War

Vote Mac

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› annalee@techsploitation.com

TECHSPLOITATION A Barack Obama fan, supposedly operating on his own time and not as part of the campaign, recently released a rather clumsy attack ad smearing Hilary Clinton on YouTube. No, it’s not particularly amazing that spin-doc wannabes are splattering DIY attack ads on video-sharing networks. What’s surprising is the content of this particular ad, which rips off an old Macintosh commercial from the 1980s. The message? Vote Obama because he’s just like an Apple computer.

The ad is a mashup of Apple’s infamous Big Brother commercial that aired just once, during the 1984 Super Bowl. Directed by Ridley Scott (Blade Runner), it depicts a black-and-white world of industrial hell where only Macs can save us from fascism. Slack-jawed office slaves file into an auditorium where Big Brother delivers a garbled speech from an immense television screen. Just when the grimness gets overwhelming, a woman appears in bright red shorts and a Macintosh T-shirt. She runs through the auditorium in slow motion, wielding a sledgehammer, fleeing police. As Big Brother’s speech reaches a crescendo, she hurls her hammer into the screen and shatters it. A few words scroll into view over the storm of glass dust: "On January 24th, Apple Computer will introduce Macintosh. And you’ll see why 1984 won’t be like ‘1984.’ "

The only difference between the Obama ad and the old Mac commercial is that Hilary Clinton has been pasted into Big Brother’s place on screen. She’s droning out some speech about everybody working together, and the final words on screen read, "On January 14, the Democratic Primary will begin. And you’ll see why 2008 won’t be like ‘1984.’ "

I’m weirded out by the idea that it’s meaningful to compare the Democratic primary to the release of a new technological gizmo. Are we really supposed to feel stirred by the notion that our political leaders are computers designed by marketers? Or that the only symbol the grassroots politicos can come up with to represent their candidate of choice is a computer that’s been obsolete for 20 years? How, exactly, did we wind up with such impoverished political imaginations?

The fact is we didn’t. Macintoshes are just the latest pop culture symbol that politicians have seized on to fake their connection to everyday American life. Hell, even Ben Franklin pulled the old pop culture trick when he plopped a coonskin hat on his head so that he’d look folksy when he arrived in France to round up some cash to fund the Revolutionary War. Two centuries later, Bill Clinton used the Fleetwood Mac song "Don’t Stop Thinking about Tomorrow" to symbolize his hipness when he was inaugurated. Obama’s supporters are using hippie computers instead of hippie rock to make the same point. Think about it: Apple computers of the ’80s represent a hopefulness about the power of technology to bring us together that the country has all but forgotten. Sort of the way we forgot about prog rock.

But do Apple computers represent what they used to back in the day? Not if you are keeping up with the times. Over the past few months, in fact, Apple has launched its own series of attack ads on the Windows PC. You know the ads I mean — the ones where the Macintosh is personified as a snotty, black-clad hipster type who goes around feeling sorry for the PC, a bumbling, nerdy guy in a suit who can never quite get his peripherals to work.

Unfortunately for Apple, the attack ads have backfired. The PC character is played by John Hodgman, a popular satirist who appears regularly on The Daily Show and This American Life. His PC comes across as a populist everyman being unfairly taunted by a younger, cuter model with lots of nice hair but no brains. Everybody wants Hodgman in the living room, even if he crashes occasionally. He’s us. He’s America. The only person who wants that annoying Mac guy around is, well, the sort of person who thinks it’s brilliant to change one tiny aspect of an old TV commercial and rebroadcast it online as if it’s the new citizen media taking on the political system. If Obama is the Mac, then I’m voting PC. No, wait, I’m buying a PC! Oh crap — am I at the store or in a voting booth? It’s so hard to tell the difference. *

Annalee Newitz is a surly media nerd who figures all the voting machines are rigged to vote for the Zune anyway.

Editor’s Notes

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› tredmond@sfbg.com

David Lazarus, who is a pretty good consumer reporter over at the San Francisco Chronicle, got himself badly singed in a blogosphere flame war a couple weeks ago when he wrote a column arguing that newspapers should start charging for their content online. No more free newspaper Web sites; if you gotta pay half a buck to the buy the print product, you shouldn’t get it electronically for free.

It’s kind of an insider industry debate, and frankly, this stuff is starting to bore me, and nobody else should care much — except that in his fights with bloggers and in a follow-up column March 23, Lazarus got into an issue that is crucial for all of us to think about and understand in the new media world.

Lazarus argues that if the Web content is free, there won’t be any money to pay professional reporters (like him). Some of the folks who went after him said, in effect, so what? With tens of thousands of bloggers out there working for free, who needs David Lazarus? Who needs to pay for any news on the Web? Who even needs newspapers; why can’t the blogosphere just make its own news?

What that argument amounts to is a failure to understand that there will always be — and must, for the sake of democracy, always be — people who work in the news business. By that I mean people who are paid full-time to follow politicians, monitor city hall, and investigate wrongdoing.

They may not work in what are now traditional newsrooms or at traditional news outlets. But the typical blogger, who comments on other news reports and does some citizen journalism while holding down a day job or going to school, isn’t going to fill the role of full-time reporters. It’s not that the bloggers aren’t smart or good writers or, frankly, better reporters than a lot of the pros out there. It’s just that this job can’t be a part-time gig.

Lazarus misses the fact that giving away newspaper stories isn’t anything new. The alternative press figured out years ago that newspapers can operate like radio stations — put the content out free and sell ads around it — and make enough money to hire staff.

But the bloggers don’t seem to understand that hiring staff is key. Look at Daily Kos. It’s a huge success in part because Markos Moulitsas Zúniga, who runs the site, is a great writer and very talented, but it’s also because he does it as a full-time gig. He doesn’t charge for anything; he takes ads. But that pays for at least one full-time staffer and soon, I think, will pay for more.

The time will come (and I bet it’s sooner than later) when Daily Kos or another similar site will have enough money to decide to hire a full-time political blogger to, say, cover the presidential race. That person may not be someone who went to journalism school, and he or she may not write with the style or sensibility of the San Francisco Chronicle or the New York Times or the Washington Post. But that reporter-blogger will be able to do what most citizen journalists can’t — that is, devote full time to the job — and thus will get original stories, real news. That’s never going to change. *

Superlist No. 831: Box office steals

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› superlists@sfbg.com

Bertolt Brecht wanted theater to be for the people, not the power. In order for that to happen, tickets need to be cheap. Luckily, many local venues are committed to fulfilling Brecht’s directive, at least in terms of money, by ensuring that their shows are accessible to people of all income levels. With these shows costing less than the latest soulless CGI flick you just saw, what’s stopping you from spending the night at the theater?

Even though they call the new and soon to be solar-powered Ashby Stage (1901 Ashby, Berk. 510-841-6500, www.shotgunplayers.org) home, the Shotgun Players haven’t forgotten their humble roots in the basement of a pizza parlor. They make their innovatively staged plays accessible to folks on a pizza budget by holding a pay-what-you-can first week for every production.

Theater company Central Works stages all of its collaboratively written, developed, and produced plays in a dining room of the Berkeley City Club (2315 Durant, Berk. 510-558-1381, www.centralworks.org). You’ve never seen drama this close, and rarely so inexpensive: tickets are on a sliding scale and start at $9.

All shows are pay what you can at CounterPULSE (1310 Mission, SF. 415-626-2060, www.counterpulse.org), which presents theater, dance, music, and interdisciplinary performances — all with a political and cultural edge.

The African-American Shakespeare Company (African American Art and Culture Complex, Buriel Clay Memorial Theater, 762 Fulton, SF. 415-762-2071, ext. 1) brings an African American perspective to classical works by such playwrights as William Shakespeare, Anton Chekhov, and Aristophanes. All preview performances cost $5.

Strange things happen on the tiny stage of the Dark Room (2263 Mission, SF. 415-675-9963, www.darkroomsf.com) and at a very reasonable price. Pay $5 to watch performers compete for the honor of being named the worst act in the city (and claiming the title of Miss American Fido) on the last Thursday of the month or heckle the screen during Monday’s Bad Movie Night — which is sort of like Mystery Science Theater 3000, only live.

Established in 1965 specifically to find creative ways of addressing the Vietnam War, Intersection for the Arts (446 Valencia, SF. 415-626-2787, www.theintersection.org) is the oldest nonprofit arts space in San Francisco. Its resident theater company, Campo Santo, performs and helps create challenging plays by local playwrights and nationally known authors such as Denis Johnson. Every Thursday is pay what you can at this community theater and gallery.

The Julia Morgan Center for the Arts (2640 College, Berk. 510-845-8542, www.juliamorgan.org) is the latest Bay Area venue to provide a stage for storytellers and solo performers. Its “Tell it on Tuesdays” series (the last Tuesday of every month) costs as little as $8, and it has seen performers such as Jeff Greenwald and Ron Jones spin a good yarn.

The clever people at Last Planet Theatre (351 Turk, SF. 415-440-3505, www.lastplanettheatre.com) have devised the best way to bring the cost of your theatergoing experience below silver-screen prices: pay two for one on Thursdays. Bring a date and check out the avant-garde experience this nine-year-old company — which has staged works by Harold Pinter, Caryl Churchill, and Rainer Werner Fassbinder — has to offer.

Impact Theatre picks up where Shotgun left off, at La Val’s Subterranean (1834 Euclid, Berk. www.impacttheatre.com), the basement of a pizza parlor. It’s nothing to be ashamed of. Impact produces some of the hippest, edgiest new plays around and lets you watch them for whatever you want, so long as seats are still available a half hour before the show starts.

Over at Sam Shepard’s old stomping ground, the Magic Theatre (Fort Mason Center, bldg. D, third floor, Marina at Laguna, SF. 415-441-8822, www.magictheatre.org) continues to bring fresh work and plenty of world premieres to audiences. The 40-year-old space has a sliding-scale ticket price on Wednesdays that dips down to $5, and it also holds a minimum of 10 last-minute tickets for $10, available 30 minutes before curtain.

You never know what’s going to sprout up at Monday Night Marsh, held at the Marsh (1062 Valencia, SF. 415-826-5750, www.themarsh.org) for just $7. The curated almost-weekly event puts performers, improv artists, storytellers, musicians, clowns, and any combination thereof in its black box. The only rule is no fire in the house.

Home to Footloose, which incubates primarily women’s work, Shotwell Studios (Shotwell Studios, 3252A 19th St., SF. 415-920-2223, www.ftloose.org) is the place to see contemporary dance and the occasional comedy night, and every show is pay what you can.

Keep your fingers crossed that shows at Z Space Studio (131 10th St., third floor, SF. 415-626-0453, www.zspace.org) don’t sell out. The venue, which also helps performing artists and playwrights bring their ideas to fruition and then sends them off on tour, offers pay-what-you-can rush tickets on Wednesday, Thursday, and Friday nights. Call first to make sure the deal applies to the show you want to see. *

 

An urgent message to Speaker of the House Nancy Pelosi: cut off funding for the Iraq War

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On the eve of the historic House vote to end the Iraq War, I sent the following note to Rep. Nancy Pelosi (D-San Francisco), with a copy of the current Guardian editorial and editor’s notes updating our longtime position opposing the war and occupation. I urge others to do the same. (Pelosi office in Washington: (202) 225-4965. pelosi@mail.house.gov.)

Rep. Pelosi:

The Guardian, and many many people in your district and around the country, urge you to push hard and harder to cut off the funding for the Iraq War. Thanks very much, Bruce B. Brugmann, editor and publisher, San Francisco Bay Guardian

Editorial

Cut off war funding

The cost is spectacular and almost unfathomably tragic

While the Democrats have offered an alternative plan to withdraw from Iraq, party leaders are still refusing to do what Congress has every right to do: demand that no more money be spent on combat operations in Iraq, set a timetable for pulling out the last troops – and specify that not a single dollar will be spent on anything except safely removing US personnel.

Full editorial:
http://www.sfbg.com/entry.php?entry_id=3150&catid=4&volume_id=254&issue_id=287&volume_num=41&issue_num=25

Editor’s Notes

We can still end this war

By Tim Redmond

Four years ago we shut down the city. None of us who were there will ever forget it: so many peaceful protesters showed up that the police had to close down Market Street. Mission Street was pretty much the same way. You couldn’t get anywhere downtown; nobody seemed to be at work. The police were, in more than a few instances, out of control – but there were no water cannons or rubber bullets, just a lot of arrests. Overall, it was a day of joy: the United States was going to war, and San Francisco would have no part of it.

Full editorial: http://www.sfbg.com/entry.php?entry_id=3148&catid=4&volume_id=254&issue_id=287&volume_num=41&issue_num=25

Pleased to meat you

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FILM I was a vegetarian for 18 years — more than half my life. But after quite a bit of soul-searching (and one incredibly triumphant taste of bacon), I recently realized that 18 years was plenty long enough. The honest truth is that meat is delicious, and I enjoy the hell out of eating it.

Coincidentally (or not), the Donner Party included several Eddys. I have no proof that I’m related to the ill-fated pioneers, but I feel a certain kinship nonetheless. They were the ultimate carnivores, after all. I’m not alone in my fascination with cannibalism — why else would there be five Hannibal Lecter movies? Soylent Green is made of people; the living dead will eat your brains at any time of dawn, day, or night; and the biggest blockbuster of 2006, Pirates of the Caribbean: Dead Man’s Chest, featured droves of flesh-hungry islanders. For every highbrow take on cannibalism (Tennessee Williams’s Suddenly Last Summer; song-of-myself doc Keep the River on Your Right; Japanese war drama Fires on the Plain; art house fave Eating Raoul; plane-crash saga Alive), there are dozens more glorifying the ultimate taboo with sleazy glee. Put on your eatin’ dress and consider these tasty standouts.

(1) The Texas Chainsaw Massacre 2 (Tobe Hooper, 1986). The first Chainsaw is a hands-down horror classic. The sequel, which stars Dennis Hopper and is far more of a comedy, includes a subplot about a chili cook-off: "No secret, it’s the meat. Don’t skimp on the meat."

(2) The Hills Have Eyes (Wes Craven, 1977). When Wes Craven met Eddie Murphy when they made Vampire in Brooklyn, the first thing Murphy did was quote The Hills Have Eyes: "Baby’s fat. You fat … fat and juicy."

(3–4) Ravenous (Antonia Bird, 1999). The American frontier circa 1847 provides the backdrop for this tale; well worth it just for the cast of twitchy character actors such as Robert Carlyle, Jeremy Davies, and David Arquette. A good double feature with Cannibal! The Musical (Trey Parker, 1996).

(4) Blood Diner (Jackie Kong, 1987). Guess what’s on the menu.

(5) Frightmare (Pete Walker, 1974). And you thought your family had issues.

(6) Dahmer (David Jacobson, 2002). One of the finer entries in the booming serial-killer biopic genre.

(8–10) The Cannibal gang: Cannibal Holocaust (Ruggero Deodato, 1980), Cannibal Ferox (Umberto Lenzi, 1981), and Cannibal Apocalypse (Antonio Margheriti, 1980). Nobody does human cruelty and bad-taste brutality like the Italians. (Cheryl Eddy)

CANNIBAL HOLOCAUST

Fri/23–Sat/14, midnight, $9.75

Clay, 2261 Fillmore, SF

www.landmarkafterdark.com

SxSW rocking, mocking

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› kimberly@sfbg.com

SONIC REDUCER Every spring I wing toward Austin, Texas, and the South by Southwest conference and music fest like some PBR-swilling, Lily Allen–aping mockingbird, in the hope of getting my imagination kick-started by some mysterious band of outsiders from Leeds, Helsinki, or Cleveland, armed with only guitars, samplers, or taste-testing facial hair. Little did I realize I’d be clocked in the noggin instead by This Moment in Black History’s Chris Kulcsar at the Blender Balcony at the Ritz. Last I recall, the spazztastic singer had just dashed up the stairs into the audience, nodding approvingly at TMIBH’s righteous thrash. I felt the heel of his kicks against my skull moments later. "Did he just jump over me?" I asked a bespectacled Joe Indie Rocker beside me. "Well, actually, he kicked you in the head," he answered. Glad to be a part of the spectacle — spare me the head trauma next time.

Oh South by — more than 10,000 participants strong, more than 1,400 acts bringing their all and driving $24.9 million in revenue to the self-proclaimed "Live Music Capital of the World." Oh me (oh my) — little slumber, one missed jet, a new zit every hour (just call me Stresstradamus), and drawn by the promise of cool sounds, cold beer, hot barbecued pork and brisket-taco brunches by the cold, gray light of a hangover, industry hugging and mugging, wheeling and dealing, and special guests who just might not be that, er, special at this point ("Every time you see those words on the schedule, just insert ‘Pete Townshend,’ " one wag claimed after Townshend dropped in at both his girlfriend Rachel Fuller’s acoustic show and a Fratellis gig). Oh, the rumored celeb-actor sightings — Kirsten Dunst, Owen and Luke Wilson, Michael Pitt doing a Keanu with his neogrunge Pagoda. Oh, the surreal parties — bunnies getting jiggy with indie at the eighth annual Playboy "Rock the Rabbit" after-hours wingding with bunnies, Ghostland Observatory, and popscene’s Omar, as well as the usual Blender (showing "the stupidest rock movies ever" at its slick, MTV-ish clubhouse), Spin, Jane, Filter, and Fader fort exclusivity rites, filled with guest-listlessness, Fratellis performances, and gratis Absolut peartinis, Heinekens, and mini–Vitamin Waters. If you’re a glutton for hard-drinking pleasure or heavy metal punishment (see the free Mastodon by the Lake show, the Melvins’ Stubbs-packing powerthon, and some two dozen Boris performances), then SXSW is for you.

But for a three-time SXSWhiner like myself — and a very random sampling of festgoers accustomed to challenging Elijah Wood to rasslin’ matches — the fest generally underwhelmed this year. It’s still the biggest cross-the-board overview of the music biz around. But demanding party people with insectlike attention spans wanted to know, where were the Bloc Parties? (Oh, naturally they were there, playing oodles of shows, but did anyone give a bloc?) Tellingly, the Horrors were here, but where were the thrills (and I don’t mean the Irish combo)?

Yesteryear’s exciters such as the Gossip and Hella showed, and Spank Rock, Girl Talk, Simian Mobile Disco, and Flosstradamus repped, yet seriously, is Amy Winehouse all that? Sure, she could croon a ’50s R&B-inflected pop tune and rock a Ronettes-style beehive, but her performance was more memorable for the number of times she hiked up her low-riding jeans than her songs. "I’m dwunk," she slurred during her packed show at La Zona Rosa. "It’s not funny." Are Razorlight and Albert Hammond Jr. truly godhead? Caveat: I caught neither, but fess, when thin-blooded popsters like Peter, Bjorn, and John and Pete and the Pirates are vaunted as the hottest shit to stream from the cultural Sani-Jons, then something is very wrong. The fact that the Black Lips were on so many lips is perfectly understandable: they’re a fine garage punk band — onstage heaves or no — and worthy of the humps they’re getting years along, but we all know that. I wanted my mind blown as well as punted.

Barring that, where were Arcade Fire, Of Montreal, LCD Soundsystem, TV on the Radio, Deerhoof, OOIOO, and so many others currently touring — but perhaps too sensible or established to play a seemingly requisite dozen times? Whither MIA, the Hives, Queens of the Stone Age, Feist, Marilyn Manson, and others with anticipated 2007 albums to hawk? Are Coachella and its Rage Against the Machine reorientation giving SXSW a run for the splashy reunion buck (sorry, RATM guitarist Tom Morello’s Nightwatchman show with Slash, Perry Farrell, etc., doesn’t cut it)? Are SXSW’s sideshow and party scenes undercutting the panels and showcases? Perhaps the coastside cynics are spoiled because we think a Hoodoo Gurus gathering just doesn’t measure up to recent no-shows like Whitehouse.

Still, the ole rocks do get off, if when you least expect it, wandering past a bar, ears caught by some new emanation. That happened to me, when I stumbled on inspired, powerful performances like those of Toronto’s stunning, vibes-focused Hylozoists at Habana Calle and the Björkish–Kate Bushy lady band Bat for Lashes. And then not so unexpectedly, when you brave the puke and garage smells of the Beauty Bar Patio for an all-Bay hyphy throwdown with an energized Federation, packing their stunna glasses at night, an ebullient Saafir, and a speaker-mounting Pack. The fact that you have to go all the way to Texas for the latter makes SXSW the beloved monster that it is — it’s just getting harder to cut through the noise.

Back in black: Black Lips, Black Angels, This Moment in Black History, Black Fiction.

Some words never stop being fun: Holy Fuck, Holy Shit!, Shitdisco, Fucked Up, Psychedelic Horseshit.

All ze buzz: Paolo Nutini, Earl Greyhound, Pop Levi, Albert Hammond Jr., and Cold War Kids. *

For more on South by Southwest, click here.

Sleepless fights

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› a&eletters@sfbg.com

In May 2002, El Producto issued the acidic collage Fantastic Damage on his label, Definitive Jux. Winning universal acclaim for its compendium of broken-home tales, hard-won insights, and teenage misadventures, the recording crystallized a moment when rap musicians could reject the corporate-approved pay formulas proliferating on MTV without losing a receptive and knowledgeable audience.

Five years later that promise has seemingly passed. Rhymesayers, once famous for selling hundreds of thousands of CDs without major-label support, is now distributed by Warner Bros. LA rap scion Busdriver likes to wear a T-shirt that reads, "Sorry, underground hip-hop happened ten years ago." The controversial Anticon collective, once renowned for its vision of rapping as avant-garde art, has turned its attention to experimental rock.

Meanwhile, critics have long since withdrawn their support. "Independent pop — not just hip-hop — has in many ways become a version of graduate school, a safe zone where artists can eke out a living, take their time doing specialized work," New Yorker critic Sasha Frere-Jones wrote in 2004. "In most cases, this is the last thing a popular musician should be doing." Unlike the participants of past movements — think early ’80s hardcore or mid-’90s indie rock — neither indie rap artists nor the popist critics who hate them can imagine an alternative, noncommercial universe that is profitable as well as artistically successful.

Some things haven’t changed, however. El-P, the man whose Definitive Jux imprint represents the best in underground hip-hop, remains a restlessly intelligent and caustically opinionated maverick. I’ll Sleep When You’re Dead, his just-released follow-up to 2002’s Fantastic Damage, is one of the year’s most remarkable albums, hip-hop or otherwise. I’ll Sleep When You’re Dead is hallucinatory and strange, but it ain’t a coke rap epic. It’s the equivalent of a distorted lens refracting El-P’s mind, bent during wartime, and he stays afloat through torrential word pours and samples collated into Sheetrock. "Why should I be sober when God is so clearly dusted out of his mind / With cherubs puffing a bundle tryna remember why he even tried / Down here it’s 30 percent every year to fund the world’s end / But I’m broke on Atlantic Ave. tryna to cop the bootleg instead," he raps on "Smithereens (Stop Cryin)." Despite the knotty slanguage, however, his lyrics are conceptually grounded, even when he musses with the details.

"I think the record has a political tinge to it, but it wasn’t me trying to feed you my crappy, base understanding of geopolitics," El-P says via phone from Planet New York. "I think the record is a snapshot of a mind state during a time that is highly politicized and strange…. I don’t think anyone needs to hear my perspective on why war is bad or what’s happening in the world. I just think that I’m very influenced by the tone of the times, and it comes through."

Deliberately twisted, I’ll Sleep When You’re Dead isn’t, as El-P puts it, "constructs for the radio." Some of the tracks, such as "Everything Must Go" and "No Kings," are simple yet evocative b-boy rants with fresh rhymes. Others are stories. "Habeas Corpses" details a prison guard and firing-squad technician in a futuristic American prison camp — "This is incredibly nerdy," El-P says — who falls in love with one of the prisoners destined to be executed. He questions his feelings for her, but in the end he shoots her.

Eye-catching names such as Cat Power, Trent Reznor, members of the Mars Volta, and Daryl Palumbo from Head Automatica riddle I’ll Sleep When You’re Dead ‘s liner notes. El-P submerges the cameos — a rap by Slug from Atmosphere here, a vocal hook by Matt Sweeney there — into the maelstrom along with the X-Clan samples. With few exceptions, they’re barely noticed. El-P retains center stage.

"It’s been five years since he’s put out a record, so there’s people coming out of the woodwork to get behind him," Amaechi Uzoigwe, El-P’s longtime manager and business partner, says. He describes a postrelease schedule that includes appearances on late-night TV talk shows and international tours. "I think this record is what El-P has done every five years, going back to Funcrusher on Rawkus with Company Flow," Uzoigwe says. "He redefines what indie hip-hop is and can be every time he drops a record."

Throughout his career, El-P has consistently pushed the boundaries of hip-hop. As the leader of the trio Company Flow, in 1997 he issued the totemic Funcrusher Plus, a disc that eventually sold more than 100,000 copies with no radio or video support. (Vibe magazine recently called it "the defining document of ’90s hip-hop dissent.") Shortly before the group disbanded, El-P cofounded Definitive Jux with Uzoigwe. The label grew into an outpost for idiosyncratic visions from Aesop Rock, RJD2, and Mr. Lif. I’ll Sleep When You’re Dead continues that tradition as El-P reconfirms his status as a serious artist worthy of the same consideration as Nine Inch Nails and Cat Power. It’s his first since 2002, but he argues, "It seems like a long time, but for me it didn’t seem that long." Remixes for others (TV on the Radio, Hot Hot Heat, and Beck), beats for his Definitive Jux roster (Mr. Lif and Cage), exotic collaborations (High Water with jazz pianist Matthew Shipp’s Blue Series Continuum), and a soundtrack assignment (Bomb the System) helped the years pass by.

"Those things were me getting into the role of different characters. None of it was really me," El-P says. "The outside production that I do is about me trying to step into the role of furthering someone else’s vision and working within those confines. I seek those things out. I wanna know how to do it. I want to get better at it. I seek these experiences out because I know I’m going to go back and make my record, and hopefully there’ll be something I can pull from those experiences to enhance what I do for myself."

If all goes to plan, I’ll Sleep When You’re Dead will anchor a busy year for Definitive Jux. New albums from Aesop Rock, Cage, Camu Tao and Rob Sonic and a 10th-anniversary reissue of Funcrusher Plus are in the offing. The label has been relatively quiet in recent years, only releasing one album (Mr. Lif’s Mo’ Mega), in 2006. In 2007, Definitive Jux hopes to reclaim its past and map out its future.

"We spent last year getting everything together internally so that we can go into these next couple of years as strong as possible," El-P says. He bristles at the notion that Definitive Jux is on the verge of a comeback. The label’s inactivity, he explains, was due to operational issues from launching a digital download store (the Pharmacy) to simply waiting for artists to finish their albums. "We’re very lucky, especially given a time where record labels are dropping like flies. It’s hard to maintain a business, and it’s hard to keep going. Somehow we’ve managed to be healthy and line up great projects. I’m very excited, to be honest."

In some ways, El-P has it easy. As a New York artist who came of age during the Wu-Tang era, the 32-year-old is a critic’s darling who isn’t as scrutinized and second-guessed as many of his peers, a group that ranges from the aforementioned Atmosphere and Busdriver to People under the Stairs and Sage Francis. But if mainstream audiences and critics continue to write off indie rap as a province for silly idealists and college nerds, then I’ll Sleep When You’re Dead indicates that the genre survives in spite of their disdain. At the very least, it sets an impressively high standard for a much-maligned and beleaguered art form.

"I think the genre is a little bit stagnant, musically and creatively. And I think we’ve seen the result of that, whether it’s show attendance, record sales, and just general complaints from the music community," Uzoigwe says. "I think [I’ll Sleep When You’re Dead] is a much-needed addition to the indie hip-hop canon." *

EL-P

Sun/25, 9 p.m., $15

Mezzanine

444 Jessie, SF

mezzaninesf.com

>

Screaming for vengeance

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› a&eletters@sfbg.com

It was the unquiet dead, whispering in the dark, who set John Cobbett on his path.

In December 2001, Cobbett — a longtime Mission District rocker and guitar hero with such notably heavy outfits as Slough Feg, Ludicra, and Hammers of Misfortune — was on the East Coast visiting his identical twin brother, Aaron, a photographer living in Brooklyn, just across the East River from the smoldering ruins of the World Trade Center.

"I visited the site. It was at night and freezing cold," Cobbett notes. "I remember the sounds of the cranes and demolition machinery wrenching huge slabs of twisted metal and concrete from the wreckage. All through the night these eerie, mournful sounds reverberated off the surrounding towers. It was an incredibly haunted place."

The wound at that time was still so fresh, you see. But the grief, fear, and uncertainty were being transformed, alchemically, inexorably, into something very different: a television spectacle and a justification for war far removed from the dust, the heat, and the stench of burning corpses that Cobbett says lingered in his brother’s neighborhood for months.

As the tragedy played out — the dead painstakingly named and numbered, the TV newscasters falling easily into the cadence of wartime rhetoric — Cobbett realized he had to respond. But the methods of political rock seemed far too self-righteous, and even patronizing, given the scale of bloodletting and demagoguery.

The way forward was finally revealed one month later, during the 2002 Super Bowl halftime show, which included a performance by U2 and a remarkable moment of patriotic kitsch: at the show’s climax, Bono, with the names of the 9/11 victims scrolling overhead on a huge banner, opened his leather jacket to reveal the Stars and Stripes beneath.

The crowd went wild, but for Cobbett it was shameless propaganda. The phrase "trot out the dead" leaped into his head, and music and lyrics quickly followed.

"I got so fucking pissed," Cobbett says. "These victims are rolling over in the superheated rubble below Ground Zero. It was so cheap and so tawdry. I decided, ‘I’m going to take these motherfuckers to task.’ "

Gloriously rocking and extraordinarily angry, "Trot Out the Dead" would become one of several jaw-dropping centerpieces of The Locust Years (Cruz del Sur Music), a record that took five more years and several new band members to complete and may well be one of the most urgent and affecting works of rock ‘n’ roll — not to mention protest music — produced by a band in San Francisco or anywhere else. It is the soundtrack to the George W. Bush years, a musical wail of sorrow and fury all the more overwhelming for its mythic metal lyrics and its seamless blend of prog rock ambition, hard and heavy bombast, and massively killer riffage.

If this sounds over the top, well, it is, a fact to which Cobbett gleefully cops.

"No matter how ridiculous we are, no way can we get more stupid and ridiculous than the real thing," he says. "No matter how grandiose I can get with a metal song, there’s no way I can go to Iraq and start a war. No matter how sanctimonious I get, there’s no way I could match what was coming out of Rumsfeld’s mouth. The shit coming out of those people’s mouths — it was gold."

HAMMERS COME AND GO


One of five siblings born to a middle-class Rochester, NY, family ultimately sundered by divorce, the teenage Cobbett wound up in Washington, DC, in the 1980s and quickly fell in with the breakthrough hardcore scene of the era. Minor Threat, Bad Brains, and the Obsessed were his bread and butter, but with the emergence of Revolution Summer’s early emo bands in 1986, the music became, in his words, "specious and cloying."

Taking his cue from a friend who said he’d like San Francisco, Cobbett spontaneously packed his gear and hit the road. "Within a week I was living in the Mission District," he says, "and still do."

Before too long he had fallen in with Chewy Marzolo, a drummer with the heavy and hardcore outfit Osgood Slaughter. That carried them both into the 1990s, at which point the musical chairs began in earnest. Cobbett joined the Lord Weird Slough Feg, a band packing equal parts Celtic folk mythos and old-school metal pomp. There he connected with vocalist Mike Scalzi, who would later help define Hammers’ sound with a manly, operatic holler that would do Rob Halford proud.

Marzolo, meanwhile, was busily following what he calls a "one-band-to-the-next continuum" all the way to Cobbett’s first incarnation of Hammers of Misfortune in 1998. Along the way he founded Poverty Records, a vital imprint that documented the Mission’s explosion of grimy and creatively unfettered rock ‘n’ punk with a slew of 7-inch records and CDs from such essential bands as Fuckface, Lost Goat, Towel, and Hickey.

After an initial outing as Unholy Cadaver — a devil-voiced combo that congealed around San Francisco’s cultish homegrown black metal scene, along with such peers as Weakling and Ludicra — Hammers’ lineup was refined and completed with the addition of vocalist-bassist Janis Tanaka, late of L7 and Stone Fox. Black metal became not an end in itself but a subordinate element in a larger musical palette that came together on Hammers’ full-throttle debut, The Bastard (tUMULt, 2001). Despite its acoustic flourishes, spooky harmonies, medievalist illustrations, and Joseph Campbell–inspired lyrics, it ain’t no teenage Dungeons and Dragons fantasy adventure rewarding its heroes with heaps of treasure and experience points. The Bastard turns out to be an ecological revenge fantasy, in which the "trolls of wood and stone" storm the village to "slay the ones who chop and cut / Slay them in the their wooden huts." It’s a wicked metaphor for the fate awaiting those mortals who dare abuse the blessings of nature.

Despite the record’s subcultural acclaim from magazines such as Terrorizer and Lamentations of the Flame Princess — and the admiration heaped on its follow-up, The August Engine (Cruz del Sur Music, 2003), a hard rock parable of cliquish music-scene self-destruction — Hammers of Misfortune had chosen a road that was neither wide nor easy. What kind of metal was this anyway? True? Black? Epic? These fine points of genre fidelity may seem irrelevant to a die-hard music fan, but for labels the difference is a record they can sell or not. "I loved Hammers the first time I heard them, and it never occurred to me to question or examine their sound, which was this gloriously confusional, amazing, and intricate chunk of mind-blowing music, metal or otherwise," says Andee Connors, who put out The Bastard on his tUMULt imprint. "It might be confusing for folks who are very strict with their genre divisions."

There is only so much small labels can do, however, and Tanaka’s departure to play with pop vocalist Pink was another monkey wrench. The addition of Jamie Myers on bass and vocals carried Hammers through The Locust Years‘ recording sessions until she too took a bow, moving to Texas to raise her first child. Scalzi, disinclined to divide his time between two bands, also departed, to focus his attention entirely on Slough Feg.

ANTHEMS FOR DARK DAYS


Today Hammers are touring with a refreshed and potent lineup, teaming Marzolo and Cobbett with bassist Ron Nichols; vocalist and second guitarist Patrick Goodwin of retro muscle rockers Dirty Power; and the musically omnivorous vocalist Jessie Quattro, who was raised on Doc Watson and the hymns and "occasional barking" of Pentecostal Christianity. Sigrid Sheie, a classically trained pianist, has been a constant on the last two records, bringing musical formality and some of the most boss Hammond B-3 and Leslie keyboards heard in rock since the ’70s heyday of Deep Purple — particularly notable on "Election Day," the penultimate track on The Locust Years. The tune is a whirlwind instrumental workout that recalls such classics as Focus’s "Hocus Pocus" and Edgar Winter’s "Frankenstein."

The song is a joy to hear simply as rock ‘n’ roll and exemplifies the real musical exuberance Hammers bring to what is otherwise grim and woeful fare. The whole record leavens its bleak social commentary with what Cobbett describes as "little-kid enthusiasm" for rocking out in high style. The lyrics, while not necessarily dactylic hexameter, are still richly allusive as metalhead poetry, inviting listeners to suspend their disbelief, find their own meaning, and let the emotional sweep of the music fill in the blanks. Anything unstated by, for example, "Chastity Rides," a harmonically gorgeous paean to the Platonic ideal of politically conservative virtue, is made ever so explicit by the snarling, minor-key instrumental bridge. The same technique is also applied to great effect in "War Anthem," a stirring call to arms that blatantly steals its sentimental grandeur from "The Star-Spangled Banner" then yanks the veil aside to reveal the bald-faced rapacity of the masters of the war on terror — be they Islamofascists, Christian supremacists, or military-industrial profiteers.

From the record’s opening moments, with Cobbett’s guitar wailing like a thousand 9/11 banshees, to the dreadful prophecy of "Famine’s Lamp" — certainly one of the great rock ‘n’ roll dirges — clear through to the gleaming, high-tech, satellite-guided apocalypse of the album-closing "Widow’s Wall," The Locust Years appeals to me as a ferocious summation of all the shameless hypocrisy, betrayal, and avarice of the last six years. It is tremendously cathartic but not necessarily hopeful. The album’s title — borrowed from Winston Churchill, who coined the phrase in reference to the declines and compromises of the 1930s and their resolution in the gas chambers and killing fields of World War II — is an embittered indictment of the flag-waving, churchgoing citizen-consumer. Good Germans all, dutifully following their leader as the abyss yawns ever wider.

LITTLE USE FOR ILLUSION


No one in the band has any delusions that their underground heavy metal record is going to change the world — and not one of them seems willing to suck up to a music industry that would only turn it into focus-group approved, prechewed rage against the generic machine. Hammers is truly a Mission District group, deeply rooted in a seething community of fiercely — even dysfunctionally — independent musicians, labels, and fans with roots dating back at least 20 years.

But Hammers of Misfortune are also a band with a mission and a message — and a whole of good rockin’ to come. Sheie modestly hopes for at least a European tour and enough earnings to not have to worry about covering practice-space fees — then confesses she thinks the record deserves a Grammy. Quattro is in a similar mood, daydreaming of playing to an arena of "30,000 screaming fans." I hope it all comes true in spades.

As for Cobbett, he’s been touring with Ludicra and, fresh from exhibiting Hammers at South by Southwest, has a new concept album germinating in his mind. Something to do with a perfect storm known as Hurricane Katrina and the drowned city of New Orleans. Another victim of the locust years, to be immortalized in song.

The gods of metal are angry and sharpening their swords. *

HAMMERS OF MISFORTUNE

With Genghis Tron and Kylesa

Sun/25, 9 p.m., $10, all ages

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

>

Trojan war

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› andrea@altsexcolumn.com

Dear Andrea:

I’m in my first sexual relationship. There’s been a lot of lovely hand- and mouth-action, but no penis-vagina intercourse because I can’t maintain an erection with a condom on. She really wants genital intercourse; she’s very experienced and always had her best orgasms that way. She also says she’s never heard of this problem before — and my self-proclaimed sex expert friends concur. Am I really that unique in experiencing a complete loss of stimulation with a condom? And assuming that we don’t get married, my sex life looks pretty bleak if I can’t use condoms. Any ideas?

Love,

Can’t Feel a Thing

Dear Thing:

Well, sure. Don’t listen to your self-proclaimed sex expert friends, for one thing. I’m a self-proclaimed sex expert myself, and I’ve heard of your problem before. Of course I have. You may be an extreme case, but no, you’re not unique.

It’s true that this weird bit of wiring of yours is capable of dooming you to a life of sexual frustration or sexual diseases, depending. So, in escautf8g order of inconvenience, I offer some technical solutions: a small amount of lube inside the condom, thinner condoms, polyurethane (plastic) condoms, those odd big-head condoms which are supposed to flap and rub around your business end in a lubricious manner, or — I hesitate even to suggest this but it’s actually not that bad an idea — the female condom.

If you really can’t feel a damned thing through an ordinary rubber rubber, I have limited faith in the ability of a drop of lube or a different brand of condom to make the earth move for you, but it’s easy enough to try and shrug in a world-weary manner if it doesn’t work. The plastic options are a much better bet. They’re harder to find, though, so there’d be no running out to the corner store with your pants half fastened; you’d have to plan ahead. The Avanti polyurethane condom had a bad rap for a while but has been tested extensively and is actually just as safe as anything else. They really are a better aesthetic experience all round: they are thin and quick to transmit body heat; they don’t taste like a mouthful of steel-belted radial; and they’re safe to use with baby oil or WD-40 or whatever greases your boat. It’s not like you’d never know it’s there, mind you — it’s a condom, and they all suck — but there’s a chance you’d be able to find your dick in the dark while wearing one, which appears to be more than we can say about the latex ones.

I find myself hoping very hard that the Avanti works for you, because I really don’t want to have to recommend the female condom. It’s expensive, more elusive yet than plastic condoms, and, frankly, ridiculous. It’s as long as your forearm, resembles a jellyfish, makes a horrid sloshy crinkling noise (the Avanti does this too but more discreetly), and although it looks OK while your lady friend is supine, turn her prone or stand her up, and it will hang low and wobble to and fro and make you both giggle, if you’re inclined that way, or cry, if you’re not. It’s a terrible product, in short, except for one aspect, which is surely worthy of notice: it works. You’ll probably hate it, but then again, if it’s a choice between knowing that your penis is inside a vagina and "Vagina? What vagina?" maybe you won’t.

Try the other things first, though. None of them resemble an aquarium exhibit that happened to lodge itself, unbidden, up your girlfriend’s hoo-ha, and that’s always a plus if you ask me.

Love,

Andrea

Dear Andrea:

I had sex with a girl one time who has a regular other partner. We did it once using a condom, and I pulled out with the condom on, prior to ejacuutf8g away from her. Her other friend doesn’t use a condom and withdraws. She called me to say she was pregnant, and I freaked. She didn’t understand why, since she is certain it must be the other friend’s child because of their methods and regularity. I don’t ever want to have sex again, obviously, but do I have a reason to worry here? All of a sudden she is pregnant, and I just happened to be in the picture around the same time? I’m scared to death.

Love,

Shaking in My Tracks

Dear Tracks:

You’re only terrified because there has been in recent years, if not a literal conspiracy, then certainly a strong and concerted effort to hide the fact that condoms actually work pretty well. They do, and if you come in the condom while it isn’t even inside her, then it works really extraordinarily well. You have been misinformed! Now shake off the shackles of ignorance, and don’t ever let me hear you say you "don’t ever want to have sex again." Of course you do; just use a condom. Oh, and buy that other guy a beer and a subscription to Real Dad magazine. This is so not your problem.

Love,

Andrea

It’s time again for San Francisco Sex Information’s Spring Sex Educator Training. Sixty hours, all good stuff, no filler. Find out more and apply at www.sfsi.org.

Antiwar movement turns four

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By Amanda Witherell


› amanda@sfbg.com

The Iraq War turned four years old March 19, but so did the antiwar movement, and thousands of people marked the event with protests, rallies, and direct actions around the Bay Area.

The largest event was the March 18 march on Market Street, led by the ANSWER (Act Now to Stop War and End Racism) coalition, one of more than 1,000 rallies around the country. The protesters marched under a "No Blood for Oil" banner, "Impeach" signs donated by Working Assets, and Whole Earth flags that fluttered in the westerly wind funneling down San Francisco’s main drag. The Chronicle estimated the crowd at 3,000; ANSWER claimed it was 40,000. We estimated the march at 10,000 strong.

Education seemed to be the point protesters were driving home, as if the knowledge of the war’s injustices would reverberate like the chanting voices against the walls of the Financial District and into the minds of the children who wandered through the crowds of thousands.

"Will this stop the war May First?" Glenn Borchardt asked. "No, but it will stop it some day."

Sandee Dickson, a retired teacher, was with about 50 other purple-shirted Democrats of Napa Valley and said she was protesting "to keep it on the front page."

"There are all sorts of people here, from all walks of life, sending the message that American people say, ‘No more war.’ "

More than 40 cops watched the chanting crowd from their post, leaning against the front of the Westfield shopping center, guarding the commerce. "A couple of years ago a couple windows got smashed," one of the police officers said to the Guardian. "I guess they’re pretty expensive."

The crowd was pretty tame, though, and there were no arrests. There seemed to be just as many baby strollers in the crowd as people marching alongside them. Balloons bounced from the wrists of children, and a Girl Scout was making a killing selling cookies off the back of her Radio Flyer wagon for $3.50 a box.

Captain Denis O’Leary from Southern Station said there were about 270 officers on patrol, plus additional platoons of traffic and tactical officers, prepared for violence he wasn’t really anticipating.

"They might get arrested," he said, gesturing to some anarchists waving red and black flags at the edge of Larkin Street. A cop in this city for 25 years, O’Leary has responded to many demonstrations of all sizes and flavors and thinks they’ve changed a lot over the years. He mentioned the 1989 protest outside the Westin St. Francis against the first President George Bush. "That was an angry tone, it was massive, and there were arrests."

When asked if he looks at the crowd and worries about the safety of all the children who could get caught up in a sudden action, he said, "Yes, because my daughter is out there." He said she’s 15.

Sue Martin was marching with her son, Sean Martin-Hamburger. For his first protest, the eight-year-old had made a colorful cardboard sign that read, "Have some peace in your heart." He was too shy to say much to us, but his mom was less reticent: "We’re demonstrating because we don’t want to see any more violence, anywhere actually."

Though it was Sean’s first march on Market, his mother has been protesting for 35 years and agreed the age range was one of the big differences, as was the energy. "It feels more creative and less angry, like we’re starting to embody the peace and not respond to the violence with violence. It doesn’t feel vengeful, but maybe I’m just getting older."

On March 19, there were some people willing to face off with the police at a die-in. Hundreds of protesters lay down on the sidewalks and in the streets of downtown San Francisco, representing the 3,200 American soldiers and the estimated 160,000 Iraqi civilians who have died in the past four years. A helicopter whirring overhead and the corpses under blood-spattered sheets gave the direct action an eerie Vietnam feel, but there seemed to be more cops than corpses. They got something to do when 57 protesters became the walking dead, rising up from the sidewalk and dying again in Market Street traffic, disrupting the flow of daily life and garnering some misdemeanor charges.

Across the bay, 14 people also prepared for arrests, locking themselves into a human chain across the entrance to Chevron’s corporate headquarters in San Ramon. For the third time in four years, more than 100 representatives from Bay Rising, US Labor Against War, Amazon Watch, and Students for a Democratic Society gathered to speak against the other axis of evil: oil, profits, and war.

"Under the new Iraqi Oil Law, Chevron is standing to directly benefit from a law that comes from Bush. Two-thirds of [Iraq] oil will be owned by foreign companies," Sam Edmondson of Bay Rising said. "The fear is that US troops will be used to secure that oil."

Back in San Francisco, in front of the office of Rep. Nancy Pelosi, "Stop Funding the War" called on the woman who controls the purse strings to tighten them.

A few hundred people gathered outside the Federal Building to hear veterans, mothers of soldiers, local progressives, and city officials, such as Sup. Ross Mirkarimi, who’s authored local resolutions against the war.

"I think [Pelosi] should be lining up votes to cut off funding for the war," former supervisor and 2003 mayoral candidate Matt Gonzales said. "If they cut off money, there’d be an interesting crisis."

Former congressional candidate Krissy Keefer was there as well. When asked where she’d be if she’d been voted into Pelosi’s seat, she said, "I would be here to provide leadership to San Francisco. San Francisco is really, really important, and we need to constantly reinforce the position that we play. The middle-of-the-road position that Pelosi takes squashes the best intentions of the Democratic Party." *

Sam Devine and Sarah Phelan contributed to this story.

Cut off war funding

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EDITORIAL On Jan. 12, a couple months shy of the fourth anniversary of the invasion of Iraq, the secretary of defense, Robert Gates, appeared before the Senate Armed Services Committee and put to rest any question of whether the conflict in that country can be declared a civil war:

"We face, in essence, four different wars," he said. "The war of Shia on Shia, principally in the south; sectarian conflict, principally in Baghdad and the environs of Baghdad; third, a Baathist insurgency; and fourth, al-Qaeda."

The Pentagon made it official March 14, when a report declared that "in some ways" Iraq is in the throes of a civil war. The report also noted that October through December 2006 was the most violent three-month period since 2003.

The carnage is horrible: more than 3,000 US troops have been killed. The United Nations, according to Reuters, says some 34,500 civilians were killed in 2006 alone. About 2 million Iraqis have fled abroad, and another 1.7 million have moved elsewhere in Iraq to escape violence and sectarian cleansing.

The cost is spectacular and almost unfathomably tragic: more than $400 billion so far. The money that San Francisco alone has spent on the war could have paid for 12,000 affordable housing units, the National Priorities Project estimates. All of that money has come in special supplemental budget requests, so it hasn’t been a part of any rational budget discussion.

And yet while the Democrats have offered an alternative plan to withdraw from Iraq, party leaders are still refusing to do what Congress has every right to do: demand that no more money be spent on combat operations in Iraq, set a timetable for pulling out the last troops — and specify that not a single dollar will be spent on anything except safely removing US personnel.

Hillary Clinton, by many accounts the front-runner for the Democratic presidential nomination, even said last week that she thinks the United States will have a military presence in Iraq for years to come.

The opposition party has to do better than that.

Seventy percent of Americans oppose the war. The allies are getting ready to bail: Prime Minister Tony Blair just announced the British have set a timetable for withdrawing troops. The protests in the streets during the past few days should be a signal to Rep. Nancy Pelosi: Congress can’t pass nonbinding resolutions and come up with plans that the president can simply veto. George W. Bush has no intention of listening to what the public wants. In a March 19 speech he proclaimed that "the fight is difficult, but it can be won." Translation: the war will continue as long as Bush is in office — unless Congress forces him to stop it. And the only way to do that is to cut off funding.

Rep. Lynn Woolsey (D-Petaluma) has introduced legislation that would block further war spending but fully fund a deliberate withdrawal aimed at pulling the last US troops out by the end of this year. Rep. Barbara Lee (D-Oakland) is a cosponsor. Pelosi needs to sign on and put the power of the new Democratic majority behind the only feasible plan to end what the New York Times is calling an "unnecessary, horribly botched and now unwinnable" war. *

Editor’s Notes

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› tredmond@sfbg.com

Four years ago we shut down the city. None of us who were there will ever forget it: so many peaceful protesters showed up that the police had to close down Market Street. Mission Street was pretty much the same way. You couldn’t get anywhere downtown; nobody seemed to be at work. The police were, in more than a few instances, out of control — but there were no water cannons or rubber bullets, just a lot of arrests. Overall, it was a day of joy: the United States was going to war, and San Francisco would have no part of it.

The anniversary protests, while exuberant, weren’t quite that dramatic. I understand: it’s been a long, long war, and we’ve all be fighting for a long, long time, and things just seem to be getting worse. The antiwar movement, and the frustration of the nation at a conflict that has dragged on longer than US involvement in World War II, tossed the Republican majority out of both houses of Congress, but the Democrats are still talking about nonbinding resolutions and incremental plans that can’t be backed up. The war seems to be without end. Even the New York Times, that voice of mainstream moderation, is starting to sound pissed off: the March 18 lead editorial referred to "the unnecessary, horribly botched and now unwinnable war."

I know this doesn’t help the families of the more than 3,000 already dead soldiers or the tens of thousands more who are still stuck in a desert quagmire, but the good news is we’ve won the debate. Almost nobody running for president wants to say the war was a good idea, has been handled well, or ought to continue much longer. The only question on the table now is how best to get the hell out. And in the long term, this really has become the new Vietnam — just as the very name of that southeast Asian country struck fear in the hearts of American imperialists and military adventurists for a quarter century, the legacy of Iraq will almost certainly be stricter controls on the ability of rogue presidents to invade countries for their own geopolitical agendas.

So let’s keep the pressure on the likes of Nancy Pelosi (it’s so heartwarming to see protesters camped outside the house of the new House speaker — and it’s stunning that Pelosi has been such a jerk and refused to be civil to them). And take heart: we can still end this war — and go a long way toward preventing the next one.

And on a totally different note: I was somewhat amazed to see that the Hearst Corp. and MediaNews Group — the companies that own all the major newspapers in the central Bay Area — have come up with a new tactic to get rid of that pesky antitrust suit filed by Clint Reilly.

The suit charges that the deal giving two giant corporations control of so much of the region’s media will deprive readers of diverse viewpoints and advertisers of competitive alternatives. The evidence in favor of Reilly’s claim is pretty strong.

So now the newspaper barons are taking a new tack, arguing that Reilly has no standing to sue. He’s just one person; what’s the harm to him?

Well, gee, if one person who cares about the community has no standing to sue, who does? Hearst and MediaNews, I suspect, would like to leave that to the state and federal attorneys general. And look how that’s worked out. *

No Oil War at Chevron’s Front Door

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Intern Sam Devine reports from Monday morning’s Chevron protest

At approximately 6:30 a.m. on March 19, 2007, the fourth anniversary of the Iraq War, nine activists locked themselves in a human chain across the main entrance to Chevron-Texaco’s corporate headquarters. They tied ropes and carabineers to their wrists. The carabineers where then attached to metal rods concealed inside empty oil drums and large red pipes, both covered with slogans. By 8:30, five more people had willingly joined the chain. They were all ready to get busted.

alizaa.jpg

This was the third protest at Chevron’s San Ramon since talk of Iraq began a little over 4 years ago. The demonstration, which forced employees to use a side entrance and fouled up traffic on Bollinger Canyon Road, was organized to protest of the new Iraqi Oil Law.

chevronprotestersa.jpg

Attack of the killer Ts

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› kimberly@sfbg.com

"Ironic T-shirts — where the lameness of my T-shirt is in inverse proportion to my hipness!" comedian Patton Oswalt shouted at a recent sold-out Noise Pop show, pointing out in particular one special Salinas lass in a skull-and-hearts T. "I’m so cool I can defeat my own T-shirt!"

You know T-shirts have arrived — and by now may even be taking the last BART train to Fremont — when they’ve crept into the routines of comics desperate to warm up a 6 p.m. crowd. Is there anything more appropriate for every occasion, barring the most obscenely uptight cotillion? Be it basic formal and fiendish black, all-purpose "what are you rebelling against?" white, or any hue in the spectrum between. Be it worn on the chest, sleeve, or belly. Be it decorated with words and pictures so promo, pomo, and porno, with bands and teams, mugs and slugs of the sheer truth, alliances and affiliations, affirmations or fighting words — there’s no place like the homely T-shirt. Provided you have the right cut, cult, or message, you can throw it on and rock that bod with just jeans and trendoid footwear — consider yourself done.

Ts are our wearable tabula rasa, once underwear suitable only for soldier boys circa World War II, later campus and business iron-on throwaways in the ’50s, and even later rock band promos ready to be gracefully defaced with pins and zippers during the punk years (and now we’re back to white Ts for gangstas dodging crippling colors). Remember when the only T-shirt sizes available were L and XL? Remember when the sole women’s Ts around were toddler ready, fit for showing off every chub roll acquired from here to the nearest bakery? Whether you break them down between screen prints and iron-ons or between skate-beach-BMX, rock–metal–punk–pop–hip-hop, and TV-film-cartoon-advertising specimens, as Lisa Kidner and Sam Knee do in their 2006 book, Vintage T-Shirts (Collins Design, $19.95) — there’s an unsnooty, democratic beauty to a T.

Long after those faux–feed store and John Deere–logoed T-shirts have evaporated and aeons after the not-so-ironically offensive faux-Asian biz T-shirts have been yanked from Abercrombie and Fitch, we can still fall for a few artfully decorated scraps of tissue-thin jersey — and not just those by newbie local hotshot T designers such as Turk+Taylor (www.turkandtaylor.com) or My Trick Pony (www.mytrickpony.com). Only a few months ago I was bewitched into purchasing a $9 Flying V–bedecked shirt with a factory-frayed neck and sleeves at Le Target, of all places — the ideal block-rockin’ New Year’s Eve outfit with a black chiffon tiered skirt and boots. Why did I fall? It never fails to get compliments and fits like a teenage dream, and I can always make room for another music T in my collection, which encompasses an ’80s Sex Pistols reproduction purchased from the back pages of Creem, a boxy Poison pachyderm rewarded after a gig loading out for the hair metal combo, and a Scottish-slurred "Where am I and what the fuck’s going on?" Arab Strap T.

Lucky us, living at ground zero of the rock-T explosion: in 1968, the late Bill Graham began printing shirts regularly for the first time, an effort that distinguished him from fan club and individual band merchandising designs, according to Erica Easley, who cowrote Rock Tease: The Golden Years of Rock T-Shirts (Abrams Image, $19.95). Bill Graham Presents still sells vintage articles and reproductions on its Wolfgang’s Vault site (www.wolfgangsvault.com), though if you want the real thing, you might have to settle for the Doobie Brothers and Exodus rather than the Stones and Hendrix.

A buyer for one of the largest buy-sell-trade clothing stores on the West Coast, Red Light Clothing Exchange in Portland, Ore., Easley can pinpoint the beginning of the recent rock-T trend to the late ’90s when designers began buying vintage shirts and modifying them with grommets, trim, and patchwork. "They were able to do that because they were so cheap," she explains, citing Lara Flynn Boyle as one of the first celebs to sport a T (Bob Seger) on the red carpet, and attributes the longevity and cultural relevance of the rock-T trend to the resurgence of new bands such as the White Stripes.

American Apparel’s sexy softcore ads and no-logo trendy styling haven’t hurt either, while street artists have taken to embellishing Ts as they might a skateboard, and fashionistas continue to layer short-sleeve with long-sleeve Ts in what Easley calls the "Spicoli surfer look." To her eye, the urban art trend "raises all sorts of sociological questions. It’s from the street and supposedly authentic and tends to be pricey — it’s not what a street rat can really afford. There’s the price of a shirt and who’s wearing it and who’s supposed to be wearing it — you’re buying into a lifestyle." Personally, she’d "love to see a resurgence of do-it-yourself T-shirts, writing on T-shirts making personal statements."

Easley confesses the overall rock-T trend is waning. "It was such a fashion fad and so oversaturated. The sense of exclusivity that made it really hard at any other part of this decade to find T-shirts is gone," says the writer, who got into collecting by way of a Mötley Crüe obsession. "But I think long term it has been great for rock T-shirts and put them into the collectible realm."

Steven Scott, the manager of Aardvark’s Odd Ark (1501 Haight, SF; 415-621-3141), agrees that the trend for music Ts seems to be ebbing, while morphing from a ’70s to an ’80s focus. The store’s personal best: a Michael Jackson "Thriller" T, which sold for $125. "You can’t get that for it now," Scott says. "But [the appeal] is like San Francisco rents — they never go down, and landlords keep hoping people will come back."

T-SHIRTS, WEAR EVER

When shopping for a vintage T — or really any T — Rock Tease coauthor Erica Easley says, "It’s all about the image. I don’t care about the band, even though I’m always excited about a good Alice Cooper T. It’s all about a strong image, colors, and, personally, a shirt where I don’t have a sense of computer-generated graphics."

When looking for oldies, do, however, beware of fakes. "The colors won’t be correct, the green is too bright, or the cut wasn’t being produced at that point," Easley warns.

AARDVARK’S ODD ARK


Ringers, jerseys, worn-soft garb adorned with Firesign radios and corny sayings: Aardvark’s re-creates the thrifter’s thrill of discovery with a jam-packed rack of oldies.

1501 Haight, SF. (415) 621-3141

AMERICAN APPAREL


The most fashion-conscious print-free Ts around, regardless of how you feel about the jailbaity marketing campaigns. Gotta love me some blouson and dress-length styles.

2174 Union, SF. (415) 440-3220; 1615 Haight, SF. (415) 431-4028; 2301 Telegraph, Berk. (510) 981-1641. www.americanapparel.net

BANG-ON


Customize your own cool: this international chain provides the iron-ons, puffy wood-panel lettering, and brightly fierce ’80s accessories. Where else can you get spanking new-old "Cheer up, emo kid," Mr. Snuffleupagus, Roxy Music, and Johnny Wadd Ts in one fell, freshly ironed swoop?

1603 Haight, SF. (415) 255-8446, www.bang-on.ca

FTC URBAN LIFESTYLE STORE


Get your Ipath Bigfoot and Western Edition Mingus shirts right here, along with oodles of other contenders.

1632 Haight, SF. (415) 626-0663, www.ftcskate.com

GIANT ROBOT


The large-livin’ API groundbreakers still peddle locals Barry McGee and Mark Gonzales as well as Daniel Johnston shirts and the ever-popular Geoff McFetridge 2K "I’m Rocking on Your Dime" T.

618 Shrader, SF. (415) 876-4773. www.gr-sf.com

HELD OVER


A rail of vintage Ts beckons, from a ’70s-era "Natural Gas" number to a Morrissey You Are the Quarry lovely.

1542 Haight, SF. (415) 864-0818

PARK LIFE


Marcel Dzama’s frail ye olde comic critters, Ferris Plock’s sketchy characters, Neckface’s doom metal demons, and Clare Rojas’s folkloric scenes populate Park Life.

220 Clement, SF. (415) 386-7275, www.parklifestore.com

STATIC


Joining the Gucci knockoffs, denim, and ’70s leather are soft-as-my-55-year-old-uncle’s-midriff surfer shirts.

1764 Haight, SF. (415) 422-0046

SUPER7 STORE


Poppy yet pretty in-house screens by, for instance, store co-owner Dora Drimalas coexist with Bawana Spoons, Spicy Brown, Hedorah, and Gama-Go Ts.

1628 Post, SF. (415) 409-4700, super7store.com

TRUE


Urban outfits cry "Brother, please" for a Zoo York T sporting a Ruthless Records’ NWA single, Parish’s pop art Popsicles, Akomplice abstractions, or Free Gold Watches’ splashy ’80s evocations. Ladies, check Ts by Tens, Palis, Heavy Rotation, and Blood Is the New Black, as well as Mama T’s pseudo-airbrushed ghetto sweetness.

True Men, 1415 Haight, SF. (415) 626-2882; True Women, 1427 Haight, SF. (415) 626-2331; True, 1335 S. Main, Walnut Creek. (925) 280-6747. www.trueclothing.net

UPPER PLAYGROUND


The hella loyal cult that follows this pioneer of urban styles can stock up on all the Muni and Miles UP and Fifty24SF Ts it can stand now that the shop has split in two for men and women — with fresh Jeremy Fish, Sam Flores, and Estevan Oriol for all.

220 Fillmore, SF. (415) 252-0144, www.upperplayground.com

>

Emergency exits

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› marke@sfbg.com

I’ve got one copy of Leo Tolstoy’s War and Peace strapped under my right foot, one strapped under my left. The new 1,400-page Penguin Classics translation by Anthony Briggs makes for a great pair of platforms. My fantasy party posse’s at my side: Felicia Fellatio rocking a hot red bandito bandanna, a full white tutu, and a number 5 Tim Hardaway jersey; Baby Char Char in an oversize pajama-print homeboy hoodie and a pair of random, paint-spattered Levi’s; Nova all angles on her retro-future ’80s Nagel dangling neon banana earrings, turquoise ruffled skirt, and shoulder-padded acid-washed cropped jacket trip; and Hunky Beau in Juicy Couture pipe pants and war paint.

Somebody else is in the corner, wearing pink panties on his head and a giant chain, but no one knows his name.

I feel great. I just finished six weeks of Third Street Gym boxing boot camp, and you could bounce a full congressional subpoena off my abs, darling. (OK, that’s a lie — but I think about going to the gym every time I light up a smoke. That should count for something, no?) We’re out the door to my drag idol Juanita More’s weekly Saturday all-nighter, Playboy, at the Stud (www.juanitamore.com), when suddenly it hits me: today is Saturday, right? I better check the Internet.

I put down my flask of Cuervo and log on, and this little box of "gay news" pops up. (How does the Internet know? Oh, that’s right: all my online porn accounts.) "UN Confirms Anti-Gay Death Squads in Iraq" the top headline reads. Kidnappings, mutilation, charred bodies found by the road. Hmm. A few clicks later: "Iraqi Leaders OK Gay Pogroms." According to activists, Shiite militias are engaging in one of the "most organized and systematic sexual cleansings in history" with the government’s two-cheeked kiss of approval, and the US is refusing asylum to gay Iraqis.

Oh dear. Suddenly the thought of whooping it up while my gay Iraqi rainbow family burns seems kind of, you know, gross.

I’m so fucking sick of feeling powerless against this stupid war. Of always tucking the grief of it somewhere in the back of my mind as I down another shot and hit the dance floor. Not only is it a major buzzkill among other omnipresent buzzkills — global warming, fundamentalist terror, constant surveillance, government-sanctioned queer discrimination, bad hair days — but, as a citizen of the allegedly participatory democracy that started the whole thing, I feel somehow responsible, no matter whom I voted for however many times. And just admitting that, I feel like a spoiled American. It sucks.

On top of that, I have to watch myself and many of those around me struggle to keep the flame of resistance sparkling. It seems exhaustion has seeped into our consciousness and may actually be taking root. I fondly recall the first exhilarating flush of protest — of taking back the streets until my pumps wore through on the first night of "shock and awe," of lying down and blocking traffic in an orange jumpsuit (on purpose for once) as the bombs continued to rain down on civilians half a world away, of wildly dancing with Code Pink and cute Puerto Rican socialists in the NYC streets during the 2004 Republican Convention, hoping the nets the cops threw over us wouldn’t snag my weave. Sure, I still bang my pan with a stick at the occasional ANSWER weekend protest, despite my massive hangover. But after four years of war, it often seems I’m banging fruitlessly. If a club freak chants in a vacuum, will the killing please stop now?

Thank goddess I’ve got the beautiful souls I’ve met at the clubs around me. The kind of nightlife I love is inherently subversive: when one kind of music, location, or style becomes dominant, a host of alternatives immediately springs up. That energy refuels my rebellious spirit and keeps my fight up during the day. Yes, yes, partying is an escape from reality — but it’s also a play space, a way to work out the anxieties of the world by fooling with your identity, a place to push the boundaries of society into a personal utopia.

To me, underground nightlife can also be a fascinatingly warped mirror of the problems facing the world, its trends the raw expression of deep-seated angst. As W. consolidated his political power in the early ’00s, nightlife fashions and music (and drugs) returned to the tastes of the Reagan and Thatcher ’80s, when angular pop and cold synths were a loud rebuke to false sincerity and hubris. The recent explosion of pre-AIDS-era disco and imagery in many gay clubs may be an unconscious wish to transport ourselves to the time before the Republicans’ disastrous "morning in America." And the vibrant local hyphy scene is based on auto sideshows: literally wasting gas (use it while you got it!). Now, well into W.’s second term, we’re reliving the rococo styles of Bush the Elder without irony. Dance floors are looking like a punk rock Cosby Show, and I’m into it.

But that’s all theoretical musing. The most important thing about nightlife is community, whether you’re a full-time club kid or just going out for a drink after work with your friends. You want to be around other people, to not feel so alone in this crazy world, to make a connection. You walk into a bar, and suddenly you’re in a minisociety, one you hope you can handle better than society at large.

Can this community make a difference? Sure. The nightlife community, gay and straight, was instrumental in the fight against AIDS (and still is). It banded together to defeat the antirave legislation of the early ’00s. Tons of parties raise money for good causes. Currently, party-oriented groups such as the League of Pissed Off Voters (sf.indyvoter.org), which reaches out to young people through DJ events, and the SF Party Party (www.sfpartyparty.com), which influences local politics by combining education with clubbing, are doing their best to change the world.

"People on the left these days seem to think that denying themselves pleasure is the only way to take back the government. The early energy of protest against Bush has turned into a kind of self-punishment. That’s so dry and boring — and ultimately useless," says Dr. Stephen Duncombe, editor of the Cultural Resistance Reader and author of the new book Dream: Re-imagining Progressive Politics in an Age of Fantasy. I called him because I wanted to talk about the guilt some of us feel about partying when the world’s going to shit. He’s been a prime mover in theatrical resistance groups such as Reclaim the Streets, the Lower East Side Collective, and the utterly fabulous Billionaires for Bush. (He’s also kind of cute in a young-professor-at-NYU way.)

"We should be using the positive energy of nightlife to show people that politics can be both entertaining and transformational," he continues. "Politics should be a fun, interactive spectacle, like the kind nightlife provides. No one wants to get involved with something if it seems like more work."

Yet still I worry. What would life be like if the war were here? What if I were a gay Iraqi? I trolled the Internet gay hookup sites to find a gay Iraqi to talk to about it. All I could find at first were half-naked American soldiers stationed in the Middle East (we are everywhere!). I eventually came upon a Western-educated gay Iraqi refugee living in Jordan who identified himself as Arje. He said I was being foolish. "Go out and have fun," he replied when I wrote that I didn’t feel like partying off the weight of the world. "Have a dance for me."

Everyone’s against the war …

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By Tim Redmond

… Even Donald Trump . He says Bush is a liar, the war is a disaster and the U.S. should immediately withdraw. He’s ahead of Nancy Pelosi!

G.W.: You’re fired

Where are the protesters?

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By Tim Redmond

That’s the question ABC news is asking It’s always annoying when this sort of stuff comes from the mainstream media, which always tend to downplay the size of protests. (Note that the Chronicle ran a big story about pro-war demonstrators on Saturday).

But it’s absolutely true that there were fewer people on the streets this weekend than we saw four years ago, and that the crowd was mostly controlled and orderly. Even the die-in was fairly orderly, and the arrests went without incident.

I know there’s a lot of protest burnout going on, and people don’t feel like the White House cares. Which is absolutely true. But there’s also been a shift here: The battle has moved to Congress, and activists are putting pressure on everyone from Nancy Pelosi and the Democratic leadership to the likes of Ellen Tauscher in the East Bay, who is almost certainly going to face a primary challenge over the war.

Remember: We have won the debate. Almost everyone agrees now that the war was a bad idea and has to end. Don’t get discouraged; keep up the pressure.

The Guardian Iraq War casualty report (3/15/07)

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Casualties in Iraq

U.S. military:

4 U.S. soldiers were killed today by a roadside bomb in Baghdad, according to the New York Times.

Source: http://www.nytimes.com/aponline/world/AP-Iraq-US-Casualties.html?_r=1&oref=slogin

3,433: Killed since the U.S. invasion of Iraq 3/20/03

Source: http://www.icasualties.org/

For the Department of Defense statistics go to: http://www.defenselink.mil/

For a more detailed list of U.S. Military killed in the War in Iraq go to:
http://www.cnn.com/SPECIALS/2003/iraq/forces/casualties/2007.01.html

Iraqi civilians:

98,000: Killed since 3/03

Source: www.thelancet.com

58,862 – 64,682: Killed since 1/03

For a week by week assessment of significant incidents and trends in Iraqi civilian casualties, go to A Week in Iraq by Lily Hamourtziadou. She is a member of the Iraq Body Count project, which maintains and updates the world’s only independent and comprehensive public database of media-reported civilian deaths in Iraq.

Source: http://www.iraqbodycount.net

A Week in Iraq: Week ending 11 March 2007:
http://www.iraqbodycount.org/editorial/weekiniraq/35/

For first hand accounts of the grave situation in Iraq, visit some of these blogs:
www.ejectiraqikkk.blogspot.com
www.healingiraq.blogspot.com
www.afamilyinbaghdad.blogspot.com

Antiestablishmentarianism attitudes among Iraqi religious groups is fueling intolerance and violence towards homosexuals in Iraq, according to the UN.

Source: http://www.gaypeopleschronicle.com/stories07/february/0202071.htm

Iraq Military:

Despite the Bush administrations promise to empower Iraqi women, opportunities remain limited, according to the San Francisco Chronicle.

Source

30,000: Killed since 2003

Source:http://www.infoshout.com

Journalists:

151: Killed since 3/03

Source: http://www.infoshout.com/

Refugees:

The Bush administration plans to increase quota of Iraqi refugees allowed into the U.S. from 500 to 7,000 next year in response to the growing refugee crisis, according to the Guardian Unlimited.

Source: http://www.guardian.co.uk/Iraq/Story/0,,2013034,00.html

Border policies are tightening because one million Iraqi refugees have already fled to Jordan and another one million to Syria. Iraqi refugees who manage to make it out of Iraq still can’t work, have difficulty attending school and are not eligible for health care. Many still need to return to Iraq to escape poverty, according to BBC news.

Source: http://news.bbc.co.uk/2/hi/middle_east/6293807.stm

1.6 million: Iraqis displaced internally

1.8 million: Iraqis displaced to neighboring states

Many refugees were displaced prior to 2003, but an increasing number are fleeing now, according to United Nations High Commissioner for Refugees’ estimates.

Source: http://www.unhcr.org/iraq.html

U.S. Military Wounded:

47,657: Wounded since 3/19/03 to 1/6/07

Source: http://www.icasualties.org/

The Guardian cost of Iraq war report (3/15/07): Bush asks congress to approve $622 billion for 2008. So far, $408 billion for the U.S., $51 billion for California and $1 billion for San Francisco.
Compiled by Paula Connelly

Bush asked congress to approve $622 billion for defense spending, most for the wars in Iraq and Afghanistan, in a $2.9 trillion budget request for 2008, according to Reuters.
Source: http://today.reuters.com/

Here is a running total of the cost of the Iraq War to the U.S. taxpayer, provided by the National Priorities Project located in Northampton, Massachusetts. The number is based on Congressional appropriations. Niko Matsakis of Boston, MA and Elias Vlanton of Takoma Park, MD originally created the count in 2003 on costofwar.com. After maintaining it on their own for the first year, they gave it to the National Priorities Project to contribute to their ongoing educational efforts.

To bring the cost of the war home, please note that California has already lost $46 billion and San Francisco has lost $1 billion to the Bush war and his mistakes. In San Francisco alone, the funds used for the war in Iraq could have hired 21,264 additional public school teachers for one year, we could have built 11,048 additional housing units or we could have provided 59,482 students four-year scholarships at public universities. For a further breakdown of the cost of the war to your community, see the NPP website aptly titled “turning data into action.”

TUESDAY

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March 20

EVENT

“Four Years Later: American Soldiers Share Their Stories on the Anniversary of the War”

Once a skilled firefighter, National Guard Sgt. Brett Miller was unable to dial a phone number after a roadside blast in Iraq left him with a brain injury. But Miller is one of the lucky ones. After four years of war in Iraq, more than 3,000 soldiers have died and countless others been permanently disabled. Miller and fellow veterans Army Sgt. Camille Evans and Infantry Officer Paul Reickhoff will mark this grave anniversary trading traumatic war tales at InForum’s “Four Years Later.” (Joshua Rotter)

6:30 p.m., $7-$20
Commonwealth Club of California
595 Market, second floor, SF
(415) 597-6705
www.commonwealthclub.org

MUSIC

Two Sheds

There are clips floating around YouTube of Two Sheds performing in a San Diego television studio. The cameras track across the soundstage and dissolve between Unplugged-style close-ups of fret boards and musicians, who look perfect under the parcan lighting. Though they clearly nail renditions of “Perfect” and “For Theresa,” the sterile TV-land setting seems an unbefitting package for Two Sheds, whose charm lies in the direct, personal effect of singer Caitlin Gutenberger’s lyrical inventions. (Nathan Baker)

9 p.m., $7
Make-Out Room
3225 22nd St., SF
(415) 647-2888
www.makeoutroom.com

SFIAAFF: Freedom isn’t free

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› cheryl@sfbg.com

Aside from one upbeat depiction of Hawaii’s only all-male hula school (Na Kamalei: The Men of Hula), the nominees in the San Francisco International Asian American Film Festival’s documentary competition are nearly as similar in execution as they are in theme. Immigration tales, filmed in high-definition video from a first-person perspective, abound. Though homelands (Cambodia, Vietnam, Japan, and Korea) differ, there’s remarkable commonality among the subjects, who display the kind of internal scars only great suffering can inflict. The need for closure is undeniable; the journey is, of course, captured by a lens that has no qualms about getting way up close and personal. On more than one occasion, the filmmaker wielding the ever-present camera is an immediate family member.

The strongest pair happen to be the two that are the most alike: Doan Hoang’s Oh, Saigon and Socheata Poeuv’s New Year Baby. Hoang was only three years old on April 30, 1975, the day her family scrambled aboard the last civilian helicopter out of Vietnam at the end of the war. She remembers only her middle-class life in Kentucky, but her family — including an older half sister who was left behind amid the chaos of their escape — remains very much affected by the past. Two return trips to Saigon open old wounds even as they strengthen bonds weakened by decades of resentment and estrangement. "I had not understood what he lost when we left Vietnam," Hoang reflects when her father explains that his "true home" no longer exists. Oh, Saigon is greatly elevated by her insightful narration as well as the film’s graceful editing.

New Year Baby, about Texas-raised filmmaker Poeuv’s Cambodian family, exactly parallels some of Oh, Saigon‘s threads of painful secrets, including arranged marriages and siblings torn apart by politics. In addition, it features a group trip back to Cambodia complete with tearful reunions and probing questions raised by a constantly filming daughter. Animated interludes stand in where archival footage can’t, such as when Poeuv’s sisters remember what life was like under the Khmer Rouge. It’s a sensitive, emotional film that — like Oh, Saigon — makes one family’s journey symbolic of what war can do to the innocent, both those who remain amid the conflict and those who attempt to reestablish their lives elsewhere.

Without a daughter behind the camera shooting The Cats of Mirikitani (by Linda Hattendorf), And Thereafter II (by Hosup Lee), or Bolinao 52 (by Duc Nguyen), you’d think these docs would play out on a less intimate level. Instead they’re just as harrowing — Lee’s film often uncomfortably so. With self-referential asides (including his fear that he’s exploiting his subject), Lee follows Ajuma, a Korean woman who describes herself as an "ex–American whore" who met her husband (an American soldier, now deceased) "in the fuck business." She’s lonely and friendless and speaks very little English, even after decades in the States. Lee isn’t quite sure what to do with her except capture her hard-earned bitterness on tape.

By contrast, Hattendorf basically adopts the focus of her film — 85-year-old Japanese American Jimmy Mirikitani — after Sept. 11. Homeless, he moves into her New York City apartment and grudgingly accepts her help (getting a Social Security check, finding housing, contacting relatives, etc.), never ceasing to skillfully draw landscapes, flowers, and animals, as well as scenes from his memories. In return, he allows her to uncover his life story, which includes a childhood in Hiroshima and a young adulthood spent in a California internment camp. As the shards of Mirikitani’s complicated biography come together (resulting in yet another return voyage, this time to a camp reunion), Hattendorf wisely keeps herself on the periphery of the proceedings. Yes, she’s a key part of what happens to him within the film — but Cats is first and foremost a portrait of the artist.

Sept. 11 also factors into A Dream in Doubt (about the hate-motivated murder of a Sikh man in Phoenix, Ariz.), and the motif of forced relocation surfaces again in Koryo Saram: The Unreliable People, about Joseph Stalin’s deportation to central Asia (now Kazakhstan) of ethnic Koreans formerly living near the Soviet Union’s North Korean border. But if you’re looking for the doc competition’s most horrific narrative, seek out Bolinao 52, a nevertheless gracious film that gets to the bottom of what happened to a group of Vietnamese "boat people" who attempted to leave their country in 1988. The trip turned tragic when the boat’s engine malfunctioned; though the refugees were starving and weak, a US Navy ship deliberately passed them by after forking over sundry supplies. Desperate, they resorted to cannibalism and possibly worse. As Nguyen observes, survivor Tung Trinh offers her account of the experience, travels to Bolinao (the village in the Philippines where the boat finally landed), and confronts one of the US sailors who was on the vessel that failed to stop. And if that kind of trauma can eventually lead to healing, there’s hope yet for the subjects of all the other films — not to mention the world as a whole. *

SFIAAFF: 25 Alive: SF International Asian American Film Festival

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SFIAAFF Extras:

Kim Chun on director Justin Lim


Cheryl Eddy on this year’s crop of war docs


Matt Sussman on the films of Hong Sang-soo

Air Guitar Nation (Alexandra Lipsitz, US, 2006). Considering the so-called sport of air guitar consists of one-minute spates of cheesy posturing by proudly self-identified poseurs whose musical chops (and instruments) are a figment of the imagination, mockumentarian Alexandra Lipsitz manages to squeeze plenty of drama, one-liners, self-importance, and rock ‘n’ roll chutzpah out of her spot-on material. Brooklyn actor David Jung — in the kimonoed, Hello Kitty–breastplated air guitarist guise of C-Diddy — is the reason Air Guitar Nation is Asian and American: Lipsitz follows Jung as he hams his way into the US air guitar crown, doing battle with stubborn arch nemesis Björn Türoque (Nous Non Plus–Les Sans Culottes bassist-vocalist Dan Crane), and then travels to Finland to compete in the world championship against Euros who take their air guitar very seriously. Seriously. Regardless, Jung is the real reason this doc rocks, guitar or no guitar. For his good humor, over-the-top buffoonery, and ready wisecracks, I give him at least a 5.8. (Kimberly Chun)

Sun/18, 7:15 p.m., 1000 Van Ness; March 24, 7:15 p.m., Camera 12 Cinemas

Do Over (Cheng Yu-Chieh, Taiwan, 2006). Hopefully, you’ve got a little room left in your heart for one more movie of interlocking stories with connections to each other that aren’t immediately apparent (patent pending). Taiwanese director Cheng Yu-Chieh’s first feature film follows the events in the lives of five people on New Year’s Eve and New Year’s Day as they spiral downward into compelling, if improbably concurrent, personal crises. You may leave the theater having forgotten a plot point or two, but you will certainly remember the satisfyingly disorienting fight scene shot from a behind-the-shoulder perspective, or the image of four people with their ears to a table listening for lottery numbers being announced in the room below. (Jason Shamai)

Mon/19, 6:45 p.m., 1000 Van Ness; March 23, 8:45 p.m., Pacific Film Archive; March 25, 4 p.m., Camera 12 Cinemas

The Great Happiness Space: Tales of an Osaka Love Thief (Jake Clennell, US, 2006). On any given night in downtown Osaka’s neon jungle, one can see handsome young men — uniformed in designer suits, their meticulous Rod Stewart shags in various shades of bottled blond — incessantly chat up nearly every passing woman in sight. These would-be suitors are actually hosts, male drinking companions who are, as host club boss Issei explains, "in the business of selling dreams" to female clients with empty hearts and deep pockets. The sad irony that the majority of these women support themselves doing "night work," whether as hostesses themselves or prostitutes, is lost on neither director Jake Clennell nor his subjects, the employees and customers at popular host bar Rakkyo. The thoughtful candor with which the hosts and their regulars speak of their investment in "fake love" only underscores the financial and emotional costs demanded by such a fantasy. But beneath the bankrupt surfaces, Clennell finds a stronger desire for connection that’s tended to in, as one host poetically describes it, this "space to rest your heart." (Matt Sussman)

Sun/18, 9:30 p.m., Van Ness 1000; March 23, 7 p.m., Pacific Film Archive; March 25, noon, Camera 12 Cinemas

In Between Days (So Yong Kim, South Korea/US/Canada, 2006) Fighting a world as cold as a city freeway overpass and as lonely as the reverb in a karaoke box for one, In Between Days is closer to a contemporary South Korean feature — formed from an individual, female point of view — than anything belched forth from Sundance’s labs. The film’s friction between South Korean and North American identities lives and breathes within Aimie (Jiseon Kim), who resentfully semi-inhabits a Toronto block apartment. So Yong Kim’s camerawork holds Aimie close even as she’s dismissive of a boy she likes and cruel to her divorced live-in mother, whom she keeps on the periphery. Impulsive actions with permanent results — be they skipped classes or homemade tattoos — are at the fore of this past-haunted tale of first sorta-love gone wrong. Waking up with Aimie each morning and more than once watching her looking at something painful just around the corner, Kim is as attuned to intimate frustration and revelation as Gina Kim (Invisible Light, Never Forever). Together, they’re two of the top young feature directors in the United States today. (Johnny Ray Huston)

Fri/16, 7 p.m., Pacific Film Archive; Sat/17, 2:30 p.m., Van Ness

It’s Only Talk (Ryuichi Hiroki, Japan, 2005). Like Sofia Coppola with a sense of humanity, Ryuichi Hiroki takes his bored and aimless female characters seriously. This film — like his lovely 2004 road movie Vibrator — features an unwell woman with more time on her hands than is probably good for her. Last time the trouble was bulimia; this time it’s manic depression. Yuko (the impossible to dislike Shinobu Terajima) has been living off the insurance money from her parents’ deaths for several years and has just moved to the outskirts of Tokyo, where she spends her more chemically balanced days snapping pictures and smiling beatifically. Horny as the next girl, she further occupies herself with a series of relationships that range from the involuntarily platonic to the incestuous. Hiroki makes truly therapeutic films, the kind that dispense with pat resolutions in favor of a general reassurance that life can be beautiful even when it sucks. (Shamai)

Sat/17, 6 p.m., Pacific Film Archive; Tues/20, 9:15 p.m., Van Ness; March 22, 6:45 p.m., Van Ness

King and the Clown (Lee Jun-ik, South Korea, 2005). The world’s but a stage, and we are merely players — either playing or being played — in this loving, gender-twisting tribute to entertainers of the Chosun Dynasty in the 1500s. On the road to Seoul, a pair of actors — enterprising scruffster Jang-seng (Karm Woo-sung) and beauteous cross-dresser Gong-gil (Lee Joon-gi) — discovers the key to the kingdom and possible fortune in poking dangerous fun at their regent and his courtesan. But in the process of tweaking authority, the companions find themselves straying a little too close to ugly reality while clowning for their lives and triggering a bloody burst of truth telling, along with some unexpected guffaws from imperial quarters. (Chun)

Sun/18, 2:45 p.m., Castro; March 24, 2 p.m., Camera 12 Cinemas

Pavement Butterfly (Richard Eichberg, Germany/UK, 1929). Roland Barthes may have rhapsodized over Greta Garbo’s face, but Anna May Wong’s eyes in Pavement Butterfly belong no less to "that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy." At times they are narrow slits through which flicker sparks of vindictiveness. At others they open to seemingly inhuman proportions, tremulous moons that drip rivulets of tears. Like the similarly coiffed Louise Brooks, Wong did some of her greatest work with European directors. Here, Richard Eichberg casts Wong as a circus fan dancer on the lam after being framed for murder. Given her namesake, strains of Giacomo Puccini (as well as a blackmailer) trail behind this butterfly’s fateful climb from Paris’s bohemian demimonde to the scaffold of high society. While the narrative damns her to the gutter, Wong’s optical pyrotechnics alone confirm her rightful place in that empyrean of stars Hollywood so stubbornly refused her. (Sussman)

Sun/18, 12:30 p.m., Castro

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Antiwar protest events

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PROTEST EVENTS

FRIDAY, MARCH 16

Remembering Rachel Corrie


At this third annual memorial, celebrate the life of Rachel Corrie, a 23-year-old International Solidarity Movement volunteer who was killed by an Israeli soldier while nonviolently resisting the demolition of a Palestinian home in the Gaza Strip.

7 p.m., $10–$20 suggested donation

Malonga Casquelourd Center for the Arts

1428 Alice, Oakl.

www.norcalism.org/events.htm

SATURDAY, MARCH 17

Starve War, Feed Peace


Participate in a march and rally sponsored by the Mt. Diablo Peace and Justice Center. The march goes through downtown Walnut Creek, and continues to Civic Park for a rally at noon with speakers and music.

11 a.m.

Walnut Creek BART station

200 Ygnacio Blvd., Walnut Creek

Civic Park

1375 Civic Drive, Walnut Creek

www.mtdpc.org

SUNDAY, MARCH 18

March and rally in San Francisco


Marchers will assemble at Justin Herman Plaza and go to the Civic Center.

Noon

Justin Herman Plaza

One Market, SF

(415) 821-6545, answer@actionsf.org, www.actionsf.org/#local4

MONDAY, MARCH 19

Protest, rally, and nonviolent direct action at Chevron headquarters


End Chevron’s oil crimes from Richmond to Iraq. It’s a short ride to the Chevron headquarters from the Walnut Creek BART station; take County Connection shuttle 121. Vans will be shuttling protesters too.

7–11 a.m.

Chevron headquarters

6001 Bollinger Canyon, San Ramon

www.MySpace.com/ProtestChevron

Stop Funding the War


Join us at Speaker of the House Nancy Pelosi’s San Francisco district office to urge her and her fellow representatives to deny the White House its war funding requests and to support HR 508, the Bring Our Troops Home and Sovereignty of Iraq Restoration Act.

Noon

San Francisco Federal Bldg.

450 Golden Gate, SF

www.stopfundingthewar.com/home

Die-in on Market Street


The protest is a die-in designed to highlight the war’s death toll by showing what the heart of San Francisco would look like strewn with dead bodies.

Noon

Meet-up points:

Spear and Market, SF

Montgomery and Market, SF

Powell and Market, SF

Market and Seventh St., SF

www.dieinmarch19.org, www.ActAgainstTorture.org *

Escautf8g the antiwar movement

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› news@sfbg.com

It was four years ago this March 19 that the United States invaded Iraq, triggering massive street protests in San Francisco and a widely criticized military occupation that has become one of the longest in US history.

The war has proved to be as bloody and shortsighted as its opponents always claimed it would be. More than 3,100 American soldiers have been killed, as have as many as hundreds of thousands of Iraqis, with little hope of the violence abating anytime soon, despite President George W. Bush’s recent deployment of 21,500 more troops. The war has cost the United States about $400 billion so far, a price tag increasing by about $250 million every day of the occupation. And it has spurred anti-Americanism around the world.

Opinion polls show a strong majority in the United States favors immediate withdrawal from Iraq, and a growing number of Democrats in Congress now appear to be moving in that direction. But antiwar activists are planning an escalation of their own, arguing that only through a ramped-up and more widely disseminated peace movement will this war come to an end.

To mark this inauspicious anniversary, United for Peace and Justice, the nation’s largest antiwar coalition, has issued a call for "a massive outpouring of opposition to the war in locally based, decentralized actions throughout the U.S." from March 17 to 19. It’s a clear departure from the peace movement’s norm of massive, centralized marches located in Washington, DC, New York, and San Francisco.

Tens of thousands of people poured into the streets of San Francisco on March 20, 2003, with more than 1,500 people arrested in civil disobedience actions that effectively shut down the city. Antiwar groups are still hoping for a big turnout in the city next week, even as they shift their strategy to include more of Middle America.

Instead of relying on charismatic visionaries, influential organizations, and hierarchical organizing in the big cities, the new strategy calls on citizens to take the initiative and organize — from Mobile, Ala., to Jonesboro, Ark., to Fayetteville, N.C. — and demonstrate a broad base of active opposition to the war.

"The resistance isn’t only in San Francisco," Jim Haber, a member of the steering committee for United for Peace and Justice Bay Area, told the Guardian. "Large demonstrations here get attributed to San Francisco being out of step with the rest of the country — although less so these days."

While it is important to have big showings, Haber said it’s also important to demonstrate that the opposition is widespread. "Rather than making people who want to protest come to us, we’re going to them — and they’re all over."

Several of the affinity groups that were instrumental in the shutdown of San Francisco four years ago are regrouping for a rally and nonviolent direct action at Chevron’s headquarters in San Ramon.

"Four years ago we not only shut down San Francisco’s Financial District, we also shut down Chevron," Antonia Juhasz, one of the organizers and a Tarbell fellow with Oil Change International, told us. "Neither our message nor our tactics have changed."

The Iraqi parliament is set to pass a law that would transform Iraq’s nationalized oil system to a commercialized model, completely open to corporate pillaging, following the trail first blazed by the US-installed Coalition Provisional Authority, headed by L. Paul Bremer. "The law is the brainchild of the Bush administration," Juhasz said. "Now is a particularly critical time to expose the oil agenda behind the war."

David Solnit, a longtime organizer and member of the Bay Rising affinity group, told us, "This is a similarly strategic moment for the antiwar movement to escalate. Hopes of getting the Democrats to do anything are fading. It’s up to us, and folks are hungry for taking direct action."

Just about everyone organizing for March 17 to 19 agrees that relying on the congressional Democrats to bring the troops home is an abysmal plan.

"We’re telling people to stop looking up and start looking around," Ben Rosen, youth organizer and media coordinator with World Can’t Wait, told us. "There is no Democratic savior here."

World Can’t Wait has allied with the ANSWER (Act Now to Stop War and End Racism) coalition to organize a massive march up Market Street to the Civic Center on March 18. ANSWER still favors centralized protests, including a massive march on the Pentagon.

"The real direction for this war is coming from the Pentagon," Richard Becker, ANSWER’s West Coast regional coordinator, told us. "A powerful march on the Pentagon would be the most significant thing that could happen right now."

Rosen agrees that centralized coordination is required to build a cohesive and powerful movement.

"They argue that marching in San Francisco is preaching to the choir," Rosen said. "But actually we’re setting an example for people in the middle of the country who look to San Francisco, New York, and DC as models."

Massive centralized marches have been the linchpin of this country’s peace movement, but many observers are questioning whether they are the most effective strategy.

"People say ‘the movement’s failed,’ " Becker said. "That’s an incorrect conclusion. Building a movement powerful enough to stop war when all the resources of the state are mobilized for it is very difficult."

Max Diorio, co–national coordinator of Not in Our Name, which has joined the ANSWER coalition organizing for March 18, agrees. "If San Francisco has a paltry march, what does that say about the rest of the country? It took 10 years from the first big mobilization against Vietnam to end that war. People are used to instant gratification in this country, but it takes a while. That’s why they call it a struggle."

On March 19 there will be a die-in on Market Street, also initiated by former members of Direct Action to Stop the War.

"The die-in will help to make personal the real cost of war in human lives," Suzanne Sam Joi, a coordinator for Codepink Bay Area, told us. "Too often we can forget that someone who was loved and treasured — a mother, a sister — their life has been destroyed."

In another national antiwar effort, UFPJ member group the Voices for Creative Nonviolence initiated the Occupation Project. Demonstrators have sat in at their legislators’ offices across the country, and 159 people have been arrested so far.

The shift in the UFPJ’s strategy — calling for decentralized, localized actions all over the country — is significant. Until Middle Americans stop looking east and west for models and start organizing themselves, their representatives can safely ignore calls to bring the troops home. *

Marisa Handler’s first book, Loyal to the Sky: Notes from an Activist, chronicles her experiences in the global justice movement from Miami to Lima to Kathmandu.

The corporation that ate San Francisco

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› sarah@sfbg.com

For the past decade, Florida-based megadeveloper Lennar Corp. has been snatching up the rights to the Bay Area’s former naval bases, those vast stretches of land that once housed the Pacific Fleet but are now home to rats, weeds, and in some places, low-income renters.

When the Navy pulled out of Hunters Point Shipyard in 1974, it left behind a landscape pitted with abandoned barracks, cracked runways, spooky radiation laboratories, antique cranes, rusting docks, and countless toxic spills.

A quarter century later, Lennar came knocking at the shipyard’s door — and those of other military bases abandoned in the waning days of the cold war — recognizing these toxic wastelands as the last frontier of underdeveloped land in urban American and an unparalleled opportunity to make big money.

Lennar had already won its first battle in 1997, seizing control of the Bay Area’s former military pearl in Vallejo when it was named master developer for the old Mare Island Naval Shipyard. Two years later it almost lost its bid for Hunters Point Shipyard when a consultant for the San Francisco Redevelopment Agency recommended giving the development rights to the Ohio-based Forest City.

Lennar fought back, calling on politically connected friends and citing its deep pockets and its track record at Mare Island.

A parade of Lennar supporters, many of them friends of then-mayor Willie Brown and Rep. Nancy Pelosi, told the Redevelopment Agency commissioners that Lennar was the only developer that had bothered to reach out to the Bayview–Hunters Point community. In the end, the commissioners — all of them mayoral appointees — ignored their consultant’s advice and voted for Lennar.

Nobody knows if Forest City would have done a better job. A developer is, after all, a developer. But Lennar’s victory at the shipyard helped it win the rights, four years later, to redevelop Treasure Island — long before it had even broken ground at Hunters Point. And a couple years ago, it parlayed those footholds into an exclusive development agreement for Candlestick Point.

Now the Fortune 500 company, which had revenues of $16.3 billion in 2006, does have a track record at the shipyard. And that performance is raising doubts about whether San Francisco should have entrusted almost its entire undeveloped coastline to a profit-driven corporation that is proving difficult to regulate or hold accountable for its actions.

Sure, Lennar has provided job training for southeast San Francisco residents, set up small-business assistance and community builder programs, and invested $75 million in the first phase of development. That’s the good news.

But on Lennar’s watch, a subcontractor failed to monitor and control dangerous asbestos dust next to a school at the Hunters Point Shipyard, potentially exposing students to a deadly toxin — despite promising to carefully monitor the air and control the construction dust.

And when the homebuilding industry took a nosedive last year, Lennar reneged on its promise to provide needed rental housing on Hunters Point — saying that its profit margins were no longer good enough to make rentals worthwhile. All of which raises questions about whether this company, which is working with Mayor Gavin Newsom to build a stadium at the shipyard to keep the 49ers in town, really has San Francisco’s interests in mind.

Bayview–Hunters Point native Dr. Ahimsa Porter Sumchai, a physician and a Sierra Club member, called the Lennar deal the "dirty transfer of the shipyard." She told us, "There is no reason why I’d trust Lennar more than I would the Navy and the federal regulators who have stringently worked on the cleanup of Hunters Point Shipyard, and yet it still remains toxic."

"This is just a play to get the shipyard," said Porter Sumchai, whose father was a longshore worker at the shipyard and died from asbestosis.

Part of the problem is systemic: the Redevelopment Agency hands over these giant projects to master, for-profit developers — who can then change the plans based on financial considerations, not community needs. And while Lennar likes to tell decision makers of its massive size and resources, the actual work at these bases has been delegated to limited-liability subsidiaries with far fewer available assets.

In this case, Lennar experienced a 3 percent drop in sales last year, a 29 percent increase in cancellation rates on homes, and a 15 percent dip in its fourth quarter profits. The downturn prompted Lennar’s president and CEO, Stuart Miller, to identify ways to improve what he described in the annual report as the company’s "margin of improvement" in 2007. These included "reducing construction costs by negotiating lower prices, redesigning products to meet today’s market demand and building on land at current market prices."

A Lennar spokesperson, Sam Singer, issued a statement to us saying that "Lennar BVHP is committed to operating responsibly, continually incorporating best community and environmental practices into our everyday business decisions."

But for a look at how Lennar’s model clashes with community interests, you need go no further than the edge of the site where Lennar has been digging up asbestos-laden rock.

DUST IN THE WIND


The Muhammed University of Islam is a small private school that occupies a modest flat-roofed hilltop building on Kiska Road with a bird’s-eye view of the abandoned Hunters Point Shipyard. This year-round K–12 school is affiliated with the Nation of Islam and attracts mostly African American students but also brings in Latino, Asian, and Pacific Islander children, many of whom have had problems in the public school system and whose parents can’t cover the cost of a private school.

"We find a way," the school’s mustachioed and nattily dressed minister, Christopher Muhammed, recently told the Redevelopment Agency in a veiled allusion to the financial nexus between the MUI and the Nation of Islam’s mosque and bakery on Third Street. "Many students aren’t members of our tradition but live across the street, down the street, or come from Oakland and Vallejo."

The minister is asking the Redevelopment Agency, the agency that selected Lennar and oversees the project, to permanently relocate the school. The school’s classrooms and basketball courts sit on the other side of a chain-link fence from Parcel A, which is the first and only plot of land that the Navy has certified at the shipyard as clean and ready for development.

Standing on these courts, the children have been able to watch heavy machinery digging up and moving huge amounts of earth in preparation for the 1,600 condos and town houses that Lennar wants to build on this sunny hillside, which has views of the bay and the rest of the shipyard.

The shipyard’s other five parcels are still part of a federal Superfund site, despite having undergone years of decontamination. Black tarps cover piles of soil that have been tagged as contaminated, and recently, radiological deposits were found in the sewers and soil. The Navy is still cleaning up a long list of nasty toxins, including PCBs and solvents, on Parcels B through F, the land Newsom now wants the city to take over so that it can hastily build a stadium for the 49ers.

But the minister’s request to relocate the MUI isn’t inspired by fear of Navy-related contamination or the impact of a stadium on the neighborhood but rather by the reality that asbestos is naturally present in this hillside and Lennar’s excavation work on the other side of the school’s chain-link fence has been kicking up dust for almost a year.

It’s not that Lennar and the city didn’t know about the asbestos. In April 2000 the environmental impact report for the shipyard reuse noted, "Because asbestos-containing serpentinite rock occurs at Hunters Point Shipyard, construction-related excavation activities could cause chrysotile asbestos associated with serpentinite to become airborne, creating a potentially significant impact to public health and safety."

So when Lennar proposed demolishing abandoned housing and roads and grading and transferring massive amounts of earth on Parcel A, the Bay Area Air Quality Management District demanded an asbestos dust mitigation plan that included sweeping and watering the construction sites and making sure that vehicle tires are washed before drivers exit.

The state Asbestos Air Control Toxic Measure also stipulates that if a school lies within a quarter mile of a construction site, local air districts can require developers to install asbestos dust monitors and shut down their sites whenever asbestos registers 16,000 fibers per cubic meter. The state requires these extra steps because children have higher metabolisms, growing lungs, and longer life expectancy. Plus, they’re lower to the ground and are likely to run, skip, hop, and play ball games that kick up dust.

Although Lennar agreed to abide by the air district’s requirements, the developer failed to properly implement this plan for more than a year.

The air district’s records show that Lennar’s environmental consultant, CH2M Hill, failed to include any air monitoring in its original plan for Parcel A, which is odd because the school is obvious to anyone who visits the site. It was only when the air district pointed out the existence of the Hunters Point Boys and Girls Club, the Milton Meyer Recreation Center, and the MUI, all within the quarter-mile limit, that Lennar agreed, at least on paper, to what the air district describes as "one of the most stringent asbestos dust mitigation plans in the state."

The plan combines the air district’s asbestos requirements with the city’s demands that Lennar limit "ordinary dust" that can cause respiratory irritation and aggravate existing respiratory conditions, such as asthma and bronchitis. Lennar agreed to implement the plan in the summer of 2005 and determine background levels of dust and toxins at the site before work began in the spring of 2006.

But that didn’t happen. For 13 months there is no data to show how much asbestos the MUI students were exposed to, neither for the 10 months before construction started on the cleared site nor for the first three hot and dusty months when Lennar’s subcontractors began massive earth-moving operations next to the school.

You’d think that after these failures became public knowledge, a devastated Lennar would have gotten a black eye and perhaps fired the subcontractors involved. Failing to protect children in a community that’s been the repeat victim of environmental injustice is a public relations nightmare, particularly in a part of town where distrust of redevelopment runs deep, thanks to the travesties in the Fillmore in the 1960s, followed by the city’s recent rejection of a referendum to put the Bayview–Hunters Point Redevelopment Plan to a public vote.

But while Lennar’s executives finally did the right thing last August by alerting the air district and replacing CH2M Hill, they didn’t release their two other subcontractors, Gordon Ball and Luster, nor did they sufficiently rein them in when violations continued, critics have testified at agency meetings.

And instead of apologizing to the air district and the city’s Department of Public Health for making them look like impotent fools, Lennar executives pushed back, contending that asbestos monitoring wasn’t necessary until May 2006 and that they didn’t need to water the tires of private vehicles.

They even listed economic rationalizations for the screwups that did happen. According to a memo marked "confidential" that the Guardian unearthed in the air district’s files, written by the air district’s inspector, Wayne Lee, Lennar stated, "It costs approximately $40,000 a day to stop grading and construction activity" and "Gordon Ball would have to idle about 26 employees on site, and employees tend to look for other work when the work is not consistent."

Meanwhile, the Department of Public Health was left reeling. Environmental health director Dr. Rajiv Bhatia told us, "It was very disappointing. We worked very hard. We wanted this system to be health protective. Whenever things don’t work, it takes time to get back to levels of trust. This hurts trust and credibility."

In September 2006 the air district issued Lennar a notice of violation for the period of July 14, 2005, through Aug. 3, 2006. Lee wrote that vegetation removal on the site "disturbed the soil and in some cases, likely resulted in dust." He also made it clear that "any track onto common roads could be tracked out to public thoroughfares and create asbestos dust plumes."

Lennar’s fines have yet to be determined, but they could reach into millions of dollars. State fines for emitting air contaminants range from $1,000 a day, if the violation wasn’t the result of intentional or negligent conduct, to $75,000 a day, if the conduct was deemed willful and intentional.

But as the air district weighs the evidence, one thing’s for sure: this wasn’t an isolated case of one set of monitors failing or one subcontractor screwing up. This case involves numerous violations and three subcontractors, two of which — Gordon Ball and Luster — are still working next to the MUI (neither company returned our calls).

Records show that once Lennar fired its environmental compliance subcontractor, CH2M Hill, properly installed monitors immediately detected asbestos dust, triggering 15 health-protective shutdowns during the course of the next six months. From these results, is it reasonable to conclude that had Lennar got its monitoring right from the beginning, further shutdowns would have cost Lennar’s construction subcontractors even more truckloads of money, as would have adequate watering of the site, which they didn’t get right for months?

So far, the only explanation for the watering deficiencies has come from Kofi Bonner, president of Lennar Urban for Northern California, who told the Redevelopment Agency, "Given the hilly terrain, it can only be watered enough so as not to create difficult conditions for the workers going up and down the site."

Lennar didn’t finally start to really control its subcontractors until January, when Lennar ordered Gordon Ball and Luster to "replace two site superintendents with new personnel who must demonstrate environmental sensitivity in conducting their work," according to public records.

MIAMI VICE


Headquartered in Miami Beach, Fla., Lennar began in 1954 as a small home builder, but by 1969 it was developing, owning, and managing commercial and residential real estate. Three years later it became a publicly traded company and has been profitable ever since, spinning off new entities.

Lennar Urban is one such venture. Established in 2003 to focus on military-base reuse, Lennar Urban recently produced a glossy brochure in which it proclaimed, "Military base reuse is our business — this is what we do."

Military-base development may be good business — but it isn’t always such a good deal for cities, particularly when communities don’t end up receiving what was promised on the front end.

In November 2006, Lennar announced it wouldn’t build any rental homes in its 1,600-unit development at the Hunters Point Shipyard. The Redevelopment Agency had originally approved a plan for 700 rental units on the 500-acre site, but Lennar said rising construction costs make rentals a losing investment.

Also in November, Arc Ecology economist Eve Bach warned the Board of Supervisors that Lennar’s public-benefits package for Treasure Island could be seriously compromised.

The package includes 1,800 below-market affordable housing units, 300 acres of parks, open space and recreational amenities, thousands of permanent and construction jobs, green building standards, and innovative transportation.

Bach summed up these proposals as "good concepts, uncertain delivery" and noted the discrepancy between Lennar’s stated desire for a 25 percent return and Budget Analyst Harvey Rose’s conservative prediction of an 18.6 percent return.

"Particularly at risk of shortfalls are transit service levels, very-low-income housing, and open-space maintenance," Bach warned.

With community benefits up in the air, high profits expected, and Lennar’s ability to regulate developers uncertain, many community activists question just what San Francisco is getting from the company.

"I can’t say that Lennar is trustworthy, not when they come up with a community benefits package that has no benefit for the community," activist Marie Harrison said. "I’d like to be able to say that the bulk of our community are going to be homeowners, but I resent that Lennar is spoon-feeding that idea to folks in public housing who want a roof over their heads and don’t want to live with mold and mildew but don’t have jobs or good credit or a down payment. I’ve heard seniors say, ‘I can’t even afford to die.’ Lennar is not being realistic, and that hurts my feelings and breaks my heart."

SHOE-IN


The story of Lennar and Muhammed University of Islam underscores the problems with a system that essentially relies on developers to regulate themselves. Bay Area Air Quality Management District records show officials didn’t know monitoring equipment at the site wasn’t working until August 2006, when Lennar discovered and reported the problem.

Lee reported after an Aug. 31, 2006, meeting with CH2M Hill staff, "They were not confident that the air sampling equipment was sampling correctly, due to faulty records and suspect batteries. CH2M Hill staff discovered depleted batteries and could not determine when they drained."

The air district’s air quality program manager, Janet Glasgow, told the Guardian, "The district had never been in this situation before, in which a developer, Lennar, came in and self-reported that they discovered a problem with their monitoring — something the district would never have been able to determine."

Worrisome as Glasgow’s statement is, there’s also the possibility that CH2M Hill’s failures might never have come to light had it not been for the city’s decision to demand another layer of dust controls. As Department of Public Health engineer Amy Brownell said, her inspectors were witnessing trails of dust firsthand, yet CH2M Hill’s monitors kept registering "non-detect" around asbestos.

"Which was suspicious," Brownell told us, "since they were doing massive earthwork."

Saul Bloom, who is executive director for Arc Ecology, a local nonprofit that helps communities plan for base closures and cleanups, told us he recalls "waiting for the first shoe to drop, wondering how there could be no work stoppages when Lennar was digging up a hillside of serpentinite."

The other shoe did drop shortly after the August 2006 meeting. It was black and well polished and attached to the foot of Muhammed, who began questioning whether the dust wasn’t harming his students.

But Muhammed found his questions weren’t easy to answer, given that Lennar had failed to monitor itself and therefore lacked the data that could have proved no harm was done, a scary situation since health problems from asbestos exposure don’t generally manifest themselves until many years later.

Those questions raised others about Lennar and whether it should be trusted to self-regulate.

DÉJÀ VU


In December 2006, Redevelopment Agency Commissioner Francee Covington asked Lennar’s environmental manager, Sheila Roebuck, if the company had any asbestos issues at other projects in the nation. Roebuck replied no, not to her knowledge.

But the Guardian has learned that Lennar already had problems with naturally occurring asbestos in El Dorado. The problems concerned dynamiting in hills that were full of naturally occurring asbestos and resulted in a $350,000 settlement in November 2006. The case involved two El Dorado Hills developers, Angelo K. Tsakopoulos and Larry Gualco, and their earthmoving subcontractor, DeSilva Gates Construction of Dublin.

As part of the terms of the settlement, the county agreed, at the behest of the developers, to make their earthmoving contractor, DeSilva Gates, who provided the dynamite, solely responsible for the settlement. Accused of, but not formally charged with, 47 violations of air- and water-pollution laws is West Valley, a limited liability company composed of Lennar Communities of Roseville, Gualco, and Tsakopoulos’s AKT Investments of Sacramento, with Lennar managing the LLC and AKT acting as the investor.

But as the Sacramento Bee‘s Chris Bowman reported, El Dorado Air Quality Management District head Marcella McTaggart expressed her displeasure directly to Lennar Communities, writing, "We are very disappointed to note that the agreed-upon measures to minimize … dust were completely disregarded by your company."

McTaggart’s words bear an eerie resemblance to Bhatia’s comments about how Lennar’s failure to protect the public heath "hurts trust and credibility."

"Ultimately, I’m very interested in being able to talk to the families and children who believe they have been harmed," Bhatia told us. "I want to help with people’s uncertainties and fears."

LEGAL PROBLEMS


Uncertainty and fear were on display at the Redevelopment Agency’s December 2006 meeting when Muhammed claimed that serpentinite, arsenic, and antimony had been found on his students and staff through "resonance testing."

Lung cancer experts doubt that methodology, telling us the only way to detect serpentinite in bodies is by doing an autopsy.

Following the minister’s claims, a rattled Bonner told the Redevelopment Agency, "Lennar cannot continue to be accused of covering something up or willfully poisoning the community because of profits. Lennar is a national public company, and the accusations and allegations are very serious."

Unfortunately for Lennar and the city, the company’s failures to monitor and control dust have left both entities exposed, since they formed a limited liability company without extensive resources, Lennar BVHP, to conduct the shipyard cleanup.

This exposure became even more evident when Muhammed returned to the Redevelopment Agency Commission in January with 15 MUI students in tow to ask for a temporary shutdown of Lennar’s site until a permanent relocation of the school had been worked out.

"It doesn’t seem proper to have peace discussions while the other side is still shooting," Muhammed said.

His relocation request got Bayview–Hunters Point community activist Espanola Jackson raising more questions: "OK, but where are the other residents going? How can you displace them? Have the residents on Kiska Road been notified? Or on Palou? Nope. You give people dollars to do outreach, but they don’t come to my door. Someone is being paid to not give the truth."

Scott Madison, a member of the Hunters Point Shipyard Citizens Advisory Committee, who’d observed large excavation machines breaking rock but not using water or any other dust controls, said, "I don’t understand how Lennar, who I believe has a sincere interest in doing right, can continue to have a contractor who is out of control."

Bonner explained that Lennar sent notices of default to its subcontractors and hired people from the community to be monitors, plus installed a secondary level of consultants to monitor contractors. But when Redevelopment Agency commissioner London Breed expressed interest in releasing the old contractor and hiring a new one, the agency’s executive director, Marcia Rosen, chimed in.

"Our agreement," Rosen said, "is not with the subcontractor. Our agreement is with Lennar." Her words illustrated the agency’s impotency or unwillingness to crack the whip over Lennar and its subcontractors. But when Lennar Urban vice president Paul Menaker began to explain that its contractors have a 10-day cure period, it was too much for Commissioner Covington.

"We’re way past that," Covington exploded. "We’re not hams!"

EXPLODING HAMS


Perhaps they’re not hams, but the commissioners’ apparent inability to pull the plug on Lennar or its subcontractors leaves observers wondering how best to characterize the relationship between the agency, the city, the community, and Lennar.

Redevelopment Agency commissioners have been appointed either by Mayor Gavin Newsom or his predecessor, the consummate dealmaker Willie Brown. But the incestuous web of political connections goes even further.

Newsom is Speaker of the House Nancy Pelosi’s nephew by marriage. Newsom’s campaign treasurer is another Pelosi nephew, Laurence Pelosi, who used to be vice president of acquisitions for Lennar and now works for Morgan Stanley Real Estate, which holds Lennar stock.

Both Newsom and Laurence Pelosi are connected to lobbyist Darius Anderson, who hosted a fundraiser to pay off Newsom’s campaign debts. Anderson counts Lennar as his client for Treasure Island, Mare Island, the Hunters Point Shipyard, and Candlestick Point, another vast swath of land that Lennar controls.

Brown’s ties to the agency and Lennar run equally deep, thanks in part to Lennar’s Bonner, who was Brown’s former head of economic development and before that worked for the Redevelopment Agency, where he recommended hiring KPMG Peat Marwick to choose between Catellus, Lennar, and Forest City for the Hunters Point project.

KPMG acknowledged all three were capable master developers, but the commission decided to go with the most deep-pocketed entity.

Clearly, Lennar plays both sides of the political fence, a reality that suggests it would be wiser for cities to give elected officials such as the Board of Supervisors, not mayoral appointees, the job of controlling developers.

DAMAGE CONTROL


Under the current system, in which Lennar seems accountable to no one except an apparently toothless Redevelopment Agency, you can’t trust Lennar to answer tough questions once it’s already won your military base.

Asked about asbestos at the Hunters Point Shipyard, Bonner directed the Guardian‘s questions to veteran flack Sam Singer, who also handles PR for Ruby Rippey-Tourk. Singer tried to dodge the issue by cherry-picking quotes, beginning with a Dec. 1, 2006, letter that the city’s health director, Dr. Mitch Katz, sent to Redevelopment’s Rosen.

Katz wrote, "I believe that regulatory mechanisms currently in place for Shipyard Redevelopment are appropriate and adequate to protect the public from potential environmental hazards."

The assessment would seem to be at odds with that of Katz’s environmental health director Bhatia, who has been on the frontline of the asbestos fallout and wrote in a Jan. 25 letter, "The failure to secure timely compliance with the regulations by the developer and the repeated violations has also challenged our credibility as a public health agency able and committed to securing the regulatory compliance necessary to protect public health."

Singer also quoted from a Feb. 20 Arc Ecology report on asbestos and dust control for Parcel A, which stated, "Lennar’s responses have been consistently cooperative." But he failed to include Arc’s criticisms of Lennar, namely that its "subcontractors have consistently undermined its compliance requirements," that it has "not exercised sufficient contractual control over its subcontractors so as to ensure compliance," and that it was "overly slow" in implementing an enhanced community air-monitoring system.

Singer focused instead on Arc’s observation that "there is currently no evidence that asbestos from the grading operation on Parcel A poses an endangerment to human health and the environment."

Lack of evidence is not the same as proof, and while Arc’s Saul Bloom doesn’t believe that "asbestos dust is the issue," he does believe that not moving the school, at least temporarily, leaves Lennar and the city liable.

"They formed a partnership, protective measures didn’t happen, the subcontractors continue to be unreliable, and dust in general continues to be a problem," Bloom told us.

Bloom also recommends the Redevelopment Agency have an independent consultant on-site each day and bar contractors who screw up. "Without these teeth, the Redevelopment Agency’s claims that they have enforcement capabilities are like arguments for the existence of God."

Raymond Tompkins, an associate researcher in the Chemistry Department at San Francisco State University and a member of the Remediation Advisory Board to the Navy who has family in Bayview–Hunters Point, says what’s missing from the city’s relationship with Lennar is accountability, independence, and citizen oversight.

"If you can’t put water on dirt so dust doesn’t come up, you can’t deal with the processes at the rest of the shipyard, which are far more complicated," says Tompkins, who doesn’t want the Navy to walk away and believes an industrial hygienist is needed.

"The cavalier attitude around asbestos dust and Lennar at the shipyard fosters the concerns of the African American community that gentrification is taking place — and that, next stop, they are going to be sacrificed for a stadium." *