs from previous versions, and whether it complies with state and local public records laws. But the staff member from Herrera’s office who dealt with the policy was unavailable for comment, and we haven’t gotten a straight answer from the mayor himself.

“San Francisco has the strongest open government and sunshine laws in the country,” Christine Falvey, a spokesperson for the mayor, told us. “The Mayor’s office fully complies with the spirit and letter of the law.”

She would not grant us a direct interview with the mayor. When the Guardian asked the mayor if he has the legal right to delete his emails when we saw him outside a campaign party Tuesday night, he said “I’ll answer your questions later,” and shut his car door in front of us.

One thing is for sure: The new policy has holes big enough to drive a Mack truck through, and that has open government advocates worried.

POLICY EXPERTS WEIGH IN

The most troubling language in the mayor’s new “Records and Document Retention and Disposal Schedule,” as it’s formally called, can be found on page two under the heading “No Retention Required.”

This section details which documents the Mayor’s Office believes it may destroy.

“Documents and other materials (including originals and duplicates) that are not required for retention, are not necessary to the functioning or continuity of the Department and which have no legal significance may be destroyed when no longer needed,” the section states. “Specific examples include telephone message slips, notes from ongoing projects, preliminary drafts that have been superseded by subsequent versions, routine emails that do not contain information required to be retained under this policy, miscellaneous correspondence not requiring follow-up or departmental action, notepads and chronological files.”

Emphasis ours. Attorneys we spoke with were concerned the exemptions would keep the public in the dark.

“The city should be retaining all records that bear on the operations of government and public oversight thereof,” David Greene, senior staff attorney at the Electronic Frontier Foundation told us. “The listing of telephone message slips — which sometimes might be the only record of a communication — is a disturbing example. Same for ‘routine emails’ — whatever that means.”

Terry Francke, lead counsel at open government group Californians Aware, went further, saying the records the Mayor’s Office claims it can destroy flouts state law.

“State law,” he said, “sets a minimum retention period of two years for any records of a city or county.”

We asked, does that mean any records destroyed in under two years would run afoul of state retention policies?

“Other than duplicates,” he said, “yes.”

He pointed to California Government Code 34090, which states cities cannot destroy records affecting the title to real property, court records, and records required to be kept by statute. Importantly, cities also cannot destroy records that are less than two years old.

Contrary to that law, emails the Mayor’s Office said may have been deleted were less than a few months old.

Rick Knee, a longtime member of the city’s Sunshine Ordinance Task Force, was cautious.

Alarmingly, he said, “the list of documents of which retention is not required allows the destruction of records that should remain open to public scrutiny, and gives the mayor’s office far too much discretion to decide what is or is not ‘necessary to the functioning or continuity of the department.'”

The Sunshine Ordinance Task Force is the only city body specifically tasked with enforcing government transparency laws, which are in place to ensure that government conduct remains open to public scrutiny. But the power of that entity to act effectively is under threat, as city supervisors recently rejected two strong new appointments from the Society of Professional Journalists, one of whom litigated against the federal government to obtain public records regarding the National Security Agency, domestic drones, and more.

San Francisco politicians interested in deleting documents wouldn’t benefit from strong government watchdogs on the task force.

We can only hope local open government advocates and journalists alike will challenge the mayor’s policy, which potentially flouts state and local open government laws. But that may not be enough.

Even if we had ironclad rules safeguarding government email, Wheaton, an attorney with the First Amendment Project, pointed out there are ways around transparency.

Two months ago, the California Court of Appeals ruled in City of San Jose v. Superior Court (Smith) that personal emails and text messages of government officials are not public record.

“It’s just handing every corrupt politician an absolute get out of jail free card,” Wheaton said. “Now all they have to do is get a Gmail account to stay out of the public eye.”

Or, corrupt politicians could take the route of Mayor Brown, who barred digital devices in his presence during staff meetings and famously does not use email.

In his column for the San Francisco Chronicle, Willie’s World, Brown explained his position on email to former Gov. Arnold Schwarzenegger.

“These days, Schwarzenegger appears to be more into tech than politics. Do I do Twitter? he eagerly asked me. Do I do e-mail?

‘No, no, no,’ I said. ‘Let me remind you of something, governor. Do you know what that ‘E’ in e-mail stands for?

‘No.’

‘Evidence.‘”

Steven T. Jones contributed to this report.

UPDATE: The Bay Guardian was given a brief quote by Christine Falvey, the mayor’s spokesperson, for this story on Monday. Though we used the quote in the print version of this story, an error on our part led to it not being included in the web posting. We have corrected the web posting and apologize for the error.

Below we’ve embedded the document retention policy for download and viewing.

San Francisco Mayor's Office Record Retention Policy 3.7.14 by Joe Fitzgerald Rodriguez

Citizen Agnos comes on strong for Proposition B in support of his Athenian oath

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June 2, 2014

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By Bruce B. Brugmann (with the complete text of Art Agnos speech to the May 21 dinner of San Francisco Tomorrow)

When Art Agnos was sworn in as mayor in 1988, he used the Athenian Oath that was taken by young men reaching the age of majority in Athens 2000 years ago. He shortened the oath (as many did) to say: “I promise…upon my honor…to leave my city better than I found it.”

For Agnos, a Greek steeped in Greek traditions, the oath was a serious matter. “At the heart of our vision,” Agnos said in his inaugural address, “ is a refusal to let San Francisco become an expensive enclave that locks out the middle class, working families and the poor. At the center of our strategy is a belief in the basic right of people to decent jobs and housing.”

Twenty-six years later, Citizen Agnos was working hard in private life to leave his city better than he had found it. He led a citizens’ movement that stopped the monstrous 8 Washington project, knocked the Warriors off the piers, forced the Giants to lower their highrise expectations, and promoted Proposition B that would stop the Wall on the Waterfront and require a public vote on any increases to current height limits on port property.

And Agnos is having the time of his life doing all this, as he made clear in his remarks to San Francisco Tomorrow, the one organization in town that has been manning the barricades in every major Manhattanization battle all these years on the waterfront and everywhere else. He enjoys taking on Mayor Lee and “the high tech billionaire political network that wants to control city hall and fulfill their vision of who can live here and where.” And he must relish the Chronicle’s C.W.Nevius and the paper’s editors and their self-immolating bouts of hysteria.

Agnos gave a splendid speech and confirms that he really is our best ex-mayor. I particularly liked his point about the “power to decide” on development. “Today that power to decide is in a room In City Hall. I know that room. I have been in that room.

“You know who is in there? It is the lobbyists,..the land use lawyers…the construction union representatives..the department directors..and other politicians. You know who is not in that room. You.Prop B changes that dynamic and puts you in the room that matters. No more ‘advisory committees’ that get indulged and brushed off. No more ‘community outreach’ that is ignored. It will all matter.”

Yes, yes, yes, a thousand times yes, on B and stopping the Manhattanization of the waterfront. b3

Agnos remarks to San Francisco Tomorrow

I am delighted to speak to the members and friends of SFT about the waterfront tonight…and a special shout out to Jane Morrison as one of the pioneer professional women in the media… and one of the finest Social Service Commissioners in our City’s history. I also welcome the opportunity to join you in honoring tonight’s unsung heroes…Becky Evans with whom I have worked closely over the past year and half …Tim Redmond the conscience of the progressive community for the past 35 years…Sarah Short and Tommi Avicolli Mecca from the Housing Rights Committee who stand up every day for poor and working people who need a voice in our city.

Twenty-four years ago in 1990, I made one of the best decisions of my mayoralty when I listened to the progressive environmental voice of San Francisco and ordered the demolition of the Embarcadero Freeway. That freeway was not only a hideous blight but also a wall that separated the city from its waterfront. Hard to believe today…but it was a very controversial decision back then… just 3 years before…in 1987 the voters had defeated a proposal by Mayor Feinstein to demolish it. The Loma Prieta Earthquake gave us a chance to reconsider that idea in 1990. Despite opposition of 22,000 signatures on a petition to retrofit the damaged freeway… combined with intense lobbying from the downtown business community led by the Chamber of Commerce, North Beach, Fisherman’s Wharf and especially Chinatown…we convinced the Board of Supervisors to adopt our plan to demolish the freeway… by one vote.

And the rest is history…until today.

After a period of superb improvements that include a restored Ferry Building…the Ball park… new public piers where one can walk further out into the bay than ever before in the history of this city… the
Exploratorium…the soon to be opened Jim Herman Cruise Ship terminal…Brannan Wharf Park…there is a new threat. Private development plans that threaten to change the environment of what Herb Caen first called “our newest precious place” …not with an ugly concrete freeway wall…but with steel and glass hi-rises that are twice as tall.

Today…the availability of huge amounts of developer financing …combined with unprecedented influence in city hall and the oversight bodies of this city…the Waterfront has become the new gold coast of San Francisco. Politically connected developers seek to exploit magnificent public space with hi-rise, high profit developments that shut out the ordinary San Franciscan from our newest precious place. We love this city because it is a place where all of us have a claim to the best of it…no matter what our income…no matter that we are renter or homeowner…no matter what part of the city we come from.

And connected to that is the belief that waterfront public land is for all of us…not just those with the biggest bank account or most political influence.

That was driven home in a recent call I had from a San Franciscan who complained about the high cost of housing for home ownership or rent…the high cost of Muni…museum admissions…even Golden Gate Bridge tours and on and on. When he finished with his list, I reminded him I was mayor 23 years ago and that there had been 4 mayors since me, so why was he complaining to me?
“Because you are the only one I can reach!” he said.

Over the past few weeks…that message has stuck with me. And I finally realized why. This is what many people in our city have been seeking… someone who will listen and understand. Someone who will listen…understands… and acts to protect our newest precious place…our restored waterfront. You see…it was not just about luxury high-rise condos at 8 Washington last year…It was not just a monstrous
basketball arena on pier 30-32 with luxury high-rise condos and a hotel across the street on public land. It’s about the whole waterfront that belongs to the people of San Francisco…all 7 and half miles of it… from the Hyde Street Piers to India Basin. And it must be protected from the land use mistakes that can become irrevocable.

This is not new to our time…8 Washington and the Warriors arena were not the first horrendous proposals…they were only the latest. Huge… out of scale… enormously profitable projects… fueled by exuberant boosterism from the Chamber of Commerce… have always surfaced on our waterfront. 50 years ago…my mentor in politics…then Supervisor Leo McCarthy said, “We must prevent a wall of high rise apartments along the waterfront…and we must stop the filling in of the SF bay as a part of a program to retain the things that have made this city attractive.” That was 1964…

In 2014…Former Board of Supervisors President Aaron Peskin said it best this way…”It seems like every 10 years…every generation has to stand up to some huge development that promises untold riches
as it seeks to exploit the waterfront and our public access to it.” Public awareness first started with the construction of the 18 stories of Fontana towers east and west in 1963. That motivated then Assemblyman Casper Weinberger to lead public opposition and demand the first height limits… as well as put a stop to 5 more Fontana style buildings on the next block at Ghirardelli Square. This was the same Casper Weinberger who went on to become Secretary of HEW and Secretary of Defense under President Ronald Reagan.

In 1970 the Port Commission proposed to rip out the then “rotting piers” of piers 1 – 7 just north of the Ferry Building. They were to be replaced with 40 acres of fill (3 X Union Square) upon which a 1200-room hotel and a 2400 car garage would be built. It passed easily through Planning and the Board of Supervisors. When the proposal was rejected on 22 to 1 vote by BCDC, Mayor Alioto complained, “We just embalmed the rotting piers.” No… we didn’t …we saved them for the right project…and if one goes there today… they see it…the largest surviving renovated piers complex with restaurants, walk in cafes, port offices, free public docking space, water taxis and complete public access front and back.

In 2002… that entire project was placed on the U.S. National Historic Register. But my favorite outrageous proposal from that time was the plan to demolish another set of “rotting piers” from the Ferry Building south to the Bay Bridge. And in place of those rotting piers… the plans called for more landfill to create a Ford dealership car lot with 5000 cars as well as a new Shopping center. That too…was stopped.

So now it’s our turn to make sure that we stop these all too frequent threats to the access and viability of our waterfront.

In the past 2 weeks…we have seen momentum grow to support locating the George Lucas Museum on piers 30-32 or the sea wall across the Embarcadero.I love the idea…but where would we be with that one be if a small band of waterfront neighbors and the Sierra Club had not had the courage to stand up to the Warriors and City Hall 2 years ago. Once again they used the all too familiar refrain of “rotting piers” as an impending catastrophe at piers 30-32.

Proposition B will help prevent mistakes before they happen. Most of all… Prop B will ensure protection of the port on more permanent basis by requiring a public vote on any increases to current height limits on Port property.All of the current planning approval processes will stay in place…Port Commission…Planning commission…Board of Permit Appeals…Board of Supervisors…will continue to do what they have always done. But if a waiver of current height limits along the waterfront is granted by any of those political bodies…it must be affirmed by a vote of the people. Prop B does not say Yes or No…it says Choice. It is that simple. The people of SF will make the final choice on height limit increases on port property.

The idea of putting voters in charge of final approval is not new. In the past the people of San Francisco have voted for initiatives to approve a Children’s budget…a Library budget…retaining neighborhood fire stations… minimum police staffing… as well as require public authorization for new runway bay fill at our airport. And at the port itself… there have been approximately 18 ballot measures to make land use and policy decisions.

So…we are not talking about ballot box planning…we are talking about ballot box approval for waivers of existing height limits on public property. Opponents like Building Trades Council, Board of Realtors,
and Chamber of Commerce are raising alarms that we will lose environment protections like CEQA by creating loopholes for developers.
Astonishing!

Prop B is sponsored by the Sierra Club…Tonight we honor Becky Evans of the Sierra Club who sponsored Proposition B. That same set of opponents are joined by city bureaucrats issuing “doomsday” reports stating that we will lose thousands of units of middle class housing… billions of dollars in port revenues…elimination of parks and open space on the waterfront. Astonishing!

These are the same bureaucrats who issued glowing reports a couple of years ago that the America’s Cup would mean billions in revenue for the port and the city. And they wanted to give Oracle’s Larry Ellison 66-year leases to develop on 5 of our port piers for that benefit! Now…how did THAT work out? So far…city hall will admit to $11 million dollars in known losses for the taxpayers.

Another opponent… SPUR says any kind of housing will make a difference and there are thousands in the pipe line… so don’t worry.
Astonishing!

We have not seen one stick of low income or affordable housing proposed on the waterfront since the 80s and 90s when Mayor Feinstein and I used waterfront land for that very purpose. Hundreds of low-income housing dwellings like Delancey Street and Steamboat Point Apartments…affordable and middle class housing like South Beach Marina apartments and Bayside village comprise an oasis of diversity and affordable housing in the midst of ultra expensive condos. For me…that was part of an inaugural promise made in January 1988…I said, “At the heart of our vision is a refusal to let San Francisco become an expensive enclave that locks out the middle class, working families and the poor. At the center of our strategy is a belief in the basic right of people to decent jobs and housing.

Yes…that was the commitment on public land on the waterfront by 2 mayors of a recent era… but not today. Indeed…San Francisco has been rated the #1 least affordable city in America…including NY Manhattan. That is one of the many reasons we see middle class people…as well as working poor…being forced to leave San Francisco for Oakland and elsewhere in the bay area. That reality was reinforced in the February 10, 2014 issue of Time Magazine…Mayor Lee said, “I don’t think we paid any attention to the middle class. I think everybody assumed the middle class was moving out.”

Today…An individual or family earning up to $120,000 per year …150 per cent of the median in this city… do not qualify for a mortgage and can’t afford the rent in one of the thousands of new housing units opening in the city. The Chronicle reported a couple of weeks ago that a working family of 3 who have lived in a rent-controlled studio apartment in the Mission is offered $50 K to leave. That is what the purely developer driven housing market offers. And that philosophy is reinforced by a planning commission whose chair was quoted in December 2013 issue of SF Magazine saying, “Mansions are as just as important as housing.”

Prop B changes that dynamic by putting the Citizen in the room with the “pay to play” power brokers. That is what it is all about my friends. Power.

Former SF city planning director and UC School of City Planning Professor…Alan Jacobs recently related what he called the Jacobs Truism of land economics: “Where political discretion is involved in land use decisions…the side that wins is the side with the most power. And that side is the side with the most money.” Prop B will ensure that if developers are going to spend a lot of money to get a height waiver on port property …the best place to spend it will be to involve, inform, and engage the citizen as to the merit of their request…not on the politicians.

Today that power to decide is in a room in City Hall. I know that room…I have been in that room. You know who is there? It is the lobbyists…the land use lawyers…the construction union representatives…the departmental directors… and other politicians. You know who is not in the room? YOU. The hope is that someone in that room remembers you. But if you really want your voice to be heard…you have to go to some departmental hearing or the Board of Supervisors…wait for 3 or 4 hours for your turn… and then get 2 minutes to make your case. Prop B changes that dynamic and puts you in the room that matters. No more “advisory committees” that get indulged and brushed off. No more “community outreach” that is ignored.

It will all matter. That is why today there is no opposition from any waterfront developer…They get it. We are going to win. It is easy to see how the prospect of Prop B on the ballot this June has changed the dynamics of high-rise development along the waterfront. The Warriors have left and purchased a better location on private land in Mission Bay. The Giants have publicly announced that they will revise their plans with an eye to more appropriate height limits on port land. Forest City is moving with a ballot proposal to use Pier 70 to build new buildings of 9 stories…the same height as one of current historic buildings they will preserve on that site for artists.

The Pier 70 project will include 30 percent low-income…affordable and middle class housing on site… along with low-tech industries, office space and a water front promenade that stretches along the entire shoreline boundary. A good project that offers what the city needs will win an increase in height limits because it works for everybody. A bad one will not. My friends…I have completed my elected public service career. There will be no more elections for me.

And as I review my 40 years in public life…I am convinced of one fundamental truth. The power of the people should… and must… determine what kind of a city this will be. It must not be left to a high tech billionaire political network that wants to control city hall to fulfill their vision of who can live here and where. It starts with you… the people of this city’s neighborhoods… empowered to participate in the decisions that affect our future. You are the ones who must be vigilant and keep faith with values that make this city great. This city is stronger when we open our arms to all who want to be a part of it…to live and work in it…to be who they want to be…with whomever they want to be it with. Our dreams for this city are more powerful when they can be shared by all of us in our time…

We are the ones …here and now… who can create the climate to advance the San Francisco dream to the next generation. And the next opportunity to do that will be election day
June 3. Thank you.

B3 note: The full Athenian oath: “We will never bring disgrace on this our City by an act of dishonesty or cowardice. We will fight for the ideals and Sacred Things of the City both alone and with many. We will revere and obey the City’s laws and will do our best to incite a like reverence and respect in those above us who are prone to annul them or set them at naught. We will strive unceasingly to quicken the public’s sense of civic duty. Thus, in all ways, we will transmit this City not only, not less, but greater and more beautiful than it was transmitted back to us.” The National League of Cities publishes the oath and says it “was recited by the citizens of Athens, Greece, over 2,000 years ago. It is frequently referenced by civic leaders in modern times as a timeless code of civic responsibility.”

(The Bruce blog is written and edited by Bruce B. Brugmann, editor at large of the San Francisco Bay Guardian. He is the former editor and co-founder and co-publisher of the Guardian with his wife Jean Dibble, 1966-2012. He can be reached at Bruoe@sfbg.com)

Losing our religion: The Lost Church says farewell — for now

Steven T. Jones

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May 28, 2014

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Losing our religion: The Lost Church says farewell — for now

With all the tears shed and (Internet) ink spilled bemoaning the death of the Mission District at the hands of the tech bubble, it’s easy to forget lately that there actually are still artists here. There are people who give a shit about community here — even people who’ve dedicated their lives to building it.

Brett and Elizabeth Cline, who own the homey, intimate, lovingly decorated, and lovingly weird music venue/performance space The Lost Church, are two of those people. The couple (a longtime stage tech veteran and seamstress, respectively, who also play in the band Juanita and the Rabbit together) live behind the space, so it really makes perfect sense that it feels like someone’s very cool living room — a living room where Jonathan Richman and Sonny Smith sometimes drop by to play shows, and cheeky, demon- and Rolling Stones-inspired musical theater takes over at Christmas.)

Long story short: The place, housed in a delightfully unusual and storied David Ireland-designed building featuring windows intended for moon-viewing, is a gem. And now it’s trying to go legit. After a series of benefit shows starting tonight [Wed/28] through Saturday the 31st, the venue will close for renevations to expand the performance area and current 50-person, folding chair seating space into an additional 600 square feet on the building’s ground floor. The goal is to add an ADA-approved bathroom and entrance, as well as a kitchen for food service and an official ABC license, so, you know, that cold beer in your hand as you watch the sweetest, funkiest multi-media folk/punk/theatrical act you’ve ever seen will also be legit.

No official word on how long the venue will be closed, but the Clines are asking for any help they can get — ahem, passing the hat, if you will. You don’t even have to put on your Sunday best.

Chiu mailer highlights Guardian praise, despite our Campos endorsement

Sasha Cuttler

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May 28, 2014

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Chiu mailer highlights Guardian praise, despite our Campos endorsement

Politics is dirty business, and I should never underestimate the willingness of politicians to turn any editorial praise they receive into an electoral advantage, distorting the context as needed, a lesson that I was reminded of this week.

Several Guardian readers have called me this week to complain about a mailer dropped on voters by the David Chiu for Assembly campaign, which includes long quotes from Chiu’s endorsements by the San Francisco Chronicle and Bay Area Reporter, as well as positive quotes from the Bay Guardian and San Francisco Examiner.

Although neither the Guardian nor the Examiner has endorsed Chiu — we enthusiastically endorsed David Campos in that race, while the Examiner is waiting until the fall rematch to do endorsements — our readers said the flyer left the impression that we had.

Chiu campaign spokesperson Nicole Derse disputes that view. “It definitely did not leave that impression,” she told me. “We were very clear about who has endorsed.” She said the Examiner and Guardian were included because “it’s important to highlight objective sources like newspapers.”

The Guardian quote was from a July 23, 2013 blog post in which I indeed wrote, “It is Chiu and his bustling office of top aides that have done most of the heavy legislation lifting this year, finding compromise solutions to some of the most vexing issues facing the city.”

It was certainly true at the time, although I received a lot criticism for what I wrote from the progressive community, which pointed out how Chiu had maneuvered himself into the swing vote position on key issues such as condo conversions and CEQA reform. And the compromises Chiu forged actually allowed fiscal conservatives to erode San Francisco’s standing as a progessive city while burgeoning his own political resume.

So I ran another blog post to air those concerns, and then we ran a hybrid of the two in the next week’s paper that closes with this line, “In the end, Chiu can be seen as an effective legislator, a centrist compromiser, or both. Perspective is everything in politics.” BTW, in that original post, I also noted that the Airbnb legislation Chiu was working on should challenge his political skills and reputation, and indeed it took many more months to introduce and has been met by a storm of criticism, becoming the marquee political fight of the summer at City Hall.

After that first post, I also heard from Campos and his supporters predicting that the Chiu campaign would use my well-meaning praise to convey support from the Guardian in a misleading way, a prophecy that has now proven prescient.

But I also think that Campos has done a good job at undermining Chiu’s greatest strength in this election, that of being an effective legislator, by hammering on the reality that things have gotten worse for the average San Francisco because Chiu and his allies have been most effective on behalf of the tech companies, landlords, and other rich and powerful interests that are undermining the city’s diversity, affordability, and progressive values.

“Effective for whom? That’s what’s important,” Campos told us during his endorsement interview, noting that, “Most people in San Francisco have been left behind and out of that prosperity.”

Chiu’s campaign counters by overtly and in whisper campaigns saying that progressives can’t be effective in Sacramento, blatantly overlooking the fact that the incumbent he’s running to replace, Tom Ammiano, has been both a consistent, trustworthy progressive, and an effective legislator who has gotten more bills signed than most of his colleagues, even as he takes on tough issues like reforms to Prop. 13 and prison conditions.

And Ammiano hasn’t just said good things about David Campos, his chosen successor — Ammiano has actually endorsed Campos.

T bagged

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May 28, 2014

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marke@sfbg.com

SUPER EGO A few weeks ago, Heklina, lippy doyenne of uproariously venerable, 20-year-old drag hole Trannyshack, contacted me. She had an idea about writing an op-ed for the Guardian about why she was changing the name of Trannyshack — “possibly to T-Shack, in response to the growing controversy over the word ‘tranny.'”

“What a great move,” I thought at the time. “Tranny” in San Francisco has almost always meant “over-the-top drag queen” — mostly due to Heklina’s party. Yet as trans issues begin to get more attention in the mainstream (and Heklina’s party continues to grow as a global brand), a lot of people’s first encounter with the word outside the Bay Area is as an insult to transgender people, a word slung hatefully by right-wing press and pundits, calling up images of hypersexualized monstrosities. By “rebranding,” Heklina was respecting trans people’s real-world experience, while also — brilliant marketing move here — throwing open her barn doors to a new generation of clubgoers whom the T word makes queasy.

“That’s one canny tranny,” I thought.

Well, we never figured out the timing of the op-ed, so it didn’t happen. But the minute Heklina posted the change last week, the Internet exploded. Or rather, the gay, white, somewhat well-to-do male Internet exploded. (“How dare people less powerful than we are make us change one word of our vocabulary out of respect!” they typed, all-caps. How quickly we forget.) And then the trans Internet exploded back, revealing a dazzling diversity of opinion on the topic, but generally agreeing that gay, white, somewhat well-to-do men don’t really have a horse in the race, so kindly join the fight for tolerance or STFU.

I’m just fine with dropping “tranny” to make people feel a little safer. Yes, I enjoy deliciously offensive things as much as the next whatever-I-am. But I don’t believe there’s any such thing as “the word police” (though I can imagine the fabulous uniform) — and if someone asks me to stop saying something because they’re scared, then OK. Anyone who knows how language works knows “tranny” will reappear ironically in a couple years, hopefully when this country has made incredibly necessary advances in its consideration of gender identity.

And the controversy over “tranny,” which was stoked by various insensitivities on RuPaul’s Drag Race and the disappointing attitudes of gay men who seem to be using their newfound powers of assimilation to try to silence their sisters, brothers, and others has hit a peak. Heklina and T-Shack are all over the news. That T really was canny! Anyway, for the record, T-Shack already officially rebranded long ago, when it started throwing Lady Gaga tribute nights, imo. Can we all shut up and dance now?

UNTOLD

The fantastically deep (yet somehow bubbly) UK bass kid and Hemlock label honcho is sure to pack them into the tiny new Mercer with his new live A/V show.

Thu/29, 9pm-2am, $16.50 advance. Mercer, 255 Rhode Island, SF. www.mercer-sf.com

ANIMAL COLLECTIVE

Following a fine format of indie bands who DJ on the side (why not, it’s cheaper than making a new record), the Beach Boys of our age bring “sonic free form electronic horror gospel hip hop soul pop madness” to 1015. I’m down.

Fri/30, 10pm, $25. 1015 Folsom, SF. www.1015.com

DIRECT TO EARTH

One of SF’s raddest roving crews touches down at F8 for some banging techno bliss. Berlin’s Mike Dehnert debuts his raw and dirty sound, backed up by SF all-stars Jason Kendig, David Javate, Bells and Whistles, and more.

Fri/30, 8pm-4am, $12–$20. F8, 1192 Folsom, SF. mikedehnert.eventbrite.com

LAST NITE

Nostalgia for the ’90s is for old people. The great Last Nite parties have already upped the party ante by retro-izing 2000s indie, now they’re going for 2000s hip-hop. Strap on your Neptunes and get ready to ghost ride that whip.

Fri/30, 9pm, $5 before 11pm, $10 after. Slate, 2925 16th St., SF. www.facebook.com/lastnite00s

DUBFIRE

The prolific Iranian American’s career is a master class in how to achieve popular success while remaining true to your underground roots (a lesson that bears a lot of repeating lately). Slightly trance-y techno that often drops into deep house bliss is on the menu.

Fri/30, 9:30pm, $25. Audio, 316 11th St., SF. www.audiosf.com

GLAMAMORE’S NUTZ!

One of our most revered drag queens is insane. Or is she? (She is.) Join her and the wildest crew of SF characters you’ve seen since last week, as she turns the Powerhouse into her personal playpen. Her fellow nuts will be falling out all over the place. With DJs John F*cking Cartwright and Hoku Mama Swamp

Sat/31, 9pm, $5. Powerhouse, 1347 Folsom, SF. www.powerhousebar.com

MAXXI SOUNDSYSTEM

The flamboyant UK producer makes lovely, too-catchy tech house hits that occasionally morph into soul-stirring dance floor anthems. At the Lights Down Low party with Sleazemore, Split, and Shiny Objects.

Sat/31, 10pm-3am, $10–$20. Monarch, 101 Sixth St., SF. www.monarchsf.com

In my room

Steven T. Jones

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May 28, 2014

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esilvers@sfbg.com

LEFT OF THE DIAL Regardless of San Franciscans’ often myopic focus on the tech-employed recent college grads who can afford the million-dollar condos on the market in the Mission, a much larger percentage of 20-somethings in this country will relate to the housing situation that shaped Maryam Qudus (aka Doe Eye)’s first full-length LP: The dreaded move back in with your parents in the ‘burbs.

“There were so many transitions going on while I was writing this record, that was the mode I was in,” says Qudus, 23, the Union City-born-and-raised daughter of Afghani immigrants. It’s the week before her first headlining show at Great American Music Hall [Thu/29], and she and her band are winding their way through the Midwest on a brief national jaunt; she’s calling from Oklahoma City. “I’d moved to Boston [to attend the prestigious Berklee College of Music], then moved back to San Francisco less than a year later to pursue music here. And when I decided I wanted to make a record, the way to do that financially was to move back home.”

If it felt like a stumble, that’s likely only in contrast to what had been up until that point a charmed music business debut: Doe Eye made an impressive entrance in 2011, when her four-song demo — in particular the ballad “I Hate You,” which highlighted her incredibly rich voice — earned the attention of DJs at Live 105 the week she released it. It also caught the ear of the godfather of young Bay Area singer-songwriters, John Vanderslice, who produced her second official EP, 2012’s Hotel Fire, on which the young singer got support from the Magik*Magik Orchestra.

Still, when it came time to focus on her first full-length record, living at her parents’ house, Qudus found herself in a weirdly liminal state. “Going back to the bedroom you had in high school is a very weird thing,” she says with a laugh. “It feels like you’re backtracking in some ways, but in other ways, it made me appreciate how supportive and awesome my parents are…which I definitely wasn’t thinking in high school.”

The result of her pseudo-adolescent regression is T E L E V I S I O N, featuring a more complex, full-bodied sound than her previous records have displayed, with Qudus’s raw, honest words and guitar-driven indie-rock sensibility seemingly filtered through layers of electronica, some New Wave and R&B moments; an industrial-lite kind of mood sets the base for her unmistakably strong (and getting stronger) vocals. If these songs feel distant, mediated at points, there’s a reason: The record takes its name from the activity the songwriter realized helped her unwind and turn her brain off after a day of sequestering herself inside her childhood home to write.

“I was dealing with various personal issues, and I would spend hours in my bedroom writing, and after a while when it became too much, I started turning on the TV to get away from it all,” says Qudus. “And I got into that pattern, which [I’d never done] before, and I started thinking about how people across America do this every day: Go to work all day at their job, come home and go ‘OK, I’m gonna watch Mad Men, or Conan, and try to forget everything that just happened.'”

Unsurprisingly, given the past few years of her career, the record (again, produced by John Vanderslice at Tiny Telephone) doesn’t exactly sound like an artist’s debut. That being the case, it’ll be interesting to hear what the next few years bring for Doe Eye. Qudus isn’t thinking too far beyond the First City Festival in Monterey in August, though. Beyond that, she has one main project: getting her own place in San Francisco again.

DOE EYE
With DRMS, The She’s
8pm, $13
Great American Music Hall
859 O’Farrell, SF
www.gamhtickets.com

I promise it was unintentional to pair these two together in this fashion, but hey, speaking of good things that come from being holed up in one’s room: Life Among the Savages, the sixth studio album from Papercuts (the creative outlet of longtime San Francisco songwriter-producer Jason Quever) and his first for the LA-based Easy Sound label, is a testament to the good that can come from staying home.

That is, of course, if you have a home studio like Quever’s, Pan American Recording, where he’s produced Cass McCombs, Beach House, and Casiotone for the Painfully Alone, among others. It’s also where, most recently, Quever produced perhaps his cleanest, most sophisticated, most lush Papercuts record yet — full of a warmly melancholy ebb and flow that matches Quever’s cathartic, introvert’s tell-all style of writing. The atmospheric indie-dream-folk band has always been primarily a conduit for his songwriting; on this record perhaps more than others, you can hear the solitude in which it was conjured. (He’ll debut songs from the album, out May 13, at The Chapel this Sat/31).

“I think I did about 75 percent of the work here [at home], and yeah, it’s fair to say this one is pretty much all me,” says Quever, though he thanks friend and Beach House guitarist/keyboardist Alex Scally for having shaped some of his arrangements, like the urgent (Quever says “stabby”) strings that open the album’s title track.

“I also had some lyric help from my friend [songwriter] Donovan Quinn on one song. But other than that, I would say it was a lot of being inside my own self-hating brain,” Quever says cheerfully. “I’m working on it. But hey, it gets results.”

It’s a record two years in the making, during which time Quever left Sub Pop for Easy Sound (“They don’t have a huge roster, so you’re not going to get lost in the sea of bands the way you can with a bigger label”), placing Papercuts alongside sonic bedfellows like Vetiver. He also wrote a lot of music that he wound up scrapping.

“A lot definitely got dropped, but to me, what you’d drop is part of what you keep, if that makes sense,” he says. “It’s always moving toward something.” Papercuts songs are short stories and, contrary to what Quever calls most music critics’ impression of him, they’re not all autobiographical. He says he’s not, in fact, incredibly depressed all the time. (To be fair: Part of the oft-repeated Papercuts bio is that Quever started writing music after his parents both died when he was a teenager; there’s more than a little real trauma behind his trauma-swollen lyrics.)

On the other hand, “I’m pretty normal,” he says. “This is my outlet for all the negativity. That’s what catharsis is, right? You throw all your crap into this song and it feels good; I think that’s kind of a tennis match that’s in everyone’s head.” On this record, that catharsis is most interesting when playing with contrasts: On “Family Portrait,” things turn downright upbeat, with Quever gauzily channeling The Byrds (or maybe Ray Davies on Vicodin) through jangly guitar, while his lyrics still speak, poetically, of a vague fear, solitude, and uncertainty — tinged with hope, to be sure. The chemistry is born of the balance.

“I never want it to be all heavy or all light,” he says. “I think you naturally go through phases in writing, and that’s fine. The main thing with taking longer to make this record was I wanted songs where I felt proud of the lyrics.

“That way you’re not up there, you know, mumbling certain parts ’cause you feel dumb.”

PAPERCUTS
With Fool’s Gold, Line & Circle
9pm, $15-$17
The Chapel
777 Valencia, SF
www.thechapelsf.com

Stage Listings: May 28-June 3, 2014

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May 28, 2014

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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

Devil Boys From Beyond New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Wed/28-Fri/30, 8pm. Opens Sat/31, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Buddy Thomas and Kenneth Elliot’s campy sci-fi saga.

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Previews Thu/29-Fri/30, June 5-6, and 12-13, 8pm; Sat/31 and June 7, 8:30pm. Opens June 14, 8:30pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through July 12. Dan Hoyle presents his latest solo show, about the search for real-world connections in a tech-crazed world.

Homo File CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $20-35. Opens Fri/30, 8pm. Runs Fri-Sat, 8pm; Sun, 7pm. Through June 15. Eye Zen and CounterPULSE present Seth Eisen’s interdisciplinary performance about queer author and tattoo artist Sam Steward.

Macbeth Fort Point (beneath the Golden Gate Bridge), SF; www.weplayers.org. $30-75. Previews Fri/30-Sun/1, 7pm. Opens Thu/5, 7pm. Runs Thu-Sun, 7pm. Through June 29. We Players performs the Shakespeare classic at the historic fortress at Fort Point.

“Savage in Limbo” Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $25. Previews Thu/29, 8pm. Opens Fri/30, 8pm. Runs Sat/31, Sun/1, June 3-6, 8pm (also Sun/1, 2pm); June 7, 2pm. Through June 7. Rabbit Hole Theater Company performs John Patrick Shanley’s Bronx-set drama.

Triassic Parq Eureka Theater, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Previews Thu/29, 8pm. Opens Fri/30, 8pm. Runs Wed-Sat, 8pm (also June 21 and 28, 2pm). Through June 28. Ray of Light Theatre presents the Bay Area premiere of Marshall Pailet’s musical involving “dinosaurs, show tunes, and sex changes.”

Walk Like A Man Costume Shop, 1117 Market, SF; www.therhino.org. $15-35. Previews Wed/28-Fri/30, 8pm. Opens Sat/31, 8pm. Runs Wed-Sat, 8pm; Sun, 3pm. Through June 15. Theatre Rhinoceros performs Laurinda D. Brown’s dramedy centered around issues in the African American lesbian community.

ONGOING

Chasing Mehserle Z Space, 450 Florida, SF; theintersection.org/chasing-mehserle. $15-25. Thu/29-Sat/31, 8pm. Intersection for the Arts, Campo Santo, and the Living Word Project present Chinaka Hodge’s performance piece about Oakland in the aftermath of the Oscar Grant killing.

The Crucible Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $10-35. Thu-Sat, 8pm; Sun, 7pm. Through June 15. Custom Made Theatre Co. performs Arthur Miller’s drama.

Dracula Shelton Theater, 533 Sutter, SF; sfdracula.blogspot.com. $35. Thu/29-Sat/31, 8pm. Kellerson Productions presents a new adaptation of the Bram Stoker classic.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat-Sun, 5pm. Extended through July 13. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Homosexuals New Conservatory Theatre Center, Decker Theatre, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Philip Dawkins’ play about a young man struggling with his identity amid a new group of friends.

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $20-100. Fri/30, 8pm; Sat/31, 8:30pm. Award-winning solo theater artist Marga Gomez brings her hit comedy back for a limited run before taking it to New York in June.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Extended through June 28. Five years ago, Thrillpeddlers breathed new life into a glitter-dusted piece of Sixties flotsam, beautifully reimagining the Cockettes’ raunchy mock-operetta Pearls Over Shanghai (in collaboration with several surviving members of San Francisco’s storied acid-drag troupe) and running it for a whopping 22 months. Written by Cockette Link Martin as a carefree interpretation of a 1926 Broadway play, the baldly stereotyped Shanghai Gesture, it was the perfectly lurid vehicle for irreverence in all directions. It’s back in this revival, once again helmed by artistic director Russell Blackwood with musical direction by Cockette and local favorite Scrumbly Koldewyn. But despite the frisson of featuring some original-original cast members — including “Sweet Pam” Tent (who with Koldewyn also contributes some new dialogue) and Rumi Missabu (regally reprising the role of Madam Gin Sling) — there’s less fire the second time around as the production straddles the line between carefully slick and appropriately sloppy. Nevertheless, there are some fine musical numbers and moments throughout. Among these, Zelda Koznofsky, Birdie-Bob Watt, and Jesse Cortez consistently hit high notes as the singing Andrews Sisters-like trio of Americans thrown into white slavery; Bonni Suval’s Lottie Wu is a fierce vixen; and Noah Haydon (as the sultry Petrushka) is a class act. Koldewyn’s musical direction and piano accompaniment, meanwhile, provide strong and sure momentum as well as exquisite atmosphere. (Avila)

Seminar San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $20-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/1 and June 8, 2pm. Through June 14. San Francisco Playhouse performs Theresa Rebeck’s biting comedy.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $65-100 (gambling chips, $7-10 extra; after-hours admission, $10). Wed-Sat, 7:30, 7:40, 7:50, 8pm, and 9pm admittance times. Extended through June 21. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

36 Stories by Sam Shepard Z Below, 470 Florida, SF; www.36stories.org. $35-55. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through June 22. Word for Word performs director Amy Kossow’s original adaptation of Shepard’s poetry and fiction.

BAY AREA

Candida Town Hall Theatre, 3535 School, Lafayette; www.townhalltheatre.com. $20-32. Fri-Sat and June 12, 8pm; Sun, 2pm. Through June 14. Town Hall Theatre performs the Shaw classic.

The Color Purple Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-38. Thu/29-Sat/31, 8pm; Sun/1, 2pm. Hillbarn Theatre closes its 73rd season with the musical adaptation of Alice Walker’s classic novel.

The Crazed Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through June 23. Central Works performs Sally Dawidoff’s play, based on Ha Jin’s novel about coming of age in Communist China.

Daylighting: The Berkeley Stories Project Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Previews Wed/28-Thu/29, 7pm. Opens Fri/30, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (June 22, show at 2pm). Through June 22. Shotgun Players present Dan Wolf’s new play inspired by real-life tales from Berkeley residents past and present.

“Fringe of Marin” Angelico Concert Hall, Dominican University, 20 Olive, San Rafael; www.fringeofmarin.com. $10-20. Schedule varies. Through Sun/1. Fringe of Marin celebrates its 33rd season with 11 original one-act plays presented in two programs.

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-89. Tue, Thu-Sat, 7:30pm (also Thu/29, June 26, and all Saturdays in June, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 29. Berkeley Rep performs the West Coast premiere of Tony Kushner’s latest play.

The Letters Harry’s UpStage, Aurora Theatre Company, 2081 Addison, Berk; www.auroratheatre.org. $28-32. Wed-Sat, 8pm; Sun, 2pm. Extended through June 8. American playwright John W. Lowell’s The Letters harkens back to Stalinist days and some unspecified ministry, where a dutiful staff goes about censoring the personal and openly homoerotic correspondence of an iconic Russian composer (Tchaikovsky). Directed by Mark Jackson for Aurora Theater’s new upstairs black box, the two-hander unfolds in the small but tidy and dignified office belonging to the ministry’s director (an imposing Michael Ray Wisely). He has summoned one of his employees, a widow named Anna (a taut Beth Wilmurt), for reasons not immediately clear to her or us. A careful dance around a minefield of protocol, sexual innuendo, and hidden agendas ensues, as a dangerous and deadly scandal surrounding the aforementioned letters makes itself felt. Given the Ukraine crisis, the ramping up of Cold War II, and Russia’s increasing authoritarianism — including its new law against homosexual “propagandizing” in the cultural realm, and a Ministry of Culture vowing to withhold funding from art lacking in “spiritual or moral content” — it’s all a remarkably timely little time warp. And Lowell’s story is cleverly crafted for the most part. Unfortunately, the production’s two capable actors have a hard time conveying a lifelike (if however strained) relationship or the perspiration-inducing tension the drama purports to carry. At the same time, the drama’s dialogue, at least as played here, can stretch the bounds of verisimilitude by veering from flinty, cagey ducks and jabs to outright insubordination, sarcasm, and ineffectual blustering — the latter outbursts seeming to leave the pressure pot of the Great Terror far behind. It’s still a long way from Tom and Jerry, but as a cat and mouse game the stakes, and the arc of the story, feel more fantastical then pressingly contemporary. (Avila)

Mutt: Let’s All Talk About Race La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm; Sun, 7pm. Through June 8. Impact Theatre and Ferocious Lotus Theatre Company present the world premiere of Christopher Chen’s political satire.

Nantucket Marsh Berkeley MainStage, 2120 Allston, Berk; www.themarsh.org. $25-100 (all tickets include a picnic dinner). Thu and Sat, 7pm. Through June 14. Acclaimed solo performer Mark Kenward presents his “haunting yet hilarious” autobiographical show about growing up on Nantucket.

Not a Genuine Black Man Osher Studio, 2055 Center, Berk; www.berkeleyrep.org. $30-45. Thu/29-Sat/31, 8pm. Brian Copeland brings his acclaimed, long-running solo show to Berkeley Rep for a 10th anniversary limited run.

Other Desert Cities Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $10-26. Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through June 15. Ross Valley Players perform Jon Robin Baitz’s Pultizer-nominated drama about a tense family holiday.

South Pacific Cushing Memorial Amphitheater, 801 Panoramic Hwy, Mill Valley; www.mountainplay.org. $20-60. Sun and June 7, 2pm (arrive one hour prior to showtime). Through June 15. Mountain Play Association performs the classic Rodgers and Hammerstein musical.

The 25th Annual Putnam County Spelling Bee Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.centerrep.org. $37-65. Wed, 7:30pm; Thu-Sat, 8pm (also Saturdays in June, 2:30pm); Sun, 2:30pm. Through June 21. Center REP performs the Tony-winning musical by William Finn and Rachel Sheinkin.

PERFORMANCE/DANCE

“Alaska is a Drag” Intersection for the Arts, 925 Mission, SF; www.theintersection.org. Wed/28, 7pm. $5-15. The Big Table Read hosts this staged reading of Shaz Bennett’s screenplay.

“The Amazing Acro-Cats” Fort Mason Center, Southside Theater, Marina at Laguna, SF; www.circuscats.com. Thu/29-Sat/31, 8:30pm; Sun/1, 2 and 5pm. $24. Samantha Martin and her performing cat troupe, including “the only cat band in existence” (with a chicken on tambourine), take the stage. As its press release insists, “Yes, this is real!”

“Auto(SOMA)tic: Creative Responses to the SOMA” Arc Studio and Gallery, 1246 Folsom, SF; www.kearnystreet.org. Sat/31, 10am and 2pm. $30. Kearny Street Workshop and Shaping San Francisco present Allan S. Manalo’s interactive performance bus tour.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. June 17, 22, 29, July 12, 19, and 27, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Dash: Improv in a Flash” Un-Scripted Theater Company, 533 Sutter, Second Flr, SF; www.un-scripted.com. Sat, 10pm. $15. Ongoing through Aug 30. A late-night, free-form improv show with Un-Scripted Theater Company.

“Dogeaters” ACT’s Costume Shop, 1119 Market, SF; www.magictheatre.org. Mon/2, 7pm. Free. Magic Theatre’s 2014 Martha Heasley Cox Virgin Play Series presents this staged reading of Jessica Hagedorn’s satirical soap opera.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/28, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: “Michael Feinstein with Paula West, in Celebration of Feinstein’s at the Nikko’s One-Year Anniversary,” Sun/1, 7pm, $80.

“Gender Assimilation: A Rebuttal” Stage Werx, 446 Valencia, SF; www.theygobythey.com. Thu/29, 7:30pm. $10. Jaq Victor performs a cheeky coming-out tale as part of the United States of Asian America Festival.

“Hysteria” Dance Mission Theater, 3316 24th St, SF; www.dancemission.org. Fri/30-Sat/31, 8pm; Sun/1, 7pm. $20. BodiGram takes on Dissociative Identity Disorder in this satirical performance work.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Mais Oui” 2946 Third St, SF; www.sanfranciscobicycleballet.org. Sat/41, 6:45-10m. $8. The San Francisco Bicycle Ballet performs.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. $12. Ongoing. A new, completely improvised show every week.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. $5-10. “New Talent Show,” Wed-Thu, 7. Ongoing. “The Cellar Dwellers,” stand-up comedy, Wed-Thu, 8:15pm and Fri-Sat, 7:30pm. Ongoing.

“Spring: Water Ritual” Yerba Buena Center for the Arts, Grand Lobby, 701 Mission, SF; www.ybca.org. Sat/31, 1-2:30pm. Free. Artist Dohee Lee performs a celebration of “the regenerative power of the ocean.”

“Threepenny Opera” Phoenix Annex Theater, 414 Mason, Ste 406, SF; www.waffleopera.com. Sat/31, 7:30pm; Sun/1, 2pm. $15-25. Waffle Opera performs the Weill and Brecht classic.

“Walking Distance Dance Festival — SF” ODC Theater, 3153 17th St, SF; www.odcdance.org. Fri/30-Sat/31, 7:30pm (also Sat/31, 3, 4, 6, and 9:30pm). $25 (festival pass, $65). ODC Theater’s fringe-style fest presents samplings of contemporary dance from around the world.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Free. Through Oct 26. This week: Will Magid Trio, Wed/29, 12:30-1:30pm; Ensemble Mik Nawooj, Sat/31, 1-2:30pm.

BAY AREA

“After Juliet” Flight Deck, 1540 Broadway, Oakl; www.grittycityrep.org. Thu/29-Sat/31, 8pm; Sun/1, 2pm; June 8, 2 and 8pm. $5-25. Gritty City Repertory Youth Theatre performs Sharman Macdonald’s drama.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“The Expulsion of Malcolm X” Laney College Theater, 900 Fallon, Oakl; www.brownpapertickets.com. Thu/29-Sat/31, 7:30pm (also Sat/31, 2:30pm). $30-40. A play exploring the rocky relationship between Malcolm X and Elijah Muhammad.

Risa Jaroslow and Dancers, Peiling Kao Shawl-Anderson Dance Center, 2704 Alcatraz, Berk; www.brownpapertickets.com. Fri/30-Sat/31, 8pm; Sun/1, 4pm. $15-18. The choreographers present What’s the Upshot and Ludic Numerologies.

“34th Annual Planetary Dance” Santos Meadow, Mt. Tamalpais State Park, Mill Valley; www.planetarydance.org. Sun/1, 11am. Free. This year’s theme of Anna Halprin’s annual participatory performance is “Remember the Children.” *

Cash backwards

Erica Hanna

-

May 28, 2014

36

news@sfbg.com

San Francisco is moving into the heart of city budget season, with the Board of Supervisors Budget and Finance Committee holding detailed budget hearings over the next month to modify the $5.9 billion budget that Mayor Ed Lee introduced on May 1. Lee’s budget had a $66.7 million shortfall in the General Fund for the coming year, which he needs to close with a revised budget by June 1, as well as a $133.4 million budget hole the following fiscal year.

We at the Bay Guardian are here to help, because this is a mismanaged city that has some severely misplaced fiscal priorities right now. Although San Francisco’s booming economy means this will be a far less painful budget season than previous years, the city still has a structural budget deficit and lingering damage from the administration of Gavin Newsom, who slashed services and raised a variety of fees to address big budget deficits without raising taxes.

The moment is now, when we have more revenues than expected — and more money than we’re likely to have again for awhile given boom-bust business cycles and our over-dependence on the volatile tech sector — to finally create a city budget that sees to the needs of all San Franciscans.

WHAT WE SHOULD BE FUNDING

Medical Examiner’s Office Families now have to wait at least six months to find out how their loved ones died in San Francisco, which is new, preventable, and unacceptable. Short staffing and slow turnaround times have led the National Association of Medical Examiners to downgrade this office’s accreditation from “full” to “provisional.” The city budget should provide the staffing needed to process autopsies and medical reports as quickly as the examiners and laboratories can perform them and help give grieving families the closure they’re being denied for budgetary reasons.

Infographic: Click here for the full page inforaphic (also in this week’s print edition) of Cash backwards.

Public health In a recently issued report, nurses at San Francisco General Hospital represented by SEIU Local 1021 publicly warned of dangerously low staffing levels. “Our patients frequently do not receive the level of care required by state law, hospital policies, or modern safety standards,” they wrote. The concerns are especially worrisome in the Emergency Department, where core staffing of 22 nurses per shift dropped to 17 in recent months, or sometimes down to 11. “As a result, an average of 11 the Emergency Room’s 26 beds are closed while the Hospital goes on diversion,” turning away ambulances. “Over the year, our trauma center, SFGH, uses 3 percent more beds than budgeted—which indicates a dangerous lack of ‘surge capacity’ to absorb extra patients in the event of a natural disaster.” The report noted that vacant positions are technically budgeted in, but lingered filled.

911 dispatchers California law mandates that 90 percent of 911 calls be answered in 10 seconds or less; in San Francisco, that number often drops to 60 percent or lower. In early April, 911 dispatchers gathered at the city’s Department of Emergency Management to say that chronic understaffing is forcing dispatchers to put distressed San Franciscans on hold, or to force new callers to wait longer than 10 seconds before answering. “When a mother calls 911 because her baby isn’t breathing, 10 seconds matter. San Francisco 911 dispatch department is understaffed and needs to be improved,” say dispatcher Sean Dryden, calling for the city to put more resources into the system.

Activating surplus property Last week, the California State Assembly passed legislation that would give affordable housing developers the right of first refusal for “surplus” lands owned by local governments, thereby strengthening an existing priority for use. San Francisco has at least 42 surplus properties that could conceivably be converted into affordable housing projects, if resources were dedicated toward facilitating such partnerships and prioritizing this important need. “There is very little land available for affordable housing development,” says Assemblymember Phil Ting, who authored the legislation, which is now headed to the Senate for final approval. “These precious properties should become homes for working people.”

Homeless services In the past 10 years, San Francisco has lost about one-third of its homeless shelter beds, while about half of the city’s drop-in center capacity was also slashed, longtime advocate Jennifer Friedenbach, director of the Coalition on Homelessness, told us in a recent interview (see “San Francisco’s Untouchables,” March 24, 2014). The city can and should do more to provide a safety net for those in the precarious position of sleeping on the streets. And on a related note, city contracts for providing short-term stabilization beds for the homeless should not be awarded to slumlords who have been cited so many times for Health Code violations that they’re being sued by the City Attorney’s Office. Surely city agencies can find landlords who don’t endanger their tenants’ health and wellbeing through chronic neglect of their properties.

Pedestrian safety San Francisco spends $15 million annually on pedestrian injuries, according to the Department of Public Health, and 20 pedestrians were killed by vehicles on the streets of San Francisco in 2013 (including 6-year-old Sofia Liu on New Year’s Eve). Investments in safe streets for pedestrians saves the city money, and saves lives — but all of that counts on making the right investments. WalkFirst, the city’s pedestrian safety program, identified San Francisco’s most dangerous intersections, main in the Tenderloin and downtown, where there is a crucial need for safety modifications. Though the mayor pledged $50 million over five years to improve those intersections, that money depends on November transit ballot measures (including the vehicle license fee increase he’s now waffling on even placing on the ballot). If they fail, only $17 million will be available for pedestrian safety work. But even that amount barely scratches the surface: WalkFirst identified $240 million worth of street improvements needed to make San Francisco safe for walking.

Bike infrastructure The city has made strides in recent years to build out its bike infrastructure, but it still has miles of roadway left unsafe for bicyclists. The city identified many intersections and roadways in need of better bike infrastructure in its 2009 Bicycle Plan. Five years later, many of the identified “near term” projects still need big improvements: the Broadway tunnel; Golden Gate Avenue and Turk corridors; Division and 13th Street corridors; and “The Hairball” between Cesar Chavez and Potrero. Some of these improvements would cost the city $1 million or more, but others would cost as little as $100,000. Even the low-cost bike improvements languished since 2009, a clear failure.

A higher minimum wage In 2012, when San Francisco’s minimum wage was $10.24 per hour and rents were lower than they are today, the Department of Public Health published a map showing how many minimum-wage jobs a toiling soul would have to work in order to afford a market-rate two-bedroom apartment in a given neighborhood. To live in SoMa? 7.4 jobs. The Sunset? 3.8 jobs. The Mayor’s Office opposes increasing the city’s minimum wage to $15 on the grounds that it would increase the costs of city contracts with nonprofit organizations to provide various city services. It’s bad enough that the city has privatized essential public services, but to make the argument that the workers who provide these services aren’t even entitled to a living wage is obscene.

Crucial infrastructure The San Francisco Public Utilities Commission is desperately trying to come up with $625 million to replace 19-mile-long Mountain Tunnel, a critical conduit for city water from Hetch Hetchy that is in danger of imminent collapse, which would be devastating to residents of San Francisco and other Bay Area jurisdictions that rely on it. And that just one of many items on the long list of capital improvement projects — from failing sewer lines near our bayfront to overdue transportation infrastructure improvements — that get funded each year based on politically influenced budget decisions rather than what the city actually needs to be functional and forward-thinking.

Affordable housing When voters approved creation of the Affordable Housing Trust Fund in 2012, Mayor Lee and his allies in the business and development communities congratulated themselves on finally addressing affordable housing. The only problem was the city contribution of $20 million per year, eventually rising to $50 million annually, was a drop in the bucket compared to the actual need for subsidized housing construction. The city’s Housing Element calls for 60 percent of new housing to be below market rate to meet the needs of city resident, yet less than 20 percent of housing in the pipeline is affordable. Even the mayor’s grand promise to have a third of new housing built by 2020 be affordable turned out to be a lie, with the San Francisco Public Press recently reporting that he’s counting rehabilitation of existing public housing units. Sup. John Avalos is now working on devoting more city funding in this budget to affordable housing and we hope the full board supports his efforts.

MISSPENT PUBLIC DOLLARS

Business tax cuts The Mid-Market Tax Exclusion Zone — more commonly known as the Twitter tax break after the company whose threat to leave the city extorted millions of dollars from city coffers — is just one of series of business tax breaks aimed at the booming technology industry by Mayor Ed Lee and his allies. Not only did they also get stock options excluded from taxation (repealing a law signed by tech-friendly ex-Mayor Gavin Newsom), but they also subtly crafted 2012’s Proposition B, the complicated business tax reform measure approved by voters, to give the tech sector a substantial tax cut with little public discussion about that provision.

Central Subway We at the Bay Guardian are huge fans of public transit, and we generally believe this is all money well spent. That said, the Central Subway is a costly boondoggle whose false promises and high cost per rider we’ll all be covering for years to come. That money could have been better on a variety of other transit projects that would improve service to Chinatown and other hard to access parts of the city. And the cost overruns in the project — which have been hidden from public view by sneaky and unethical according tricks, as the SF Weekly reported this spring — are likely to continuing sapping resources from Muni and the SFMTA for a generation to come.

Repeal of Sunday metering It made no sense for Mayor Ed Lee to insist that the SFMTA repeal having to pay for parking meters on Sunday, a program that the agency found was causing more turnover and thus more parking availability and less traffic congestion in busy commercial corridors. Drivers, businesses, and Muni riders all benefited from the paid meters. That repeal will cost taxpayers about $11 million per year while transit riders are paying Muni fares that are being increased to $2.25 and the SFMTA is claiming to have no money to provide free transit service to senior and those with disabilities. This decision amounted to a $11 million annual expenditure with negative environmental impacts that were never studied — a violation of the California Environmental Quality Act, as the Board of Supervisors should rule when they hear that appeal this summer. This is money that could be better spent.

Nonprofit Inc. The city spends millions of dollars every year on hundreds of contracts with nonprofit organizations, much of which goes to politically connected groups in a sort of political patronage system. For example, Randy Shaw and his Tenderloin Housing Clinic have dozens of contracts with the city to perform a variety of services, all while he writes glowing puff pieces on Mayor Lee for his Beyond Chron blog. Shaw even recently got a $20,000 city contract to help find tenants for commercial spaces in the Tenderloin — as if that’s actually a problem in a booming city with an overheating economy. The city’s contracts should be thoroughly reviewed by an independent party — in addition to the Board of Supervisors — to weed out the political patronage.

Promoting tourism San Francisco takes in almost $300 million per year on its transient occupancy tax, then it turns around and spends a significant portion of that promoting tourism by funding the San Francisco Travel Association (including its high-paid President Joe D’Alessandro), the Moscone Convention Center and its current expansion plans, and a variety of other tourism outreach efforts. The private sector that receives the biggest benefits from tourism (tourists spend $25 million a day in the city, according to the SFTA) should be funding more of the city’s tourist promotion and the hotel taxes should be treated as a general revenue source to improve Muni, roads, and other services that tourists also use.

Subsidies for automobiles Even in this transit-first city, where the SFMTA claims to be trying to reduce the percentage of total trips taken by car from about 60 percent now down to 50 percent, city policies subsidize automobiles (as well as the Google buses and other private shuttles). Drivers get free parking on public streets throughout the city, particularly on the west side. Most housing development projects are still required to provide on-site parking, which increases the cost of housing even for residents who don’t drive, despite some early progressive reforms that try to de-link parking from housing. And motorists contribute far more than other residents to wear-and-tear on our roads, adding to the Department of Public Works budget — with the very worst offender being those massive Google buses, whose impacts on the city budget are far more than the $1 per stop they’re now paying. There are tricky legal restrictions around making drivers pay for their impacts, but there are ways of doing so if the political will is there.

Hiring bad construction contractors According to an audit published by the City Controller’s Office, San Francisco has budgeted more than $25 billion for its capital improvement plan in the next 10 years — but doesn’t bother to check whether a contractor has done a good job in the past before passing out lucrative contracts. “City departments do not adequately assess contractor performance and do not consider past performance in the construction contract award process,” the audit found. “Although 70 percent of surveyed city construction staff have at least occasionally encountered city contractors that they considered poor performers, the City’s Administrative Code does not require departments to assess the performance of construction contractors, and past performance is not considered.” The result? “Project delays, substandard work, and higher likelihood of claims and litigation.” Oh, and that great flushing sound as tax dollars are whooshed away.

Subsidizing events for the wealthy Can anyone fathom why San Francisco used taxpayer dollars to fund Oracle CEO Larry Ellison’s super-rich boy America’s Cup last year? Ellison pulled in a $96.2 million salary in 2012, and is worth billions. Yet Mayor Lee put up general fund money to the tune of $20 million for the billionaire’s yacht race, according to a report by the city’s Budget and Legislative Analyst. What was the city supposed to get out of it? A major tax revenue windfall, for starters, but that turned out to be a myth. San Francisco lost $6 million in general funds, and Larry Ellison won the cup, and our money. City taxpayers also subsidize the symphony, the opera, blue-blood gatherings in City Hall, and other events their wealthy attendees should be paying for themselves.

Treasure Island San Francisco purchased contaminated Treasure Island for $105 million in 2009, spent millions more on planning and contracting work to prepare for private developers to build about 6,000 homes on the island, agreed to stake an additional $700 million in bond money against future property taxes, and then basically gave the whole thing away to politically connected developers to build up the island with towers that will rise up 60 stories, developer who will take their customary 15-20 percent profits on what they put into the deal. All of this on a island that current climate change projections show will be underwater by the end of the century, requiring acres of landfill and buffering against the elements to avoid this fate, even though San Francisco is under state mandate to remove bay fill and live in more harmony with the natural world. Is this really a good idea? Rainy day fund Why is the Mayor’s Office proposing to stick $125 million into the Budget Stabilization Fund, aka the Rainy Day Fund, when city’s Affordable Housing Trust Fund is falling woefully short of building the below-market-rate housing that San Franciscans right now. With this city displacing its more diverse populations and becoming steadily more affluent, which will forever change its socioeconomic and political dynamics, it’s raining now — raining the will of the wealthy, a downpour that is flooding the rest of us out of the city of St. Francis.

Agnos offers waterfront development history lesson during SFT speech

Sasha Cuttler

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May 27, 2014

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Agnos offers waterfront development history lesson during SFT speech

[Editor’s Note: This is the text of a speech that former Mayor Art Agnos gave at San Francisco Tomorrow’s annual dinner on May 21. We reprint it here in its entirely so readers can hear directly what Agnos has been saying on the campaign trail in support of Prop. B]

I am delighted to speak to the members and friends of SFT about the waterfront tonight…and a special shout out to Jane Morrison as one of the pioneer professional women in the media and one of the finest Social Service Commissioners in our City’s history.

I also welcome the opportunity to join you in honoring tonight’s unsung heroes: Becky Evans, with whom I have worked closely over the past year and half; Tim Redmond, the conscience of the progressive community for the past 35 years; and Sara Shortt and Tommi Avicolli Mecca from the Housing Rights Committee, who stand up every day for poor and working people who need a voice in our city.

Twenty-four years ago, in 1990, I made one of the best decisions of my mayoralty when I listened to the progressive environmental voice of San Francisco and ordered the demolition of the Embarcadero Freeway. That freeway was not only a hideous blight but also a wall that separated the city from its waterfront.

Hard to believe today, but it was a very controversial decision back then. Just three years before, in 1987, the voters had defeated a proposal by Mayor Feinstein to demolish it. The Loma Prieta Earthquake gave us a chance to reconsider that idea in 1990.

Despite opposition of 22,000 signatures on a petition to retrofit the damaged freeway, combined with intense lobbying from the downtown business community led by the Chamber of Commerce, North Beach, Fisherman’s Wharf, and especially Chinatown, we convinced the Board of Supervisors to adopt our plan to demolish the freeway, by one vote.

And the rest is history — until today.

After a period of superb improvements — that include a restored Ferry Building, the ball park, two new public piers where one can walk further out into the bay than ever before in the history of this city, the Exploratorium, the soon to be opened Jim Herman Cruise Ship Terminal, Brannan Wharf Park — there is a new threat.

Private development plans that threaten to change the environment of what Herb Caen first called “our newest precious place,” not with an ugly concrete freeway wall, but with steel and glass high-rises that are twice as tall. Today, the availability of huge amounts of developer financing, combined with unprecedented influence in City Hall and the oversight bodies of this city, the waterfront has become the new gold coast of San Francisco.

Politically connected developers seek to exploit magnificent public space with high-rise, high profit developments that shut out the ordinary San Franciscan from our newest precious place. We love this city because it is a place where all of us have a claim to the best of it, no matter what our income, no matter that we are renter or homeowner, no matter what part of the city we come from.

And connected to that is the belief that waterfront public land is for all of us, not just those with the biggest bank account or most political influence. That was driven home in a recent call I had from a San Franciscan who complained about the high cost of housing for home ownership or rent, the high cost of Muni, museum admissions, even Golden Gate Bridge tours, and on and on.

When he finished with his list, I reminded him I was mayor 23 years ago and that there had been four mayors since me, so why was he complaining to me? “Because you are the only one I can reach!” he said.

Over the past few weeks, that message has stuck with me. And I finally realized why. This is what many people in our city have been seeking, someone who will listen and understand. Someone who will listen, understands, and acts to protect our newest precious place, our restored waterfront.

You see, it was not just about luxury high-rise condos at 8 Washington last year. It was not just a monstrous basketball arena on Pier 30-32 with luxury high-rise condos and a hotel across the street on public land. It’s about the whole waterfront that belongs to the people of San Francisco, all seven and a half miles of it, from the Hyde Street Piers to India Basin. And it must be protected from the land use mistakes that can become irrevocable.

This is not new to our time: 8 Washington and the Warriors arena were not the first horrendous proposals, they were only the latest. Huge, out of scale, enormously profitable projects, fueled by exuberant boosterism from the Chamber of Commerce, have always surfaced on our waterfront.

Fifty years ago, my mentor in politics, then-Supervisor Leo McCarthy said, “We must prevent a wall of high rise apartment along the waterfront, and we must stop the filling in of the SF bay as a part of a program to retain the things that have made this city attractive.”

That was 1964. In 2014, former Board of Supervisors President Aaron Peskin said it best this way: “It seems like every 10 years, every generation has to stand up to some huge development that promises untold riches as it seeks to exploit the waterfront and our public access to it.”

Public awareness first started with the construction of the 18 stories of Fontana towers east and west in 1963. That motivated then-Assemblyman Casper Weinberger to lead public opposition and demand the first height limits, as well as put a stop to five more Fontana-style buildings on the next block at Ghirardelli Square. This was the same Casper Weinberger who went on to become Secretary of HEW [formerly the Department of Health, Education, and Welfare] and Secretary of Defense under President Ronald Reagan.

In 1970, the Port Commission proposed to rip out the then “rotting piers” of Piers 1 – 7 just north of the Ferry Building. They were to be replaced with 40 acres of fill (three times the size of Union Square) upon which a 1200-room hotel and a 2400 car garage would be built.

It passed easily through Planning and the Board of Supervisors. When the proposal was rejected on 22 to 1 vote by BCDC [the San Francisco Bay Conservation and Development Commission], Mayor Alioto complained, “We just embalmed the rotting piers.”

No, we didn’t, we saved them for the right project. And if one goes there today, they see it, the largest surviving renovated piers complex with restaurants, walk-in cafes, Port offices, free public docking space, water taxis, and complete public access front and back. In 2002, that entire project was placed on the U.S. National Historic Register.

But my favorite outrageous proposal from that time was plan to demolish another set of “rotting piers” from the Ferry Building south to the Bay Bridge. And in place of those rotting piers, the plans called for more landfill to create a Ford dealership car lot with ,5000 cars as well as a new shopping center. That too was stopped.

So now it’s our turn to make sure that we stop these all too frequent threats to the access and viability of our waterfront. In the past two weeks, we have seen momentum grow to support locating the George Lucas Museum on Piers 30-32 or the sea wall across the Embarcadero.

I love the idea, but where would we be with that one if a small band of waterfront neighbors and the Sierra Club had not had the courage to stand up to the Warriors and City Hall two years ago. Once again, they used the all too familiar refrain of “rotting piers” as an impending catastrophe at Piers 30-32.

Proposition B will help prevent mistakes before they happen. Most of all, Prop. B will ensure protection of the Port on a more permanent basis by requiring a public vote on any increases to current height limits on Port property. All of the current planning approval processes will stay in place — Port Commission, Planning Commission, Board of Permit Appeals, Board of Supervisors, all will continue to do what they have always done.

But if a waiver of current height limits along the waterfront is granted by any of those political bodies, it must be affirmed by a vote of the people. Prop B does not say Yes or No, it says Choice. It is that simple. The people of SF will make the final choice on height limit increases on Port property.

The idea of putting voters in charge of final approval is not new. In the past, the people of San Francisco have voted for initiatives to approve a Children’s budget, a Library budget, retaining neighborhood fire stations, minimum police staffing, as well as to require public authorization for new runway bay fill at our airport. And at the Port itself, there have been approximately 18 ballot measures to make land use and policy decisions.

So we are not talking about ballot box planning, we are talking about ballot box approval for waivers of existing height limits on public property. Opponents like Building Trades Council, Board of Realtors, and Chamber of Commerce are raising alarms that we will lose environment protections like CEQA by creating loopholes for developers. Astonishing!

Prop B is sponsored by the Sierra Club. Tonight we honor Becky Evans of the Sierra Club who sponsored Proposition B. That same set of opponents are joined by city bureaucrats issuing “doomsday” reports stating that we will lose thousands of units of middle class housing, billions of dollars in Port revenues, elimination of parks and open space on the waterfront. Astonishing!

These are the same bureaucrats who issued glowing reports a couple of years ago that the America’s Cup would mean billions in revenue for the Port and the city. And they wanted to give Oracle’s Larry Ellison 66-year leases to develop on five of our Port piers for that benefit! Now, how did THAT work out? So far, City Hall will admit to $11 million in known losses for the taxpayers. Another opponent, SPUR [San Francisco Planning and Urban Research Association], says any kind of housing will make a difference and there are thousands in the pipeline, so don’t worry. Astonishing!

We have not seen one stick of low income or affordable housing proposed on the waterfront since the ‘80s and ‘90s when Mayor Feinstein and I used waterfront land for that very purpose. Hundreds of low-income housing dwellings like Delancey Street and Steamboat Point Apartments, affordable and middle class housing like South Beach Marina apartments and Bayside village, comprise an oasis of diversity and affordable housing in the midst of ultra expensive condos.

For me, that was part of an inaugural promise made in January 1988. I said, “At the heart of our vision is a refusal to let San Francisco become an expensive enclave that locks out the middle class, working families, and the poor. At the center of our strategy is a belief in the basic right of people to decent jobs and housing.”

Yes, that was the commitment on public land on the waterfront by two mayors of a recent era, but not today. Indeed, San Francisco has been rated the #1 least affordable city in America, including NY Manhattan. That is one of the many reasons we see middle class people, as well as working poor, being forced to leave San Francisco for Oakland and elsewhere in the Bay Area.

That reality was reinforced in the February 10, 2014 issue of Time Magazine. Mayor Lee said, “I don’t think we paid any attention to the middle class. I think everybody assumed the middle class was moving out.”

Today, an individual or family earning up to $120,000 per year — 150 percent of the median in this city — does not qualify for mortgage and can’t afford the rent in one of the thousands of new housing units opening in the city. The Chronicle reported a couple of weeks ago that a working family of three who have lived in a rent-controlled studio apartment in the Mission was offered $50,000 to leave.

That is what the purely developer-driven housing market offers. And that philosophy is reinforced by a Planning Commission whose chair was quoted in December 2013 issue of SF Magazine saying, “Mansions are just as important as housing.”

Prop B changes that dynamic by putting the citizen in the room with the “pay to play” power brokers. That is what it is all about my friends: Power.

Former SF city planning director and UC School of City Planning Professor Alan Jacobs recently related what he called the Jacobs Truism of land economics: “Where political discretion is involved in land use decisions, the side that wins is the side with the most power. And that side is the side with the most money.”

Prop B will ensure that if developers are going to spend a lot of money to get a height waiver on Port property, the best place to spend it will be to involve, inform, and engage the citizen as to the merit of their request, not on the politicians. Today that power to decide is in a room in City Hall. I know that room. I have been in that room.

You know who is there? It is the lobbyists, the land use lawyers, the construction union representatives, the departmental directors, and other politicians. You know who is not in the room? You. The hope is that someone in that room remembers you.

But if you really want your voice to be heard, you have to go to some departmental hearing or the Board of Supervisors, wait for three or four hours for your turn, and then get two minutes to make your case. Prop B changes that dynamic and puts you in the room that matters. No more “advisory committees” that get indulged and brushed off. No more “community outreach” that is ignored.

It will all matter. That is why today there is no opposition from any waterfront developer. They get it. We are going to win. It is easy to see how the prospect of Prop B on the ballot this June has changed the dynamics of high-rise development along the waterfront.

The Warriors have left and purchased a better location on private land in Mission Bay. The Giants have publicly announced that they will revise their plans with an eye to more appropriate height limits on Port land. Forest City is moving with a ballot proposal to use Pier 70 to build new buildings of nine stories, the same height as one of current historic buildings they will preserve on that site for artists.

The Pier 70 project will include 30 percent low-income, affordable and middle class housing on site, along with low-tech industries, office space, and a waterfront promenade that stretches along the entire shoreline boundary. A good project that offers what the city needs will win an increase in height limits because it works for everybody. A bad one will not.

My friends, I have completed my elected public service career. There will be no more elections for me. And as I review my 40 years in public life, I am convinced of one fundamental truth: The power of the people should, and must, determine what kind of a city this will be.

It must not be left to a high-tech billionaire political network that wants to control City Hall to fulfill their vision of who can live here and where. It starts with you, the people of this city’s neighborhoods, empowered to participate in the decisions that affect our future. You are the ones who must be vigilant and keep faith with values that make this city great.

This city is stronger when we open our arms to all who want to be a part of it, to live and work in it, to be who they want to be, with whomever they want to be it with. Our dreams for this city are more powerful when they can be shared by all of us in our time.

WE are the ones, here and now, who can create the climate to advance the San Francisco dream to the next generation. And the next opportunity to do that will be election day June 3.

Thank you.