War

Another shelter down

0

› amanda@sfbg.com

Inside the front door of the Marian Residence for Women, a small handmade sign by a former resident advises newcomers, "Don’t compare this place to any others."

But I’ve stayed in the city-funded homeless shelters, and after a night at Marian, it’s hard not to rave about the differences. I’m given an actual bed to sleep on, with freshly laundered sheets, blankets, and a pillow. The bathrooms and showers are clean, and I’m offered every toiletry I could possibly need — as well as pajamas. Dinner is a wholesome meal of turkey, potatoes, and steamed greens — not the mystery meat on Wonder bread I received at the city’s MSC South shelter.

And unlike the tension I’ve witnessed at other shelters, the atmosphere inside Marian is close to pacific. After dinner, the 29 other women shower, read, rest on their beds, work on their laptops, or talk quietly while sitting at small tables in the common area. After my mandatory shower, I sit with an employee who explains the rules — be respectful of others, no drinking or drugs, and don’t forget to do my chore, which is assisting with dinner service. As long as I’m home by 7 p.m., I can have my bed as long as I need it.

That is, she clarifies, until the end of August — when they’re closing the shelter. For good.

Marian is a casualty of a plan by St. Anthony Foundation to cut $3 million from the foundation’s operating budget. In addition to closing the $1.2 million Marian facility, which houses 30 women in the emergency shelter and 27 in a transitional program, St. Anthony also will shutter its 315-acre organic dairy farm in Petaluma, currently used as a rehabilitation program for homeless addicts. Its Senior Outreach and Social Services [SOSS] is also losing staff and office space as it consolidates with the Social Work Center.

Five of the foundation’s 11 programs face cuts, the result of a two-year sustainability study that St. Anthony’s executive director, Father John Hardin, said will keep the charity out of a fiscal tailspin.

"We’re not in a financial crisis," he told the Guardian. "The reason we’re doing this is so we won’t be in a financial crisis."

He said the closures reflect the organization’s desire to get back to basics.

But, as one of the 40 soon-to-be-laid-off employees said, "They’ve said they want to refocus on basic services, but I see shelter as a basic service."

St. Anthony receives no city money for the work it does, but the closures are occurring in what’s already a war zone of budget cuts for social services in San Francisco. The loss of any of St. Anthony’s programs affects the city as a whole.

"Are we concerned? Yes," said Dave Knego of Curry Senior Services, which frequently refers seniors the group can’t help to St. Anthony’s SOSS program. "Unfortunately, we already have a waiting list, and the city’s cutting our funding back by 10 percent."

The closure of Marian is yet another sign of the slow erosion of shelter space in San Francisco. Since July 2004, 364 shelter spots have disappeared. By the end of August, Marian’s 57 beds and Ella Hill Hutch’s 100 mats will be gone as well. "You can’t afford to lose 57 beds, especially in a place where women are being treated like human beings," said Western Regional Advocacy Project’s Paul Boden, who’s worked with homeless services in the city since the 1980s. "What I thought was really ironic was there wasn’t any attempt to build a community effort to discuss how to save this facility. These beds are an incredibly important community resource."

Some of the women who live in the transitional program at Marian wanted to rally and save the shelter. "First and foremost was to try to save Marian Residence for Women," said Leticia Hernandez, a two-year resident of the transitional program who still hasn’t lined up a place to go when the shelter closes. "Even if we couldn’t save it, we thought it was still worth a try because any money that would come would go back to them." The women drafted a letter asking for help, which they’d hoped management would distribute to the press and public.

The foundation, Hernandez said, had a "thanks, but no thanks" response.

Hardin told us that St. Anthony’s wasn’t facing a financial crisis, so "we’re not going to get up and cry wolf. We want to go back to some of the basics. We’re turning people away from the clinic," he pointed out.

He agreed that shelter was a basic service, but said, "We can’t do it all."

The foundation wouldn’t detail its intentions for the building once it’s vacated Aug. 31, beyond affirming that it would be rented. "That’s going to be an income generator," said foundation spokesperson Francis Aviani. "We are hoping to get a social service agency to use the space in the way it’s designed for, helping folks."

Multiple St. Anthony employees said they were told the facility would be used for medical respite — beds set aside for people who aren’t in critical condition, but are too ill or fragile to mingle with the general population and have nowhere else to go — and a St. Anthony board member confirmed that was the only plan presented to the board.

Marc Trotz, director of the San Francisco Department of Public Health’s Housing and Urban Health division, which oversees its $2.5 million, 60-bed medical respite program currently housed in two facilities, told us the city is looking for a new respite site. He confirmed that the Marian building is a facility the agency has seriously considered. "We’re not looking to push one program out in favor of another or anything like that." But, he said, "It’s a potential site that would work well."

While St. Anthony is cutting $3 million in programs, foundation staffers have been working for several years on a $22 million capital campaign for a new administrative building at 150 Golden Gate Ave. The building will replace a facility at 121 Golden Gate, where offices, the clinic, an employment center, and a dining room are currently housed. The popular dining room — which serves 2,600 meals a day — will ultimately move back to 121 Golden Gate after the building is razed and rebuilt to meet modern earthquake safety standards. The project is part of another $20 million campaign that includes a partnership with Mercy Housing to build affordable rentals on the upper floors.

St. Anthony staffers say the types of donors who will contribute to a new building are very different from those who will fund ongoing programs.

Meanwhile, food costs in the dining room have increased 18 percent in the last three months, and St. Anthony staffers expect another 25 percent increase during the coming quarter. At the same time, other free food programs in the city have closed, which means St. Anthony is seeing new faces in the dining room.

Aviani confirmed that donations have increased 8 percent to 10 percent, but the group receives very few "unrestricted" funds. Most of the money is earmarked for the dining room. In a way, she said, "that’s the community deciding what they want."

A third of the organization’s $19.7 million budget comes from bequests — a form of donation that has waxed and waned in recent years. According to Aviani, the foundation has yet to receive a single bequest this year.

The group has increased grants and deployed new fundraising methods, but she said that "The amount of grants out there for shelters and women’s programs are few and far between." She acknowledged that shelters are needed, and said St. Anthony has been "pretty outspoken about that."

The foundation has kept a tight lid on talk about the closures. None of the employees contacted by the Guardian would speak on the record — for fear, they said, of losing their severance packages.

Aviani said severance packages — which include pay and personal job coaching — are not on the line. "We asked them not to create a gossip chain, to stay focused on their work, and when people have questions, direct them to me. We didn’t say they couldn’t talk to anyone at all. That wasn’t the message at all."

Whether or not the gag order was intentional, it has had an effect and created suspicion about the foundation’s true intentions.

Even the city deferred to the organization when questioned about the potential plan to rent the Marian building and use it as a medical respite facility. "We’re not going to talk about that," said DPH spokesperson Eileen Shields. "We’re going to let St. Anthony talk about that at this point because it’s St. Anthony’s call."

On Feb. 14, Newsom — who has said shelters don’t solve homelessness — announced he would like to redesign the city’s shelters and called on the community to come up with suggestions. One of his specific suggestions was to create more medical respite centers.

In May, the Local Homeless Coordinating Board, which is chaired by Hardin, released a report outlining a number of detailed suggestions for improving city-funded shelters and services. It specifically stated that shelter beds shouldn’t be sacrificed to make room for respite.

The Mayor’s Office has yet to formally respond to the report, but at the June 2 LHCB meeting, Kayhan said there were a few things he felt confident the mayor would endorse.

"We heard loud and clear: more senior beds," Kayhan said. "And I’ll add to that women’s beds." He said that respite care would be "moving and co-locating with another location. We think that could free up space at one of the shelters." And, he added, that space could be allocated to women or seniors.

Which makes it sound like more beds for women and seniors are in the works — but considering the elimination of Marian and a shelter at Ella Hill Hutch Community Center, the city is still looking at a net loss of places for the homeless to sleep at night.

Board member Laura Guzman, who runs the Mission Neighborhood Resource Center, said she heard Hardin announce the Marian closure at a May 5 meeting. "He said it was a very difficult decision. I believe he said we’re going to try to open some medical respite beds," Guzman said. "All along we’ve said we don’t want to replace shelter with medical respite beds, but that’s exactly what’s happening."

Shuttering Marian is just one more loss in an environment of dwindling resources for women. Buster’s Place, the only 24-hour drop-in center for men and women, closed in March, and was replaced by a smaller facility that only allows men.

Five of the city’s other shelters have sections for women, but one of them is slated to close as well and none can offer a women-only safe space like Marian. A Woman’s Place is the only other all-female facility, and its 15 mats on the floor are always full. "With Marian closing, there’s going to be more of a demand on the total system," said Janet Goy, executive director of Community Awareness and Training Services, which runs A Woman’s Place. "It’s a loss, no question."

Emily Murase of the Commission on the Status of Women said it’s difficult to accurately count homeless women because women tend to take more measures than men to stay off the streets, though they may not necessarily be safely housed. Women are more prone to couch-surf, stay in abusive relationships, or settle for some other kind of compromised situation.

Murase’s group now funds a special women-only program at Glide Memorial Church, whose director, Willa Seldon, said, "We’re certainly seeing an increase in volume of women in the city to our programs. In October, we were seeing 11 in our support groups. That increased to 18 by March. It could definitely be related to Buster’s Place closing."

Hardin acknowledged the need for women’s shelters but said the city ought to take on the burden. "Maybe closing the Marian is a tipping point," he said. "As I said in front of the Board of Supervisors, it’s the government’s responsibility to provide the safety net. We’re the hands beneath the safety net."

Sandy Van Dusen has been living in the transitional program for a year and a half since her husband was murdered. She’s been told that she is about to get a studio apartment. She’s visibly excited about the move, and grateful to the foundation. But, she says, she’s still been crying every day since she heard Marian is closing. "They saved my life," she says, crying a little now. "They’re doing what they told me to never do — throw in the towel."

*

A heart once nourished

0

› gwschulz@sfbg.com

Community court, every second Thursday at 10 a.m. Narcotics Anonymous on Wednesday. Apprenticeships for construction workers, Monday, bright and early.

The ancient letter board just inside the entrance of the Ella Hill Hutch Community Center tells much of the story of this neighborhood institution. Since 1981 it’s been a crucial hub for the Western Addition, a mostly level stretch of terrain west of downtown that rivals the Mission District and Bayview–Hunters Point as the source of the most despair from senseless gun violence.

For decades Ella Hill was a safe haven, a place where kids and seniors felt comfortable, where people could learn and teach and talk and work together, a little oasis in the world of urban hurt.

A placard affixed to one wall of the entryway honors Thurgood Marshall, the nation’s first African American US Supreme Court justice. In a small office nearby, a tutor assists a young girl with the multiplication table. Elsewhere, a list of rules forbids profanity, play-fighting, and put-downs.

There’s also a poster of Ella Hill Hutch, the first black woman elected to San Francisco’s Board of Supervisors, where she served from 1978-81.

But in 2006, a man was murdered during daylight hours in the center’s gymnasium before dozens of witnesses. That slaying was one of at least five brutal incidents that took place in the shadow of Ella Hill between 2006 and 2007; three more murders occurred within blocks. Many remain open cases today.

And now the center is having serious problems — troubles that reflect those of the city’s African American population, which has been plagued by violence and socioeconomic changes that are closing opportunities and forcing longtime residents out the city.

Several census tracts in the neighborhood that at one time contained between 3,000 and 6,000 black residents are down to 1,000 or far less, according to a San Francisco State University study commissioned by the city last year. The report showed that between 1995 and 2000 San Francisco lost more of its black population than 18 other major US cities.

Ironically, the city is now preparing to close the final dark chapter on 50 years of federally subsidized redevelopment in the Western Addition. But the displacement that the bulldozers set off half a century ago continues today, unabated.

That exodus has compounded structural problems at the center just when its remaining clients need it most. The nonprofit late last year underwent an organizational shake up and brief takeover by the Mayor’s Office to save it from imminent financial collapse. The center’s executive director of two years, George Smith III, was fired with little public explanation last year, and a permanent head was named only recently.

As with many aspects of this troubled community, it was unaddressed violence that fed the fire. Simply subsisting in the heart of a violent neighborhood was strain enough for Ella Hill. But suffering an attack from within seemed too much to bear for an institution some call "San Francisco’s Black City Hall."

The 2006 killing took one man’s life, but Ella Hill itself — still facing an uncertain financial future — felt the searing rounds too. Now some wonder if the nonprofit can survive the very violence and poverty it was created to help end in a neighborhood that’s changing forever.

In Ella Hill’s noisy gymnasium at the building’s east end, two teams of middle schoolers practice basketball.

"My job is to be in the best position to box him out for a rebound," their coach says as they crowd around the free throw line.

The kids are radiant and attentive now. But from this same basketball court on April 27, 2006, the Western Addition briefly edged ahead of the rest of the city in extreme bloodshed.

Donte White, 22, was working part-time at the center. As he supervised a basketball game, two unidentified males entered Ella Hill. One brandished a firearm and shot White at least eight times in the face, neck, and chest as several kids looked on in utter horror. Among them was White’s young daughter.

Police arrested 25-year-old Esau Ferdinand for the attack five months after White’s murder. But within two weeks prosecutors decided they could no longer hold him and declined to press charges when a key witness disappeared on the eve of grand jury proceedings.

Even with other witnesses filling the gym, police gathered few additional leads, an all-too-common story in a neighborhood where residents often prefer to avoid both law enforcement and vengeful criminal suspects.

The center installed cameras and an alarm. A buzzer was placed on the front door. But the new security measures cut against Ella Hill’s image as a demilitarized zone, and the center remains shaken by White’s murder. Some parents began barring their children from going there.

"Can you imagine something like that, someone coming into a rec center in the middle of the day with a firearm and shooting and killing a guy?" asks Deven Richardson, who resigned from Ella Hill’s board in 2007 to focus on his real estate business. "That really set us back big time in terms of morale. It really was a dark moment for the center."

Sup. Ross Mirkarimi, whose district includes Ella Hill, says that after he took office in 2004, he learned that the police weren’t stationed at the center during prime hours and had never created a strategy for attaching themselves to the center the way they had at other safe-haven institutions in the city, like schools. He told us he’s had to "really work" to get the nearby Northern Station more integrated into Ella Hill.

"Before the murder of Donte White, there had also been a series of incidences inside Ella Hill Hutch," Mirkarimi said over drinks at a Hayes Valley bar. "Nothing that resulted in anybody getting killed, but certainly enough indicators that really should have been taken more seriously by the mayor."

In June 2006, shortly after White’s shooting, the San Francisco Police Commission and the Board of Supervisors held a tense public meeting at the center. Residents, enraged over the wave of violence that summer in the Western Addition, shouted down public officials, including Chief Heather Fong, who was forced to cut short a presentation on the city’s crime rate.

That same month, the supervisors put a measure on the ballot to allocate $30 million over three years for violence-prevention efforts like ex-offender services and witness relocation. But Mayor Gavin Newsom, following a policy of fortifying law enforcement over community-based alternatives, opposed the measure because it excluded the police department. Prop. A, designed to finance groups like Ella Hill with connections to the neighborhood that the police will never have, lost by less than a single percentage point.

Meanwhile, four homicides in the neighborhood that year joined frequent anarchic shootouts in the Western Addition, including many that never made headlines because no one was killed. The fatalities led to promises by City Hall that the area would be saturated with improved security, including additional security cameras that have mostly proved useless in helping the police solve violent crimes.

On June 3, 2006, 19-year-old Antoine Green was standing on McAllister Street near Ella Hill early in the morning when he was shot to death in the head and back. On Aug. 16, 38-year-old Johnny Jackson’s chest was filled with bullets as he sat in the front seat of a Honda Passport on Turk Street not far behind Ella Hill. A woman next to him in the car suffered a critical gunshot wound to the head.

Two more killings occurred further east at Larch Way, a popular location for murder in the neighborhood.

Burnett "Booski" Raven, a 32-year-old alleged member of the Eddy Rock street gang, was found bleeding at 618 Larch Way early Oct. 7, his body laying halfway in the street and containing at least 10 gunshot wounds. On July 22, police found 23-year-old John Brown, another purported Eddy Rock member, wedged under a Chevy pickup truck, dead from up to seven gunshots.

Brown had reportedly survived two prior shootings, but the Western Addition’s cultural condemnation of "snitching" to police has so infected the neighborhood that he allegedly told police not to bother investigating either of the attacks.

Loïc Wacquant, a sociology professor at the University of California, Berkeley, says neighborhoods like the Western Addition that once contained stable black institutions — schools, churches, and community centers that glued residents together — have been overwhelmed by the rise of a white-collar, service-based economy, the decline of unions, and the withdrawal of meaningful social safety nets.

Cities have responded to the resulting marginalization with more police officers, more courts, and more prisons. But the failure of those institutions to cure rising violence "serves as the justification for [their] continued expansion," Wacquant quoted Michel Foucault, the famous late UC Berkeley sociologist, in the academic journal Thesis Eleven earlier this year.

The roots of the Western Addition’s tragedy go back to the early post-World War II era. In 1949, Congress enacted laws giving cities extraordinary powers to clear out land defined as "blighted." In San Francisco, that meant neighborhoods where low income people of color lived.

The Western Addition was devastated. Huge blocks of houses were bulldozed. Clubs, stores, restaurants — the heart of the black neighborhood — were wiped out. Many residents were forced out of the neighborhood and sometimes the city forever; others lost their property and their livelihoods (see "A half-century of lies," 3/21/2007).

By the 1970s, neighborhood activists were hoping that at the very least the Redevelopment Agency would pay for a recreation facility for kids. But city officials wouldn’t put up the money, recalls the Rev. Arnold Townsend, a longtime political fixture in the city and associate pastor of the Rhema Word Christian Fellowship.

Townsend said activist Mary Rogers — whom he calls "the greatest champion kids ever had in this community" and a famous critic of redevelopment — gave up on City Hall and went to Washington DC, where she sat in at a meeting that happened to include Patricia Harris, Secretary of the Department of Housing and Urban Development under President Jimmy Carter. Rogers, joined by a group of colleagues from San Francisco, bumped into Harris afterward.

"[Harris] shook Mary’s hand like politicians do, and Mary wouldn’t let her hand go until she had a meeting," Townsend said. "They were having a tug-of-war over her hand."

Rogers’ determination paid off, and enough political channels opened up that money for the center became available. Then-Mayor Dianne Feinstein cut the ribbon for the $2.3 million Ella Hill Hutch Community Center four months after the supervisor’s death, complete with outdoor seating for seniors, a gymnasium, tennis courts, and child-care facilities.

A young counselor named Leonard "Lefty" Gordon who worked at the Booker T. Washington Community Service Center, one of the city’s oldest black institutions — it was founded in 1919 on Presidio Avenue, where it remains today — was named executive director of Ella Hill three years later and led the center to wide acclaim for 17 years.

A recreation coordinator at Ella Hill started a reading program for young athletes after discovering that a local high school football star wasn’t aware he’d been named the city’s player of the year: the teenaged boy couldn’t read the newspaper to find out. Other programs for tutoring and job training targeting young and old residents were likewise started under Gordon.

Many of the people we interviewed recalled the "kitchen cabinet" meetings convened by Lefty Gordon at Ella Hill as among their fondest memories. Everyone from the "gangbangers to police" attended Gordon’s meetings, Townsend said, and made them a repository of complaints about what was happening in the neighborhood.

Alphonso Pines, a former Ella Hill board member and organizer for the Unite Here! Local 2 union, eagerly showed up at the meetings for months after attending 1995’s Million Man March in Washington.

"I hate to see brothers die, regardless of whether it’s at Ella Hill," Pines said of Donte White’s 2006 killing. "But that was personal for me, because that was the place where I had sat on the board for years. That was real shocking."

Lefty’s son, Greg Gordon, said that his legendary father — who died of a heart attack in May of 2000 — worked so hard for the center that he allowed his own health to deteriorate.

Most beneficiaries of Ella Hill’s social services now live in the southeast section of the 94115 ZIP code, roughly bordered by McAllister and Geary streets to the south and north, and Divisadero and Laguna streets to the west and east.

The majority of Ella Hill’s approximately $1.4 million annual budget comes from government sources, either through grants or nonprofit contracts.

Newsom, through his community development and housing offices, has given $860,000 over the past three years to Ella Hill to help job-ready applicants obtain construction work and other general employment in the neighborhood. The center launched its JOBZ program in 2006, targeting formerly incarcerated young adults and others with a "hard-to-employ" status.

Caseworkers must convince some participants to leave gangs, deal with outstanding warrants, pay back child support, expunge criminal records, or eliminate new offenses, all of which can exacerbate a desire to give up. Sometimes the center has to buy people alarm clocks.

"None of these other programs that are being funded in this community want to deal with the kinds of kids or people who come to Ella Hill…. [It] is the last stop for everybody," said London Breed, head of the African American Art and Culture Complex on Fulton Street and a Western Addition native. "That’s where people go who have no place else to go, which is why it’s so important."

Most nonprofits working for the city must regularly report their operational costs or show how program funds are being spent on graduation ceremonies and trips to university campuses. The required forms are mind-numbingly bureaucratic and reveal little about what a place like Ella Hill might face on a practical level each day. But last year, former executive director George Smith betrayed a crack in Ella Hill’s veneer.

"Once again violence has impacted the community with three incidents in close proximity to the complex this month alone," he wrote to the San Francisco Department of Children, Youth and Their Families, which supports the center with college preparation grants. "One of the victims was a young man scheduled to graduate from high school in June."

On May 25, 2007, 19-year-old Jamar Lake was leaving a store on Laguna and Eddy streets, northeast of Ella Hill, when a teen suspect opened fire on him. Paramedics were so worried about security in the neighborhood that they fled before attempting resuscitation, according to a report from the San Francisco Medical Examiner. Lake died at General Hospital that day.

Weeks later, a manic 12-hour long feud erupted between several gunmen on McAllister Street. Seven people were wounded during two daytime shootings that took place in the Friendship Village Apartments, across the street from Ella Hill.

Then in July, a suspect randomly and fatally stabbed 54-year-old Kenneth Taylor in the neck as he sat on a park bench near sundown at Turk and Fillmore streets, within easy view of the SFPD’s Northern Station. Police didn’t respond until Taylor stumbled to the sidewalk and collapsed; a witness had to flag down a patrol car.

Following the Lake shooting, the mayor and police department promised, as they had the year before, that foot patrols would be increased in the 193-unit Plaza East Housing Development and other public housing projects in the Western Addition.

But the city’s most visible response has bypassed Ella Hill — which has some street credibility — altogether. Instead, City Attorney Dennis Herrera went to court to get injunctions against street gangs in June 2007.

Herrera’s initial filing came days after the wild shootout on McAllister Street, but the timing was coincidental. The city attorney also had been preparing injunctions against gangs in the Mission and Bayview-Hunter’s Point for months. For the Western Addition, the city attorney noted a "recent rise in violent crimes perpetrated by the defendants," and asked that the members of three gangs be banned from associating with one another inside two "safety zones" marked along the contours of their respective territories, a 14-square-block area that straddles Fillmore Street and rests just north of Ella Hill.

"The conditions within the two safety zones have become particularly intolerable in 2007 as the deadly rivalry between the Uptown alliance and defendant Eddy Rock has intensified," Herrera’s office told the court. "In 2007 alone, this rivalry is the suspected cause of at least three homicides and numerous shootings within the two safety zones."

Some critics viewed barring people from congregating with one another a civil rights violation. And worse, they feared it would merely shove more African Americans and Latinos out of the Western Addition, which would benefit the city’s wealthiest white residents.

"All of this stuff about gang injunctions is a bunch of malarkey," said Franzo King, archbishop of the Saint John Coltrane African Orthodox Church on Fillmore Street. "You don’t really have gangs here…. [In San Francisco] they’re a big club."

Herrera nonetheless convinced a Superior Court judge to issue the injunctions after filing 1,200 pages of evidence arguing that the three "clubs," which include only about 65 people named by the city, are endless public nuisances and force organizations like Ella Hill to battle with them for the affections of Western Addition youth.

Police admit that the injunctions since last year have, in fact, led people to simply leave the neighborhood. Still, they insist the injunctions have reduced trouble in the Western Addition. The Knock Out Posse, for instance, is evaporating, they say.

Paris Moffett, a 30-year-old alleged Eddy Rock leader, told the Guardian in a separate story on the gang injunctions last November that he and others were organizing to quell violence in the neighborhood and would do so in defiance of the gang injunctions (see "Defying the injunction," 11/28/07).

But on the day that story ran, Moffett hampered his new cause when, according to a March 27 federal indictment, police arrested him in Novato for possessing a large quantity of crack and MDMA, as well as a Colt .45 semiautomatic.

After Lefty Gordon died, the center went through a couple of directors in relatively short order. Robert Hector, a second-in-command to Lefty Gordon, helmed the center briefly; he was replaced with George Smith III, who left in 2007.

Meanwhile, problems at Ella Hill grew.

"The seniors just stopped their participation," Anita Grier, a former Ella Hill board member who first ran for the San Francisco City College Board of Trustees in 1998 at Gordon’s encouragement, told us. "Things were never excellent, but they just got much worse once [Gordon] was no longer director."

The center, a standalone nonprofit, had long struggled financially in part because it relied so much on contracts and grants from the city rather than pursuing funds from private donors. Mirkarimi says Ella Hill’s structure is unlike any other community center in the city. Many other centers are directly maintained by the San Francisco Recreation and Park Department.

Contract revenue from one Ella Hill program, such as providing emergency shelter to the homeless, was often diverted to keep another on life support or to simply cover the center’s utility bills.

By early 2007, the center faced a financial catastrophe. Donald Frazier joined Ella Hill’s board as president in January 2007 and embarked on a reform effort to turn the center around. He commissioned what came to be a blistering audit that revealed the nonprofit owed over $200,000 in state and federal payroll taxes. As a result, the center faced $63,000 more in penalties and accrued interest.

Mirkarimi blames community leaders in his district for refusing to acknowledge a crisis at the center and for not turning to City Hall for help when Ella Hill appeared to be slowly rotting from the inside out.

The mayor’s staff, he adds, wanted to believe Ella Hill was working on its own and should’ve continued to do so because, despite its financial reliance on the city, it was technically an independent nonprofit. In reality, Mirkarimi said, "They were afraid to piss off black people, is what it comes down to. They were afraid to tell it like it is — that things weren’t working."

Sending delinquent invoices to the city, failing to institute reasonable accounting standards, and falling far behind on its payroll taxes all threatened the government contracts and grants that kept San Francisco’s Black City Hall afloat. By extension, the audit concluded, that meant Western Addition residents who relied on Ella Hill were "victimized" by the center’s improper use of its limited resources.

Aside from the audit, which Ella Hill instigated itself, there’s no indication in the records of agencies funding the center that any problems were occurring, which implies the city wasn’t paying attention.

"As far as I’m concerned," Mirkarimi said, "we had a renegade institution, and the only reason it wasn’t renegade in an illegal sense was because the lease allowed them to have a parallel governance structure. But it was renegade in the sense that the city neglected to supervise properly."

In November 2007, just after residents hijacked a chaotic board meeting with an extended public comment period, Frazier told the directors in closed session that the Redevelopment Agency was planning to restrict future funding for the center due to its management problems.

One month later, the mayor dispatched an aide, Dwayne Jones, along with redevelopment agency director Fred Blackwell, to a meeting at Ella Hill with an ultimatum. Jones told the assembled that new interim appointees would be taking over the center’s bank books, recreating its bylaws, and electing a new board and executive director. The old board would essentially be dissolved. According to observers at the meeting, Jones told them that if they resisted the plan, funds received by Ella Hill from various city agencies would be jeopardized, as would its low-cost lease of city property.

Two defiant board members viewed the move as a "hostile takeover" of a private nonprofit organization by the mayor and voted against it, but the rest of the board agreed to the restructuring. Mirkarimi says there was simply no alternative.

"Right now it needs to be shrunk to what it can do really well, instead of doing what they had to do in the last five years, an incremental sloppy way of programming," he said.

The interim board in April named a former Ella Hill employee and Park and Rec administrator, Howard Smith — unrelated to George Smith — to be the center’s new executive director. But after all the changes Ella Hill made to fix its leadership problems, there are no assurances the city won’t leave Ella Hill without the money it needs to keep the doors open next year.

It’s noon on a recent Friday and Ella Hill’s new executive director is scrambling to keep things together. An employee wants him to glance at a form. Another man wants to come in and play basketball. Smith has a board meeting minutes from now, but he’s scheduled an interview with the Guardian at the same time.

Smith’s a well-built man dressed in a pressed suit, polished shoes, and a sharply-knotted tie. He’d mostly avoided our calls for weeks. Word spread in the neighborhood that the Guardian was planning some sort of hit piece on Ella Hill.

But it won’t be a newspaper that capsizes the center.

A significant portion of the center’s funding will be threatened over the next year. The redevelopment agency is scheduled to end its 45-year reign in the Western Addition by then, a blessing of sorts since so many people in the neighborhood feel it’s done nothing but upend the lives of black residents. But the end of the agency means that redevelopment funds for Ella Hill’s job placement programs, about $400,000 annually, will disappear.

In addition, about $300,000 more a year will dry up since the San Francisco Human Services Agency hasn’t renewed an emergency homeless shelter contract with the center. Mirkarimi believes the mayor, too, will try to stop providing Ella Hill with funding through his community development office next year.

If Newsom does back away, Mirkarimi warns, there will be "a very loud showdown."

"What I’m worried about is that the Newsom administration is basically cutting and running on this, and I’m not going to allow that to happen, at least not without a fight," he said.

The alternative is for Rec and Park to take over managing Ella Hill’s facilities with DCYF continuing to fund youth programs there while the Redevelopment Agency commits community benefits dollars from a legacy fund to the center — the least it can do after a half-century of transforming the neighborhood, locals be damned.

An interagency council made up of the center’s primary funders could collectively watchdog its performance, Mirkarimi says. Once Ella Hill’s leaders prove that the center has fully returned to its original mission, it can consider expanding to serve other populations in the neighborhood, or even seek a plan to detach further from the city.

The mayor’s spokesperson, Nathan Ballard, did not respond to an e-mail containing detailed questions, and his aide, Dwayne Jones, did not return several phone calls. But Smith said during a later lunch interview at the Fillmore Café that he agrees with Mirkarimi’s idea.

"There are so many programs out there that say they’re doing something on paper, but they’re really not doing it," Smith said. "They’re running ghost programs. So what I’ve been saying at Ella Hill since I got there is, ‘We will do exactly what we said we were going to do.’<0x2009>"

In the meantime, Smith is determined to prove that Ella Hill’s history has only just begun. The mural of Lefty Gordon outside the center received a fresh coat of paint recently, and the color pops. The sidewalk is being repaved and new handrails installed. The walls inside are clear of the aging posters and letter board that hung there a few months ago.

Before heading off to his board meeting, Smith teasingly asks an adolescent boy meandering in the center’s entryway for 75 cents. The boy’s always hitting him up for pocket change.

"I don’t got any," the boy responds.

"You don’t have any," Smith corrects.

Smith suddenly realizes what time it is.

"Hey, why isn’t this guy in school?" he wonders aloud.

At that moment, only the Ella Hill Hutch Community Center was asking the question. *

The wonderful politics of gay marriage

0

I was listinging to Forum this morning on my way to work and although a few complete idiots called in, most of the talk was about how great it is that California now has legal same-sex marriage. I was struck by one caller who announced, with a kind of bemused confidence, that the protests and acrimony are really old news and will soon by ancient history.

The man, who identified himself as straight and 30 years old, said that when his generation takes control of this country, same-sex marraige will be legal, accepted and no longer an issue at all.

Michael Krasny, the host, pointed out that there are stil some young, religious types who oppose gay marriage, but the called shrugged that off. Sure, there are a few, and there will always be a few bigots and nuts around, but in fact, even the young religious types aren’t as adamant about this issue. When you grow up exposed to something as part of your culture, you come to accept it, the man said.

Yeah, I know, when I was in college I thought that when my generation took control, pot would be legal and war would be outlawed, but this guy is right. The wonderful politics of same-sex marraige is that fact that the battle is over, and we’ve won.

When two 80-year-olds who had fought all their lives for basic human rights and dignity took their vows from a mayor about half a century younger than them, it was both a victory celebration and a passing of the torch. Thanks to older queer pioneers like Lyon and Martin, and the generation that followed them, homosexuality is now a part of mainstream American society. Queers are everywhere, literally — on TV, in the movies, in magazines, in comedy, in popular music, in professional sports, going to high-school proms … and that’s never going to change.

So the religious right can make a last gasp attempt to overturn the Supreme Court decision, but that’s going to fail. The tide has turned.

Calling geeks about the White House emails

0

wh_banner.jpg

Dear Geeks,

Never mind about the pressing matter of whether the White House should be required to turn over records about a stash of possibly missing e-mails.

No my question is purely technical, but pertinent, me thinks, to all of us who are hunting information in the digital era, (as well as to those of use who are trying to hide our tracks.)

So, please say it ain’t so that the White House could lose any e-mails. Let alone e-mails from when Bush decided to go to war with Iraq, and White House officials decided to leak the identity of CIA officer Valerie Plame and the Justice Department began a criminal investigation into who leaked that classified information.”

Please, please, say it ain’t so. Because if it is…then surely, the electronic ground rules just changed?

Oh, no — not BUDWEISER!

0

bud.jpg belgium.jpg sad.jpg

Egads! The company that makes my favorite beer may be taken over by a Belgian brewer!

And sales are down 1.4 percent this year!

I’m sorry, Mr. August Busch IV — I’m drinking as much Bud Light as I can!

How can we allow this timeless icon of America be sold off to the makers of (gasp!) Stella Artois?

Forget the war, the budget, crime and poverty — the is BEER we’re talking about. To the ramparts!

Bring the Guard home

0

Here’s a good idea to further localize the effort to stop the war in Iraq. See how the states of New Jersey, Pennsylvania, Rhode Island and Vermont are organizing efforts to pressure their state legislatures to stop the deployment of the National Guards, from their state to Iraq, on the orders of President Bush.

It is clear that the mission that Congress authorized no longer exists. The President has no current or permanent legal authority to keep Guard members in Iraq. The Governor as Commander-in-Chief of the Vermont National Guard should take necessary steps to bring them home.”
~ Rep. Michael Fisher, Vermont State House

Let’s get a movement going in California. Let’s start by asking rep. Nancy Pelosi, the Speaker of the House and our San Francisco representative, up for reelection this fall, if she would support the movement or lead the charge.

For more information go to www.BringtheGuardHome.org

Lit: Interview with Favianna Rodriguez

0

By Liam O’Donoghue

Favianna Rodriguez is from Oakland and she lives there today. She is the co-editor, along with Josh MacPhee, of Reproduce and Revolt: A Graphic Toolbox for the 21st Century Activist (Soft Skull Press, 192 pages, $19.95). On the eve of the book’s release party, she recently spoke about the project’s origins, forging connections between groups and the Bay Area’s role in activist art.

reproduce.jpg
Cover of Reproduce and Revolt

SFBG: Even in the socially conscious art world, it’s usually men who get the most spotlight.So, first of all, I want to give you props for raising the profile of so many radical womyn artists with this book. Can you tell me about any challenges or goals specifically related to gender issues that you had with this project?

Favianna Rodriguez: I’m a first generation woman of color. My parents were immigrants. So it was very important to me for the book to represent not just women, but women of color. We’ve got lots of artists from Mexico, Peru, Colombia and Argentina in this book.
My co-editor, Josh MacPhee, is a white male – he’s cool, very anti-racist – but he understood that with a project like this, which involves getting global artists to submit royalty-free art, it was very important to have a woman of color in a leadership position. Of course, the political art world is male-dominated, so some of the sections, especially the “war and peace” chapter, were overwhelmingly male, and we really had to work on creating the balance of perspectives that we wanted [throughout the book].
But women of color aren’t the only ones that are generally under-represented – black men are another example. This book is just the first phase. We’re just getting started, because we’ve got a good selection of Latin American artists [featured in the book], but we want to expand to include more Asian and African artists with the next editions. It’s all about building networks.

SFBG: What inspired you to start this project?
FR: Josh was collecting graphics and I’d been talking with Bay Area women artists about doing something like this, so we decided to merge our projects. I wanted to make it a multilingual project and I brought in tech people so we could make this all happen online. This book was totally compiled and edited online. We did artist authorization documents and design and had political discussions online.
The book has over 300 images from 12 countries, and the Web site that will launch on July 1 is also going to be bilingual. It’s going to have all the graphics in high-resolution, available for download, because nobody wants to scan images anymore if they don’t have to.

Scramble for Africa 3.0

0

› a&eletters@sfbg.com

Africa is not a monolith. Africa is not even Africa: the outsider bastardization kicked off in earnest when the Roman misnomer of a finite North African region was allowed to stand for the entire continent. However, for the West’s millennial hipsters currently emuutf8g such early adopters of 30 years ago — the oft-cited David Byrne and Brian Eno/Talking Heads, Paul Simon, Peter Gabriel, and the Police — the space formerly known as the Dark Continent has come to resemble the Golden Corral.

Vampire Weekend and other indie participants in the sonic Scramble for Africa 3.0 obviously see midcentury and postcolonial African pop culture as a cheap date, a provider of organic rock mystery where one can queue for heaping sides of hi-life, soukous, mbaqanga, mbalax, juju, rai, township jive, and Ténéré desert blues. La Présence Africaine is renewing rock ‘n’ roll — again. Striving ahead of the pale pack of black Yankee rockers is retired Nuer boy soldier Emmanuel Jal, justly a current press darling for his fine new second release, Warchild (Sonic 360).

Yet the acclaim for Jal has not outstripped the simultaneous giddiness and hand-wringing of a music press delighted by indie’s abrupt romance with African styles — hot on the heels of a new generation’s overlapping yen for English folk and Balkan gypsy sounds — but vaguely concerned about white exploitation of same, wagging fingers concerning musical "miscegenation." Race mixing yielded my family, cultural exchange has been the way of the world since antiquity, and as a critic whose mission involves exposing audiences to new sounds, I would never deny peoples’ enjoyment of genres seemingly beyond their ken. However, as Jal bitingly reminds us on Warchild‘s unabashed "Vagina," the rape of Africa — that blood-soaked project most essential to modernity — has gone down long enough.

Vampire Weekend, “A-Punk”

The problem with indie’s Karen Blixen close-up is that the transference of African mystery is going one-way — as usual. Vampire Weekend (XL) has sold 27,000 and counting and debuted on Billboard at no. 17, whereas, according to writer Robert Christgau in the New York Times, Sterns’ recent anthology encompassing the career of Congolese soukous master Tabu Ley Rochereau, The Voice of Lightness, has sold barely 9,000 copies.

Meanwhile, indie’s gone natives — including Mahjongg, the Dirty Projectors, Rafter, Yeasayer, and, from across the pond, Foals (Oxford), Courteeners (Manchester), and Suburban Kids with Biblical Names (Sweden) — seem to consider themselves smugly above postcolonial guilt (per DP’s Dave Longstreth) and the 1980s-vintage political correctness that plagued Simon and his apartheid-chic Graceland (Warner Bros., 1986). Vampire Weekend is good enough indie entertainment when you find Björk’s favorite Congolese likembé ensemble Konono No. 1 too repetitive and prefer songs about summertime splendor in the grass. But when Vampire Weekend’s unapologetically preppy white/white-ethnic musicians dub their music "Upper West Side Soweto" and seemingly aspire to come on like Brazzaville Beach Boyz — without any consciousness of such late 20th-century African titans or tyrants as Patrice Lumumba and Mobutu Sese Seko, respectively — it rankles this daughter of third world coalition builders raised in the ’70s and ’80s postcolonial era. Further, when Mahjongg’s Hunter Husar can tell Rhapsody’s Play blog that "to steal musically from another culture is to do a service to humanity," and "we don’t care about Africa any more than any other place," my everything-but-the-burden radar rings sharply.

Certainly there is energy around Africa on the independent music scene: black string band revivalists like Ebony Hillbillies have made the crossing back to West Africa in deep study of old-timey and country’s African ancestry. Funky Africa reissues are all the rage among crate-diggers: think Lagos Chop Up (Honest Jon’s, 2005), etc. And that Western-Kenyan summit Extra Golden was purposely omitted from the above indie roll call, for this multiracial quartet and their latest recording Hera Ma Nono (Thrill Jockey) suggest a way out of the cultural cul-de-sac their trendier fellows are already trapped in.

Further, the tug-of-war between disenfranchised folk of African descent who desired preservation of their mysteries and the white folks who possessed inchoate love for same has raged throughout modern times. As my friend Wendy Fonarow, author of Empire of Dirt: The Aesthetics and Rituals of British Indie Music (Wesleyan, 2006), recently told the UK Guardian: "There are interesting theories as to why rock ‘n’ roll happened when it did. There’s evidence to suggest Christianity, which exists as a missionising religion, had run out of ‘exotic others’ to missionise after the fall of colonialism. Therefore it was in their interests to get adolescents to act like heathens, so they had a supply of unconverted people to convert. So what we did was produce a heathen in our own midst to act out all the same things we’d accused other societies of doing."

Extra Golden promo for “Hera Ma Nono”

By Fonarow’s reckoning it would seem what Longstreth and company are up to is a necessary will to neotribalism, their recorded work a reversal of the detrimental European separation of mind and body. I would counter that these groups’ appropriation of African sounds is a means to the end of escaping the internally imposed authenticity rules of indie rock, a refutation of the linear trip between Greg Ginn and Kurt Cobain when their monoculture reduced them to the last of their race. Then again, options are at the heart of white privilege, as is the agency to cherry-pick from the non-Western bounty. It remains utterly disappointing that millennial musicians can quote Africana without making reference to kwassa kwassa‘s source in the Congo, where millions people have died, young boys mercilessly conscripted and countless women raped as tool of war, while their own blessings of Ivy League degrees and the lack of a draft amid a resurgence of American imperialism permit them a guilt-free stance toward postcolonial upheaval and their gentrification of longtime black neighborhoods. Vampire Weekend’s Brooklynites apparently see no irony in their song "Walcott": "Hyannisport is a ghetto / … Lobster’s claw is sharp as knives / Evil feasts on human lives."

Evil definitely feasts on human lives in the Congo, but evildoers are also harvesting bones in New York City, where the 50 bullets martyring Sean Bell’s body are currently being reduced to mere accident. These white African prodigals don’t and will never suffer the psychic angst of being black and oppressed. Vampire Weekend can always go home again, but we’ve got no home.

EXTRA GOLDEN

June 22, 7 p.m., $15

Rickshaw Stop

155 Fell, SF

www.rickshawstopcom

Mr. Miserabilism

0

Some of Michael Haneke’s early made-for-TV movies are showcased in the aptly titled mini-retrospective "Bitter Pills" at the Yerba Buena Center for the Arts. In them, Haneke’s now-characteristic austerity — long static takes, cryptic narrative omissions — is yet undeveloped. But his nihilistic take on society is already present.

The four-hour 1979 Austrian miniseries Lemmings maps out disillusions among the embittered, hypocritical generation of Austrians who "lost" World War II and their suffocated teen offspring. Parent-child relations are toxic. Bonds between peers are no less fucked. Encompassing suicide, infidelity, auto-abortion, vandalism, and joyless full-frontal nudity, Lemmings‘ tragic first part, set in the 1950s, is self-contained. The second part, which takes place years later, finds new ways to rain consequence on its cheerless protagonists and their children.

Black-and-white and Fassbinderesque, 1984’s Fraulein coughs up another fine mess. A German soldier returned from a lengthy Russian POW camp internment finds his family members have long since embarked on brave new paths which range from sell-out capitalism to Elvis-imitative juvenile delinquency. The overall picture is surprisingly quasi-lurid. Today’s Haneke would never allow his miserablism to be diluted by such relative zest.

Adapted from a novel by Joseph Roth, 1993’s The Rebellion is quite different. Mixing archival footage with new material in color and faux-distressed sepia, it chronicles the downward spiral of a one-legged WWI veteran (Branko Samarovski). The whole thing is a classic Teutonic tale of a naive hero efficiently destroyed by the system. Then, as now, Haneke had a gift for making even the bitterest life-lesson pills curiously, even compulsively edible.

BITTER PILLS: MICHAEL HANEKE MADE-FOR-TELEVISION

Thurs/12 through June 19, $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Genetically modified mouthpieces

0

OPINION In 2003, when I was working as an anchor for a San Francisco television station, newscasters and reporters across the country were asked by the White House to refer to the Iraqi invasion as Operation Iraqi Freedom (OIF). We were asked to call the war in Afghanistan Operation Enduring Freedom (OEF).

With press releases in hand, journalists repeated genetically modified words as if their DNA depended upon it.

Genetically modified language is when propaganda wins, journalism sells out, and the public loses. It’s when words are twisted and massaged and spun until an entire suit of lies is woven to cover the guilty and cloak the truth.

The genetically modified language, in the case of Iraq, was full of false bravado and moral superiority, wielded in attempts to turn lies into honorable causes our dear children were willing to go to war for.

Nothing caught on like the phrase "the war on terror." It was a White House propaganda bonanza. Whole networks built their news around swirling "war on terror" graphics and anchors began stories with "Today in the war on terror," while most of the world considered Americans the terrorists.

That’s when I pulled up lame and refused to dance the destructive dance. Most of us who complained are now gone.

The fourth estate, as the media is called, was created to watch the government and anyone else using lies to gain power and profit at the expense of the safety and security of the American people

Thinking journalists can now see that using the White House’s genetically modified language with unquestioning devotion is one of the many reasons why we lost the public trust five years ago.

I propose that journalists stop repeating genetically modified White House language, and go a step further.

On the very day it was leaked that Scott McClellan’s book reveals the country went to war based on known lies, the sweetest, shiniest, dimple-faced, airbrushed Bay Area Murdoch girl began a broadcast by announcing: "Another American has given his life for his country today."

I was once that girl. Today I know that soldier was one of thousands who bravely believed in what the president said — and died believing a lie the press helped promote.

What if this anchorwoman — and hundreds of others like her, all of whom I imagine to be nice people — read instead: "Another American has died in Iraq today. He was a beloved brother and child, and he was number 4,084."

Then perhaps follow that with the number of wounded Iraqi veterans: 30,329.

In an attempt at truly unbiased journalism, they could end with the number of Iraqis who have lost their lives: 1,217,892.

If this war, as McClellan says and dozens of other experts have pointed out, was based on a great lie, let’s honor those soldiers who were willing to believe the lie by bringing them home alive. Let’s stop repeating genetically modified words that glorify a conflict American journalists could have helped prevent by putting their pom-poms down.

Leslie Griffith

Leslie Griffith is a writer, award-winning television reporter and former KTVU news anchor. You can find more of her work at lesliegriffith.org.

Sealed with a fest

0

› kimberly@sfbg.com

SONIC REDUCER "Obviously I wanted to be part of this wealthy cause … whoops, I mean, worthy cause — a Freudian slip!" blurted Seal to amassed gowns and tuxes at a packed Davies Symphony Hall May 31. Well, it was pretty B&W at this, the Black and White Ball 2008. He went on to explain that he was more than glad to play the benefit bash for the San Francisco Symphony’s Adventures in Music education program, until he realized that night’s event was just a day before wife Heidi "And sometimes you’re out … in the doghouse" Klum’s birthday. "Even though it was written almost 20 years ago, I never knew what this song was about till four or five years ago," he drawled graciously, before easing into a swooningly romantic "Kiss from a Rose." The coiffed and painted debs swayed in the seats behind the stage like tropical palms, the gray-tressed oldsters in tuxes yawned as if their jaws would dislocate, and all the right — and leftie — blondes flitted to the front as if drawn to a gyrating, white-scarfed flame. The irony that Seal was putting in a high-energy set and working in an establishment-jabbing anthem titled "System" — "but you won’t get to hear it here because record companies aren’t what they used to be, but this isn’t that kind of show," according to the UK crooner — was not altogether lost on the assembled partygoers at this very establishment affair.

Still, the Grey Goose quaffing, shrimp chomping, and dance-it-up musical offerings lining the closed-off swath of Van Ness added up to a surprisingly solid good time — not to mention further confirmation of the latest urban SF curiosity: packs of underdressed, strapless-clad or micro-miniskirted, microclimate-besieged fashion victims who insist on braving hypothermia sans outerwear. Is it really that toasty over the bridge and through the tunnel?

Nonetheless I got a kick out of Extra Action Marching Band, its flag girls drooling faux-blood while chilling, kicking it iceberg-style beneath the polka-dot-lit, fireworks-bedecked City Hall. Pete Escovedo still had what it took to pull me to the dance floor and get the salsa out. Hot on the heels of Harriet Tubman (Noir), Marcus Shelby riled up Strictly Ballroom wannabes in the bowels of the War Memorial Opera House, and upstairs DJ Afrika Bambaataa turned in an unforgettable old-school hip-hop and rock-pop set, sweetly warbling, "I just want your extra time … " to Prince’s "Kiss," as a mob of gorgeous freaks mobbed the stage. Be it ever so old-fashioned and ever so obligatorily glammy, the B&WB was such a ball that I was inspired to use it as the barometer of sorts for a few other music-fest contenders.

B&W BALL BY THE NUMBERS Kilts: two. Turbans: three. Closeted waltz-heads eager to make the Metronome Ballroom lessons pay off: more than a dozen. Misguided ladies who looked like they tried to repurpose their wedding gowns as white formalwear: two. Gavin Newsom look-alikes: a toothy handful. Jennifer Siebel look-alikes: hundreds. Former hippies in formalwear: six. Men in all-white who looked like they stepped out of an alternate "Rapture" video: two. Burning Man references as City Hall was bookended by pillars of fire at midnight: two. Screeching highlights-victims upon seeing their girlfriends: more than two ears can handle. Sneaky types who looked like they’ve probably worn the same thing to B&WB every year since 1983: more than designers and luxury goods manufacturers would care to know.

HARMONY FESTIVAL (June 6–8, Santa Rosa, harmonyfestival.com, including Damian "Jr. Gong" Marley, George Clinton and Parliament Funkadelic, Arrested Development, and Mickey Hart Band) Expected Gavin look-alikes: zip unless you count the Cali boys who look early Gavin — with dreadlocks. Rich hippies with perfect hair and lavishly embroidered coats: three.

BERKELEY WORLD MUSIC FESTIVAL (June 7, Berkeley, www.berkeleyworldmusic.org, with Dengue Fever, and Sila and the AfroFunk Experience) Expected turbans: the Sufi trance music guarantees at least a couple. Kilts: zero. Swirlie dancers: a dozen-plus.

OUTSIDE LANDS (Aug. 22–24, SF, www.sfoutsidelands.com, including Radiohead, Tom Petty and the Heartbreakers, Jack Johnson, Wilco, Beck, and the Black Keys) Expected bikes piled in the racks: a thou. Concert-goers overcome by heat: C’mon, this is San Francisco.

TREASURE ISLAND MUSIC FESTIVAL (Sept. 20–21, Treasure Island, treasureislandfestival.com, with Justice, the Raconteurs, TV on the Radio, and Tegan and Sara) Projected number of great views of SF: innumerable. Gold-trimmed "ironic" sunglasses: a gazillion. Concertgoers who discover far too late that shorts are only ideal for an hour a day: 135.

LOVEFEST (Oct. 4, SF, www2.sflovefest.org) Ever-recyclable ’70s-style bells: a couple-dozen. Fabulous-faux hairpieces: Wigstock is forever. Swirlie dancers: you got ’em.

YOU BREAK IT — YOU BOUGHT IT

FROG EYES, LITTLE TEETH, AND CHET


Eke out a few tears of valedictorianism: it’s an Absolutely Kosher explosion of untrammeled, happily eccentric talent. Fri/6, 9:30 p.m., $10–<\d>$12 Café Du Nord, 2170 Market, SF. www.cafedunord.com

FOOT FOOT AND FOX PAUSE


Lo-fi dust-ups coupled with folkie meanders are a–Foot Foot, flanked by the solo musings of ex-Guardian-ite Sarah Han. With Casiotone for the Painfully Alone. Sat/7, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

RADIO SLAVE


Taking a break from the sweltering, disco-imbued exotica of Quiet Village and its Silent Movie (K7), producer Matt Edwards dons his dark techno persona, Radio Slave. Sat/7, call for time and price. Endup, 401 Sixth St., SF. (415) 646-0999, www.theendup.com *

An everywoman at war

0

› a&eletters@sfbg.com

Erykah Badu disappeared for a bit, taking her musical incantations and majestic head wraps on a retreat into motherhood. In 2006, she flitted back onto the mainstream radar in Dave Chappelle’s Block Party, a concert film that takes place in a Brooklyn neighborhood and includes the comedian’s closest muso pals. Badu’s appearance stops the hustle and bustle of the event cold with her tiny frame and a huge glorious Afro, which blows off during her duet with Jill Scott during the Roots number "You Got Me." The movie audience I was with that day gasped in admiration as Badu let her trademark locks sail away while she continued to sing, her head and soul apparent for all to see — a diva whose resplendence and power does not rest on borrowed plumage alone.

Back then searching out Badu’s whereabouts led to a stripped-down MySpace page with a selection of songs off her 2003 EP, Worldwide Underground (Motown/Island), and not much else. At one point an old press release showed up, but interjected between the normal publicist-speak were "additions" in block capital letters, which were gentle mockeries of her multiputf8um accomplishments and declarations about "paying bills" and other roadblocks appearing in her life. Her words had the feel of new life forcing its way up through the old. Two years on, that same page is a tricked-out site to behold: a dizzying pastiche of acid-rock tableaus and neo-propagandist political imagery that bears Badu’s likeness — many a result of an art contest held for her fans. It was here that she chose to debut many tracks from her new album, New Amerykah Part One: 4th World War (Universal/Motown).

The recording begins with an aural soup: the noise of a ghetto train ride and the booming voice of a marauder telling folks to drop off their valuables while backing vocals exhort the "Amerykahn Promise." Badu’s voice emerges from this cacophony asking for explanations, a metaphor for her own post-sabbatical rebirth. With a quick costume change and tinkling prayer bells, Badu becomes a prophet with "The Healer," a meditation on the restorative properties of hip-hop, which she describes as "bigger than religion / Bigger than my niggas / Bigger than government." Never one to shy away from her role as everywoman — cue those propaganda posters — Badu emerges amid the muted horns and mellow groove of "Me," underscoring an autobiographical letter to listeners explaining her hesitance to be in the spotlight, her life as a single mother of two, and her fears of martyrdom at the hands of the entertainment industry. Her resolve at the close of the song is evident as she proclaims, "They may try to erase my face / But millions spring up in my place."

Such resolve lies at the crux of Badu’s brilliance, her unerring ability to carry her vulnerability on a dais of steely resilience. Downtrodden tunes like "That Hump" offer funk-laced pipe dreams of a solo mom trying to break even: "We just need a little house / That comes with a spouse." But no matter how broken-down Badu’s New Amerykah gets, there is always an undercurrent fed by the missions for social justice that Badu feels she has been called upon to fight. "Soldier" is both an exhortation and rallying cry: "To my folks think they living sweet / They gonna fuck around and push delete," she warns. Expect the woman to bring this message and attitude to the stage with the help of longtime friends and collaborators the Roots during her "Vortex Tour 2008."

ERYKAH BADU

With the Roots

Sun/8–Mon/9, 7:30 p.m., $45.50–$83.50

Paramount Theatre

2025 Broadway, Oakl.

(510) 465-6400

www.paramounttheatre.com

Rise above

0

Also in this issue:
>>An interview with outlaw biker Ian Schwartz
>>An interview with SJBMX.com’s Chris McMahon
>>Sit the fuck down: The Sean Parker story

› duncan@sfbg.com

I push off and head down a makeshift plywood runway, compressing as I roll over the edge and into the Technicolor graffiti of the drainage ditch. The transition between the banked wall and the flatbottom has an abrupt kink in it, enough to send you to your face if you’re caught sleeping. I take some weight off the front end and try to maintain my speed as I pump into the opposite corner and carve the far end of the ditch where there’s an over-45-degree wall that runs behind what my friends and I call the "death pit" — a gaping cutaway in the bottom of the culvert, five feet deep, filled with broken glass, and frequently used as a urinal. Since I’m at the apex of my backside carve, up a wall 10 feet above last week’s Miller Time, I’m jolted by the crackle of a loudspeaker:

"You are trespassing. Leave the area at once or you will be arrested."

My concentration shot by the sheriff’s announcement, I jump off my deck and over the chasm at the base of the bank, barely clearing the skater’s version of a Vietnam tiger pit, and land on the rough concrete beyond the edge. My board bullets straight in, though, so I’ve got to lower myself — gingerly — into the mostly dry detritus and rescue it before my friends and I jet out of the spot and into the manicured back nine of Pleasanton’s Castlewood golf course. We get to the car, throw the boards in the trunk — mine has a "Skateboarding Is Not a Crime" sticker on the bottom — and head to the next spot, a ditch called the Rat Trap.

The year is 1987. I’m 16, in high school, and living with my parents in Fremont. The scene plays out over and over in much the same way: a drainage ditch, a nicely painted curb or ledge at a shopping center, the occasional backyard pool, and night sessions at the Tar Banks, a set of embankments around a loading dock with curbs at the top. It’s an underground railroad of repurposed architecture, none of it designed with a skateboard in mind but all of it highly skateable.

Taking the $4.7mil Cunningham skatepark. Video by Jarrod Allen, www.jarrodallen.com

Every weekend my crew hits as many spots as we can, and the constants shape up like this: urethane, aluminum, Canadian hard rock maple, concrete, and asphalt. Maybe blood, maybe beer — we’re teenagers after all — but nearly always: cops.

Skateboarding may not be a crime, but it sure as hell feels like one.

Flash forward 20 years. I’m with a different crew as I pull onto a street in suburban Redwood City, and I’m no longer rollin’ in my mom’s Plymouth Sundance, but my own truck. The other thing that’s changed is the number of wheels per head. There are four heads to eight wheels, and we’re here to ride the Phil Shao Memorial Skatepark. On bikes.

The park does not disappoint. There are a million kids trying tech ollie flip tricks around the perimeter of the park, but the bowl is what I’m about. Big and shapely with almost burlesque hips poured into her concrete, I’m in love as soon as I roll in. There are a few local bikers who have the place dialed, nonchalantly airing a few feet out and throwing the bars before heading back down the tranny. The only two skaters riding the bowl are a tall skinny teenager and his little sister, who looks to be about 10, and they have it on lockdown: lipslides on the spine, grinds, rock and rolls — everything smooth and fast. "Yeah!" I yell as they take their runs, stoked on their skills.

I know the times have changed when I see the little girl come up out of the bowl in the $450,000 public piece of silky-smooth concrete perfection, walk over to her mother, who’s posted up on a ledge, get a cell phone and make a call. Not five minutes later there are seven (I counted) Redwood City police officers converging on the bench where my friends and I are sitting. They randomly collar my buddy Scott — though I was the last one to drop in — and write him a ticket for $100. I have to admit, I’m flabbergasted.

Guess what: skateboarding isn’t a crime anymore — it’s gone mainstream. Successful companies hire lobbyists to promote the sport, and communities spend big bucks building new facilities for skaters. And now some skaters, many of them kids who never had to live in the underground world that I did, are using their legitimacy to push out the new outlaws — people who ride BMX bikes.

It’s crazy — two cultures that share so much, fighting over how many wheels they ride.

"Is that your daughter’s bike?"

The question comes from one of my coworkers, and, believe it or not, it’s not intended to be snarky. I can’t ride in public without someone saying "cute little bike," while giggling to themselves — or laughing and pointing. Seeing a six-foot-tall, 200-pound, bald-headed, tattooed white dude on a "kid’s bike" is like being passed on the sidewalk by a bear on a unicycle. At one point reactions like these would’ve rubbed me the wrong way, but nowadays, I nod and smile. Sometimes, I try to explain what constitutes a "full grown" BMX bike. While it’s got small wheels — 20 inches in diameter — the top tube, from the seat to the stem, measures 21 inches, and the handlebars are considered pro-sized at eight inches high by 28 inches wide.

Bicycle motocross, or BMX, is purported to have started in 1963 when the Schwinn corporation of Chicago unveiled the Stingray, which was basically a downsized version of the company’s balloon-tired cruiser-type bikes. Kids pretended to be grown-ups by aping Roger DeCoster and other moto heroes — launching their bikes off jumps, racing in empty fields and abandoned lots, and cranking wheelies down the sidewalks of Anytown, USA.

"It all began the way most individual sports start," motorcycle customizer Jesse James says in a voiceover at the beginning of the 2005 BMX nativity story/documentary Joe Kid on a Stingray, "kids pretending to be grown-ups, but acting like big kids."

I have been riding since I was seven. After three decades, one truism remains, and I can’t candy-coat it. I’ve got to speak it like a true BMXer: BMX is rad. It is and always has been an entity unto itself, progressing from wheelies, skids, and bombing hills to encompass myriad styles and surfaces, from streets to pools to dirt jumps to ramps to the balletic grace of flatland freestyle.

This summer, big kids on little bikes will be jumping 30-foot gaps at as many miles per hour as BMX pays homage to its racing roots at the 2008 Olympic Games in Beijing. On June 12 in New York’s Central Park, Kevin Robinson will try to break the legendary Mat Hoffman’s record for the highest quarter-pipe air on a bike — 26 feet, 6 inches.

It doesn’t take death-defying world records, the X Games, the Olympics, or the stupefaction of squares with cameras to make BMX legit. That feeling of overcoming fear and doubt by jumping a little farther, a little higher, the rush of nailing a trick, or carving a bowl, hasn’t changed in half a century. The legitimacy lies in that feeling, behind your breastbone, and it doesn’t change as you get older. Your wrists hurt, your ankles hurt, and your back hurts, but the feeling is the same. Kid’s bike? Hell yeah, it’s a kid’s bike.

It’s not as though I was blissfully unaware of a beef between bikers and skaters that day in Redwood City. Ask any BMXer to tell you a story of friction between the two and four-wheeled sets, and it’s not going to take them long to come up with something.

"When I was 12 years old, a skateboarder threw my bike out of the bowl at Ripon skatepark," says Jackson Ratima, now 19, a Daly City rider sponsored by Fit Bikes. "He was, like, 20 years old or something."

Tim "Wolfman" Harvey, 21, another up-and-coming pro, tells a similar story about a visit to the Bay Area from his native Massachusetts, when a local skater hassled him at the Novato skatepark. "I didn’t even know anything about California. It was my first time out bike riding, period. The guy was giving me all kinds of crap, yelling at me."

Ironically, Harvey, as friendly and easygoing a guy as you could hope to meet, almost turned pro for skateboarding before an ankle injury made it nearly impossible to ollie, an essential trick in street skating. He now lives in Petaluma and is a member of the painter’s union in San Francisco, where he’s a familiar face at street spots, but now on a bike. Back then, though, he "thought California was a scary place."

The Bay Area — and SF in particular — may be the worst place for bikers seeking a vibe-free session. "I’ve never experienced hostility like it is out here," Ratima says.

Smoldering after the Redwood City incident, I began to fixate on the "Skateboarding Is Not a Crime" slogan from my youth. Originally a bumper sticker made by Transworld Skateboarding magazine in the mid ’80s, Santa Cruz Skateboards currently makes a deck with that written on it, so the skate community has gotten a lot of mileage out of being oppressed.

"Skateboarding isn’t a crime?" I’d ask myself. You’re damned straight skateboarding isn’t a crime: it’s the law. BMX is a crime. There isn’t a biker alive who rides transition who hasn’t rolled into a taxpayer-funded park and had a knee-high grommet point to the sign and say, "Bikes aren’t allowed."

Not allowed, huh? Son, I skated my first pool when you were doing the backstroke in your papa’s ball bag.

Look: I love skateboarding and always will. Both skaters and bikers are doing the same thing, copping that same feeling rolling over the same terrain. The war makes no sense.

"We have religion and race and class dividing us. I refuse to be divided by what type of wheel size I have," says Jon Paul Bail, a local at Alameda’s Cityview skatepark.

Bail, 40, is the artist and pundit behind politicalgridlock.com. Through the Home Project, a program run through the Alameda Unified School District, Bail helped raise $150,000 to build the park, $8,000 of which came directly from his company’s coffers. He helped design the park, and he helped pour the concrete in the park, which opened in 1999. Mixed sessions of bikers and skaters were going down for six months with minor tensions but no major incidents when then–City Attorney Carol Korade advised City Hall that mixed use was too dangerous, and shut the bikers out.

My call to Corinne Centeno, Redwood City’s Director of Parks, Recreation, and Community Services, got off to a rough start: "I understand [the Phil Shao Skatepark] is not bike-legal, right?"

"Right. It was built as a skatepark," she replied, subtly italicizing the first syllable with her tone of voice.

"It wasn’t designed for bikes," she repeated, before adding, "but their having been prohibited from the start hasn’t necessarily kept people out." In an effort to do just that, the city is building a fence around the park, with bids currently ranging from $23,000 to $60,000.

The semantic argument — "it’s called a ‘skatepark,’ not a ‘bike park’<0x2009>" — is usually reserved for laypeople who don’t know enough about skateboarding or bike riding to see its inherent lack of logic.

Drainage ditches are not called a "skating ditches," nor were they designed for skating. Swimming pools are not called "skating pools." Yet, therein lie the roots of the modern skatepark, along with full pipes, which are based on industrial-size drainage systems also not intended for wheels. Every day skateboarders and bikers transcend these limits through creative repurposing.

Collision, and the fear of collision, is the main thing public officials cite when shutting bikers out of parks. "It’s unnerving," Vancouver pro skater Alex Chalmers wrote in a 2004 Thrasher manifesto, "BMX Jihad: Keep It in the Dirt."

"BMXers cover so much ground so quickly, especially when they’re pedaling frantically to blast a transfer, that it’s particularly hard to gauge these collisions," he wrote.

But the fact is that in any given park BMXers and skaters take different lines, and the best way to acclimate each group to the other is through exposure. If bike riders are banned, it increases the risk of collisions when a few bikers decide to chance the ticket or brave the vibe-out and ride anyway. A lot of bikers hit parks early in the morning because they don’t want to deal with hassles. During the overlap in "shifts," this leads to bewildered skaters who aren’t used to the lines a biker takes, and vice versa.

And the head-on menace is greatly overstated, largely disappearing when a park is integrated, if only unofficially. At Cityview, the police have displayed somewhat less zeal in ticketing bikers during the past few years. "They treat us like gays in the military," says Bail. "Don’t ask, don’t tell." And yet everyone manages to coexist.

At the new $850,000 skatepark in Benicia, which opened in October, integration isn’t a big deal. "From its conception, we designed it to be a skateboard park and also for bikes," says Mike Dotson, assistant director of parks and recreation. Technically, the park has designated bike hours, but since it’s largely unsupervised, there’s a mildly laissez-faire approach to enforcement. "In the very beginning there was a lot of concern about the use of both bikes and skateboards," Dotson says, stating that the park was packed the first few months. "Initially we had one or two calls on it. Since then I can say I haven’t had any calls on it — in relation to bikes and skateboards being in it at the same time or other complaints."

And there are mixed-use parks all over the world, as far away as Thailand and as nearby as Oregon: "You go to Oregon, and you can ride wherever you want," says a stunned Maurice Meyer, 41, lifelong San Francisco resident and founding member of legendary bike and skate trick team the Curb Dogs. Long Beach, Las Vegas, Phoenix, even Alex Chalmers’ hometown of Vancouver — all have parks where bikes and skates legally ride at the same time. What’s up with the Bay?

Lawyers, insurance underwriters, and city hall types may never understand how a park works. "It’s out of ignorance," Bail says. "To them it looks like chaos. To anyone who has skate etiquette — which is everyone — we all take turns."

Besides, let’s face facts: a skatepark is a dangerous place — to different degrees at different times, and for different reasons. "I swear to God, every time I go to the skatepark I see a hundred boards flying all over the place," Ratima says, "and I’ve never seen a bike go flying and land on a guy’s head." It’s not an inflatable jumpy house — it’s fun, but it’s not made out of cotton balls and your mother isn’t here. Usually.

Rose Dennis, press liaison for the San Francisco Recreation and Park Department, seemed baffled that someone would want to ride a bicycle inside the skatepark part of the new Potrero del Sol. Perhaps as a way of distracting me from my damn-fool idea, she kept hyping the park’s "other amenities."

I live three blocks from Golden Gate Park — if I want to play Frisbee, I’m not going to drive across town. I want to ride. When I brought up the possibility of scheduling bike-only sessions in the yet-to-be opened park, she suggested I draft a letter to general manager Yomi Agunbiade, before adding that "the facility wasn’t designed for that type of recreation."

When I (graciously, I thought) let her know that it would be not only possible to ride a bike there, but highly gratifying, she got a little heated: "At the end of the day, the buck stops with us. If one of you guys breaks your skull open and you’re bleeding all over the place, believe me, no one’s going to have any sympathy for Rec and Park if they make really nonjudicious decisions."

In other words, like a lot of city officials, she’s worried about getting sued.

But you know what? There’s actually less chance a BMXer will successfully sue the city. I give you California Government Code Section 831.7, which states the following: "Neither a public entity nor a public employee is liable to any person who participates in a hazardous recreational activity … who knew or reasonably should have known that the hazardous recreational activity created a substantial risk of injury to himself or herself and was voluntarily in the place of risk."

The law lists "bicycle racing or jumping" as being a "hazardous recreational activity." It’s on a fairly extensive list, along with diving boards, horseback riding, and the ever-popular rocketeering, skydiving, and spelunking, which, as I’m sure you’ve heard, are all the rage with the kids these days — much more popular than BMX.

But the words "skateboarding," "skateboarder," and "skateboard" are not listed anywhere in the text of the Hazardous Recreational Activities law, commonly called the HRA law. In fact, the International Association of Skateboard Companies has been lobbying to get the bill amended to specifically include "skateboarding" since 1995, when Assemblymember Bill Morrow (R-San Diego) took up the issue. Morrow’s bill was rejected by the state Senate Judiciary Committee in 1996. In 1997, Morrow and skateboard association lobbyist Jim Fitzpatrick gave up on amending the HRA and instead pushed Assembly Bill 1296, which added Provision 115800 to the state’s Health and Safety Code, which states, in part and in much less forceful language — without using the word "liable," for instance — that owners or operators of local skateparks that are not supervised must require skaters to wear helmets, elbow pads, and knee pads, and that they must post a sign stating said requirement.

It doesn’t say anything about "if one of you guys breaks your skull open and you’re bleeding all over the place" while wearing a helmet, then you can’t hold the operator liable.

When I asked San Francisco Deputy City Attorney Virginia Dario-Elizando how the law might apply to the city’s skateparks, she told me, "This question has never come up. I must tell you, I’ve never even seen the rules for the skateparks — no one’s ever asked me to look at them."

BMXers are willing to compromise if that’s what it takes. In May, San Jose opened the 68,000-square-foot Lake Cunningham skatepark, built by the same design firm (Wormhoudt) as the Benicia park at a price of $4.7 million, and the place has bike hours. Like any park, there are rules. Like some parks, there’s supervision, so the rules are enforced: separate bike sessions; helmet, elbow, and knee pads required at all times; brakes required on bikes; no smoking; no songs with swear words over the park soundsystem; no bikes in the three bowls with pool coping even though they only allow plastic pegs, which are undoubtedly softer on coping than metal skateboard trucks … it’s a long list of restrictions. It’s inconvenient for guys who don’t like pads or don’t run brakes, and there’s some griping, but we’ve got our eyes on the prize: the place is amazing, with a huge full pipe, massive vert bowls, and a decent street course.

I would like skaters to realize a couple of things: skating and BMX aren’t so different from each other, at least in the feeling each gives you, right there, behind your sternum, where your heart beats.

Bikers are going to ride no matter what, just like skaters are going to skate. Legal or not, we’re not going to go away. "I got arrested for riding there when I was 14," Ratima says of the Daly City skatepark. "They took my bike and threw it in the back of the car. I just kept going every day, and finally they just gave up."

"I’ve ridden bikes on vert," Thrasher editor Jake Phelps tells me during a phone conversation. "I can ride a bike in a pool, I can do that. I’m stoked when I ride a bike in a pool. Feels hella fun to me. Catching air on a bike is awesome, no doubt about that."

This, from the longtime editor of the bible of the "fuck BMX" set. It’s either baffling or heartening. I can’t decide which. "I don’t mind people that are just regular," he says. "If they’re skateboard people or they’re bike people too, I’ll respect anybody that respects me."

That’s what it comes down to: respect. I respect the fact that skateboarders did not come into this age of skateparks easily. I faded out when there was nothing, and I came back when they were in small towns across America, and I missed all the politicos and dreary meetings. It’s time for bikers to stop feeling like second-class citizens and demand a seat at the table. In the words of Black Flag, it’s time to rise above.

Stephen Pelton Dance Theater

0

PREVIEW Stephen Pelton’s full-bodied and thoughtfully structured choreography fits his dancers like second skins. It’s one of the most appealing aspects of the work from this longtime San Francisco artist who now spends half of his time in London. Another of his gifts is choosing music — whether it’s Radiohead, Schubert, or Edith Piaf — that supports his purposes ever so smoothly. Often drawing inspiration from literary sources, Pelton is a storyteller in the manner of poets who suggest, evoke, and analogize — but don’t spell out. The results are dances that resonate like a Zen bell. He may be best remembered for The Hurdy-Gurdy Man (1998), that strangely haunting solo drawn from documentation of Hitler’s body language. He also has created such epics as The American Song Book (1997), which uses popular American music to evoke three different periods in US history. But Pelton’s choreography is most at home in intimacy, full of contradictory impulses in which violence looks lyrical and tenderness totters at the edge of the abyss. A note of melancholy and resignation permeates much of it; perhaps this is not unexpected from an artist who came of age during the worst days of the AIDS crisis. Pelton describes and a white light in the back of my mind to guide me, this season’s premiere, as a meditation on aging. Performed solo and as an ensemble, the piece grew out of a World War II poem by Anglo-Irish poet Louis MacNeice. The work’s accompanying music is from the English composer Gavin Bryars. This program includes a preview of next year’s Citizen Hill, last season’s Tuesday, Not Here (created for the remarkable Nol Simonse in 2003), and Christy Funsch in her reworked 2007 Solo for Somebody.

STEPHEN PELTON DANCE THEATER Thurs/5–Sat/7, 8 p.m., Sun/8, 7 p.m. Dance Mission Theater, 3316 24th St., SF. $20–$25. (415) 273-4633, (415) 826-4441, www.dancemission.com

Mark Leno’s party packed

0

Mark Leno’s election night party has been a stark contrast to what we saw earlier tonight at Joe Nation’s event, which was situated at the unfortunately named “Wipe Out” restaurant in Greenbrae. Leno’s campaign office in San Rafael is packed wall-to-wall, the crowd noisy and erupting in frequent applause when new figures from the secretary of state show up on a projector putting Leno ahead.

He told a radio reporter earlier tonight that overall during the election, he’s had to raise $1.2 million (we’ve seen it in the piles of slick, anti-Nation mailers that have mounted in our mailbox). But he says there’s got to be a way to overcome the cost of operating a modern campaign election, most of which put people with big ideas but no connections out of the bidding. Leno just thanked a litany of campaign staffers and volunteers for backing him over the last 15 months before heading off to San Francisco where we’ve heard he also has an event planned for the Lime club in the Castro.

We were situated in a Leno war room with campaign staffers — including Leno’s manager, Tom, described by colleagues as “eternally pessimistic” — who still seem wary of calling the election for Leno. The numbers, however, are looking more and more inevitable. If he wins, Leno’s gonna have to work on the music he rock, representing a district like this and all, which includes San Francisco. Someone just put the Dirty Dancing theme on the sound system. Not good. As far as North Bay events went tonight, Leno’s has been much more electric than what Nation had going on earlier.

DSCF0409.jpg

DSCF0414.jpg

DSCF0415.jpg

DSCF0417.jpg
On the left, Leno field organizer Carole Mills, and on the right, volunteer coordinator Evelyn Woo.

DSCF0421.jpg
Marriage equality activists and Leno supporters Dolores Caruthers, on the left, and Laura Espinoza, on the right.

Iran war

0


Click here
to read Patrick J. Buchanan’s blog titled, PJB: Who’s Planning Our Next War?

Click here to read Seymour M. Hersh’s article titled,Preparing the Battlefield: The Bush Administration steps up its secret moves against Iran.

Symphonic triple-whammy: Three hot conductors step up

0

We loves us some Michael Tilson Thomas — we better, because she’s everywhere, darling — but it must be hard to live and gesticulate passionately for the San Francisco Symphony in the shadow of the great MTT. It’s not a competition! I know! Still, it’s a treat to see SFS program a night specifically dedicated to some of the other stellar conducting talents it retains, especially for a total symphony queen like moiself.

sfstriple.jpg
Three great classical (bow-tied) tastes: Gaffigan, Bohlin, and Shwartz

The three-day “SFS Conductors on the Podium” series will see Associate Conductor James Gaffigan (who blew me and several thousand peeps away in Dolores Park a while back, conducting the 1812 Overture), Resident Conductor and total cutie Benjamin Shwartz, and fierce Chorus Director Ragnar Bohlin take the stage for a nice, slightly challenging change.

sfsschwartza.jpg
Benjamin Shwartz, making beautiful music

Particularly interesting will be the world premiere of Mark-Anthony Turnage’s jazzy-sounding Three Asteroids: The Torino Scale, Juno, Ceres, conducted by Schwartz, and the sure-to-be-spectral a capella double-choir performance of Poulenc’s Figure humaine — a haunting setting of Paul Eluard’s poems about war and spirituality, conducted by Bohlin. Gaffigan conducts Bartok’s seldom-heard Suite from The Miraculous Mandarin, and the Thursday and Saturday programs will also feature Prokofiev’s ragged, fiery Violin Concerto No. 1 in D Major, also conducted by Gaffigan and featuring SFS concertmaster and string-whiz Alexander Barantschik. Should be a revelation.

SFS Conductors on the Podium
Thursday, June 5 at 2:00pm
Friday, June 6 at 6:30pm
Saturday, June 7 at 8:00pm
$25-$125
Davies Symphony Hall
201 Van Ness
(415) 864-6000
www.sfsymphony.org

Pelosi talks hunger

1

small pelosi.jpg
Nancy Pelosi with Paul Ash, executive director of the San Francisco Food Bank. Photo by Steven T. Jones

Speaker of the House Nancy Pelosi toured the San Francisco Food Bank today to highlight her concern with rising food costs and the need for a reordering of national priorities to address poverty. But she also showed how her party’s cautious approach to the issue has contributed to the grim reality that one in four San Francisco children are at risk of hunger.
“It’s an unthinkable notion that any child in the U.S. can go hungry,” Pelosi told the crowd of volunteers, care providers, politicos and journalists. She also stressed, “It’s important that we think of it one person at a time, or as I think of it as one child at a time,” peppering her address regularly with Biblical calls to feed the hungry. Personally, I would have rather heard an admission of how Congress helped oversee an unconscionable consolidation of wealth and how she plans to redistribute it to the families of these poor hungry kids.
Pelosi touted this year’s omnibus farm bill for new spending on nutrition and ethanol production, food safety improvements, and reductions in subsidies to corporate agri-business, a bipartisan bill that overcame a Bush veto. But many in the Bay Area’s growing food movement criticized the bill as basically business as usual, ignoring evidence that demonstrates the importance of moving from our heavily subsidized, industrial food production system to more local and sustainable models, criticism that I asked her about at the event.
Pelosi responded that, “I associate myself with the concerns that you represented,” noting that she signaled to Washington DC power brokers that this is the last farm bill that will so heavily subsidize big business. She would have hoped to do so this year — rather than three years from now when this bill expires — but that, “It was harder than I had hoped to go cold turkey.”
Similarly, she blasted President Bush with both barrels, particularly for the Iraq War and tax cuts on the wealthy, saying “The last eight years of the Bush Administration have done great harm to this country.”
Yet despite acknowledging this “grotesque mistake” of an Iraq War was sold with lies, and that top officials have violated the constitution, Pelosi has been unwilling to pursue impeachment or anything substantial to hold those officials accountable. But she is willing to intervene in the current presidential race to end the fight by next week and avoid letting it be worked out in August at the convention.
“I think if we take this to the convention, it will harm our chances in November,” Pelosi said, drawing her biggest applause of the morning.

Matt Smith loves prop. 98

0

I almost don’t know what to say about Matt Smith’s SF Weekly piece in favor of Prop. 98. I know Smith gets a little unhinged when it comes to housing issues, but his faith in the free market to lower the price of housing in San Francisco – against all odds and all evidence – is just looney.

He starts off with the typical landlord/libertarian argument against rent control, which is that it screws up the marketplace:

Tens of thousands of other apartments are kept off the market through “hoarding,” as individual tenants remain in cheap and cavernous three-bedrooms, hang on to their old $200-a-month apartments long after they’ve moved in with a spouse, or are otherwise motivated to cling to their leases.

Except that Prop. 98 would allow existing tenants to stay in existing rent-controlled apartments, which lose rent control forever when they’re vacated. So the rent-controlled units would be even more valuable, and the incentive to “hoard” even greater. As would be the incentive for landlords to evict long-term tenants.

But wait, there’s more:

Studies also show that rent control discourages construction of new rental apartments New housing construction fell by one third in the seven years after San Francisco’s rent control law passed in 1979. During the 1990s, meanwhile, the number of rental units actually decreased by 7,500.

Ah, but all newly constructed units are exempt from rent control anyway. So something else must be going on here. Perhaps the number of rental units decreased because developers, who care nothing for the city’s housing needs, realized there’s more money to be made selling condos. It’s the same reasons Lennar Corp. broke its promise to build rental housing in Hunters Point: There’s more money in selling units right now than in renting them.

And, of course, we’re losing rental housing – not to rent control but to condo conversions, another way property owners can make money.

Smith seems to think that without rent control

“it’s reasonable to surmise … that downtown apartment construction would accelerate. Rents would stabilize or decline. …. Businesses would flock to San Francisco, which would have ample new office space and more, cheaper homes for their employees.”

Sounds idyllic, if you want to live in Manhattan, which I don’t.

In fact, Matt Smith’s vision of a “great city” is by nature one that’s constantly growing and ever-more dense. He berates the urban environmentalists:

San Franciscans replaced what had been a metropolitan vision of the future with one best described as suburban. Rather than being a great city, it would instead be a tranquil place to live.

Matt, you have no sense of history. After World War II, the captains of industry who had completely taken over planning and development policy, in the military model of command and control, to make the West Coast war machine work, decided they liked that way of doing business. So a handful of them sat down and planned the future of the Bay Area. Low-cost South of Market housing would be demolished to make way for hotels and a convention center. Following the suburban model, BART would connect outlying bedroom communities with a dense downtown office core. High-rise buildings would hold the economic center of the Pacific Rim. A network of freeways would cross the city in a Los Angeles-style grid.

That’s what the master planners who Smith lauds had in mind. And the people who lived here decided that it wasn’t fair that nobody asked them about it. So they fought back, cutting off the freeways, down-zoning neighborhoods, fighting over-development (which, by the way, hurts city coffers more than it helps) and trying to keep this a decent place to live.

Rapid growth is not always good, not always desirable. Cities are places where people live, and keeping them livable is a noble pursuit.

And when it comes to housing in a city like San Francisco, the market will never, ever solve the problem. I’ve written about this over and over, but here’s the latest.

Regulation – treating housing not just like a fungible commodity but like a necessity of life that the market can’t fairly provide – is the only way to keep San Francisco affordable.

Magazinester

0

MAGAZINESTER

This month’s Magazinester saves the best for first: in conjunction with an art show, Needles and Pens has fantastic zines by Edie Fake on display. Rico McTaco stars a four-legged dyke not averse to carrot strap-ons and dizzying black and white lines Bridget Riley might admire. Issue four of Gaylord Phoenix adds color and erotic examinations by a quartet of wizards with entwined beards to the many-sexed picture.

In Matt Furie’s boy’s club, Andy, Bret, Landwolf, and Pepe bro down with Nintendo, pizza breakfasts, and T-shirt jokes when they aren’t fending off dust mites. The hug department in boy’s club is always open. Dead Pets No. 1 relates tales of tarantula starvation, ferrets crushed by futons, black-eyed white mice slain by children’s tea-party merriment, and many ill-fated betta fish. The centerfold lists five dead pet movies. Published in deluxe gold-embossed color by Blue Q, Killer Queen: The Freddie Mercury Story‘s terrific illustrations portray Mercury’s overbite and stamp collection. Issue 116 of Belladonna presents Dodie Bellamy’s Mother Montage, a combination of writer and subject matter (one’s mother, not motherhood) that sparks a demonologist’s wit — the kind that doesn’t pander. John McCain’s gizzard does not escape unscathed.

Best free mag honors go to Arthur for following Erick Morse’s superb Fantomas survey with an extensive critical hurrah for the music of Sparks. (Also, Arthur‘s comics page features Furie and mocks blogs.) Expensive-mag-to-browse honors go to Aperture for features on James Bidgood, Robert Frank, and Trevor Paglen, and a wild series of Iraq War vets portraits. A cheap raspberry to $29-and-up rags such as Paradis, Purple Fashion, UOVO, and Fantastic Man: most or all feature the saggy yet nonexistent ass of the overexposed, under-talented Terence Koh.

Hellarity burns

0

› news@sfbg.com

"The angels in the summertime are ashes in the fall. As Eden fell so heaven shall. I will burn them all."

The sign, written in gothic letters on weatherworn plywood with faded red flames, is nailed to the side gate of a two-story duplex off Martin Luther King Jr. Way in north Oakland. Today, the old sign’s words carry a chilling new meaning, greeting visitors to a house whose insides were scorched by an unidentified arsonist.

The charred house has been a cauldron of contention for more than 10 years. It has been the product of two anticapitalist housing experiments, one started by an environmentalist landlord who sought to create an ecotopia, and the other by a group of anarchists who intended to make it their home. In the process, it became a hub for traveling activists and aspiring hobos, and a headquarters for antiestablishment endeavors such as Berkeley Liberation Radio.

"People would hear about it through the grapevine, hop off a freight train, and show up on our doorstep with a backpack, a banjo, and a Woody Guthrie song," says Steve DiCaprio, a tenant who moved into the house in 2001 with his wife after living in a van out front. "We had an open-door policy. Anyone could come in, no questions asked. They just had to abide by certain rules: no hard drugs, no racism, no homophobia, and no violence. We wanted to emphasize equality — it was a reaction to the closed, materialistic, competitive, dog-eat-dog society we live in."

The house originally was part of the green property owner’s attempt to create a network of sustainable, affordable housing. When his project floundered, the residence was slowly taken over by his tenants, a group of people who one-upped his radicalism. Both sides claimed to be avowed anticapitalists, but their strategies were at odds; his was to produce an alternative to the local housing market by creating a nonprofit that would help tenants own their homes as a collective. Theirs was to make space for themselves in a rent-based housing market by seizing property from investors and absentee landlords.

The owner eventually went bankrupt — drowned in the early stages of the current defutf8g housing market — and the property fell into the hands of a small-time real estate investor, despite the tenants’ attempts to buy it themselves. The tenants refused to leave, transforming themselves into squatters, and fought it out with the buyer in court for three years. As the court case bogged down, housing values plummeted, making the landlord’s investment lose value by the day.

On Feb. 28, when one of many hearings was set to take place, the squatters showed up in court but the landlord hadn’t filed the paperwork needed to move the conflict closer to a resolution. The following night, in the early hours of March 1, someone lit three fires in the empty upper apartment, setting the house ablaze as people slept inside.

WELCOME TO HELLARITY


For years the house has been known as "Hellarity," although its original owner never called it that. In fact, he refuses to. To recognize that name would be to legitimize the people who adorned it with the title — a group he sees as thieves, squatters who disrupted a legitimate project he thought would have a small but tangible impact on a profit-driven housing market.

Born on the Sunrise Free School in northeastern Washington State, Sennet Williams — known by most as "Sand" — spent his early years bouncing between Spokane and "environmental and pacifist intentional communities" in the area. A year after moving to Berkeley in 1990, he graduated from UC Berkeley’s Hass School of Business. With a degree in urban land economics, he wanted to do his part to turn the tide of environmental degradation by developing "nonprofit car-free housing" in Berkeley.

Williams didn’t see attending business school or investing in property as contradictions of his ideals. For Williams, they were strategic moves. He thought that anticapitalist projects lacked an important element — money — and wanted to be a benefactor for alternative forms of housing.

One week after graduating, his dreamy aspirations came to a crashing halt when an SUV plowed into his compact car while he was on a ski trip at Lake Tahoe, badly injuring him and causing brain damage. His goals would have been quickly destroyed, but Williams sued the driver and convinced the court that the accident interfered with his budding career, winning a settlement in 1993 that he says was "almost a million dollars."

While his money was tucked away in mutual funds and he was living briefly at a student co-op in Ann Arbor, Mich., in 1994, Williams solidified his ideas into an ambitious project called the "Green Plan" with some of his housemates. The plan was an elaborate scheme to "end homelessness" by creating "an urban nonprofit dedicated to self-governing and radical environmentalism" that would fund "rural sustainable ecovillages in Hawaii and elsewhere."

That summer, Williams bought five houses on credit in what he calls Berkeley’s "’80s drug-war zones" and brought his Ann Arbor friends to California to turn his rundown properties into co-op material. Over the summer, the Green Plan became an official organization and Williams let its members live in his houses without paying rent. Instead, they were expected to pay monthly dues to their organization — roughly the equivalent of fair market rent — to put toward buying rural land or repurchasing the houses from Williams at cost. Those who couldn’t afford to contribute were allowed to stay free in exchange for working on the houses, doing extra work for the Green Plan, or volunteering in its Little Planet café.

"Sennet (Williams) tried to be clear that he wasn’t a landlord," says former Green Plan member Dianna Tibbs, but relations between Williams and the members quickly disintegrated. Three years after its formation, the Green Plan remained unincorporated as a nonprofit. A former member also said it was still too centered on Williams’ ideas. Williams’ relationship with the tenants soured. "Ultimately there was a rebellion among the people against Sennet," Tibbs says. In 1997 the project disbanded, transferring all of the money they had raised — about $50,000 — to the Little Planet café.

The Green Plan fell apart, but Williams was caught up in the fervor of the mid-90s real estate market. In 1997, he bought the house that would later be named Hellarity for $114,000, with the goal of "making it into a demonstration of an eco-house that would be an educational resource for the city." He says he chose that property in part so it "could be a tribute to the Black Panthers’ goals of providing food in the inner-city," as it was on the same block as the home of Black Panthers founder Bobby Seale.

But shortly after Williams bought Hellarity, he says he became "overextended in real estate." By the time he made his first mortgage payments, he says there were "over 60 people" living in his houses. He owned eight in Berkeley, two in Oakland, and was planning to buy farmland in Hawaii. With Williams tied up in too many projects to fix up Hellarity, he moved in some people to "house sit" in exchange for free rent.

Shortly after people moved in, Williams stopped coming around the house. The housesitters gradually brought in their friends, the walls were slowly painted to suit the eccentric tastes of the occupants, and more people started calling the house theirs. Williams said he didn’t invite them, but admits that he never asked them to leave. He had little contact with the occupants as years passed. "He was just a theoretical person that owned the house," DiCaprio says.

Hellarity took on a distinctly anarchist flavor in Williams’ absence. "People with alternative lifestyles and alternative family arrangements could live without having to dedicate their lives to making money, giving them more time to invest in their homes and their communities," says long-term resident Robert "Eggplant" Burnett, Bay Area punk rock legend, publisher of the zine Absolutely Zippo, and editor of Slingshot newspaper. Hellarity hosted the pirate radio station Berkeley Liberation Radio, a do-it-yourself bike shop, and cooked meals for Food Not Bombs.

It seemed like an anarchist paradise, but it wouldn’t last.

FOR SALE


By 2004, mortgage payments were driving Williams deep into debt, and Hellarity became a burden. The house was being pulled away from him from two sides: by anarchists who increasingly challenged the legitimacy of his ownership, and by creditors who placed liens against his properties.

When Hellarity was eventually sold by the court in a bankruptcy sale, the tenants say the man who would buy the house, Pradeep Pal, had never set foot in it. Pal, who refused to be interviewed for this article, lived in an upper-middle class neighborhood in Hercules and owned two businesses, Charlie’s Garage in Berkeley and European Motor Works in Albany. He wasn’t exactly a freewheeling real estate flipper — he was a South Asian immigrant who, according to Guardian research of property records, never owned real estate in the area other than his own home.

But to the tenants, Pal was a capitalist trying to buy them out of their home. In a recorded meeting with tenants, Pal admitted he hadn’t been inside the house before he bought it, and Williams tells us the real estate agent who arranged the sale also never toured the house before Pal bought it. "He obviously had no interest in moving into the place or contributing to the community if he didn’t even look at it," future occupant Jake Sternberg says. "This was someone who just wanted to make a profit."

The tenants made it clear to Pal that they didn’t want him to buy the house and would make life difficult for him. As soon as it became apparent that Williams would lose the house, Crystal Haviland and a few other occupants started searching for someone to help them buy the house. In the summer of 2004, the house was slated to go up on foreclosure auction, but the tenants hadn’t found a sympathetic donor.

The auction was set to occur on the steps of the René C. Davidson Alameda County Courthouse, and the occupants showed up banging drums and bellowing chants to warn off prospective buyers. "We wanted anyone interested in buying the house to know that the people who had been living at the house for 10 years wanted to buy it," says Haviland, who is now raising a child, studying psychology at San Francisco State University, and volunteering as a peer counselor at the Berkeley Free Clinic. "We didn’t want people to buy it and turn it into an expensive gentrified thing." While people gathered, Williams showed up and announced bankruptcy, a legal move that cancelled the auction.

With more time to search for financial support, Haviland started talking with Cooperative Roots, an organization that bought a couple of Williams’ other houses — now known as "Fort Awesome" and "Fort Radical" — in foreclosure auctions. Cooperative Roots is a Berkeley-based nonprofit organized in 2003 by members of the University Students Cooperative Association. They received money from progressive donors — mainly the Parker Street Foundation — to buy houses that they turned into "cooperative, affordable housing," says Cooperative Roots member Zach Norwood. Anyone who lives in their houses is an automatic member of the cooperative and makes monthly mortgage payments to the foundation.

For Hellarity, Cooperative Roots was a godsend. "Other people would walk into that house and say, "This place is disgusting," DiCaprio says. "But they said, ‘Wow, this is a work of art.’<0x2009>" The Parker Street Foundation was willing to put down whatever was needed to buy the house, Norwood says, but the occupants were limited by the monthly payments they could afford. On Nov. 4, 2004, the house went up for bankruptcy sale, and Cooperative Roots was prepared to bid up to $420,000. "It was exciting to be there with a bunch of crazy Hellarity people, putting out bids for hundreds of thousands of dollars," Haviland says.

No one expected them to show up at the sale. Williams says they had previously offered to buy the house from him but he "didn’t think they were serious." By the time they had the money, Williams no longer had control of the sale. At the courthouse, the anarchists were playing by the rules, bidding with money up front. The only other party interested in the house was Pal and his brother-in-law Charanjit Rihal, who were placing bids against the occupants. The two sides bid against each other, driving up the price until the occupants reached their limit. Pal and Rihal took the property for $432,000.

OWNERSHIP VS. CONTROL


"This sale was symptomatic of a housing market gone haywire," says DiCaprio. "People like Pal and Rihal thought they could just throw a bunch of money into real estate and it would always be a good investment. I’m glad the market finally crashed, because that kind of behavior hurts a lot of people. It ended up driving the price of housing to the point that normal people can’t buy anymore — and that’s absurd."

Pal soon discovered he owned the property on paper only. The occupants didn’t recognize the sale or his authority to tell them to leave. Three months after the sale, the occupants were still there, refusing to go. Pal took the case to court in an "action to quiet title," demanding that they be ejected from the property and that the title be freed from any future claims against it. He claimed the people in the house were squatters, living on his property without permission. But before the police could drag out the occupants, they countersued, holding themselves up in court without a lawyer for three years and living in the house the whole time.

One of the first cross-complaints came from Robert Burnett who — with his contempt for the computerized, cell phone-saturated consumer culture — wrote his cross-complaint on the back of a flyer on an ancient typewriter. When the document appeared in court, one side advertised a benefit for a pirate radio station at the anarchist info shop at the Long Haul with an image of tiny people being thrown out of an upside-down Statue of Liberty. On the other side, Burnett claims that he is a co-owner of the house, which he acquired through "adverse possession." Two other defendants made the same claim.

"Adverse possession transfers the ownership of a piece of real estate to people occupying the house without payment," says Oakland attorney Ellis Brown, an expert in property law. "In the state of California, you have to be openly living in a place for five years without the titleholder trying to make you leave to win an adverse possession case."

"Adverse possession originated to prevent Native Americans from taking back land from homesteaders, but squatters turned it around, using it to protect people who take possession of unused property," says Iain Boal, a historian of the commons who teaches in the community studies department at the University of California, Santa Cruz and the author of the forthcoming book, The Long Theft: Episodes in the History of Enclosure. Boal emphasizes the large numbers of squatters in the world, a figure Robert Neuwirth, author of Shadow Cities: A Billion Squatters, a New Urban World (Routledge, 2004), pegs at 1 billion. "It is only here that squatters are seen as bizarre leftovers from the ’60s," Boal says. "We are in a crisis of shelter, and people need to fill their housing needs."

DiCaprio concurs. Along with Burnett, DiCaprio was the main backer of the occupants’ legal case. As we talk in a dark, live-in warehouse, he sips coffee out of a Mason jar and looks over the court case on his laptop. He says he wants to be a lawyer, but he has never been interested in making lots of money — he says he wants to "fight for housing rights." DiCaprio learned squatter law while cycling through family law court, criminal court, and federal court over a Berkeley house he was squatting and trying to win through adverse possession. The city threw him in jail, and he was released just after Pal sued the occupants of Hellarity.

He says Hellarity was different from other situations he’s dealt with as a squatter. "We never thought of ourselves as squatters [at Hellarity] per se until Pal sued us and start using that language in court," he says. "Before he bought the house, no one was challenging our presence on the property. Sennet [Williams] was either actively or passively letting us stay there. By filing a claim to quiet title, Pal made it apparent the title was in question. By calling us squatters instead of tenants, they lost some claim to the property. So we took the ball and ran with it."

Their use of adverse possession was strategic, DiCaprio says, but they didn’t intend to win the house that way. "We were never under any illusion that we would win ownership of the house in court," he says. "We wanted to use the court as a forum to enable us to buy the house. We were just treading water until Pal got tired and agreed to sell." The occupants say they offered him $360,000 for the house, the price it was originally listed for, but he refused to take a loss on his investment.

DiCaprio says the courts generally aren’t sympathetic to squatters’ cases. "Pro pers tend to be poor, so there is a class bias against them," he says, referring to people who represent themselves without a lawyer. DiCaprio says judges have rejected documents for having dirt on them and refused to give fee waivers to people with no income. "The courts do not like squatters. If you mix pro per and adverse possession, you could not have a more hostile environment against us."

For more than two years, Pal and the occupants played a cat-and-mouse game, dragging out the case and trying to complicate it in hopes the other side would just give up. Pal’s lawyer, Richard Harms (who did not return Guardian calls seeking comment), objected to the terms "documents," "property," and "identify" when asked to produce evidence related to his claim. "Instead of trying to prove their case, they were just waiting for us to trip up and not file something before a deadline," says DiCaprio.

The occupants didn’t slip, but as the case wore on, he and Burnett grew tired of upholding their side in court. By fall 2007, the two cut side deals with Pal. Burnett settled for $2,000 and DiCaprio for an undisclosed amount. "I realized I couldn’t save it alone," DiCaprio says. "I told them to sink or swim."

ENDGAME


When Burnett and DiCaprio settled with Pal, the subprime housing crisis was splashing the headlines. Pal’s investment was starting to seem more like a loss, but for the first time since he bought the property, it looked like it would finally be his. By November 2007, the remaining squatters dropped the battle for ownership and began bargaining with him for concessions.

By mid-February, Pal was ready to start renovations, and all but two of the squatters had moved out. They made their final plea and Pal gave his last compromise: two more weeks, then they had to go. "He was sure he was going to get the house, so he agreed to let us stay," says a squatter called Frank, who asked not to be named because of his immigration status.

What Pal may not have understood was that he was not the only party still interested in the house. The house was becoming a point of contention among the larger community of squatters and anarchists in the East Bay. Fissures broke around a central question: was it up to those living there to decide the fate of the notorious squat, or did the larger community of radical activists have a say in the property?

As Pal was getting rid of the last people occupying the house, the squatters’ conflict came to Hellarity’s doorstep. A new group of people came to the North Oakland house, among them a few who had previously stayed at Hellarity, ready to renew the struggle against Pal. Frank, who had been living in the house for seven months, was unhappy about the new arrivals.

"I told them that this kind of action would make problems for me," he says. "I already made an agreement with this guy [Pal] to leave by the end of the month." The new group saw things differently. "We own this place," says Jake Sternberg, the new de facto caretaker of Hellarity, who has since been pushing for the squatters to renew their court case. The discord between the squatters split up the duplex: the two old squatters stayed upstairs while the recent arrivals occupied the lower half.

Two weeks after the new crew moved in, a fire was lit in the upper apartment that burned through the ceiling and the floor. But who did it? Was it a disgruntled squatter who would rather destroy the house than hand it back to Pal? Or was Pal connected to the arson, losing his nerve as a newly energized group of squatters took over and the value of his investment crashed?

If not for the squatters, Pal might have been less affected by the subprime crisis than most property owners. He had no mortgage on the house — he bought it outright — so he wasn’t under threat of foreclosure, unlike tens of thousands of other California homeowners. But Pal faced a different threat. It seems likely he bought the house as an investment, and as the market crashed, he was stuck with a house he could neither renovate nor sell, and was left to watch its value tank as he slogged through court proceedings.

For an investor like Pal, the numbers weren’t looking good. In March, median housing prices had fallen 16.1 percent compared with those of March 2007, according to DataQuick Information Systems, and home sales declined 36.7 percent from the previous year. In April — for the seventh consecutive month — Bay Area home sales were at their lowest level in two decades, DataQuick reported. And according to Business Week, national home prices will plummet an additional 25 percent over the next two to three years.

On Feb. 17, the day after the new group of squatters moved in, Pal made an appearance at the house. In early March, Sternberg showed me a video he recorded during Pal’s visit. On the screen, Pal is sitting on a couch in the downstairs living room of Hellarity. At the door, a well-built man who looks to be in his 30s and calls himself Tony leans against the wall with two younger men who call themselves Salvador and Ryan. Sternberg tells me that Pal came to the house demanding they leave his property. Sternberg called the police, accusing Pal of trespassing. As they waited for the OPD to arrive, which took more than 25 minutes, they discuss their conflict over the house.

At the beginning of the video, Sternberg tells Pal why he and his friends refuse to give up the property: "People came over here from Europe and they said, ‘Hey, we’re going to take this place.’ Now they sell land to each other. And how did they get it? They took it…. And just because somebody pays for something doesn’t mean that they get it. And just because somebody sells something doesn’t mean they have a right to sell that."

A few minutes into Sternberg’s video, Pal told the squatters he was ready to take matters into his own hands. "You just have to deal with me now because what I’m saying is, it’s person to person…. And you know what? If it’s gonna get dirty, it’s gonna get dirty. I don’t care. Because you know what? That’s the way it’s gonna be, because this is what I need. I need to have it. I don’t have any lawyer. I can’t afford a damn lawyer. So it’s gonna be me and you. One to one. Man to man."

Pal eventually left the property after the police arrived, but the two younger men, Salvador and Ryan, spent the night upstairs. "[Pal] had them stay there because they thought the people downstairs would squat the upstairs," Frank says. "He wanted to protect the house." Frank, who says he was concerned that Pal would try to evict him with everyone else, initially didn’t protest the presence of the two young men.

The next day, at Frank’s request, Pal told Salvador and Ryan to leave, and for the two weeks that followed, Pal didn’t return to the house. The new group of squatters expected to see him Feb. 28, the date set for a case hearing called by Pal’s lawyer prior to the re-occupation of the house. If the defendants didn’t show up, a default judgment could have been entered, granting Pal his request to have the squatters removed and ordered to pay $2,000 per month in back rent. The squatters showed up for court, but Pal’s side hadn’t filed the necessary paperwork to hold the hearing.

Once again the house hung in legal limbo and the day after the hearing, the remaining people upstairs moved out as agreed. Frank says Pal called him while he was at work that afternoon to make sure they were gone. For the first time in 11 years, the upper apartment was empty, waiting for either Pal or the other squatters to seize it.

But someone was committed to preventing that from happening. The night after the people upstairs moved out, at around 3:15 a.m., the squatters downstairs awoke to fire creeping through the floorboards above them.

"Both of the doors upstairs were locked," Sternberg says. "We broke through one of the doors and threw buckets of water on the flames."

After the fire department extinguished the blaze, the squatters called the police to have an investigator search the scene. "It appears that unknown suspects entered the house through unknown means, and then set three fires in an attempt to burn the house," the police report states. According to the report, all three fires were set in the upstairs apartment; two burned out before the fire department arrived. Officer Vincent Chen found two used matches in the bathroom, where the wood around the sink had been burned, and a gas can hidden in the bushes on the east side of the house.

When I first met Sternberg, he told me the Oakland Police Department’s arson investigator, Barry Donelan, was helpful. Two and a half months after the fire, however, Sternberg says: "I regret having talked to the police."

Initially, Donelan didn’t know they were squatters — Sternberg had told him they owned the house. "Once he found flyers for a fundraiser to defend the squat, he became angry," says Sternberg. "He said he submitted the case to the district attorney, and didn’t expect anyone would be arrested."

Sternberg says Donelan also threatened to have him arrested for a traffic-related warrant and that he would turn Sternberg’s name over to the Federal Communications Commission, which had an open investigation on the house for hosting Berkeley Liberation Radio. In March, Donelan told us he wouldn’t comment on the case and at press time, he hadn’t return Guardian calls about the status of the investigation.

EPILOGUE


Although the arson may never be solved, the squatters have strong suspicions about who was behind the fire. But they have a hard time deciding who, ultimately, is most culpable for the blaze. "No one involved in Hellarity is innocent, and no one is completely guilty," says DiCaprio. The one point of view everyone seems to share is that Hellarity has long been a tinderbox of contention, in which property owners struggling in a beleaguered housing market faced off against a group of people who reject the market outright for its inaccessibility to low-income people. Eventually, it all literally — burst into flames.

When I visit after the fire, people are sitting outside playing guitar, smoking rolled cigarettes, and singing the timeless hobo ballad, "Big Rock Candy Mountain." The sounds drift over the budding vegetable gardens and into the downstairs living room, where a message written on a big green chalkboard suggests that if the fire was intended to drive people out, it was unsuccessful: "WELCOME BACK TO HELL(ARITY). Because bosses, landlords, and capitalists suck, the house has lots of repairs that need to be done before it becomes fully livable."

Upstairs, Sternberg looks up at a charred, gaping hole in the ceiling. "We have to make lemonade out of lemons," he tells me, explaining that they just got a skylight to fill the cavity. "We’re going to continue fighting just like we’ve been fighting. This guy [Pal] has been in court with us for three years. He’s got no case." *

San Francisco, meet Joe Nation

0

OPINION How would you like to be represented by someone who flacks for the insurance industry, serves real estate developers and landlords with zeal, opposes consumer privacy, and is a role model for corporate Democrats with a firm allegiance to big business?

You wouldn’t know it from the vague aura of his slick ads, but Joe Nation is hoping to be that someone in the state Senate. He’s the third candidate in the hotly contested race that includes two stalwart progressive politicians — incumbent Senator Carole Migden and Assemblymember Mark Leno.

Nation jumped into the Senate race in the 3rd District just three months ago. He’s trying to win in a sprawling district that includes half of San Francisco along with all of Marin and parts of Sonoma County. And he could pull it off.

The real danger of a Nation victory hasn’t been apparent to many San Francisco voters. Eyes have been mostly focused on the Leno-Migden battle, and Nation has never been on the ballot in the city before. But those of us who live in North Bay are all too familiar with Joe Nation.

When Nation’s campaign Web site trumpets him as an "advocate for universal health care," the phrasing is typical of his evasive PR approach. While in the state Assembly, Nation pushed for legislation that would force consumers and taxpayers to subsidize the health insurance industry. Meanwhile, he continues to oppose a single-payer system that would guarantee publicly financed health care for all in California.

Likewise, Nation leaves out key information when he calls himself an "international expert on climate change" for an "environmental consulting firm," ENVIRON International. He’s not eager to disclose that much of his work at the firm is for Coca-Cola, which excels at greenwashing its image to obscure its dubious environmental record.

In the Legislature, where he supported charter schools, Nation was problematic on public education. He earned distrust from the California Teachers Association and the California Federation of Teachers, both of which endorsed Leno in the Senate race.

When lawmaker Jackie Speier put forward a tough bill to safeguard consumer information rather than allowing financial institutions to sell it to the likes of telemarketers, Nation worked to undermine the legislation.

In 2006, nearing the end of his six corporate-friendly years in the state Assembly, Nation launched a Democratic primary challenge to US Rep. Lynn Woolsey — who has strong support in the North Bay congressional district because of her courageous leadership against the Iraq war and for a wide range of progressive causes. Nation attacked her from the right. She trounced him on Election Day.

Nation’s long record of siding with powerful economic players inspired the San Francisco Apartment Association and other landlord groups to throw a big fundraiser for his Senate campaign a couple of weeks ago. To big-check donors with an anti-renter agenda, plunking down money for Nation is a smart investment.

Independent polls now show a close race between Nation and Leno, with Migden a distant third. As a practical matter, the way for progressive voters to prevent Joe Nation from winning the state Senate seat is to vote for Mark Leno. *

Norman Solomon is the author of many books, including War Made Easy: How Presidents and Pundits Keep Spinning Us to Death (Wiley, 2005).

RIP Utah Phillips

0

utahphil sml.bmp

This in from Red House Records:

“It is with great regret that Red House Records mourns the loss of our friend Bruce ‘Utah’ Phillips who passed away Friday, May 23, at his home in Nevada City, Calif. In a time when words like ‘icon’ and ‘legend’ are bandied
about too freely, Utah was the real deal: a consummate songwriter, labor historian, humorist and towering figure in American folk music. A true original, we will not see his like again and it was our great privilege to have been able to partner with him on a number of record releases. Our deepest condolences go out to Utah’s family and many
friends and the countless fans who will profoundly feel his absence. His family requests memorial donations to Hospitality House, P.O. Box 3223, Grass Valley, CA 95945; (530) 271-7144; www.hospitalityhouseshelter.org.

“Born Bruce Duncan Phillips on May 15, 1935, in Cleveland, Ohio, he was the son of labor organizers. Whether through this early influence or an early life that was not always tranquil or easy, by his twenties Phillips demonstrated a lifelong concern with the living conditions of working people. He was a proud member of the Industrial Workers of the World, popularly known as “the Wobblies,” an organizational artifact of early 20th century labor struggles that has seen renewed interest and growth in membership in the last decade, not in small part due to his efforts to popularize it. Phillips served as an Army private during the Korean War, an experience he would later refer to as the turning point of his life. Deeply affected by the devastation and human misery he had witnessed, upon his return to the United States he began drifting, riding freight trains around the country.

“His struggle would be familiar today, when the difficulties of returning combat veterans are more widely understood, but in the late ’50s Phillips was left to work them out for himself. Destitute and drinking, Phillips got off a freight train in Salt Lake City and wound up at the Joe Hill House, a homeless shelter operated by the anarchist Ammon Hennacy, a member of the Catholic Worker movement and associate of Dorothy Day. Phillips credited Hennacy and other social reformers he referred to as his ‘elders’ with having provided a philosophical framework around which he later constructed songs and stories he intended as a template his audiences could employ to understand their own political and working lives. They were often hilarious, sometimes sad, but never shallow. ‘He made me understand that music must be more than cotton candy for the ears,’ said John McCutcheon, a nationally known folksinger and close friend.

Reinvention does the trick for Verbena’s Scott Bondy

0

aabondycover.jpg

A.A. BONDY
American Hearts
(Fat Possum)

By Todd Lavoie

Fans of the Birmingham, Ala., grunge-rocking outfit Verbena will likely be mightily surprised by the latest move from former lead howler Scott Bondy: the vocalist, having re-named himself A.A. Bondy in the process, swapped the band’s familiar flannel-isms for moody Delta folk-blues on his solo debut, American Hearts, and the results are a hugely successful re-invention for the artist.

Recorded in a converted barn in the quiet Catskills hamlet of Palenville, N.Y. – most famous for its role as an epicenter of the Hudson River school of romantic landscape painting – the album plays intriguing games with concepts of time and place, making over Bondy’s idyllic new home as a Civil War battleground while offering torrents of hellfire-burning Biblical imagery as well. As it turns out, Southern Gothic knows no boundaries.

Bondy’s husky, weather-beaten rasp proves to be an enormously versatile instrument amid the stark atmospherics of this largely acoustic affair, bristling with end-is-nigh menace on the knife-wielding blues of “How You Will Meet Your End,” but still capable of generating ravishingly woozy gospel fervor on the shuffling “Rapture (Sweet Rapture).” The full-length’s complicated balance of despair and spirituality comes to a head on “Vice Rag,” a Jesus-come-hither Delta hoedown punctuated by conflicting pleas of “sweet, sweet cocaine / won’t you all be mine.” American Hearts’s true highlight, however, is the title track: a protest anthem in which Bondy’s Jesus steers clear of the disc’s ever-looming violence and instead fights for peace: “If your God makes war, then he’s no God I know, ‘cause Christ would not send boys to die.”