Treasure Island

New Zealand’s Cup

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news@sfbg.com

A few weeks ago I was walking down the dock in the marina where I live, in Wellington, New Zealand, when I passed a woman and a young boy. I’d never seen them before, which is uncommon here in this municipal marina — about 100 boats — in a small suburb of the country’s capital.

The boy was walking from berth to berth pointing out certain rig and hull features and expounding on them as only a future aficionado can. “Lots of different boats, huh?” I asked as I passed.

“Different than America,” he confirmed in an accent the same as mine.

The kid is sharp, I thought, or maybe it’s just obvious, even to an eight-year-old from Chicago. The New Zealand sailing scene is vastly different than its American counterpart, which is not to say there’s no comparing — they’re not exactly navigating carved logs with gunnysack sails down here.

But the boats in my marina are, in fact, mostly homebuilt from steel, cement, aluminum, and wood. They appear a motley crew compared to the cookie-cutter production fiberglass Beneteaus, Catalinas, and Hunters, with their identical pacific blue sail covers lined up in San Francisco’s South Beach Marina.

In New Zealand, a boat is rarely a status symbol — it’s part of the middle-class way of life, the home base for holidays and weekend fishing trips and lots and lots of competitive racing. If I’ve noticed one thing since I arrived in this country (aboard a sailboat, after leaving San Francisco and my job as a Bay Guardian staff writer), it’s that every little harbor town has a yacht club and an awful lot of Kiwis own boats — and they sail the shit out of them.

Which is part of the reason why the New Zealand government is willing to invest NZ$36 million (US$27 million) to compete in the 34th America’s Cup against some of the richest men in the world in a race that has become so elite there’s barely any competition.

Small as the field is, Emirates Team New Zealand (ETNZ) is quickly shaping up to be the team to beat if you’re on a high-speed, air-catching AC72 catamaran. If they succeed, it will show that developing an America’s Cup team doesn’t have to come from having deep pockets in your Nantucket Red pants — it comes from having the sport ingrained in your culture, filtered through affordable local boat clubs, city-run facilities, volunteer programs, publicly accessible shorefronts, and an innovative marine industry.

In fact, without New Zealand’s maritime way of life, Larry Ellison wouldn’t have much of a team: of the 27 sailors and management crew aboard Oracle, a third are Kiwis. Another third are Australians. If you count Ellison, there are only three Americans aboard. Just one of them — tactician and grinder John Kostecki — grew up sailing on San Francisco Bay.

Ellison’s boat is mostly a Kiwi production, too — the fixed-wing sails and structural components for Oracle’s two AC72s were made in New Zealand, as were the boats, sails, and rigs for ETNZ and Luna Rossa. The only other syndicate competing, Sweden’s Artemis, in the wind since the death of crewmember Andrew Simpson, is the outlier, but they still have eight New Zealanders on board.

America’s Cup is looking more and more like it owes a lot to New Zealand. Is the Cup doing as much for San Francisco as it is for this little island nation, with a population just a tenth of California’s?

“If it wasn’t called Team New Zealand, we wouldn’t get a lot out of it,” says Sven Pannell, a competitive dinghy racer and employee of the economic development agency Grow Wellington. “The numbers of boat builders, carbon fabricators, sail makers, yacht designers coming out of New Zealand are the reason we’re still at the top of the global game. If we can bring the Cup home that means a lot for our country.”

It may also save America’s Cup from becoming even more out of touch with reality.

 

IT’S THE CULTURE, STUPID

It’s June 8, summer in San Francisco but winter in Wellington. The first race of the 2013 Winter Series at Evans Bay Boat Club hits hypothermic seas beneath steely overcast skies and 20-30 knots of wind — “perfect conditions,” one sailor enthuses. Tame, actually, for Wellington. A week ago, wind blew out the fifth story windows of a building downtown.

Sven Pannell has just finished racing a 12-foot skiff, a super lightweight, often homebuilt boat that probably originated in Australia and is almost exclusively raced in the Southern Hemisphere, though an 18-foot version will be showcased in San Francisco this September alongside the America’s Cup finals. Weighing about 100 pounds, with no class restrictions on sail area, they rooster-tail around Wellington harbor, bow high, barely in the water. They seem to require a similar caliber of nerve as the AC72s.

Which Pannell, who won today, evidently has. He grew up sailing as a kid, as did his crew, Craig Anderson. Neither of them can think of anyone who didn’t get into sailing as a child.

“A lot of people around the world think yachting is a well-heeled sport, but not in New Zealand,” he says. “There’s a reason that half those [America’s Cup] boats are full of Kiwis and Aussies. Go out and see the number of eight-year-olds in Optis in all kinds of weather here. A high number of people sailing at that age creates a deep pool of sailors in demand.”

“America’s Cup is about stretching the limits, but it starts here, when you’re eight years old,” he adds.

Eager to get out of the icy Antarctic wind, I enter the boat club where about 35 people are gathered at the bar, buzzing from adrenalin, barefoot and wet from spray or capsizes, gripping ginger beers and green bottles of Steinlager, the Budweiser of New Zealand. It’s a humble looking crowd — no flash gear or cashmere.

I’m introduced to Mike Rhodes, 26, wearing a blue sweatshirt and camo pants. He’d love to race an America’s Cup boat, but he also satisfies himself with a 12-foot skiff, which he stripped and rebuilt, fashioning the stainless steel fittings himself — he’s a sheet metal worker.

“New Zealand sailing is all about learning and moving forward,” he says. “The boats we’re sailing are always changing. We have set rules for weight, width, and length. After that it’s wide open. You can put up as much rig as you can handle. We went out in 50 knots last weekend. It was insane. We probably had boat speeds of 30 knots.”

The speed and innovations are what appeal to Rhodes and also connect to the America’s Cup, which has been an historic proving ground for leaps forward in boat design. “Who thought New Zealand could make the boat fly first?” he says of ETNZ’s proficiency at foiling the AC72 — going so fast the hull actually lifts off the water.

We’re soon joined by Laura Hutton, a 30-year-old from Cape Cod. She’s raced dinghies, coached and taught sailing for years. Now a speech therapist, she moved to New Zealand three months ago and immediately hooked into the local yachting scene. It’s palpably different than what she’s used to in the States. Here, she says, “It’s a lot more laid back. It’s more inclusive than exclusive. I used to go to events at New York Yacht Club in Newport and I felt so uncomfortable there. It’s the most elite, snobby place.”

“You can’t get coaching in the US unless you’re part of a yacht club or go to a school with a racing team,” she adds, and there’s often a huge cost to enter the sport. “Here, I can join the local yacht club for $35 a month,” she deadpans.

I spend more money riding the bus, I tell her, but I wouldn’t in San Francisco, where it’s cheap to catch a bus but where most people rarely board boats.

The American yacht club tradition has a certain “if you have to ask how much it costs, you can’t afford it” attitude. Ellison is one of 300 members of Golden Gate Yacht Club, official host for the Cup. Its neighbor, St. Francis Yacht Club, 2,300 strong, also has a role in the festivities. Both are exclusive, members-only clubs and neither would tell me what their members pay for the club’s privileges.

However, they’re officially nonprofit organizations and filings with the IRS show St. Francis made nearly $13 million in 2011. Golden Gate Yacht Club took home $660,000 the same year. Ironically, both clubs are on public lands, leased from San Francisco’s Recreation and Parks Department for $231,125 and $64,000 annually respectively.

Both clubs run learn-to-sail programs for kids — $350 for St. Francis and $200 for GGYC — which seem affordable, but what’s the next step? Joining the club, but apparently it’s too rude to query the price.

By contrast, Wellington’s Evans Bay Boat Club charges NZ$281 (US$210) to join and Royal Port Nicholson Yacht Club, which is a sister club to St. Francis, costs NZ$160 (US $120). The Bay Area is lucky — Berkeley and Treasure Island both have affordable clubs, however one could argue that if St. Francis and GGYC are on public lands, they should be paying more in dues to the city.

If there’s a posh club in Auckland, it’s ETNZ’s home — the Royal New Zealand Yacht Squadron. “But it’s a Kiwi version of posh, nothing like some of the yacht clubs I have been to in places like England, where women aren’t allowed to order drinks at the bar,” says Ben Gladwell, a journalist for Boating New Zealand who will be racing an 18 foot skiff in San Francisco in a regatta concurrent with the Cup finals. “At the Squaddy, there are obviously rules, like no cell phones, and dress codes and such like, but the fees are still only a few hundred dollars per year and it is much more inclusive than other yacht clubs around the world.”

Gladwell explored the health of New Zealand’s sailing culture in a story called “State of the Racing Nation” for Boating New Zealand. He found that although there is a drop-off in interest during university years, many yacht clubs have created partnerships to keep kids in the sport, there are mobile learn-to-sail units roaming the country, and lots of accessible city-run programs for kids. Couple that with low lifetime fees to stay in the sport and you see healthy clubs like Evans Bay, where people of all ages are out racing every weekend, all year round.

“Having so many people involved in sailing is a major reason we are successful,” he says. “Children are introduced to it at such a young age…by the time they come to competing at youth international regattas, they are hugely experienced and winning becomes a habit.”

 

“AMERICA’S CUP IS NOW NEW ZEALAND’S CUP”

In 1995, when Black Magic smoked Dennis Connor’s Stars and Stripes in a five-race shut-out, commentator Peter Montgomery famously quipped “America’s Cup is now New Zealand’s cup,” a line that’s gone down in Kiwi history like the “I have a dream” speech.

For the first time, the Auld Mug would be defended in New Zealand. Back then, Auckland’s Viaduct Harbor probably looked a lot like parts of San Francisco’s waterfront does today — dilapidated piers and old industrial buildings crumbling on their pilings. It would cost of NZ$58 million (US$29 million at the time) to dredge the harbor and spruce up the waterfront for the Cup.

The city made its money back. Hosting for two years, in 2000 and 2003, brought NZ$1 billion (US$500 million, at the time) in economic benefits to the country, about 85 percent of that going to Auckland’s local businesses, mostly from visiting megayachts and the services required for the nine syndicates that competed — twice as many as are in San Francisco today.

And Auckland made a lot less than the US$900 million predicted for San Francisco, already trimmed from the US$1.4 billion initially estimated. What the city actually gains from the $22.5 million investment they’ve been forced to make remains to be seen. Meanwhile, Auckland continues to benefit from the race.

It’s been estimated that the four Cup contenders have collectively spent half a billion on their campaigns and a decent chunk of that has been in Auckland, particularly during the AC72 design, build, and testing phases. Already, taxes paid by ETNZ employees amount to NZ$22.4 million (US$16.5 million). That doesn’t include the employee payroll taxes of all the businesses doing Cup-related activity, like the boat builders, riggers, and sailmakers.

ETNZ CEO Grant Dalton has netted sponsorships from more than 100 companies and argues that the Cup efforts have kept many marine businesses afloat that would have otherwise shuttered. Kiwis have not been immune to the world financial situation: the high New Zealand dollar hurting exports and the NZ$30 billion (US$22.5 billion) price tag for the February 2011 Christchurch earthquake have stressed the country’s coffers.

Because of that, funding ETNZ has been as contentious here as hosting Ellison’s party has been to San Franciscans. The agreement was signed in 2007 by a Labour Party-led government and when National Party’s John Key won the Prime Minister’s seat in 2008, he looked into breaking the contract, a move supported by other parties. “Funding the America’s Cup is surely a ‘nice to have’, rather than essential spending, in the current economic climate,” said Green Party co-leader Metiria Turei at the time.

The government was advised they’d still be legally on the hook for the money if they broke the contract, so ETNZ proceeded, but proof of economic return was a contingency and Dalton has taken pains to keep the public good in the conversation, a sharp contrast to Ellison’s attitude toward San Francisco. Dalton has said if New Zealand wins, the world should expect a sharp scaling back of costs. “We stand for nationality rule and we stand for real budget numbers that real people can raise,” he has said.

There’s definitely a sense that this could be New Zealand’s last chance to bring the Auld Mug home. If they don’t, the America’s Cup also loses. Who else will save it from American-style exclusiveness?

Heads Up: 6 must-see concerts this week

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Not to give this family any more attention, but here I go. Are you aware of the fact that the Balloon Boy is now a long-hair tween, in a darker Hanson trio with his brothers, singing operatic heavy metal bits? It’s all here, in a Gawker long-read post. The article notes that the group (Heene Boyz) considers itself the “World’s Youngest Metal Band.” — don’t we have that already here in the Bay with our own Haunted by Heroes? Take that, Balloon Boy. (Whatever, technically they’re billed as “The World’s Youngest Rock Band.”)

But my real point is this: America, home of the free, free to whore oneself and one’s family out on reality TV, to sneak kids into homemade balloon UFOs, to shoot for fame from birth. Happy Fourth of July week, everyone. Celebrate it with the bedlam of Bob Log III, the annual Big Time Freedom Fest at El Rio or Fillmore Jazz Festival, dreamy R&B producer Giraffage, or, the snacktastic Burger Boogaloo fest with headliners Redd Kross, the Oblivians, the Trashwomen, and more! Paint your face red, white, and blue, stick a sparkler behind your ear, and rage out into the night, it’s what the founding fathers would have wanted.

Here are your must-see Bay Area concerts this week/end:

Bob Log III
What’s more US of A than a lone multi-instrumentalist on stage in a glittery bodysuit and microphone-affixed motorcycle helmet, looking like a futuristic Bowie-esque alien, and sounding like a punky blues madman, or a scrappier Bo Diddley meets the Coachwhips, on slide guitar. As the Kansas City Star puts it, “If he hired a drummer, ditched his helmet, and requested a standard swizzle stick to stir his scotch, Bob Log III would still draw an audience. His music is that entertaining.”
With The Okmoniks, Los Vincent Black Shadows (Mexico City).
Wed/3, 8:30pm, $15
Hemlock Tavern
1131 Polk, SF
www.hemlocktavern.com
http://www.youtube.com/watch?v=UQmX4LzaDDU

Big Time Freedom Fest
It’s back, El Rio’s annual Fourth of July patio party Big Time Freedom Fest is here again, and this time brings out the worthy local Black Sabbath tribute act that is Bobb Saggeth, fronted by wailing female powerhouse Meryl Press. The band isn’t nearly as active as I’d prefer, but always plays parties on Halloween and Fourth of July, usually at places like Thee Parkside, Hemlock Tavern, and yes, El Rio. Plus, newish local heavy-psych band Golden Void headlines the show, and Wild Eyes, Couches, and Upside Drown open. And it’s all on the back patio, so you can officially say you spent the holiday outdoors, (with your favorite local rock‘n’rollers).
Thu/4, 3:30pm, $8
El Rio
3158 Mission, SF
www.elriosf.com
http://www.youtube.com/watch?v=Ebe9BtnD6wQ
http://www.youtube.com/watch?v=BmXB7-plWrY

Giraffage
“San Francisco-based futuristic dream R&B producer Charlie Yin has made some big leaps in 2013, with a performance at SXSW along with upcoming gigs at Southern California’s Lightning in a Bottle festival and SF’s Treasure Island Music Festival. His new album Needs on Los Angeles label Alpha Pup Records is a thesis in music manipulation, a comprehensive counterargument to straightforward 4/4. Vocal samples are up-shifted in tempo to lend a playful mood. Tracks are sometimes dipped in sonic mud halfway through, decelerating to a crawl before jumping back to normal time. But Needs never feels jerky, which owes to Yin’s tight transitions and harmonious melodies throughout. The sensual, infectious, shifty third track “Money” sounds like it will be played in lounges in 2050.” — Kevin Lee
With Mister Lies, Bobby Browser
Thu/4, 9:30pm, $13–$15
Rickshaw Stop
155 Fell
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=6PVWP1Zrh4Q

Fillmore Jazz Festival
“Live jazz music, crafts, and gourmet food, all in one place (and most of it is free to check out). The Fillmore Jazz Festival is the largest of its kind on the West Coast, reportedly luring in a mind-blowing 100,000 visitors over the two-day event. Sultry local vocalist Kim Nalley will again bring her jazzy blues blend to the stage, as will instrumentalist-composer Peter Apfelbaum, Mara Hruby, John Santos Sextet, Beth Custer Ensemble, Crystal Money Hall, Bayonics, and Afrolicious, among many others.” — Hillary Smith
Sat/6-Sun/7, 10am-6pm, free
Fillmore Street between Jackson and Eddy, SF (800) 310-6563
www.fillmorejazzfestival.com
http://www.youtube.com/watch?v=5XRE8FSkxQg
http://www.youtube.com/watch?v=hall_F7pTbg

Woolfy
“I miss Kevin Meenan’s show listings at epicsauce.com. At one time it was a go-to for highlights of small shows going on in the city, filler free, and super reliable for finding a new act to see live. Meenan has since dropped the showlist (perhaps made redundant with the availability of social apps), but is still active with his regular event Push The Feeling. This edition features a DJ set by English born, LA musician, Simon ‘Woolfy’ James, whose eclectic and spacey post-punk dance sensibility first got my attention with the caressingly Balearic “Looking Glass” and the recent James Murphy-esque snappy cut on Permanent Release, ‘Junior’s Throwin’ Craze.’” — Ryan Prendiville
With Bruse (Live), YR SKULL, and epicsauce DJs
Sat/6, 9pm-2am, $6, free before 10 w/ RSVP
Underground SF
424 Haight, SF
www.undergroundsf.com
http://www.youtube.com/watch?v=R9WMPPiBimc

Burger Boogaloo
We blurbed this early: everyone is talking about the disparate headliners early LA punk band Redd Kross and Modern Lover/singer-songwriter Jonathan Richman — and rightfully so, they are incredible — but can we also take a minute to thank satan for the Trashwomen addition to the lineup? For those somehow unaware, the Trashwomen are Bay Area noisy surf-punk royalty, born of the ‘90s, and featuring Tina Lucchesi (of every band, ever), Danielle Pimm, and Elka Zolot (Kreayshawn’s hot mama). Check the paper this week for an interview with the Trashwomen. And check Mosswood Park for a sloppy soul dance party.
With the Zeroes, Oblivians, Fuzz, Mikal Cronin, Audacity, Guantanamo Baywatch, Mean Jeans, Pangea
Sat/6-Sun/7, noon-9pm, $25
Mosswood Park
3612 Webster, Oakl.
www.burgerboogaloo.com
http://www.youtube.com/watch?v=QP4hxwyWxHY
http://www.youtube.com/watch?v=eJx5c_cFq5o
http://www.youtube.com/watch?v=jI3XM-X72eQ

Community awaits benefits as Lennar finally breaks ground in Hunters Point

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More than five years after San Francisco voters approved a massive redevelopment plan for the Hunters Point Shipyard and much the southeast part of the city — giving Lennar Corp., the country’s biggest home builder, the largest tracts of open land in the city — that project is now finally, slowly, getting underway.

But activists who have been following the project say the city is getting played by Lennar because of an agreement that lacks performance standards and has allowed the company to drag its feet to maximize its profits despite an affordable housing crisis in the city. And some community members say Lennar hasn’t lived up to promises of jobs and other benefits.

“The modus operandi of Lennar is bait and switch and delay,” Saul Bloom of Arc Ecology, who consulted on this development deal for the Redevelopment Agency before his contract was dropped in 2010 after publicly raising concerns, told us. Bloom and his firm have decades of experience analyzing complex development deals, and he has been tracking Lennar’s pattern of behavior around the country. 

Bloom said that when Lennar cut its initial deals with then-Mayor Willie Brown and other local officials in 1997, the company said it needed no external financing and that it would build housing affordable to Hunters Point residents, including rentals. Since then, the deal has gotten steadily better for the company and worse for San Francisco, and the groundbreaking date has been repeatedly pushed back.

“The city was not smart enough to build in liquidated damage and a performance schedule and that kind of thing,” Bloom said. “Lennar tells them what they want and the city tends to roll over, and there’s been no pushback.”

When Lennar ended up needing financing after all, the project stood by while a $1.7 billion deal with the China Development Bank Corp. was structured in 2012. Despite Mayor Lee personally participating in the quest for capital in China alongside the developer, the deal quickly collapsed. It is yet to be seen how Lennar will satisfy its commitments in the Bayview and at its separate Treasure Island site since the plug was pulled on the loan deal.

Lennar Urban Director of Community Affairs Cheryl Smith referred our questions to communications consultant David Satterfield of G.F. Bunting, who said that he passed them on to Lennar officials and, “They don’t have anything to say.” The Mayor’s Office also has not responded to our request for comment on the issues that Bloom is raising.

With a weak agreement and a lack of political will to push the company to expedite construction of affordable housing, Bloom said Lennar has simply waited for housing prices to increase and for other developers to lead the way in gentrifying Bayview Hunters Point before moving forward on the nearly 1,400 acres of land it controls in San Francisco — an area equivalent in size to the Presidio.

“Their incentive is to wait for the property values to rise…Lennar understands how much this land is worth,” Bloom said. “What Lennar has done is crafted a strategically smart box that the city is in.”

Yet after years of delays, the project did officially get underway last week (Wed/27), with a well-attended hilltop ceremony.  Mayor Ed Lee, former Mayor Willie Brown, District 10 Sup. Malia Cohen, and Cohen’s predecessor, Sophie Maxwell, joined Lennar Urban President Kofi Bonner to speak at the long-anticipated event.

Lennar’s local subsidiary, Lennar Urban, unveiled a master plan to convert the land to a brand new mixed-use community. At the ceremony, Brown remarked that “there is no other piece of soil that is as lucrative” as the Bayview Hunters Point peninsula and that it promises to be the “ideal place to live.”

The Hunters Point Shipyard, occupies roughly 500 acres of southeastern San Francisco and when taken together with neighboring Candlestick Point and parts of Bayview, it is the largest single tract of land in San Francisco designated for redevelopment. The other big redevelopment site in the city, Treasure Island, is also controlled by Lennar and its partners.

A former naval base, the shipyard was transferred to the city in 2004. Most naval operations there had ceased in 1974 and commercial uses declined in the 20 years that followed, steadily displacing black workers employed on the premises.

Affordable housing and job creation for neighborhood locals were two major stipulations in the ballot measure San Francisco voters approved in 2008. The “Bayview Jobs, Parks, and Housing Initiative,” however, entrusted that goal fulfillment almost wholly to Lennar and Bloom now questions whether that trust was well placed.

Phase 1 of the project will consist of construction of 1,400 new residential units in the shipyard, approximately 30 percent of which will one day be affordable housing. But Bloom said that Lennar has delayed construction of the affordable units until after much of the more lucrative market rate housing is done.

At the event, Bonner enthusiastically outlined the goal of having 800 of 1,100 market rate homes in this first phase constructed and occupied within 36 months time and Mayor Lee opened his remarks with the celebratory chant “Welcome to The Bayview! We need housing for everybody!”

But Bloom said that the city is rapidly gentrifying as Lennar waits to meet its affordable housing obligations, noting that the city was 11 percent African-American when Lennar cuts its first deal to develop Hunters Point in 1997, and that population is now 4 percent and falling.

Reconstruction of the Alice Griffith Public Housing Project will help Lennar to satisfy its affordable housing quota. Announcements of these plans garnered large applause from community activists in attendance, though they are slated for the project’s second phase, which likely won’t begin for years.

“They could build all of Alice Griffith on Parcel A, but they’re not going to do it,” Bloom said. “When is this community going to get what was promised to them?”

A group of picketers from Aboriginal Blackman United (ABU) was contained by SFPD at the bottom of the hill during the afternoon’s proceedings. As black town cars chauffeured officials to the event site, the protesters’ cries were drowned out by the music of Miles Davis playing from stage speakers.

ABU was protesting non-inclusive hiring practices at the shipyard site. Members, who were outnumbered by police 2-to-1, argued that they were being wrongfully barred access to the ceremony above and by the event’s conclusion, they had been relocated from the main intersection at Innes Avenue and Donahue Street to a side access road.

Job creation was trumpeted generally in the afternoon’s speeches, with Sup. Cohen applauding the public-private partnership between Lennar and Bayview organizations and Mayor Lee praising the project for “honoring labor and honoring local residents.” However, ABU’s founder and president, James Richards, said “we’re not getting the jobs or the contracts that the community people are supposed to get and that’s why we’re out here.”

Though ABU wants to see local residents of color placed in many of the new positions opening up, workers in the community have only been promised good faith consideration rather than actual job guarantees by the San Francisco Building and Construction Trades Council, which is in charge of staffing the project. Attempts to reach Michael Theriault, Secretary-General of the Council, were unsuccessful.

Bloom said Lennar has insulated itself from community criticism with an agreement that promises money to community groups that refrain from publicly criticizing Lennar or the project. He said Lennar has followed a similar pattern here as it has elsewhere, using its clout and political contacts to get lucrative redevelopment deals, then using delay and bait-and-switch tactics to make those projects more lucrative. He cited Lennar’s Mare Island project, which is now in bankruptcy, and its massive Newhall Ranch project north of Los Angeles.

In that latter deal, the California Public Employees’ Retirement System lost the $970 million it paid Lennar in 2007 for part of its stake in Newhall Land Development Co., which went bankrupt when the housing market crashed the next year. But Lennar built in an option to reclaim the shares, which a bankruptcy judge allowed Lennar to do in 2009 for just $138 million.

Bloom said that deal is typical behavior for a manipulative company that has a history of acting contrary to the public interest, but in which local political officials have given tremendous control over the city’s future.

“We remain skeptical about their commitment to getting it done,” Bloom said of the affordable housing that Lennar has promised. “What we’d like to see is some real action on the promises that were made to the public.”

Selector: June 5-11, 2013

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WEDNESDAY 5

“New Filipino Cinema 2013”

Fourteen out of the 16 films screening at Joel Shepard and Philbert Ortiz Dy’s co-curated series are American premieres. Aside from being an impressive coup for the programmers, that statistic suggests we don’t get many Filipino movies stateside, despite the country’s thriving cinema industry. All the more reason to visit Yerba Buena Center for the Arts for “New Filipino Cinema 2013,” a five-day, 16-film showcase with several filmmakers appearing in person as well as a panel discussion puzzling over “What is New Filipino Cinema?” One highlight is sure to be the delightfully insane-sounding Tiktik: The Aswang Chronicles, Erik Matti’s horror-comedy about Philippine folklore’s favorite fetus-gobbling monster. (Cheryl Eddy)

Through Sun/9, $8–$10

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

 

Lenka

Here’s a sweet little slice of pop for your foggy SF summer. Lenka’s album Shadows, on her own Skipalong Records, is about as breezy as it gets, with the songwriter’s child-like whisper whipped into pleasant melodies rising over fiddle-de-dee beats and bells; they’re songs that have been described as modern lullabies for adults. But don’t let the lilting pop fool you, the Australian singer-songwriter (and wife of visual artist James Gulliver Hancock, who does much of her album artwork and stage design) has major creative chops, having worked as an actress by age 13 in her homeland, and in collaboration with Australian electronic group Decoder Ring on the soundtrack to ’04’ film Somersault. She’s released a couple of albums on Epic Records since a late aughts move to the US, and her newest, Shadows, drops this week. The song “Show” from her ’08 debut is likely her best known stateside, thanks to its brief appearance in commercials and family-friendly sitcoms. (Emily Savage)

With Satellite

9:30pm, $15

Café Du Nord

2170 Market, SF

www.cafedunord.com

 

Fossil Collective

Fossil Collective will not offer you a chance to let loose and dance. You may not even sing along with the band at its shows. But its performance doesn’t need any of that. The group is fond of making the type of music you simply love and truly appreciate. Reminiscent of Fleet Foxes, the angelic harmonies of Fossil Collective could take you to the heavens and back. All that finger-picking of the acoustic guitars alone is entrancing enough. “Only when the moon is bright enough/only when the stars are high enough,” croon the brothers in “Let it Go.” Well, the moon is bright enough with this band, and the stars are definitely high enough. The Leeds-based band opens tonight for the Boxer Rebellion. (Hillary Smith)

9pm, $21.50

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com


THURSDAY 6

Sam Amidon

He’s highly derivative; completely unoriginal; a thief. And he’s refreshing because of that. Growing up in Brattleboro, Vt., folk music surrounded Amidon and seeped into his psyche. As he wrote his new album, Bright Sunny South, songs from his youth resurfaced and he would build on or reshape them, The result feels so old and familiar that it’s uncannily thrilling, as if he has the ability to communicate with the ghosts of Irish traditional music, historical Appalachian tunes, and old New England melodies and beckon them into a living frenzy. Amidon fits more neatly into the folk revival than his peers; he has literally brought folk back to life. Come see his beautiful reincarnation at the Chapel. (Laura Kerry)

With Alessi’s Ark

9pm, $12

Chapel

777 Valencia, SF

(415) 551-5157

www.thechapelsf.com

 

Slough Feg

Once a constant presence on local stages, metal battlecruiser Slough Feg has been hiding in a nebula of late, awaiting the moment to strike. The time is now ripe; the band returns this week to the Eagle Tavern, also recently on hiatus. But though the historic SOMA leather bar has undergone a few renovations, expect no such changes from Slough Feg when it returns to the Eagle’s long-running Thursday Night Live series. The band’s inimitable sound continues to mix galloping classic metal with infectious melody; vocals by singer/guitarist Mike Scalzi veer from Sci-Fi to show tunes to philosophy and sometimes encompass all three at once. When he ducks offstage to change costumes, brace yourself for incoming fire. (Ben Richardson)

With Owl, Wounded Giant

9:30pm, $10

Eagle Tavern

398 12th St., SF

www.sf-eagle.com


FRIDAY 7

San Francisco Ethnic Dance Festival opening performance

You know it’s June when the SF Ethnic Dance Festival (by now just about the oldest event of its kind in the country) returns. Still, without a permanent, or at least a stable home, the Festival with its four weekends of 35 companies and over 500 performers, will perform where it is welcome: at YBCA, the Legion of Honor and closes with an artists’ discussion at the Museum of the African Diaspora. The opening performance by Ballet Folklórico Netzahualcoyotl (Mexico) and Fogo Na Roupa Performing Company (Brasil) will take place in the Rotunda of City Hall. What a great idea to have the seat of government be inundated by the sounds, sights, and sentiments of cultures that were alive and thriving before this city was even a speck on the map. (Rita Felciano)

Noon, free; additional performances, $18–$58

City Hall Rotunda, SF

(415) 978-2787

www.sfethnicdancefestival.org

 

Parquet Courts

The genre “Americana punk” doesn’t describe the music of Parquet Courts as much as it describes their story. The Texans relocated to Brooklyn a few years ago, and now that they’re in a jungle of a city, they’re going to do what they want. With songs off of Light Up Gold (2012) such as “Yr No Stoner,” “No Ideas,” and “Stoned and Starving,” the band projects the attitude of people whose greatest care is deciding between Swedish Fish or licorice. Any laziness in subject, though, is undermined by music that captures and emits real energy. Parquet Courts may be punkish, but they understand where they came from. And considering their weird and exciting breed of rock, we can’t wait to see where they’re going next. (Kerry)

With Cocktails, Pang

9pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

Raissa Simpson’s UNLOCK

Choreographer-dancer Raissa Simpson may best be recognized locally for her nuanced yet powerful performances with Robert Moses Kin and Zaccho Dance Theatre, and as the brain and heart behind the 3rd Street Youth Center and Clinic. For her own Push Dance Company, she has choreographed among others, the early, still eloquent solo Judgement in Milliseconds, the intimate site-specific Mixed Messages as well as an ambitious hip-hop opera, Black Swordsman Saga. For her present eighth season concert she chose a venue she knows inside out: Zaccho Dance Theatre’s recently refurbish performance space. The mixed evening’s focal point will be the premiere of UNLOCK, inspired by anthropologist-writer Zora Neale Hurston: it will be danced by Adriann Ramirez, Nafi Watson­Thompson, Arvejon Jones, Jhia Jackson, Elizabeth Sheets, and Katerina Wong. (Rita Felciano)

Through Sun/9, 8pm, $25

Zaccho Dance Theatre

1777 Yosemite, Suite 330, SF

push.eventbrite.com

 

Mark Farina and Roman Flügel (two sets each)

Sideshows can be sad at 1am. I once witnessed a DJ give up, outright get on the mic and tell us to pack into the main room to see the headliner, an uncomfortable situation on every level, and the difference between a party and a show. Here, Public Works is tricking out the conventional club hierarchy, with dual performances from two headliners, starting with a signature mushroom jazz set from Mark Farina in the loft and Roman Flügel housing the main room. At some point they’ll pull the old switcheroo, not just on the stages, but on genres, showcasing an entirely different sound — house and techno, respectively — from each. (Ryan Prendiville)

With Dax Lee, Duserock

9:30pm-3:30am, $20

Public Works

161 Erie St., SF

(415) 932-0955

www.publicsf.com


SATURDAY 8

“Plants from Outer Space”

How could the theme “Plants from Outer Space” steer you wrong? The San Francisco Succulent and Cactus Society’s annual show and sale is this weekend, and the theme is just that, with plant oddities from around the succulent world on full display. And if you’re picturing Seymour Krelborn squinting upwards after that Total Eclipse of Sun before noticing his own little leafy plant of horror, you’re also in my brain. More to reality however, the show will include California plant vendors with succulents, cacti, and the like, with society members of the nonprofit educational organization on hand to answer all your pertinent plant questions. (Savage)

Also Sun/9, 9am-5pm, free admission

San Francisco County Fair Building

1199 Ninth Ave., SF

www.sfsucculent.org

 

San Francisco Free Folk Festival

The San Francisco Folk Music Club is teeming with diehard folk fans who just might plague you with the same passion. Musicians and listeners alike will gather for the 36th time at this excitingly diverse event. Though large and busy, the festival offers an intimate experience with performers playing on three different stages. More than 20 folk groups will perform throughout the day from noon until 10pm, making this a must-see for Bay Area folk fans or people just looking for a fun, folky time. Some artists I recommend looking out for: Anne and Pete Sibley, Misisipi Mike Wolf, and the Easy Leaves. Just try leaving not a die-hard folk music fan; I dare you. (Smith)

Noon-10pm, free

Presidio Middle School

450 30th Ave., SF

www.sffolkfest.org


SUNDAY 9

Said the Whale

So, what did the whale say? The Canadian group Said the Whale may not have a straight answer to that, but it sure wouldn’t mind shooting the bull with you after the show anyways. On stage, it employs this same personable energy. Its upbeat attitude transforms into a deep appreciation of the depressing or fickle moments of life. It has a driving theme of nature in many songs, like in “Hurricane Ada” and “Seasons”. It’s not just the lyrics that reflect this theme though. Stomping, swaying, and thrashing around, the musicians of Said the Whale are all four seasons. Collected, they’re a hurricane. If you’re lucky enough, they’ll sweep you up with them. (Smith)

With Parson Red Heads and Desert Noises

Brick and Mortar Music Hall

10pm, $10

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com

 

Sunset Island

From boat parties in the bay (and Croatia!?) to a campout in Belden Town, Sunset Sound System is putting on bigger, bolder events than ever in 2013. But still, the one I look forward to the most is this “Electronic Music Picnic” on Treasure Island, which recalls both the crew’s name and its origins, dancing as the sun went down on the Berkeley Marina in 1994. The key word in this year’s lineup is “live,” featuring sets from the all hardware Detroit duo Octave One and vintage toned Chicago house veteran Tevo Howard, as well as the deep sounds of Midwestern DJ DVS1. (Prendiville)

With Galen, Solar, J-Bird

Noon-9pm, $10–$20

Great Lawn, Treasure Island

www.sunsetmusicelectric.com


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Heads Up: 8 must-see concerts this week

1

When does cute become cloying? Because this newly viral video of a baby playing along to the Beatles with his dad is seriously tickling me pink — it’s pretty damn adorable — but after watching it a dozen or so times, it’s left me longing for something noisy and gross, just to wash off the darlingness of it all.

And the best shows this week are something of demonstrative polar opposites as well. There’s sugary Australian pop act Lenka, and fellow Aussie post-punks Total Control, then global dream popsters Trails and Ways, and metal battlecruiser Slough Feg, Americana punks Parquet Courts, and the Sunset Island fest, known as the “electronic music picnic.” They are all in the mix.

Here are your must-see Bay Area concerts this week/end:

Lenka
Here’s a sweet little slice of pop for your foggy SF summer. Lenka’s newest album Shadows, on her own Skipalong Records, is about as breezy as it gets, with the songwriter’s child-like whisper whipped into pleasant melodies rising over fiddle-de-dee beats and bells; they’re songs that have been described as modern lullabies for adults. But don’t let the lilting pop fool you, the Australian singer-songwriter (and wife of visual artist James Gulliver Hancock, who does much of her album artwork and stage design) has major creative chops, having worked as an actress by age 13 in her homeland, and in collaboration with Australian electronic group Decoder Ring on the soundtrack to ’04’ film Somersault.
With Satellite
Wed/5, 9:30pm, $15
Café Du Nord
2170 Market, SF
www.cafedunord.com
http://www.youtube.com/watch?v=DW8rg6XeP3U

Slough Feg
“Once a constant presence on local stages, metal battlecruiser Slough Feg has been hiding in a nebula of late, awaiting the moment to strike. The time is now ripe; the band returns this week to the Eagle Tavern, also recently on hiatus. But though the historic SOMA leather bar has undergone a few renovations, expect no such changes from Slough Feg when it returns to the Eagle’s long-running Thursday Night Live series. The band’s inimitable sound continues to mix galloping classic metal with infectious melody; vocals by singer-guitarist Mike Scalzi veer from Sci-Fi to show tunes to philosophy and sometimes encompass all three at once. When he ducks offstage to change costumes, brace yourself for incoming fire.” — Ben Richardson
With Owl, Wounded Giant
Thu/6, 9:30pm, $10
Eagle Tavern
398 12th St., SF
www.sf-eagle.com
http://www.youtube.com/watch?v=vDgAAQBlANs

Permanent Ruin
Here’s another show at beloved taqueria, Casa Sanchez — is this becoming a thing now? That’s great — chips, salsa, and live punk bands. And Maximum Rocknroll is presenting this one, headlined by Permanent Ruin, a grinding Bay Area hardcore band that blasted out seven-inch Más Allá de la Muerte on Warthog Speak, earlier this spring, and has in the past opened for bands like Gehenna and Tragedy.
With True Mutants, Dead Pressure
Thu/6, 7pm, $5
Casa Sanchez
2778 24 St., SF
Facebook
http://www.youtube.com/watch?v=7ZT789KUPWE

Trails and Ways
The melodic Oakland quartet, which was named one of the Guardian’s Bands on the Rise earlier this year, will play its biggest headlining show yet this week. It’s part of its first full US (and Canadian) tour. All of this is in celebration of a record that’s been buzzed about since the first hints were dropped a year or so ago: the Trilingual EP is here.
With Social Studies, Astronauts Etc.
Fri/7, 9pm, $12,
Independent
628 Divisadero, SF
www.theindependentsf.com
http://www.youtube.com/watch?v=EbX0NaoAo8U

Parquet Courts
“The genre “Americana punk” doesn’t describe the music of Parquet Courts as much as it describes their story. The Texans relocated to Brooklyn a few years ago, and now that they’re in a jungle of a city, they’re going to do what they want. With songs off of Light Up Gold (2012) such as “Yr No Stoner,” “No Ideas,” and “Stoned and Starving,” the band projects the attitude of people whose greatest care is deciding between Swedish Fish or licorice. Any laziness in subject, though, is undermined by music that captures and emits real energy. Parquet Courts may be punkish, but they understand where they came from. And considering their weird and exciting breed of rock, we can’t wait to see where they’re going next.” — Laura Kerry
With Cocktails, Pang
Fri/7, 9pm, $12
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com
http://www.youtube.com/watch?v=iWAdh4YIpd8

Total Control
If you somehow missed killer 2012 LP Henge Beat, Total Control is an Australian punk supergroup of sorts, featuring members of Eddy Current Suppression Ring, UV Race, and more. The band, which recently put out a split with Thee Oh Sees, sounds like a mix of Suicide and Joy Division, with lyrics aimed at sci-fi curiosities and paranoid guitar lines doused in just the right amount of doom and gloom.
With Thee Oh Sees, Fuzz
Sat/8, 9pm, $15
Eagle Tavern
398 12th St., SF
www.sf-eagle.com

With Grass Widow, Neon Piss, Synthetic ID
Sun/9, 8pm, $10
Uptown, 1928 Telegraph, Oakl
www.uptownnightclub.com
http://www.youtube.com/watch?v=PaBhBbG8PFM

Lumerians
It’s been awhile since we’ve seen the Lumerians out and about in San Francisco, as the five-piece spacey, psychedelic wanderers (also recently described as a “Oakland stoner quintet”) reminded fans on social media this week. They also claim to have some secrets in store for the crowd at this show, which opens with fellow locals Wax Idols, at SF’s newest music venue, the Chapel.
Sat/8, 9pm, $15
Chapel, 777 Valencia, SF
www.thechapelsf.com
http://www.youtube.com/watch?v=9WTIHwUjg68

Sunset Island
“From boat parties in the bay (and Croatia!?) to a campout in Belden Town, Sunset Sound System is putting on bigger, bolder events than ever in 2013. But still, the one I look forward to the most is this “Electronic Music Picnic” on Treasure Island, which recalls both the crew’s name and its origins, dancing as the sun went down on the Berkeley Marina in 1994. The key word in this year’s lineup is “live,” featuring sets from the all hardware Detroit duo Octave One and vintage toned Chicago house veteran Tevo Howard, as well as the deep sounds of Midwestern DJ DVS1.” — Ryan Prendiville
With Galen, Solar, J-Bird
Sun/9, Noon-9pm, $10–$20
Great Lawn, Treasure Island
www.sunsetmusicelectric.com

Mt Everest and tantrum-tossing talk junkies

36

The world has been rather ugly of late, hasn’t it? From man-made horrors in Turkey as the government sprays its people with agent orange to Syria’s unending conflict to Mother Nature’s wrath in Oklahoma–more trouble every day as the Mothers sang in 1966. So when I saw an article on Mt. Everest, the highest place on the planet (outside of Burning Man, of course), I figured it might be a heartwarming look at mountaineering. Oh how wrong I was.

Anecdotally and via computer model, Mt Everest and much of the Himalayas have become ground zero for a warming earth. With a snow line rising almost 600 feet and glacier fed rivers drying up, the world’s summit is like a rocky measuring stick for the damage fossil fuels are doing. In fact, the Sherpas–the locals that haul climbers up and down the mountain for a living–are saying that the climb is becoming much more dangerous, as what was once frozen is now thawed and loose and falling. 

Not like this is really any surprise to legitimate science, which by 97% believes climate change is happening and man made. Nor is it any surprise to deniers of same that will contort themselves into pretzel shapes trying to defend their paymasters, the oil, natural gas and coal companies. But at this point, given that predictions of more severe climate have come to pass, how can anyone anywhere say this isn’t so (Joe)?

The reason is the same as it’s always been, at least in the US. An enormous segment of the population feels put upon and offended at the idea that their God-derived right to squander resources is being impacted. The fact that said segment considers itself “conservative” is one of the cruelest and most insane semantic games extent–cherishing the privilege to waste as an almost constitutionally-mandated right is the polar opposite of conservation.

These are, after all, the same foolish people that blew a headgasket over energy-saving lightbulbs. That so many of them live proximitous to beaches and continue to act so capriously when their own property may resemble a structure in an aquarium in 30 years matters not–why is this?

Because at heart, the American reactionary is a tantrum-throwing five year old. Exercising their power by screaming and throwing themselves on the ground when they don’t get their way 100% of the time is how a kid makes their unhappiness felt by an adult. That these are adults, at least by age, is flummoxing. By making the rest of the world suffer from their fit throwing is ultimately gratifying to people who have no real say in anything–best of all, it “pisses off the libs”, which translated into English means “anyone smarter and saner than I am who I resent for that”. Oy.

Any San Franciscan that goes along with this ugly strain of arrested development has a slow death wish. Rising seas mean a flooded Marina and Mission frequently as opposed to rarely. They mean Treasure Island disappears sooner rather than later. But because the sheer, puerile joy of giving the raspberry to those tweedy know it alls from Berkeley is too much fun, they’ll happily see lower Market Street into a Venetian canal.

As Ray Davies sang, ‘‘they’re conditioned that way”. Too bad the rest of us have to suffer physically because these fools refuse to face reality even as it drowns, floods or draughts them to death.

 

 

Treasure Island 2013 lineup is out! Animal Collective, James Blake, Little Dragon, Tricky, Cayucas, and…

1

Hey look, it’s Animal Collective! Oh, and James Blake, Little Dragon, Tricky, Cayucas, Phantogram, Beck, and Deep Siver Diver, along with locals Antwon and Giraffage. Treasure Island 2013 (Oct. 19-20) is shaping up to be a pretty great festival season closer, heavy on the electronic.

Tickets are on sale this Fri/31 at 10am. Treasure Island Festival lays it all out here:

General admission tickets:
Early Bird 2-Day Ticket – $130.00 (On Sale Friday, May 31st at 10am)
Advance 2-Day Ticket – $140.00 (Limited Availability When Early Bird Sells Out)
Regular 2-Day Ticket – $150.00 (Limited Availability When Advance Sells Out)

The just-announced line-up is below:
Atoms for Peace
Beck
Animal Collective
Major Lazer
James Blake
Little Dragon
Sleigh Bells
Phantogram
STRFKR
Disclosure
Japandroids
Holy Ghost!
Real Estate
Tricky
Lord Huran
DJ Falcon
Haim
Palma Violets
Poolside
Adult
Cayucas
Robert Delong
IO Echo
Giraffage
Deep Sea Diver
Antwon

Indicator city

74

steve@sfbg.com

When biologists talk about the health of a fragile ecosystem, they often speak of an “indicator species.” That’s a critter — a fish, say, or a frog — whose health, or lack thereof, is a signal of the overall health of the system. These days, when environmentalists who think about politics as well as science look at San Francisco, they see an indicator city.

This progressive-minded place of great wealth, knowledge, and technological innovation — surrounded on three sides by steadily rising tides — could signal whether cities in the post-industrial world will meet the challenge of climate change and related problems, from loss of biodiversity to the need for sustainable energy sources.

A decade ago, San Francisco pioneered innovative waste reduction programs and set aggressive goals for reducing its planet-cooking carbon emissions. At that point, the city seemed prepared to make sacrifices and provide leadership in pursuit of sustainability.

Things changed dramatically when the recession hit and Mayor Ed Lee took office with the promise to focus almost exclusively on economic development and job creation. Today, even with the technology and office development sectors booming and employment rates among the lowest in California, the city hasn’t returned its focus to the environment.

In fact, with ambitious new efforts to intensify development along the waterfront and only lackluster support for the city’s plan to build renewable energy projects through the CleanPowerSF program, the Lee administration seems to be exacerbating the environmental challenge rather than addressing it.

According to conservative projections by the Bay Conservation and Development Commission, the Bay is expected to rise at least 16 inches by 2050 and 55 inches by the end of the century. BCDC maps show San Francisco International Airport and Mission Bay inundated, Treasure Island mostly underwater, and serious flooding the Financial District, the Marina, and Hunters Point.

Lee’s administration has commissioned a report showing a path to carbon reduction that involves promoting city-owned renewable energy facilities and radically reducing car trips — while the mayor seems content do the opposite.

It’s not an encouraging sign for Earth Day 2013.

 

HOW WE’RE DOING

Last year, the Department of the Environment hired McKinsey and Company to prepare a report titled “San Francisco’s Path to a Low-Carbon Economy.” It’s mostly finished — but you haven’t heard much about it. The department has been sitting on it for months.

Why? Some say it’s because most of the recommendations clash with the Lee administration’s priorities, although city officials say they’re just waiting while they get other reports out first. But the report notes the city is falling far short of its carbon reduction goals and “will therefore need to complement existing carbon abatement measures with a range of new and innovative approaches.”

Data presented in the report, a copy of which we’ve obtained from a confidential source, shows that building renewable energy projects through CleanPowerSF, making buildings more energy-efficient, and discouraging private automobile use through congestion pricing, variable-price parking, and building more bike lanes are the most effective tools for reducing carbon output.

But those are things that the mayor either opposes and has a poor record of supporting or putting into action. The easy, corporate-friendly things that Lee endorses, such as supporting more electric, biofuel, and hybrid vehicles, are among the least effective ways to reach the city’s goals, the report says.

“Private passenger vehicles account for two-fifths of San Francisco’s emissions. In the short term, demand-based pricing initiatives appear to be the biggest opportunity,” the report notes, adding a few lines later, “Providing alternate methods of transport, such as protected cycle lanes, can encourage them to consider alternatives to cars.”

Melanie Nutter, who heads the city’s Department of the Environment, admits that the transportation sector and expanding the city’s renewable energy portfolio through CleanPowerSF or some other program — both of which are crucial to reducing the city’s carbon footprint — are two important areas where the city needs to do a better job if it’s going to meet its environmental goals, including the target of cutting carbon emissions 40 percent from 1990 levels by the year 2025.

But Nutter said that solid waste reduction programs, green building standards, and the rise of the “shareable economy” — with Internet-based companies facilitating the sharing of cars, housing, and other products and services — help San Francisco show how environmentalism can co-exist with economic development.

“San Francisco is really focused on economic development and growth, but we’ve gone beyond the old edict that you can either be sustainable or have a thriving economy,” Nutter said.

Yet there’s sparse evidence to support that statement. There’s a two-year time lag in reporting the city’s carbon emissions, meaning we don’t have good indicators since Mayor Lee pumped up economic development with tax breaks and other city policies. For example, Nutter touted how there’s more green buildings, but she didn’t have data about whether that comes close to offsetting the sheer number of new energy-consuming buildings — not to mention the increase in automobile trips and other byproducts of a booming economy.

Tom Radulovich, executive director of Livable City and president of the BART board, told us that San Francisco seems to have been derailed by the last economic crisis, with economic insecurity and fear trumping environmental concerns.

“All our other values got tossed aside and it was all jobs, jobs, jobs. And then the crisis passed and the mantra of this [mayoral] administration is still jobs, jobs, jobs,” he said. “They put sustainability on hold until the economic crisis passed, and they still haven’t returned to sustainability.”

Radulovich reviewed the McKinsey report, which he considers well-done and worth heeding. He’s been asking the Department of the Environment for weeks why it hasn’t been released. Nutter told us her office just decided to hold the report until after its annual climate action strategy report is released during Earth Day event on April 24. And mayoral Press Secretary Christine Falvey told us, “There’s no hold up from the Mayor’s Office.”

Radulovich said the study highlights how much more the city should be doing. “It’s a good study, it asks all the right questions,” Radulovich said. “We’re paying lip service to these ideas, but we’re not getting any closer to sustainability.”

In fact, he said the promise that the city showed 10 years ago is gone. “Gavin [Newsom] wanted to be thought of as an environmentalist and a leader in sustainability, but I don’t think that’s important to Ed Lee,” Radulovich said.

Joshua Arce, who chairs the city’s Environmental Commission, agreed that there is a notable difference between Newsom, who regularly rolled out new environmental initiatives and goals, and Lee, who is still developing ways to promote environmentalism within his economic development push.

“Ed Lee doesn’t have traditional environmental background,” Arce said. “What is Mayor Lee’s definition of environmentalism? It’s something that creates jobs and is more embracing of economic development.”

Falvey cites the mayor’s recent move of $2 million into the GoSolar program, new electric vehicle charging stations in city garages, and his support for industries working on environmental solutions: “Mayor Lee’s CleantechSF initiative supports the growth of the already vibrant cleantech industry and cleantech jobs in San Francisco, and he has been proactive in reaching out to the City’s 211 companies that make up one of the largest and most concentrated cleantech clusters in the world.”

Yet many environmentalists say that simply waiting for corporations to save the planet won’t work, particularly given their history, profit motives, and the short term thinking of global capitalism.

“To put it bluntly, the Lee administration is bought and paid for by PG&E,” said Eric Brooks with Our City, which has worked for years to launch CleanPowerSF and ensure that it builds local renewable power capacity.

The opening of the McKinsey report makes it clear why the environmental policies of San Francisco and other big cities matter: “Around the globe, urban areas are becoming more crowded and consuming more resources per capita,” it states. “Cities are already responsible for roughly seventy percent of global carbon dioxide emissions, and as economic growth becomes more concentrated in urban centers, their total greenhouse gas emissions may double by 2050. As a result, tackling the problem of climate change will in large part depend on how we reduce the greenhouse gas emissions of cities.”

And San Francisco, it argues, is the perfect place to start: “The city now has the opportunity to crystallize and execute a bold, thoughtful strategy to attain new targets, continue to lead by example, and further national and global debates on climate change.”

The unwritten message: If we can’t do it here, maybe we can’t do it anywhere.

 

ON THE EDGE

San Francisco’s waterfront is where economic pressures meet environmental challenges. As the city seeks to continue with aggressive growth and developments efforts on one side of the line — embodied recently by the proposed Warriors Arena at Piers 30-32, 8 Washington and other waterfront condo complexes, and other projects that intensify building along the water — that puts more pressure on the city to compensate with stronger sustainability initiatives.

“The natural thing to do with most of our waterfront would be to open it up to the public,” said Jon Golinger, who is leading this year’s referendum campaign to overturn the approval of 8 Washington. “But if the lens you’re looking through is just the balance sheet and quarterly profits, the most valuable land maybe in the world is San Francisco’s waterfront.”

He and others — including SF Waterfront Alliance, a new group formed to oppose the Warriors Arena — say the city is long overdue in updating its development plan for the waterfront, as Prop. H in 1990 called for every five years. They criticize the city and Port for letting developers push projects without a larger vision.

“We are extremely concerned with what’s happening on our shorelines,” said Michelle Myers, director of the Sierra Club’s Bay Chapter, arguing that the city should be embracing waterfront open space that can handle storm surge instead of hardening the waterfront with new developments. “Why aren’t we thinking about those kinds of projects on our shoreline?”

David Lewis, director of Save the Bay, told us cities need to think less about the value of waterfront real estate and do what it can to facilitate the rising bay. “There are waterfront projects that are not appropriate,” Lewis said. Projects he puts in that category range from a scuttled proposal to build around 10,000 homes on the Cargill Salt Flats in Redwood City to the Warriors Arena on Piers 30-32.

“We told the mayor before it was even announced that it is not a legal use of the pier,” Lewis said, arguing it violated state law preserving the waterfront for maritime and public uses. “There’s no reason that an arena has to be out on the water on a crumbling pier.”

But Brad Benson and Diana Oshima, who work on waterfront planning issue for the Port of San Francisco, say that most of San Francisco’s shoreline was hardened almost a century ago, and that most of the planning for how to use it has already been done.

“You have a few seawall lots and a few piers that could be development sites, but not many. Do we need a whole plan for that?” Benson said, while Oshima praises the proactive transportation planning work now underway: “There has never been this level of land use and transportation planning at such an early stage.”

The Bay Conservation and Development Commission was founded almost 50 years ago to regulate development in and around the Bay, when the concern was mostly about the bay shrinking as San Francisco and other cities dumped fill along the shoreline to build San Francisco International Airport, much of the Financial District, and other expansive real estate plans.

Now, the mission of the agency has flipped.

“Instead of the bay getting smaller, the bay is getting larger with this thing called sea level rise,” BCDC Executive Director Larry Goldspan said as we took in the commanding view of the water from his office at 50 California Street.

A few years ago, as the climate change predictions kept worsening, the mission of BCDC began to focus on that new reality. “How do we create a resilient shoreline and protect assets?” was how Goldspan put it, noting that few simply accept the inundation that BCDC’s sea level rise maps predict. “Nobody is talking about retreating from SFO, or Oakland Airport, or BART.”

That means Bay Area cities will have to accept softening parts of the shoreline — allowing for more tidal marshes and open space that can accept flooding in order to harden, or protect, other critical areas. The rising water has to go somewhere.

“Is there a way to use natural infrastructure to soften the effect of sea level rises?” Goldspan asked. “I don’t know that there are, but you have to use every tool in the smartest way to deal with this challenge.”

And San Francisco seems to be holding firm on increased development — in an area that isn’t adequately protected. “The seawall is part of the historic district that the Port established, but now we’re learning the seawall is too short,” Goldspan said.

BCDC requires San Francisco to remove a pier or other old landfill every time it reinforces or rebuilds a pier, on a one-to-one basis. So Oshima said the district is now studying what it can remove to make up for the work that was done to shore up Piers 23-27, which will become a new cruise ship terminal once the America’s Cup finishes using it a staging ground this summer.

Yet essentially giving up valuable waterfront real estate isn’t easy for any city, and cities have both autonomy and a motivation to thrive under existing economic realities. “California has a history of local control. Cities are strong,” Goldspan said, noting that sustainability may require sacrifice. “It will be a policy discussion at the city level. It’s a new discussion, and we’re just in the early stages.”

 

NEW WORLD

Global capitalism either grows or dies. Some modern economists argue otherwise — that a sustainable future with a mature, stable economy is possible. But that takes a huge leap of faith — and it may be the only way to avoid catastrophic climate change.

“In the world we grew up in, our most ingrained economic and political habit was growth; it’s the reflex we’re going to have to temper, and it’s going to be tough.” Bill McKibben writes in Eaarth: Making a Life on a Tough New Planet. “Across partisan lines, for the two hundred years since Adam Smith, we’ve assumed that more is better, and that the answer to any problem is another burst of expansion.”

In a telephone interview with the Guardian, McKibben discussed the role that San Francisco could and should be playing as part of that awakening.

“No one knows exactly what economy the world is moving toward, but we can sense some of its dimensions: more localized, less material-based, more innovative; these are things that San Francisco is good at,” he told us, noting the shift in priorities that entails. “We need to do conservation, but it’s true that we also need to build more renewable power capacity.”

Right now, CleanPowerSF is the only mechanism the city has for doing renewable energy projects, and it’s under attack on several fronts before it even launches. Most of the arguments against it are economic — after all, renewable power costs more than coal — and McKibben concedes that cities are often constrained by economic realities.

Some city officials argue that it’s more sustainable for San Francisco to grow and develop than suburban areas — thus negating some criticism that too much economic development is bad for the environment — and Radulovich concedes there’s a certain truth to that argument.

“But is it as green as it ought to be? Is it green enough to be sustainable and avert the disaster? And the answer is no,” Radulovich said.

For example, he questioned, “Why are we building 600,000 square feet of automobile-oriented big box development on Hunters Point?” Similarly, if San Francisco were really taking rising seas seriously, should the city be pouring billions of dollars into housing on disappearing Treasure Island?

“I think it’s a really interesting macro-question,” Jennifer Matz, who runs the Mayors Office of Economic Development, said when we asked whether the aggressive promotion of economic development and growth can ever be sustainable, or whether slowing that rate needs to be part of the solution. “I don’t know that’s feasible. Dynamic cities will want to continue to grow.”

Yet that means accepting the altered climate of new world, including greatly reduced fresh water supplies for Northern California, which is part of the current discussions.

“A lot of the focus on climate change has moved to adaptation, but even that is something we aren’t really addressing,” Radulovich said.

Nutter agreed that adapting to the changing world is conversation that is important: “All of the development and planning we’re doing today needs to incorporate these adaptation strategies, which we’re just initiating.”

But environmentalists and a growing number of political officials say that San Francisco and other big cities are going to need to conceive of growth in new ways if they want to move toward sustainability. “The previous ethos was progress at any cost — develop, develop, develop,” Myers said, with the role of environmentalists being to mitigate damage to the surrounding ecosystem. But now, the economic system itself is causing irreversible damage on a global level. “At this point, it’s about more than conservation and protecting habitat. It’s about self-preservation.”

Treasure Island: Is this the end?

30

So Mayor Lee goes to China with plans to celebrate the signing of a deal that would bring $1.7 billion in Chinese investment into the lagging Treasure Island redevelopment project, and instead the whole thing falls apart. Not good for the cross-Bay rivalry: Gov. Brown, a former mayor of Oakland, landed $1.8 billion in Chinese money for his city’s big project, while Lee lost out.

But there’s a bigger problem. It’s hard to see how anyone would want to invest in Treasure Island right now, when:

The island is sinking,

The Bay is rising,

There’s only one way on or off the island, and it’s already so crowded that a modest event like the Treasure Island Flea Market ties up traffic in both directions for hours, and

The place is radioactive.

Matt Smith and Katherine Mieszkowski of the Bay Citizen did what the Navy and the city of San Francisco refused to do. They went out with a couple of red buckets, dug up some soil and had it tested for Cesium-137. Bingo: The place suffers from far worse contamination that anyone was letting on. And there might be even more:

Until the early 1990s, the Navy operated atomic warfare training academies on Treasure Island, using instruction materials and devices that included radioactive plutonium, cesium, tritium, cadmium, strontium, krypton and cobalt. These supplies were stored at various locations around the former base, including supply depots, classrooms and vaults, and in and around a mocked-up atomic warfare training ship – the USS Pandemonium. CIR’s samples were taken from under a palm tree 50 feet from a classroom building where cesium-137 was kept, according to military archives. A 1974 radiation safety audit identified cesium samples used and stored there with radioactivity several times the amount necessary to injure or kill someone who mishandled them. In 1993, shipping manifests from the same building showed even greater amounts of cesium-137 taken away from the same site that year.

Now some experts say that development plans need to be put on hold while the entire place is checked out more carefully:

“The fact that there is a level above standards is a clear mandate for further study and assessment of the extent of contamination and its origin,” Beyea wrote in an email, adding that more systematic testing is particularly important given that public play areas are planned nearby. “Building a playfield is not an appropriate plan at this time,” he wrote, “given the tendency for little children to put things in their mouths.”

Would you loan a couple billion dollars for a development project on that site?

In theory, of course, the Navy is responsible for the cleanup. In practice? Good luck with that. The Pentagon is blaming the sequester for forced budget cuts in everything including the Blue Angels; you think anyone’s going to write a very big check any time soon for a very complex environmental clean-up job on an artificial island that will soon be underwater?

I used to think the best thing to do with Treasure Island was to leave as much open space as possible for soccer and baseball fields, then slowly let it sink back into the Bay. Now apparently it’s a bad idea even to have kids playing there.

And what about the people who already have moved into housing at TI? Anyone going to test their soil?

Anyone want to take bets on whether anything much is ever going to be built there?

Why CEQA matters

3

By Arthur Feinstein and Alysabeth Alexander

OPINION Is now the time to significantly weaken San Francisco’s most important environmental law? When our world is facing the greatest environmental threats ever experienced, why is there a rush to diminish our hard won environmental protections?

That’s the question we should all ask Supervisor Scott Wiener, who has proposed legislation that would significantly weaken the city’s regulations that enforce the California Environmental Quality Act.

Global climate change and extreme weather events are sending a clear message that the world is in trouble. Unprecedented droughts threaten our food supply and drinking water, while floods and sea level rise threaten our homes (the Embarcadero now floods where it never has before). The ozone hole still exists, threatening us with skin cancer, and the critters with whom we share this world are experiencing an unprecedented extinction rate.

Recent region-wide planning efforts, such as One Bay Area, expect San Francisco to provide housing for more than 150,000 new residents, bringing even more impacts to our city.

The best tool available to city commissioners, supervisors, and the public to understand and effectively reduce negative environmental effects of new projects is CEQA, which requires analysis and mitigation of unavoidable environmental project impacts. CEQA mandates that the public be informed of such impacts, and requires decision-makers to listen to the public’s opinions about what should be done to address them. It allows the people to go to court if decision-makers ignore their concerns.

Without an effective CEQA process, the public is helpless in the face of poor planning, and planning based only on the highest corporate-developer-entrepreneur return on the dollar with no regard for environmental consequences, including noise, night-lighting, aesthetics, and transportation — all issues of concern to urban residents. And with current tight real-estate economics, worker safety is at risk if developers cut corners on environmental review, especially with projects built on toxic and radioactive waste sites like Treasure Island, which potentially endanger construction workers and service employees who will work in these areas after projects are completed.

Wiener’s legislation, introduced at the Land Use Committee April 8, makes it much harder for the public to appeal potentially damaging permit decisions, by shortening timelines and establishing more onerous requirements for such appeals. In many instances it would also steer appeals away from being heard by the entire Board of Supervisors, instead allowing small committees to rule on these crucial issues.

A broad coalition of environmental, social justice, neighborhood, parks protection and historic preservation groups, allied with labor unions, is challenging Wiener’s attack on our environmental protections.

Supervisor Jane Kim recently stepped forward to champion these efforts, and work with these groups to draft a community alternative to make the CEQA process more fair and efficient while carefully protecting our rights to challenge harmful projects.

The supervisors need to reject Wiener’s damaging legislation and consider Kim’s community-based alternative in seeking to truly improve our local California Environmental Quality Act process.

Arthur Feinstein is chair of the Sierra Club Bay Chapter. Alysabeth Alexander is vice-president of politics for SEIU Local 1021.

 

Editor’s Notes

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tredmond@sfbg.com

EDITOR’S NOTES I wasn’t invited to the meeting where Mayor Ed Lee (and Willie Brown and Rose Pak) sat down with representatives of Lennar Corp. and a Chinese investment consortium to try to finalize a deal for Treasure Island. But I can tell you with near-absolute certainty that what comes out will not be good for San Francisco.

I can tell you that because every major project the mayor has negotiated has been bad for the city.

The way the California Pacific Medical Center project came down is a perfect example. The mayor worked directly with Sutter Corp., which owns CPMC, last spring, and in March, came out with a proposal that he and his allies presented as the best the city and the hospital giant could do.

It was awful.

CPMC would pay nowhere near enough in housing money to offset the new jobs it was creating. St. Luke’s, the critical public health link in the Mission, would be cut to 80 beds, below what it needed to be sustainable. Only about five percent of the 1,500 new jobs would go to existing San Francisco residents.

It was also pretty much dead on arrival at the Board of Supervisors, where a broad-based group of community activists pushed for big changes — and won. Sups. David Campos, David Chiu, and Mark Farrell stepped into the void created by a lack of mayoral leadership and forced Sutter to accept a much better deal, with St. Luke’s at 120 beds, vastly increased charity care, a guarantee that 40 percent of the new jobs will go to San Franciscans, and a much-better housing and transit component.

The mayor got rolled; he was ready to accept what everyone with any sense knew was better for Sutter than for his constituents. He clearly didn’t know how to say what the supervisors said: This won’t work, and we’d rather walk away from the whole deal than accept a crappy outcome.

That’s exactly what’s going on with the Warriors’ arena — the mayor is giving away the store. And he, with Brown and Pak at his side, will do the same at Treasure Island.

The balance of power in the city is moving to the board. And for good reason — the supervisors seem to be able to get things done.

From the Rocketship to Bay Lights, “temporary” is the key that unlocked public art in SF

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In the wake of The Bay Lights coming on to rave reviews and mesmerized gazes last week, next weekend the Raygun Gothic Rocketship will be taken down from the Pier 14 launch pad it’s occupied since 2010, the latest transitions in San Francisco’s trend of using temporary public art placements to bypass the protracted, emotional, and expensive battles that once defined the siting of sculptures on public lands in San Francisco.

By partnering with private arts organizations and calling the pieces “temporary” – even though almost all of them have been extended past their initial removal deadlines, sometimes by years – the San Francisco Arts Commission, the Port of San Francisco, and other local entities have allowed public art to flourish in the City.

The commission’s longtime public art director Jill Manton told us that temporary public art placements go back to the early ’90s, usually involving smaller pieces while big, years-long controversies continued to rage on over bigger pieces such as “the foot” that never went in on the Embarcadero, the Cupid’s Span piece that Don Fisher did finally place on the waterfront (and which many critics wish had been only a temporary placement), and a big, ill-fated peace sign in Golden Gate Park.

“It’s not as threatening to the public, not as imposing, so it doesn’t seem like a life-or-death decision,” Manton said of the trend toward temporary placements.

But the real turning point came in 2005 when then-Mayor Gavin Newsom, Manton, and other city officials began to embrace the Burning Man art world by bringing a David Best temple into Patricia Green in Hayes Valley, Michael Christian’s Flock into Civic Center Plaza, and Passage by Karen Cusolito and Dan Das Mann onto Pier 14 (a transition point that I chronicle in my book, The Tribes of Burning Man).

Each piece was well-received and had its initial removal deadlines extended. Since then, temporary placements of both original art and pieces that returned from the playa – including Cusolito’s dandelion in UN Plaza, the rocketship, Kate Raudenbush’s Future’s Past in Hayes Valley, and Marco Cochrane’s Bliss Dance on Treasure Island, which is now undergoing a renovation to better protect it against the elements during its longer-than-expected and now open-ended run – have enlivened The City.

“They get to rotate art and people get excited about what’s next,” said Tomas McCabe, director of the Black Rock Arts Foundation, a Burning Man offshoot organization that has helped with fundraising and logistics for most of the burner-built placements.

We spoke by phone on the afternoon of March 8 as he was working with Christian to install The Bike Bridge – a sculpture using recycled bicycle parts that local at-risk teens helped Christian build thanks to a grant from the National Endowment for the Arts – at the intersection of Telegraph and 19th in Oakland as a temporary placement.

The Bike Bridge will officially be unveiled on April 5 during the increasingly popular monthly Art Murmur, and the party will get extra pep from a conference of Burning Man regional representatives that is being held just down the block that day.

McCabe said the connection between Burning Man and the temporary art trend doesn’t just derive from the fact that Bay Area warehouses are filled with cool artwork built for the playa that is now just sitting in storage. It’s also about an artistic style and sensibility that burners have helped to foster.

“We try to help the art pieces have a life after Burning Man, but it’s more the style of community-based art that we promote,” McCabe said, noting that BRAF also helps with fundraising and other tasks needed to support these local art collectives. “We like to see the artists get paid for their work, we’re funny like that.”

Manton said there are currently discussions underway with San Francisco Grants for the Arts (which is funded by the city’s hotel tax) and other parties to put several large pieces built for Burning Man on display in either UN Plaza or Civic Center Plaza, a proposal Manton called UN Playa. “We bring the best of Burning Man to the city,” she said.

Most of the art placements in San Francisco have been labors of love more than anything, and a chance to win over new audiences. When the Five-Ton Crane crew and other artists placed the Raygun Gothic Rocketship on the waterfront in 2010, they had permission from the Port to be there for a year. Then it got extended for another year, and then another six months, and it will finally come down this weekend.

There will be final reception for the Rocketship this Friday evening (with music from the fellow burners in the Space Cowboys’ Unimog) and then the crane will come up on Sunday morning to remove it, in case any Earthlings want to come say hello-goodbye.

“The Rocketship and its crew have had a fantastic 2.5 years on display at Pier 14. Maintenance days were always a pleasure, giving us a chance to talk to people – and see the smiles and joy people got from the installation,” one of its artists, David Shulman, told us. “We’ve had tremendous support from, and would like to thank, the people of San Francisco, the Port of San Francisco, and the Black Rock Arts Foundation. But Pier 14 is intended for rotating displays, and we’re excited to see what comes next.”

Dan Hodapp, a senior waterfront planner for the Port district, said they don’t currently have plans for the site, although he said it will include more temporary art in the future. “The Port Commission and the public are supportive of public art at that location,” Hodapp told us. “But right now, we’re just reveling in the new Bay Lights and we’re not in a hurry to replace the Rocketship.”

Manton said The Bay Lights – the Bay Bridge light sculpture by art Leo Villareal that began what is supposed to be a two-year run (but which Mayor Ed Lee is already publicly talking about extending) on March 5 – has already received overwhelming international media attention and is expected to draw 55 million visitors and $97 million of additional revenue to the city annually.

“It is public art as spectacle. It’s amazing,” Manton said of the piece, which the commission and BRAF played only a small roles in bringing about. “It’s so good for the field of public art.”

She that the success of recent temporary art placements and the role that private foundations have played in funding them have not only caused San Franciscans to finally, truly embrace public art, but it has ended the divisive old debates about whether particular artworks were worth the tradeoff with other city needs and expenditures. And it has allowed the Hayes Valley Neighborhood Association and other neighborhood organizations to curate the art in their public parks.

Meanwhile, even as the Port gives Pier 14 a rest, Hodapp said another temporary artwork will be going up this fall at Pier 92, where old grain silos will be transformed into visual artworks, and that Pier 27 will be turned into a spot for a rotating series of temporary artworks once the Port regains possession of the spot from the America’s Cup in November.

As he told us, “The public really enjoys art on the waterfront, and they’re most supportive when we do temporary art, so there’s a freshness to it.”

Next, the Treasure Island sellout

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Now that he’s done such a bang-up job negotiating a deal for the CMPC hospital, leaving the supervisors to clean up the mess, does anyone think that the hurry-up-and-finish-in-time-for-a-China-trip talks with Rose Pak and Willie Brown (who has his own interests here, too) will have a good outcome for San Francisco?

Because I don’t.

Nothing the mayor has directly negotiated with private interests has been anything but a disaster for the city. America’s Cup, the Warriors arena, CPMC … the guy just can’t seem to say No. And you really don’t want someone who gives away the story to be representing the city when there are billions of dollars and the future of a huge new neighborhood (on a sinking island in the middle of a rising bay) at stake.

I still don’t see how intense residential and commercial development works on TI, when there’s only one overcrowded artery on and off the island. In New York, people who live on Staten Island are used to using the (free, heavily subsidized)  ferry — 60,000 a day take the boats into Manhattan. That’s going to be a huge stretch for people who live on TI, where there will be limited shopping (even for things like groceries) — and at this point, I don’t see the developer, or the city, purchasing and paying for enough cheap ferry service to make it an effective form of transportation.

That said, if we can make it work as a transit-first community, I have no problem with developing Treasure Island — but I don’t see Lee getting the level of civic benefits out of Lennar and the China Development Corporation that San Francisco needs to make this pencil out. Hasn’t happened yet. 

 

Noise Pop 2013: YACHT, Shock, and Future Twin at Slim’s

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When I went to see YACHT, a couple years ago during the Treasure Island Music Festival, it was playing outdoors in the afternoon, and it seemed like the wrong time and place. Last year at the Fox, the conceptual electropop band seemed stifled by the combination of the large venue and sparse crowd, and also mired by the same lackluster audio conditions that made headliner Hot Chip sound like it was playing underwater. But Saturday at Slim’s, on my last night of Noise Pop, it seemed just…

Fuck, I’ve wandered into the Goldilocks cliché.

Anyway, YACHT likes to keep it personal. Personable? The duo of Jona Bechtolt and Claire L. Evans (bolstered by other band members on tour) affect a borderline cultish air — utopian ideals were all over its last album Shangri-La and lead track, um, “Utopia” — that plays better when the audience is kept close, in a intimate venue.

“Ahhh, your hair is so long!” a woman in the sold out crowd screamed, when singer Evans first appeared on stage during the sound check, dark roots showing under what was previously close cropped and bleached blonde. It struck me as the kind of thing you say to a close friend you haven’t seen in a while. (“She’s much better looking than the last time I saw her,” someone else near me judged later in the show.)

This friendly rapport makes a lot of sense, given how much effort the group makes towards fostering it. Hopping off stage and tangling the crowd up in a mic cord has basically become a rock party trick at this point (probably because it’s an almost foolproof way to charm the crowd). Evans employed it as a starter, but went on to continually flatter fans and solicit questions, indulging in requests for hugs and spare beers. Throughout this course of events, singer, multi-instrumentalist, and YACHT founder Bechtolt competed for the larger cult of personality with a hopped-up glee.

Somewhat listless at the Fox performance, YACHT was nothing but efficient on Saturday. Maybe it was limited on time to begin with, but the set clicked by, highlighted by high-energy renditions of “I Walked Along” and “Utopia” — better than any I’ve heard.

An obvious encore followed (right after Bechtolt assured someone — probably the guy up front waving a sticker sheet and Sharpie since the sound check —that he’d sign anything five minutes after the show was over) with “Ring the Bell,” a super snappy version of shout-along “Psychic City,” and “Second Summer.” It was all done with an intentionality that could be either super endearing to a fan or off-putting viewed as an outsider, but I’m increasingly finding myself group with the former.

Openers

Shock: “We only have two minutes left and our songs are like seven minutes,” singer and bassist Terri Loewenthal of Shock said, after playing three tracks of slinky synth funk with slow vocals and lots of glissando. Five or so minutes later, the ground finished its set and she added, “So that was the short version.” Which was pretty satisfying.

Future Twin: Future Twin was precociously San Francisco, noting that one song was about trying to find affordable housing and cracking dead on delivery jokes about the nudity ban only applying out on the streets. But with dynamic singer and guitarist Jean Yaste  — whose voice recalls equally parts Corin Tucker and Exene Cervenka — and drummer Antonio Roman-Alcala, this band can get away with saying whatever it wants during mic breaks. Its upcoming benefit for the Roxie at the Verdi Club with Thee Oh Sees and Sonny and the Sunsets has it in good company.

Tussle: It’s been three years since I last saw Tussle at Milk Bar, and given the recordings the group released since then I had high expectations to see it much improved. But trouble with setting up a ton of equipment and subsequent delays really hobbled its start, and the group never seemed to quite overcome it. Unintentional tempo shifts seemed common, the double drummers never quite seemed to sync, and the generally structureless songs seemed to only end when every member came to the sudden realization that someone else was cuing them to wrap it up.

Sea-level rise and development in SF

25

It’s good the Chronicle is taking on climate chance and sea-level rise. It’s good that Carolyn Lochhead is writing about the reality that storms like Hurricane Sandy are part of our future and that all types of coastal development are now at risk. It’s scary:

Naval bases, power plants, ports, highways – trillions of dollars of investment – sit on U.S. coasts because it once made sense to put them there. As people flocked to the shores, tiny beach towns became cities. Congress is hardly maintaining roads and bridges; its appetite for giant new sea walls around New York Harbor has yet to be tested. “You may be able to have the government rebuild New Orleans, and maybe you could have the government rebuild from Sandy,” said John Englander, author of “High Tide on Main Street,” a book on how rising seas will affect the coasts. “But as sea level rises and reclaims shoreline all around the United States and all over the world, governments can’t afford to reimburse that. It’s not just Miami, it’s Charleston, it’s downtown Seattle, it’s Sacramento, it’s every coastal city and city on rivers.”

 Oh yes — and it’s San Francisco, where sea-level rise doesn’t seem to be an issue in the city’s plan for massive real-estate development on the waterfront.

 The Chron has a map of what the Bay Area might look like after a two-foot increase in sea levels and a six-foot increase. It looks like this.

Of course, it might be okay because we can build super-tech levee that will create artificial waterfalls and protect us all from living on islands.

(You could argue that climate change isn’t about new technology, but that would be no fun — and would require actual political leadership.)

Anyway, here’s the problem with the Chron’s map: It makes San Francisco look just fine. The entire city is in white, safe from that pesky inundation that will ruin lesser parts of the bay.

Thing is, the Bay Conservation and Development Commission has spent a ton of time on sea-level rise, and has its own map, that’s a bit more accurate, or at least more detailed — and that shows some major-league problems for this city.

Check out the areas in blue: It’s most of the northen and eastern waterfront. That includes not only Mission Bay, where the city is pinning its hopes for a biotech boom, but also the site of the Warriors Arena, 8 Washington, and 75 Howard. In other words, the plan to make the waterfront into a heavily developed entertainment and residential neighborhood isn’t going to work for very long — unless everyone gives up his or her car and buys a boat. Or unless we, the taxpayers of San Francisco, spend billions protecting all this development that doesn’t make sense in the first place.

Oh, Treasure Island’s going to be a much smaller island, too.

It’s entirely possible — and likely — that state, federal, and local tax money will go to protect some essential, vulnerable coastal areas. It makes no sense to try to move both the San Francisco and Oakland airports; we’re going to build barriers to protect them. But how are we going to protect an arena that’s built out over the water when the water starts to lap up to the doors? Who’s paying for that?

The Chron has done a good job asking the questions at the national level — but, just as we so often see with economic inequality and tax policy, nobody wants to bring the message home.

War of the waterfront

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tredmond@sfbg.com

There’s a blocky, unattractive building near the corner of Howard and Steuart streets, right off the Embarcadero, that’s used for the unappealing activity of parking cars. Nobody’s paid much attention to it for years, although weekend shoppers at the Ferry Building Farmers Market appreciate the fact that they can park their cars for just $6 on Saturday and Sunday mornings.

But now a developer has big plans for the 75 Howard Street site — and it’s about to become a critical front in a huge battle over the future of San Francisco’s waterfront.

Paramount Partners, a New York-based real-estate firm that also owns One Market Plaza, wants to tear down the eight-story garage and replace it with a 350-foot highrise tower that will hold 186 high-end condominiums. The new building would have ground-floor retail and restaurant space and a public plaza.

It would also exceed the current height limit in the area by 150 feet and could be the second luxury housing project along the Embarcadero that defies the city’s longtime policy of strictly limiting the height of buildings on the waterfront.

It comes at a time when the Golden State Warriors are seeking permission to build a sports arena on Piers 30 and 32, just a few hundred feet from 75 Howard.

Between the proposed 8 Washington condo project, the arena, and 75 Howard, the skyline and use of the central waterfront could change dramatically in the next few years. Add to that a $100 million makeover for Pier 70, the new Exploratorium building on Pier 15, and a new cruise ship terminal at Pier 27 — and that’s more development along the Bay than San Francisco has seen in decades.

And much of it is happening without a coherent overall plan.

There’s no city planning document that calls for radically upzoning the waterfront for luxury housing. There’s nothing that talks about large-scale sports facilities. These projects are driven by developers, not city planners — and when you put them all together, the cumulative impacts could be profound, and in some cases, alarming.

“There hasn’t been a comprehensive vision for the future of the waterfront,” Sup. David Chiu told me. “”I think we need to take a step back and look at what we really want to do.”

Or as Tom Radulovich, director of the advocacy group Livable City, put it, “We need to stop planning the waterfront one project at a time.”

 

Some of the first big development wars in San Francisco history involved tall buildings on the waterfront. After the Fontana Towers were built in 1965, walling off the end of the Van Ness corridor in a nasty replica of a Miami Beach hotel complex, residents of the northern part of the city began to rebel. A plan to put a 550-foot US Steel headquarters building on the waterfront galvanized the first anti-highrise campaigns, with dressmaker Alvin Duskin buying newspaper ads that warned, “Don’t let them bury your skyline under a wall of tombstones.”

Ultimately, the highrise revolt forced the city to downzone the waterfront area, where most buildings can’t exceed 60 or 80 feet. But repeatedly, developers have eyed this valuable turf and tried to get around the rules.

“It’s a generational battle,” former Sup. Aaron Peskin noted. “Every time the developers think another generation of San Franciscans has forgotten the past, they try to raise the height limit along the Embarcadero.”

The 8 Washington project was the latest attempt. Developer Simon Snellgrove wants to build 134 of the most expensive condominiums in San Francisco history on a slice of land owned in part by the Port of San Francisco, not far from the Ferry Building. The tallest of the structures would rise 136 feet, far above the 84-foot zoning limit for the site. Opponents argued that the city has no pressing need for ultra-luxury housing and that the proposal would create a “wall on the waterfront.”

Although the supervisors approved it on a 8-3 vote, foes gathered enough signatures to force a referendum, so the development can’t go forward until the voters have a chance to weigh in this coming November.

Meanwhile, the Paramount Group has filed plans for a much taller project at 75 Howard. It’s on the edge of downtown, but also along the Embarcadero south of Market, where many of the buildings are only a few stories high.

The project already faces opposition. “The serious concerns I had with 8 Washington are very similar with 75 Howard,” Chiu said. But the issues are much larger now that the Warriors have proposed an arena just across the street and a few blocks south.

“Because of the increase in traffic and other issues around the arena, I think 75 Howard has a higher bar to jump,” Sup. Jane Kim, who represents South of Market, told me.

Kim said she’s not opposed to the Warriors’ proposal and is still open to considering the highrise condos. But she, too, is concerned that all of this development is taking place without a coherent plan.

“It’s a good question to be asking,” she said. “We want some development along the waterfront, but the question is how much.”

Alex Clemens, who runs Barbary Coast Consulting, is representing the developer at 75 Howard. He argues that the current parking garage is neither environmentally appropriate nor the best use of space downtown.

“Paramount Group purchased the garage as part of a larger portfolio in 2007,” he told me by email. “Like any other downtown garage, it is very profitable — but Paramount believes an eight-story cube of parking facing the Embarcadero is not the best use of this incredible location.”

He added: “We believe removing eight above-ground layers of parked cars from the site, reducing traffic congestion, enlivening street life, and improving the pedestrian corridor are all benefits to the community that fit well with the city’s overall goals. (Of course, these are in addition to the myriad fees and tax revenues associated with the project.)”

But that, of course, assumes that the city wants, and needs, more luxury condominiums (see sidebar).

 

Among the biggest problems of this rush of waterfront development is the lack of public transit. The 75 Howard project is fairly close to the Embarcadero BART station, but when you take into account the Exploratorium, the arena, and Pier 70 — where a popular renovation project is slated to create new office, retail, and restaurant space — the potential for transit overload is serious.

The waterfront at this point is served primary by Muni’s F line — which, Radulovich points out, “is crowded, expensive, low-capacity, and not [Americans with Disabilities Act]-compliant.”

The T line brings in passengers from the southeast but, Radulovich said, “if you think we can serve all this new development with the existing transit, it’s not going to happen.”

Then there are the cars. The Embarcadero is practically a highway, and all the auto traffic makes it unsafe for bicycles. The Warriors arena will have to involve some parking (if nothing else, it will need a few hundred spaces for players, staff, and executives — and it’s highly unlikely people who buy million-dollar luxury boxes are going to take transit to the arena, so there will have to be parking for them, too. That’s hundreds of spaces and new cars — assuming not a single fan drives.

The 75 Howard project will eliminate parking spaces, but not vehicle traffic — there will still be close to 200 parking spaces.

And all of this is happening at the foot of the Bay Bridge, the constantly clogged artery to the East Bay. “Oh, and there’s a new community of 20,000 people planned right in the center of the bridge, on Treasure Island,” Peskin pointed out.

Is it possible to handle all of the people coming and going to the waterfront (particularly on days where there’s also a Giants game a few hundred yards south) entirely with mass transit? Maybe — “that’s the kind of problem we’d like to have to solve,” Radulovich said. Of course, the developers would have to kick in major resources to fund transit — “and,” he said, “we don’t even know what the bill would be, and we don’t have the political will to stick it to the developers.”

But a transit-only option for the waterfront is not going to happen — at the very least, thousands of Warriors fans are going to drive.

The overall problem here is that nobody has asked the hard questions: What do we want to do with San Francisco’s waterfront? The Port, which owns much of the land, is in a terrible bind — the City Charter defines the Port as an enterprise department, which has to pay for itself with revenue from its operations, which made sense when it was a working seaport.

But now the only assets are real estate — and developing that land, for good or for ill, seems the only way to address hundreds of millions of dollars in deferred maintenance and operating costs on the waterfront’s crumbling piers. And the City Planning Department, which oversees the land on the other side of the Embarcadero, is utterly driven by the desires of developers, who routinely get exemptions from the existing zoning. “There is no rule of law in the planning environment we live in,” Radulovich said. So the result is a series of projects, each considered on its own, that together threaten to turn this priceless civic asset into a wall of concrete.

Help Bliss Dance stay on Treasure Island

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Bliss Dance, the 40-foot-tall sculpture of nude woman built to dance at Burning Man in 2010, became a beloved, iconic local art installation when it was placed on Treasure Island later that year. What was meant to be a temporary placement has been repeatedly extended by the Treasure Island Development Authority and artist Marco Cochrane’s crew.

But she was never meant to dance in these foggy elements for such a long song. So if she’s going to remain there for the extra year that TIDA has authorized, she’s going to need some help in the form for a rust-proof protective coating and an overhaul of her lighting system.

And that’s where we all come in — at least those of us who want to see her continue dancing there, framed against the San Francisco waterfront and skyline. Cochrane and his crew have started a Kickstarter campaign to raise the $16,000 they need by Jan. 10.

At this point, they’re more than halfway to the goal, so take some of that extra cash that grandma sent you for the holidays and apply it to a worthy cause: supporting local art and artists, and ensuring this place remains a hub of creativity. Or if that’s not good enough, do it for nude dancing women everywhere. 

On the cheap

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Event listings compiled by George McIntire. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 26

Kwanzaa Celebration Bay Area Discovery Museum, 557 McReynolds, Sausalito. www.baykidsmuseum.org. 9am-5pm, free. A traditional Kwanzaa altar will greet you upon arriving at the kids museum’s celebration of African American community, featuring two performance (at 11am and 1pm) by African Roots of Jazz.

7th Annual San Francisco Celebration City Hall Rotunda, 1 Dr. Carlton Goodlett, SF. www.kwanzaasanfrancisco.com. Noon, free. Head on over to City Hall to celebrate the umoja (unity) day of Kwanzaa, the 150th anniversary of the Emancipation Proclamation. Keynote speeches from the likes of Dr. Amos C. Brown, pastor of Third Baptist Church and district vice president of YMCA San Francisco Gina Fromm.

Soul Sessions Era Art Bar and Lounge, 19 Grand, Oakl. www.oaklandera.com. 9pm-1am, $5-10. Live performance from the Antique Naked Soul collective, painting by Bushmama & Smokie, and DJs spinning deep house, trap, hip-hop, and R&B.

Stay Gold Public Works, 161 Erie, SF. www.publicsf.com, (415) 932-0955. 10pm-1am, $3-5. It’s going to be a raucous holi-gay par-tay at Public Works tonight where DJ Pink Lightning will be throwing down the sick, bass-throbbing beats. Bring pastel lipstick and chandelier earrings.

THURSDAY 27

DIY Zine Making Workshop Rock Paper Scissors Collective, 2278 Telegraph, Oakl. www.rpscollective.org. 6-8pm, $1. This is your chance to become the next big media mogul. The good folks at the Rock Paper Scissors Collective are being gracious enough of to provide you with a workshop and your own materials to create your own zine, take them up on it.

FRIDAY 28

Dam-Funk 1015 Folsom, SF. www.1015.com. 10pm-3am, free with RSVP on website. No one in the world is as committed to the funk than super-funkateer Dam Funk. Get your boogie on as he shreds his keytar with his electro-synth jams. Be on the look out for the new album dropping in the spring of 2013.

Free Muni Day SF Muni stops. www.sfmta.com. All day, free. Take the L-line to the zoo or ride a cable car for the first time ever — today all Muni services are on the house to celebrate the agency’s 100th anniversary.

SATURDAY 29

Treasure Island Flea Market Great Lawn, Ave of the Palms, Treasure Island, SF. www.treasureislandflea.com. 10am-4pm, $3. Looking to pick up some Christmas or Chanukah presents? Then head over to the Island of Treasure for its monthly open-air flea market. Enjoy awesome views of the Bay Area while perusing goodies from local designers, collectors, and other makers.

SUNDAY 30

Instant Camera Photo Walk Photobooth SF, 1193 Valencia, SF. www.photoboothsf.com. 1-3pm, free. This event is for analog photographers only, so Instagrammers need not apply. Join the staff of the Mission’s Photobooth gallery for a photowalk down Valencia corridor. Be sure to bring a Polaroid/Land or Frankenstein instant camera along. No worries if you don’t have one, Photobooth will be happy to lend you one for the occasion.

SF Zoo Lights 1 Zoo, SF. www.sfzoo.com, (415) 753-8141. 4-8pm, $5. Stuck with the family all week? May we recommend taking them to the last night of the San Francisco Zoo Lights extravaganza? The zoo will be a bastion of animal-themed, family-friendly holiday fun complete with a splendid light show, 30-foot Christmas tree with animal decorations, and free rides on the carousel.

MONDAY 31

Holiday 3D Light Show Westfield SF Centre, 865 Market, SF. www.westfield.com/sanfrancisco. 5pm, free. Tonight’s your last chance to catch the holiday magic of the Illuminique Under the Dome show, which transforms the Westfield mall’s glass dome, built in 1908, into a surround-sound wonderland of scenes sure to get your little (and not-so-little) ones in an eggnog froth.

 

San Francisco, Third World country

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The model is pretty well established, and has proven exceptionally lucrative  for big US corporations like Bechtel and big US banks — and has been an utter disaster for dozens of developing countries: US banks loan money to countries that need infrastructure development — and that money comes right back to US corporations that charge phenomenal prices to build roads, dams, mining operations, whatever, with a nice cut off the top to whatever powerful people need to be bribed (all tax-deductable, of course). And the country that could never afford the loan to begin with impoverishes its people paying the note.

That’s how economic development worked for decades, with the International Monetary Fund and the World Bank leading the way.

Now the world has flipped — and the Chinese national development bank is loaning the money for a project in San Francisco, that will be constructed by China’s equivalent of Bechtel.

Yes, the Chinese Railway Construction Co. will have to adhere to San Francisco’s local-hire law and some of the construction jobs will go to San Franciscans. Obviously, the company will be under immense pressure to hire union workers and pay unions scale. But the profits will go right out of the country — and I bet the contractor will try to pre-fab as much as possible in China, where labor costs are far lower, and use Chinese nationals at deflated wages for as much of the construction as legally allowable.

What does all of this say? On a macro level, it says that the US is slipping as an economic power, which is no big news. But it also suggests that the Treasure Island and Bayview Hutners Point development projects are screwed up enough (and Lennar Corp. is screwed up enough) that no US lending institution wants anything to do with them. The only way these projects work for an investor is if the money comes right back as profits from a builder with close ties to the investor.

Doesn’t give you a whole lot of confidence.

 

YEAR IN MUSIC 2012: Sinner’s exit

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emilysavage@sfbg.com

YEAR IN MUSIC “We weren’t supposed to be allowed to play live on the morning news,” Ty Segall says just moments after finishing a meal at In-N-Out, on his way down the coast from San Francisco, the city he can no longer afford to live in, to pick up his 16-year-old sister from his hometown of Laguna Beach. “Giving a bunch of long-haired weirdos really loud amplifiers and free reign on the morning news is just stupid. So I thought that was a great opportunity to do whatever the hell we wanted.”

“And I’m really happy we did that,” he says of the Ty Segall Band’s bizarrely mesmerizing performance of “You’re the Doctor” off this year’s Twins (Drag City), on the Windy City’s WGN Morning News in October. It ended with screeching feedback and Segall repeatedly screaming “Chicago!” into the mic. “It was way too early, so we were already feeling a little weird.” The weirdness rubbed off on the news anchors, who, when the camera panned back to them mid-song, were throwing papers up in the air and pogoing behind their desk. It made for a great split second.

The band also made its late night debut in 2012, on perhaps more appropriate Conan. Segall, drummer Emily Rose Epstein, bassist Mikal Cronin, and guitarist Charlie Moothart seemed a bit more in tune with that set-up and host, playing Twins‘ awesome “Thank God For Sinners.”

The group of old friends toured extensively this year, playing a whole bunch of festivals including Bumbershoot, the Pitchfork Music Festival (“I had no idea what to expect with that one, because like, you know, Pitchfork is almost a mainstream media outlet now. But that was one of the most wild, definitely craziest festival we played”) and Treasure Island in San Francisco (“most beautiful festival…the scenery — it was just psychotic”).

http://www.youtube.com/watch?v=CCMSYRgRdAo

And Segall again had a full hand of releases over these 12 months. He began the year with a White Fence collaboration: Hair (Drag City), following that up with a Ty Segall Band record, Slaughterhouse (In the Red). Then in October he dropped a solo album, Twins (Drag City).

Each record stood for itself. They were recorded with different bands at various locations (Eric Bauer’s studio in Chinatown, the Hangar in Sacramento). Hair was a true collaboration between Segall and White Fence’s Tim Presley, exploring one another’s strengths through fuzzy noise, psychedelic wanderings and the occasional surfy licks. It was originally slated to be an EP, but it was going well, they decided to put out a full LP.

Slaughterhouse kicks off with foaming feedback and maintains a sonic assault of aggressive, noisy guitars, screaming in the ether, throughout — a loud, frenzied, psychedelic garage-punk masterpiece. Bluesy-punk thumper “Wave Goodbye” turns down the riffs on the intro and lets Segall’s nasal intonations take charge, with a ’70s punk approach: “I went to church and I went to school/I played by all of your other rules/but now it’s time to…wave goodbye/Bye bye.” He shrieks that last “bye bye,” simultaneously recalling early Black Sabbath, and sonically flipping the bird.

Twins was the solo triumph, lyrically exploring Segall’s dual personalities between his thrashy stage persona, and his casual, polite, dude-like demeanor off-stage.

“Who can know the heart of youth but youth itself?” — Patti Smith in ‘Just Kids.’

Segall first picked up the guitar at 15 after hearing Black Flag. “I was super into Black Sabbath and Cream and classic rock and then I heard Black Flag and I was like ‘dude, I can play punk.'”

The multi-instrumentalist still plays guitar, first and foremost. Currently, he sticks to a ’66 baby-blue Fender Mustang he calls “Old Blue” or “Blue-y,” but brings along a ’68 Hagstrom as backup.

During the week of Halloween though, Segall, 25, played drums with the first band he joined when he moved to San Francisco eight years back, straight-forward punk act Traditional Fools. It was at Total Trash’s Halloween show at the Verdi Club with a reunited Coachwhips (with Thee Oh Sees’ John Dwyer) and it made for an epic night of reunions for the two men most associated with the current garage rock scene in San Francisco. “I have always thought, and will always think, that John Dwyer is the savior of rock and roll.”

When I bring up the news of Segall’s pal Cronin signing to Merge recently, he has a similar compliment for him: “He’s going to be the savior of us all. I can’t wait until you guys hear his next record; it’s insane.” Segall swears Cronin will be the next big thing.

Late last week, In The Red Recordings announced it would be reissuing Segall and Cronin’s joint 2009 surf-laden, chainsaw-garage record Reverse Shark Attack. In a video from that era for the song “I Wear Black,” Segall and Cronin cruise through town on skateboards in washed-out clips, ever the beach-bred rockers.

It was just three years ago, but that’s lifetime in Ty-land.

As the city has watched him grow Segall has maintained a youthful glow, a raucous, energetic punk spirit surrounded by sun-kissed California locks and a fuck-everything attitude. His sound, however, has expanded. How couldn’t it? He put out three records in 2012, and a dozen more in his relatively short lifetime.

But youthful abandon has caught up Segall. He can longer afford to live and work in San Francisco, the city that loves him so. He plans to move to LA in March or April of 2013. Will the wide sea of local rockers here soon follow suit? How many have we already lost to the rising tides of tech money? It’s a question currently without an answer.

“It’s really expensive,” Segall says. “I’ve loved it there, but I can’t even play music…I can’t work at my home. It’s a drag. I think a lot of musicians and artists are being forced to move out of San Francisco because they can’t afford it, and they can’t really work anymore because they can’t afford housing that allows for noise.”

It seems backward, that a year full of such booming professional success and critical acclaim should be the final year he’s able to afford the life he’s lead for the better part of a decade. But perhaps he just needs a break, to go back and focus all of his time and energy on a single release in the far-off future. Give his tired mind a minute to grasp his explosive last year.

“[In 2013] I’m going to like, get my head wrapped around the next thing and take some time, [and] slowly and lazily start working on demos,” he says. “There’s definitely not going to be a record from me for a year. I just want to focus on one thing and make it as best as I can. I’ve never really focused on just one thing for a year straight, so I’d like to do that.”

 

EMILY SAVAGE’S LIST OF NEW ALBUMS I LISTENED TO ENDLESSLY IN 2012

1. Grass Widow, Internal Logic (HLR)

2. Cloud Nothings, Attack on Memory (Carpark)

3. Ty Segall, Slaughterhouse (In the Red)

4. Dum Dum Girls, End of Daze EP (Sub Pop)

5. Frankie Rose, Interstellar (Slumberland)

6. Godspeed You! Black Emperor, Alleluja! Don’t Bend! Ascend! (Constellation)

7. The Fresh and Onlys, Long Slow Dance (Mexican Summer)

8. THEESatisfaction, awE naturalE (Sub Pop)

9. Terry Malts, Killing Time (Slumberland)

10. Guantanamo Baywatch, Chest Crawl (Dirtnap Records)

 

On the Cheap Listings

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Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 21

Pre-Thanksgiving Farmers Market Ferry Plaza, SF. www.cuesa.org. 10am-2pm, free. If you want to really impress your incoming family members with a fine and sustainable T-Day spread, then you must head to town’s most swank farmers market to take care of last-minute shopping. Watch for the free recipe booklets staff will be handing out if you need ideas for what to actually do with all those veggies.

THURSDAY 24

Vegetarian/vegan Thanksgiving potluck The Loughborough Center, 1184 Broderick, SF. RSVP at (415) 498-0385. 3pm, $1 donation with food contribution, $10 without contribution. East Bay: Unitarian Universalist Fellowship Church, 1606 Bonita, Berk. RSVP at howarddy@gmail.com or (510) 562-9934. 4pm, $2 donation with food contribution, $12 without contribution. Intentional community is the name of the game at these two animal-free potlucks, sponsored by the venerable SF Vegetarian Society. Cook for your fellow veg-heads this year. Vegan dishes are preferred. Bring utensils and plates to minimize landfill impact. Give thanks for healthy food, and an aware community.

FRIDAY 23

Pizzichillo and Gordon glass art Pizzichillo and Gordon Studio, 2680 Union, Oakl. (510) 832-8380, www.quepasaglass.com. Through Dec/15. Opening reception: 10am-4pm, free. Bruce Pizzichillo and Dari Gordon have been making vibrant and unique pieces of glass artwork since 1980, and are inviting you to peruse this assemblage of their masterpieces, featuring vases, bowls, pitchers, and jewelry. Take note, those of you looking to buy arty gifts for friends, relatives, and anyone you hold dear in your life — this is a great place for local browsing.

Language of Cloth winter pop-up sale The Language of Cloth, 650A Guerrero, SF. (415) 431-7761, www.thelanguageofcloth.com. Open every Friday, Saturday, and Sunday through Dec.30. 10am-6pm, free. If you’re looking for gifts that possess color and personality, look no further than this temporary story in a Mission garage. The man behind the sale is Daniel Gundlach, who is so committed to providing San Francisco with quality textiles he goes on yearly excursions to countries like Thailand and Laos, sometimes spending half the year in Indonesia.

Food Social The New Parish, 579 18th St., Oakl. (510) 409-0651, www.food-social.org. 5-9pm, $5. An event on the opposite of the stress spectrum from Black Friday shopping, FuncheapSF would like you to come by and relax in Oakland’s Uptown neighborhood. A $5 ticket gets you a complimentary beer and a raffle ticket to win prizes such as an iPad Mini. Good food, good music, good vibes, why would you ever hit the mall?

SATURDAY 24

Craftswomen Celebration Herbst Pavilion, Fort Mason, SF. (650) 615-6838, www.celebrationofcraftswomen.org. Sat/24-Sun/25 and Dec. 1-2, 10am-5pm, free. Over 150 female artists display their fine arts and crafts at the 34th year of this fair. Come by to shop, to eat, to listen to live music, and place a bet in the silent auction.

SUNDAY 25

Treasure Island Flea Market Great Lawn, Ave of the Palms, Treasure Island, SF. www.treasureislandflea.com. 10am-4pm, $3. Treasure Island isn’t just some place that hosts a kick ass festival once a year every October, other things happen there too. One of the non-Treasure Island Music Festival happenings is the Treasure Island Flea Market where there’ll be various designers, outdoor exhibits, scavenger hunts, and food trucks present.

Womyn of Color Arts and Crafts Show La Peña Cultural Center, 3105 Shattuck, Berk. (510) 849-2568, www.lapena.org. 10:30am-4:30pm, free. This East Bay center of song, dance, art, and community hosts a gift fair showcasing women of color, for the 18th year in a row.

MONDAY 26

Marbles: Mania, Depression, Michelangelo, and Me The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30pm, free. Storytelling is a much a part of Ellen Forney as fog is a part of SF weather. Diagnosed with bipolar disorder before her 30th birthday, Forney turned what most people saw as an obstacle into inspiration for her new book and memoir Marbles: Mania, Depression, Michelangelo, and Me. Come hear her talk about her struggles and triumphs with bipolar disorder.

TUESDAY 27

"Native Plants of San Francisco" St. Philip’s Catholic Church, 725 Diamond, SF. (415) 750-9986, www.sanfranciscohistory.com. 7pm, $5. Despite being the second densest big city in the country, San Francisco is blessed with stunning native flora. Native San Franciscan and natural world devotee Greg Gaar would like to inform you on the evolution of our fair city’s beaches, coastal prairies, trees, creeks, lakes, and marshes at his presentation at the St. Philip’s Church, sponsored by the SF History Association.

Nerd Nite The Stork Club, 2330 Telegraph, Oakl. (510) 444-6174, www.eastbay.nerdnite.com. 7pm, $8. Calling all nerds! Calling all nerds! Last month’s East Bay Nerd Nite was so well-received, organizers are presenting an encore of the geekalicious event. At this installment, there’ll be talks by a UC Berkeley low-temperature physicist and a presentation by a chemist on all things luminescent.