Whatever

No depression

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› andrea@altsexcolumn.com

Dear Andrea:

I’m 30 and have been married for five years. I do all the cooking, cleaning, and shopping. My wife does a few things around the house, but not many. We do not have any sex at all; she doesn’t have the drive any more. The last time we did it was two years ago. My wife has even told me to find someone else and to stop wasting time on her. I just don’t know what to do.

Love,

Big Guy

Dear Big:

As much as I don’t feel like playing Quincy (the wrinkles!), I might be willing to declare your marriage dead for you, except for one thing: I think your wife is probably depressed, which means she can probably be treated. And if she can be treated, maybe your marriage can be helped too.

I had to check twice to make sure you’d really written "30," and not the 50 or 60 your sad, resigned little note put me more in mind of. If you’re really 30 and didn’t marry your gramma’s longtime mahjongg partner, then your wife, too, is presumably young and was, presumably, not like this when you married her. So something has happened in a mere five years to transform her from whatever vibrant young thing you married to this limp, tired, and rather bitter-sounding dishrag. Would you please sit down with her and talk about seeing someone? And listen: just leave the no-sex part out of it for starters. "I’m not getting laid and that means you’re broken" is not a recommended opening move.

Love,

Andrea

Dear Andrea:

I’m in my early 30s, single, and have never been with a professional sex worker. I have traveled to all kinds of poor third world countries, so I’ve had infinite opportunities, but I’ve never wanted to do it. I’m a relationships kind of guy.

However, my work has taken me to a new location where I am basically of no value in the dating market. I’m interesting, not bad looking, fit, tall, and have lots of other good qualities, but the women here are looking for a cool local guy with lots of free time on his hands. Dating is flat-out impossible for me while I’m here.

In my period of involuntary celibacy, I have learned something: men (and probably women too, but I can only speak as a man) are not designed for celibacy. It’s not just sex that I miss. It’s some indefinable part of the experience of being with a woman. The smile, the pheromones, the cuddling, the long hair …

I know that a pro’s smile is not the same thing as the smile of a woman who really likes me — which can never be bought — and I don’t like fake things. Should I suspend my disbelief for a few hours and just enjoy it? Would I feel rotten afterward? And, even more important, is this an ethical thing to do? Is there anything else I can do in my situation? I wish I could go somewhere where a woman would occasionally return my smile, but I am stuck here for now.

Love,

Lonely (without) Abroad

Dear Lonely:

You sent this letter quite some time ago, so let’s hope you’re out of No-Love-Land by now. Since you asked, though, I have no ethical qualms about people paying for sex as long as the person doing the selling is as fully empowered to not be a prostitute as she is to be one. Whether or not you believe that this condition can ever be met, especially for women, depends on your broader sexual-political viewpoint. I am rather a middle-of-the-roadish feminist these days and neither believe that all sex with men is prostitution (or rape) nor that prostitution is an especially empowering form of goddess-worship. I do believe that many women really are in a position to freely choose the sex trades and to leave them when they wish. Those are, of course, the lucky ones, though — the college girl stripper/hooker/performance artists, not the streetwalkers — and we haven’t even looked overseas, where poor young women may have fewer choices.

Is it ever ethical to pay such a "professional"? Many would say of course not. Others, including myself in some moods, would choose the practical over the ideal and point out that while such transactions may be distasteful, if nobody pays her she will starve, or be beaten, or both. This is one of those situations that has no perfect answer, the world in which it occurs being too imperfect to yield one.

I don’t think hiring a street prostitute in a poor country is really your cup of weak yak-butter tea anyway. A better idea, in your position, would be to cultivate a few pseudo-intimate online relationships and save your money for the occasional trip abroad to visit one of those (provided you’ve netted an actual woman) or, failing that, to pay a fancy freelancer a lot of euros.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Andrea is also teaching two classes: "You’ve Really Got Your Hands Full" — a realistic look at having twins — at Birthways in Berkeley.

Arctic Monkeys/Rascals spinoff Last Shadow Puppets tugs our heartstrings

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THE LAST SHADOW PUPPETS
The Age of the Understatement
(Domino)

By Todd Lavoie

Side projects tend to be met upon arrival with more than a bit of held-breath trepidation and Doubting Thomas cynicism. So it’s always nice when one shows up that not only turns out to be a rousing success, but also ends up raising the bar for the artists concerned in the process. Such is the case with the recent Last of the Shadow Puppets collaboration between the Arctic Monkeys’ Alex Turner and the Rascals’ Miles Kane. Their opening introduction, The Age of the Understatement, should come as a great big “who knew?’ to those who have followed the pair’s respective day jobs thus far.

Specifically I am speaking of Turner; while Kane’s Rascals hold plenty of promise, they have thus far only released an EP, with an album expected this summer. As for Turner, however – well, who would have expected that the charming leader of the exuberant pop-punkers Arctic Monkeys would follow up two such gloriously careening albums of post-Buzzcocks delights (2006’s Whatever People Say I Am, That’s What I’m Not and last year’s Favourite Worst Nightmare, both Domino) with a collection of lushly orchestrated ’60s pop? And that it would be so successful in paying homage to that era, for that matter?

The album should be considered a turning point for the vocalist. As effective as the Arctic Monkeys’ pint-raising anthems have been in getting bodies in motion, here we are seeing a whole new depth to his songwriting. Not only did he and Kane – the two share songwriting credits – fully embrace and absorb the string-laden pop of the likes of Scott Walker, but they’ve penned a whole new set of riveting melodramas which surpass rote re-creation and mere mimicry and instead strive for achieving similar heights. Overall, they succeed enormously, which leaves me quite anxious to hear the Rascals’ forthcoming debut, to be sure, and feverishly praying away that the next Monkeys disc can’t be much further around the bend.

‘Tokyo Gore Police,’ ‘Machine Girl’ splash down at Hole in the Head’s finale

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One-armed bandit: Machine Girl‘s Asami lost an arm in her battle against a shady ninja family, but that doesn’t mean you should stand in the way of her quest for vengeance (witness the poor slob in the rear).

Ho boy, are you ready for the nightmares? That’s practically guaranteed this weekend as the Another Hole in the Head fest closes out with its final mow-down. Fans of arterial spray, extreme Japanese filmmaking, random acts of unkind dismemberment, and fatal flying guillotines will be able to get their geek on one last, but hella amazing time with this last-minute double feature of Japanese shock-and-argh at Brava, showcasing the late add Tokyo Gore Police and crowd fave Machine Girl. The quickie downlow:

MACHINE GIRL

Possibly the most exuberantly bloody and cartoonish offering in the fest, which bites off/pays homage to Grindhouse AND Kill Bill. This archetypal Japanese revenge story – passionate and cruel by turns – hinges on the trials and tribulations of Ami Hyuga (Asami), a high-school basketball nut, fresh-faced daughter of an accused killer, and loyal big sister. Her younger brother becomes snared by spiralling gambling (!?) debts and ends up in hock to the local budding young hoods, including the son of a yakuza/ninja kingpin (whose devil ‘do bears a remarkable resemblance to that of Prodigy’s lead vocalist) – it doesn’t end prettily. Something snaps in Ami, and she goes after the kids responsible for her bro’s death, only to come up against a formidable array of monstrous parents driven to protect their equally rotten offspring. Losing her arm – slowly – in a nasty torture scene just sends her over the edge. Don’t even ask yourself how she can possibly operate a attachable machine gun with a stump – Rose MacGowan figured out how in Planet Terror, so can she.

You won’t soon forget the memorably ’60s-ish comicbook-like action sequence opener, evocative of both Seijun Suzuki and Sin City, or the finale, less a balletic bloodbath than a completely over-the-top showdown between the “Super Mourner Gang” of grieving parents (just because your son chose to become a ninja doesn’t mean you don’t hurt), giant holes blasted in bodies, a driller bra donned by the meanest mama ever, and a scalping scene that combines disco strobing and an almost Looney Tunes-esque dark comedy.

TOKYO GORE POLICE

Also produced by the venerable exploitation house Nikkatsu (well, they made all kinds of films, though their “roman porno” and “pink” softcore films brought them infamy) with a few of the same actors popping up, Tokyo Gore Police is the eagerly awaited, latest turn by the cruelly beauteous Audition S&M star Eihi Shiina. Here, she’s a girl cop – part of a sinister Philip K. Dick-ish privatized police squad commissioned with ridding the world of monstrous psychopaths who grow weapons out of whatever body part they lose. Sound familiar? Yes, these are the same good – or bad, depending on how you feel about this level of gore – people at Nikkatsu who gave you Machine Girl.

Directed by first-time auteur Yoshihiro Nishimura (who crafted special effects makeup for Machine GIrl, the also memorable Hole in the Head features Exte and Meatball Machine), Tokyo Gore Police is chock-full of disturbing scenes: point-blank exploding heads (recurring like a child’s bad dreams), exposed brains, intimations of limbless sexual servitude, and natch the Snail Girl, above. But the movie’s blend of Ultraman live-action monster brouhahas and a Burner-y, nouveau goth-steampunk aesthetic that, personally, pulls me out of the narrative. I felt a little less invested in Tokyo Gore Police than the more, ahem, classically B-minded Machine Girl. But, hey, this isn’t a competition – unless you want to see how far I can throw a severed hand – so stick around for both flicks. Shock fiends won’t be disappointed.

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Creepy crawlies: Snail Girl

MACHINE GIRL AND TOKYO GORE POLICE
June 22, 6 and 8 p.m., call for price
Brava Theater
2781 24th St., SF
For tickets or more information, call (415) 820-3907
www.sfindie.com

Earth, here and now

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› a&eletters@sfbg.com

"I’m a big fan of Roy Buchanan and Danny Gatton and Merle Haggard’s guitarist, Roy Nichols. I also like a lot of western swing, like Hank Thompson and Bob Wills and the Texas Playboys. Jerry Reed. Waylon Jennings is one of my favorite guitar players."

Listening to Dylan Carlson rattle off a list of his favorite country pickers might seem a little strange. After all, this is the guy who practically invented the drone-metal genre in the early 1990s as the leader of Sub Pop outcasts Earth. Their snail-paced, sludge-caked drone explorations might be termed "primordial," yet they were anything but traditional or rootsy. Some probably questioned whether they were music at all.

The band’s landmark Earth 2 (Sub Pop, 1993) is a legendary lease-breaker of an album thanks to its wall-rattling sonics. For years the recording — and the band in general — puzzled onlookers, who wondered what Nirvana’s old label was doing releasing something so unseemly. Earth once played a music-biz festival in New York during the early ’90s, and as Carlson recounts by phone from Seattle, "I had friends telling me, ‘Oh, yeah, there were all these industry people here, and they were totally confused.’ They thought we were assholes and stuff, like we were making fun of them."

The joke’s on them now, even it wasn’t back then. Thanks to Earth worshippers Sunn O))) and the scads of other low-end drone specialists who have cropped up in recent years, the band’s once-misunderstood sound has come to be seen as pioneering, opening the way for a range of experimentalists operating at the crossroads of metal, improv, and avant-garde rock. The thing is, Carlson doesn’t have much interest in that sound anymore.

"Obviously it’s flattering to be liked by people and to influence people," he says. "But for me, it’s not something I would do again, since I don’t like repeating myself and I’m trying to move somewhere else."

Earth’s more recent recordings, including 2005’s Hex: Or Printing In The Infernal Method and this year’s The Bees Made Honey in the Lion’s Den (both Southern Lord), move at the same slow hypnotic pace of the older material, but they do so with less volume, more space, and a surprising twang element. These discs have come with the help of a new cast of supporting musicians — including trombonist-keyboardist Steve Moore and Master Musicians of Bukkake members John Schuller and Don McGreavy on bass — and a new, more clearheaded approach for Carlson. They also come in the wake of a long hiatus that led many to assume Earth was finished as a band.

"I got dropped by Sub Pop [after 1996’s Pentastar] and wasn’t sure I wanted to play music anymore," he explains. "And I had a lot of [personal] wreckage to take care of, so that’s pretty much what I spent those years doing."

He started playing the guitar again in late 2000, but found himself less interested in feedback and doom-laden riffs and more interested in country music. As he explains, "For some reason, every so often I’ll go to my collection, and for whatever reason something will catch my fancy, and I’ll become obsessed with it for awhile. And that was the stuff."

He started playing with drummer Adrienne Davies in 2001, whose minimalist, mostly brushed sound has been a fixture on the newer Earth albums. He wasn’t planning on playing live again or even using the Earth name, he says, but things fell into place thanks to a reissue of some old recordings and a coinciding East Coast mini-tour. As a result, Earth was reborn — with a different lineup and a different sound.

"I mean, there are similarities between everything I do just because it’s me doing it," Carlson says. "But I’m just always trying to expand with each record and grow as a musician, hopefully, rather than repeating the same thing over and over again." Even so, he adds, "I kind of hear how musics are linked, rather than how they’re different."

Earth: Mach II’s brand of sparse, loping, desert minimalism is a far cry from the wall-of-sound drones of the many Earth-inspired bands currently operating. It’s not metal, but it’s certainly not country either. It’s more like some sort of bizarre-world Americana, with its mantra-like repetition, subtle guitar twang, and wide open sense of space. Jazz guitarist and fellow Seattleite Bill Frisell, who has developed his own skewed take on Americana over the years, makes a guest appearance on Bees, and a Ry Cooder cameo wouldn’t be out of place.

Carlson credits the open-minded, genre-crossing Seattle scene for helping the new Earth evolve and branch out. "It’s not like during the ’90s when everyone was trying to get signed and was worried about playing a specific genre. It’s just people who are into all kinds of music and just want to do the best stuff that they can."

EARTH

With Jesse Sykes and the Sweet Hereafter and Aerial Ruin

Fri/20, 9 p.m., $15

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

Avoiding a Lennar meltdown

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EDITORIAL Millions of dollars in campaign money kept Lennar Corp.’s plans for southeast San Francisco alive. But the financial news isn’t looking good for the giant homebuilder — and the San Francisco supervisors ought to be worried.

Last week, Sup. Chris Daly released a document he obtained from the Redevelopment Agency showing that the city had quietly sought a $25 million grant from the state Department of Housing and Community Development to cover a projected loss in Lennar’s Hunters Point Shipyard project.

The problem: increased construction costs, trouble in the financial markets, and unforeseen environmental issues have eaten up all the money that Lennar and the city had made available for infrastructure improvements on the site. That means the roads, water and sewer pipes, and other basic stuff that project will need to go forward are no longer adequately funded. Without an influx of state money, the city argued, the whole shipyard project would either be "drastically reduced in scope" or put on hold for another two or three years.

"Without the requested $25,021,079 Infill grant allocation, our infrastructure project faces a serious risk of being mothballed," city officials wrote. As Sarah Phelan reported at sfbg.com, the state rejected the application last week.

The shipyard project is the first piece of Lennar’s grand-scale Bayview Hunters Point redevelopment — and it’s already in serious financial trouble. The same issues that are causing problems at the shipyard will be in play when Lennar starts work on the 10,000 new housing units now approved for the Bayview–Hunters Point redevelopment area. Construction costs will be even higher in a year or two. The end of the mortgage crisis is not yet in sight. As Daly told us, the shortfall in the first part of the project "casts a very large shadow on the mixed-use development envisioned under the conceptual framework on Proposition G."

Then on June 8, a Lennar subsidiary that’s working on redeveloping the Mare Island Naval Shipyard property filed for Chapter 11 bankruptcy. That project is now in limbo as the development consortium — facing economic pressure and unable to get the necessary financing — seeks protection from creditors. Combined with the fact that Lennar’s bond ratings continue to tumble (Lennar debt was downgraded again June 10), San Francisco officials ought to be asking the obvious question: can this Miami-based developer actually pull off this project? Or is it possible that after all of the political debate over the Lennar plan, the lack of adequate affordable housing, the future of the 49ers, the toxic contamination of the site, and everything else, the entire massive project could collapse because Lennar doesn’t have the financial ability to finish it?

This, of course, is one of the inherent problems with the traditional redevelopment model. The city essentially will be giving a huge piece of public land to a single private company that will then be responsible for building an entire new neighborhood with homes, offices, stores, and parks. In theory the developer will make enough money to stay afloat until construction is finished — and the property taxes in the area will increase enough to fund necessary infrastructure (schools, roads, bus lines, water and sewer service, and other public amenities). But if the developer goes broke, the city is left hanging.

That’s what’s happening in Vallejo, where a city that already has serious financial problems is facing the possibility that environmental cleanup at Mare Island will grind to a halt, and that a $6 million municipal service fund — paid for in part by Lennar — could suffer.

The prospects for San Francisco could be far worse. Suppose the city goes ahead and transfers public land to Lennar — which then goes into bankruptcy. Would that city land be treated as a private asset and given over to whatever creditor or vulture fund picks up Lennar’s ghost?

Fred Blackwell, the director of the Redevelopment Agency, won’t return our phone calls, but the supervisors need to hold a hearing on this and force him and Lennar to provide some answers. The board needs an independent audit of Lennar’s finances, either by Budget Analyst Harvey Rose or an outside consultant. And until the city knows for sure that the developer can actually handle this project, the entire redevelopment process for Bayview–Hunters Point needs to be put on hold. *

Dead men walking to cost shit-tons more

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It’s one of California’s oldest prisons still in operation if not the oldest. The San Quentin State Prison was first built in July of 1852 at Point Quentin in Marin County just north of here on more than 400 pristine acres of Northern California land.

It’s history is illustrious. Johnny Cash performed a live concert there in 1969, you might have heard. Metallica shot the video for “St. Anger” there as well in 2003, which would have been a lot cooler if it was 20 years before and the song was “Dyers Eve,” but whatever.

San Quentin’s also the place where the major news cable networks like to go when they want to do a two-hour reality special titled something like “Dudes Looking Murderous in Front of a Camera While a Voiceover Describes the Prison’s Simple Day-to-Day Operations, But No One’s Really Paying Attention to the Reporter Because They’re Engrossed by the Distant Prospect That the Guy With Tattoos on His Head Playing Cards Might at Any Moment Stab in the Throat the Guy Playing Bones Nearby.”

Larry King did one recently where he kept asking a group of pre-selected inmates to detail their stories of prison rape and clandestine drug use, but they mostly wanted to talk about rehabilitation and missing their kids.

Anyway, San Quentin also houses all of California’s male condemned inmates, the people scheduled to be executed for committing murder and/or littering in Marin County and/or not voting for Mark Leno. Pumping poison into condemned jail inmates is a costly business, more costly than simply jailing them for life, anti-death penalty advocates contend, if you factor in all of the appeals and the special housing requirements.


Metallica in San Quentin

New foragers

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Jack Carneal is trying to locate a Malian musician to secure the release of a much-cycled bootleg on his microlabel, Yaala Yaala Records. Fueled by exuberance and somewhat chastened by controversy, Carneal is worrying over Yaala Yaala No. 4 more than he did the first three releases: a dubbed set of howling electric kamelen music by Pekos and Yoro Diallo; a popular bootleg recording of griot Daouda Dembele; and an audio collage of Carneal’s minidisc field recordings from his yearlong stay in Bougouni, Mali. Yaala Yaala No. 5 recently materialized in the form of a magisterial compilation of traditional hunter’s music by vocalist Yoro Sidibe, but the old bootleg is taking more time. "I heard it decades ago, and it just really stuck with me," Carneal reflects over the phone from his Baltimore, Md., home. "I didn’t even know it was from Mali until I lived there and I saw the musician’s name…. It was mastered and everything, and I’m still trying to find the musician to get him some money. In the past this wouldn’t have stopped me. I just would have done it."

No one contends that the music on the initial Yaala Yaala CDs isn’t dazzling. The rough sonic textures of cassette dubbing and crowd noise only thicken their cinematic quality, especially with the skip-and-start rhythms of Pekos and Yoro Diallo’s rumbling blues. But a number of critics — most notably Clive Bell of The Wire were incredulous about the packages’ lack of annotative liner notes and Carneal’s rush-delivery approach. (Unable to recompense for bootlegs, Carneal established a fund called the Yaala Yaala Rural Musicians’ Collective for whatever scant profits the discs might produce.)

It’s evident talking to Carneal — an English professor at Towson University and former drummer of Anomoanon and Palace Music — that profit motive isn’t part of the Yaala Yaala equation. But past exploitations cast a long shadow. Labels like Yaala Yaala, which is distributed by Drag City, and Sublime Frequencies don’t play by the outmoded rules of so-called world music production, eschewing both academic empiricism and the major labels’ reductive tendency to isolate bankable masters. Meanwhile, kids in Mali listen to dubbed tapes of Led Zeppelin and Jay-Z.

For the new Yoro Sidibe release, Carneal went through the proper contracting but was ultimately foiled by a corrupt producer. "We did everything above-board and legally, and the musician still got ripped off," he laments. Cullen Strawn’s liner notes explain that the donso music Sidibe powers through — long, call-and-response narrations designed to praise and bully hunters into action — is an especially ancient form, but it’s easy to appreciate why the vocalist is popular in the Bougouni marketplaces, beyond the music’s traditional context. Sidibe sounds intensely poised throughout the CD’s three cascading chants, periodically popping into a rapid-fire oratory that crowds out even his accompanist’s confirming hum. The dense ngoni (six-stringed spike harp) flurries capping each verse are perfect examples of the visceral highs Carneal relishes in Malian music.

"I recognize the danger in bringing this music back from Mali and having it reflect my very limited interpretation of an experience," he tells me. "I really want the listener to be able to listen to the music and derive something of their own that was not affected by my subjective take on things." Good taste certainly doesn’t mitigate responsibility, but listeners can only hope that music distribution might continue to be the province of committed amateurs, the sort of imprints like Yaala Yaala, Sublime Frequencies, and Dust-to-Digital that value the unclassifiable and throw the spigot open in accordance with the Mississippi Records motto, "Always — Love before Gold." (Max Goldberg)

www.myspace.com/yaalayaalarecords

Kerchiefs out, again, for Phyl and Del

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Dammit, this picture does it to me every time:

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Phyllis Lyon and Del Martin, the first couple to get married in City Hall, 2004, in a great photo by Liz Mangelsdorf of the Chronicle

Kamala (left), I know exactly how you feel. And my once radical queer eye teared up again, dammit dammit, at the news that Phyllis and Del will officially be the first legally married same-sex couple in San Francisco on June 16. (The flood of betrothed others will be ball-and-chained starting the 17th.)

Phyl, aged 83, and Del, 87, who of course are legendary for their incredible contributions to the community, met in 1950 and moved in together in 1953. That means they’ve officially been together for more than 55 years.

As I read the news last night next to my Hunky Beau, I realized that time might be against us for reaching such a milestone anniversary together — but still our hands squeezed a little tighter. Romantic fools! Thank you, Phyllis and Del. You completely deserve this. Whatever reservations I and many other queers may have about marriage, you’re an inspiration of feisty longevity and dedication.

3 Good reasons to hate Meghan McCain’s blog (besides the obvious)

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By Marianne Moore

Meghan McCain, the senator’s young, hot, keffiyeh-wearing daughter, has taken to blogging from the campaign trail, and the media is lapping it up: depending on who you read she’s alternately “hilarious,” “refreshing,” or even “adorable.” Lest you be seduced by the blog’s seemingly innocent, light-hearted descriptions of bad campaign food or the Governator’s neckwear, find below the tools you need to remain ruthlessly scowling at Meggers and her Daddy.

1. Revolting Fake Hipness

In addition to sharing her observations and insights from the road, Meghan also graces us with her iTunes playlists, a sure way to show us that she’s down. The playlists are a truly bizarre mix of predictable indie bands (Architecture in Helsinki, Neutral Milk Hotel, Broken Social Scene: seriously, it’s like she hired a consultant) older artists (David Bowie, Stevie Wonder), shite (Rod Stewart), and music a Republican just has no business listening to (Joni Mitchell, Iggy Pop). Really, she can listen to whatever she wants; I guess what I object to is Meggers turning some of my favorite artists into hollow McCain shills, just like I generally object to the pollution and degradation of things I hold sacred.

According to a hysterically enthusiastic article in Britain’s The Observer, Meghan has single-handedly “reinvented the campaign blog” and “injected [McCain’s] political persona with some much-needed street cred.” Right. Because nothing says street cred like private jets, ditzy gushing over mass murderer Henry Kissinger’s loafers, and “self-deprecating” admissions of Starbucks addiction.

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Shannon Bae shows us What Asian People Like: Soda! John McCain!

Shit equity

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› sarah@sfbg.com

GREEN CITY At long last, the San Francisco Public Utilities Commission appears to be moving forward with plans to address long overdue environmental justice issues (“It Flows Downhill,” 08/08/06) that are directly related to its sewage treatment plant in the city’s southeast sector.

At a May 27 SFPUC meeting, SFPUC staff recommended that the agency build a new digester facility in the southeast part of town and divert 12 percent of its sewage flow to the west side’s Oceanside plant, (which, incidentally, a current signature-gathering campaign hopes voters in November will rename the George W. Bush Sewage Treatment Plant).

For decades residents of Bayview–Hunters Point have endured foul smells, thanks to the close proximity to their homes of the Southeast treatment plant. The site treats 76 percent of the city’s sewage in facilities that are almost entirely outdoors. By contrast, facilities at the Oceanside plant, in a wealthier side of town, are mostly indoors and/or underground.

It’s an unequal division that has long had southeast residents claiming environmental racism. To make matters worse, the Southeast plant contains nine pancake-shaped digesters that could experience problems in an earthquake, with worrisome corrosion on the undersides of the digesters’ covers.

Cost estimates for a new digester facility range from $700 million to $1.3 billion. This variation depends on the location choice for the new digesters: if the agency builds new digesters on the south side of its existing Southeast plant, the agency is looking at the cheaper end of the scale.

But if the SFPUC follows another option to build a new facility on the back lot of Pier 94, a Port of San Francisco property, it would remove the plant from a residential neighborhood but be left facing a near doubling of the cost.

Replacing the digesters was a pet cause of former SFPUC General Manager Susan Leal, and continues to be a priority for District 10 supervisor Sophie Maxwell, so it’s likely to remain a key focus for former City Controller Ed Harrington, who took over as general manager of the agency after Mayor Gavin Newsom ousted Leal.

"You’ll see immediate work on the digesters," Harrington assured the commissioners. "The PUC is suggesting doing on an environmental impact report on both sites."

That report likely won’t be complete until 2010, when the agency leaders will have to choose an option. PUC project manager Jon Loiacono seems to be keenly aware of the thorny issues at play and told the commission that "staff would like to work with an advisory group and hire a consultant sensitive to community issues to find the best solution."

"It would almost certainly be less expensive to rebuild on the current site, but we don’t want anyone to make the digester decision based on cost," PUC spokesperson Tony Winniker told the Guardian.

"We really want it to be a public health and safety decision," PUC Citizens Advisory Committee chair Alex Lantsberg told the Guardian.

The digester replacement cost represents a significant chunk of the total estimated price tag of the PUC’s proposed sewer system master plan, which ranges from $3.8 billion to $4.4 billion. PUC staff is also outlining plans to send some of the waste westward in what the PUC currently calls "the Upper Alemany diversion."

The plan involves building a tunnel near Cayuga Creek, where runoff water tends to back up, and carrying it to the Oceanside plant. So, is this the return of the dreaded cross-town tunnel, an idea that had irate Bernal Heights residents waving plungers at City Hall three decades ago? PUC staff claim it is not.

"It’s a different concept, but similar," Loiacono said of the current plan.

"This reduces how much waste is treated in the Bayview and shifts it to a plant where there is excess capacity," Winniker explained, further noting that while the old cross-town tunnel would have run under Bernal Heights, this diversion will use city rights of way.

The project would improve drainage for the Cayuga and divert about 10 million gallons of sewage per day from the Southeast plant to the Oceanside plant, PUC spokesperson Tyron Jue told us. The alignment hasn’t been chosen yet, but Jue said, "we’re considering different routes, like Brotherhood Way or Ocean Avenue."

Whatever path the SFPUC pursues, the project won’t be cheap — economically or politically.

Yuks galore

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FILM FESTIVAL Sometimes the best thing a movie has going for it is its title, especially if that title happens to be Mutant Vampire Zombies from the ‘Hood!. Far and away the most expressively named selection at this year’s Another Hole in the Head Film Festival, Zombies imagines what would happen if a couple of rival gangbangers, a weary cop, and assorted other ragtag types emerged as the only humans unaffected by a mysterious solar flare. Zombie-movie conventions are followed (the obligatory lesson about shooting ’em in the head, etc.), self-referential jokes are cracked (Shaun of the Dead gets a shout-out). The most distinctive features here — casting erstwhile soul man C. Thomas Howell as the cop, an eye-rollingly dated Snakes on a Plane joke, and a truly disturbing twist that renders the zombies brain eaters and sex freaks — aren’t quite enough to elevate Zombies to the realm of must-see undeadness. To be fair, though, even Troma would have a hard time fulfilling the promise of something called Mutant Vampire Zombies from the ‘Hood!.

A better bargain for your gross-out buck is 2007’s Jack Brooks: Monster Slayer, a film I seized on after noting the top billing of Robert "Freddy Krueger" Englund. With higher production values than Zombie and a clever script (cowritten by John Ainslie and director Jon Knautz), Monster follows the titular hero (Trevor Matthews), a slacker dude plumber who’s been toting around some serious anger issues since childhood — when he witnessed a monster gobble up his entire family. Jack’s princess-bitch girlfriend (Rachel Skarsten) convinces him to enroll in a night-school class taught by the bumbling Professor Crowley, who ropes Jack into taking a look at the rusty pipes beneath his creepy old house. Cue: the unearthing of an ancient evil, and Crowley’s transformation from science geek to chicken-wing-gobbling, Jabba the Hutt–like menace.

Naturally this turn of events unleashes the inner warrior in Jack; the film is bookended by flash-forwards that suggest he becomes something of a Buffy for the monster population. But the main reason to see Monster is Englund, who’s having something of a mini-comeback between this film and the recent Zombie Strippers. Always a limber, engaging performer, Englund further proves there’s more to him than vivisecting Elm Street teens — though that’d be enough for me, really.

But back to the zombies. One of HoleHead’s programming edicts is apparently "never enough zombies," to the extent of capitalizing the Zed-word in their programming notes. Along with those mutant hood-rats, the fest also includes Wasting Away (2007), Trailer Park of Terror (question: when did zombies and white trash become so synonymous?), and Brain Dead (2007), the latter containing nearly as many gratuitous female nudes (full-frontal, in most cases) as it does alien-parasite-spawned undead beasties. Whatever, dude — you want class, look elsewhere. These HoleHead selections embrace crass with pride.

Other notable picks in this year’s festival include the locally made Home World, an uneven if ambitious sci-fi tale that owes a debt to Battlestar Galactica; a revival of Roger Vadim’s 1968 Barbarella, Queen of the Galaxy (free entry for Jane Fonda look-alikes and other costumed attendees); The Machine Girl, about a one-handed Japanese schoolgirl who exacts tasty, gory revenge on the baddies who offed her family; and, just ’cause it’s Uwe Boll, ‘Nam drama The Tunnel Rats, potentially the first film he’ll direct that spawns a video game instead of vice versa. HoleHead kicks off with the Bai Ling-starring The Gene Generation (2007), followed by a party headlined by all-girl psychobilly quartet Thee Merry Widows.

ANOTHER HOLE IN THE HEAD

June 5–21, most shows $10.50

Roxie Film Center

3117 16th St, SF

www.sfindie.com

Opening night party with Thee Merry Widows, the Zooby Show, and the Undertaker and His Pals

Thurs/5, 9 p.m., $5 (free with HoleHead pass or ticket stub)

Annie’s Social Club

917 Folsom, SF

www.anniessocialclub.com

Migden, the Guardian, and Burton

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After taking heat for weeks after the Guardian failed to endorse Carole Migden, I approach her party with a bit of trepidation, particularly after seeing her trail both Mark Leno and Joe Nation in early returns. She is speaking when I arrive, saying her thank yous. “Thank you, thank you, thank you San Francisco,” she closes. Afterward I see one of her most prominent supporters, Senator Darrell Steinberg, the incoming president pro tem, whom I know a little from my Sacramento days.
“She’s been a great legislator and whatever happens tonight, she has everything to be proud of. I’m happy to stand with her,” Steinberg tells me. I catch the latest district numbers on the screen: Leno 37.2%, Migden 30.6%, Nation 32.2%, with 3.4% of precincts reporting. Soon, I bump into the most powerful backer of Migden’s legislative career, former Senator John Burton. Feeling a need to be forthright, I introduce myself and say clearly that I’m from the Bay Guardian.
“The Guardian must be overjoyed. She carried their water for 20 years and they fucked her when she needed them,” Burton bellows, asking me to make sure to pass his words on to publisher Bruce Brugmann, which I’m now doing.
Carole is a bit more magnanimous. She greets me with a hug. I tell her I’m sorry we couldn’t be with her, poise my notebook, and ask how she’s feeling about tonight. “I feel great and I have an enthusiastic crowd and I’m very proud of my years of service,” she says, nods at me, and turns away.

The fraudulent slate card

2

Just so it’s clear: The Bay Guardian doesn’t send out slate cards. We don’t do door hangers. We don’t produce campaign mail. Ever. Period.

But just about every election, somebody we endorsed, or some group that agrees with us, reprints the Guardian endorsements, makes fliers out of them and sends or hands them around. That’s fine with me — we’re happy to get the word out. And even if it weren’t fine with me, there’s not a whole lot I could do about it — our endorsements are public, and there’s nothing wrong with senidng around fliers saying the Guardian endorsed these candidates.

And in the 25 years I’ve been working here, I’ve never seen anyone try to do something sleazy like use the Guardian logo to promote a candidate we didn’t actually endorse. Until now.

I’ve just learned that there’s a slate card going around with our logo on it and an endorsement of Carole Migden for state Senate. That’s wrong. We didn’t endorse Migden. We went with Mark Leno. A lot of my progressive friends disagreed with that decision, and I respect their opinions. This was a tough one, and there are good people on both sides. And until today, I was pretty impressed with how both Migden and Leno had been trying to keep the focus on their own strengths, and instead of attacking each other have pointed out that the real danger here is the possibility that Joe Nation will wind up winning.

And then this.

I’ve gotten calls all afternoon about it. Voters are confused; they have a mailer saying we’ve endorsed Leno, and one that appears to say we’ve endorsed Migden. The language on the Migden card is written carefully, and if you read all the fine print, you can figure out that it never actually says the Guardian is backing Migden. But very few people read or get the fine points; they see a slate card with a Guardian logo and a picture of Migden, and they think we endorsed her.

That’s not right. Whatever you think of our endorsements, this is misleading. It’s a trick on the voters, using our name, and I don’t appreciate it.

I called Sup. Chris Daly, who was behind the card, tonight and told him how unhappy I was, and he said he didn’t care. “I’m unhappy, too,” he said. “You endorsed Mark Leno, who is not a progressive.”

Okay, we can argue that forever, but it’s not the point. It’s not cool to use the Guardian logo and (I hope) good name and reputation to confuse the voters.

Again, for anyhone who missed the point: We endorsed Mark Leno for state Senate. One of the reasons we made that decision is that we found Migden’s ethical conduct, particularly when it came to campaign money, highly suspect. We don’t like political sleaze. And this is just the kind of shit we hate to see in the progressive movement.

Our endorsements are here. Use this slate; it’s the real one.

Mayor uses Shipyard to announce budget, Monday

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It’s 4 PM on a Friday afternoon, that hour when most employees are counting the seconds to the weekend—and wishing that Monday morning wasn’t only 65 hours away.

But does the Mayor’s Office know what time it is?

And if so, why have we only just found out that Mayor Gavin Newsom is planning to make his Monday morning budget announcement, at 10: 30 am, June 2, at the Hunters Point Shipyard?

The announcement will be made at
View Larger Map“>606 Hunter’s Point Shipyard.
(Unless, Newsom is planning a repeat of his disappearing Olympic Torch stunt.)

The location happens to be the San Francisco Police Department’s Tactical Operations center. Press are being asked to present press credentials for entry.

Could it be that this announcement is being made at the very last minute because the choice of location gives Newsom the appearance of impropriety? Newsom backing Prop.G on the June 3 ballot, the measure that developer Lennar has spent over $3.5 million in an effort to grab even more of San Francisco’s waterfront real estate, adding highly desirable land at Candlestick Point to the shipyard’s wastelands, so it can develop even more luxury condos?

Or could it be because he didn’t want to tip of supporters of Prop. F, the competing measure on the June 3 ballot that requires that 50 percent of development in the Bayview is affordable to people who actually live there—households that tend to make $68,000 and under and can’t afford to buy $500,000 condos and million-dollar townhouses?

Whatever the reasons, the running dogs of the press weren’t the only ones left in the dark about the budget locale.

No one on the Board of Supervisors was informed until 4PM, Friday afternoon, either. That’s when a mayoral aide came by the office of Sup. Ross Mirkarimi, who sits on the Board’s Budget and Finance Committee, to deliver the news of this hitherto top secret location.

Normally, Board members get an invitation at least 10-14 days beforehand.

Mirkarimi calls the move “highly unorthodox and outrageous.”

“What’s really unforgivable is that we are facing the worst budget deficit in San Francisco’s history,” Mirkarimi said. “The Mayor needs to be fostering collaboration, and enlisting the support of everyone he can, especially those who have influence on the budget process. It’s unfortunate that the casualty in all this is our desire to work together.”

Big balls

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By Marianne Moore

My friend’s rich older boyfriend—well, rich relative to my friend, who makes her living pretending to be a fairy at birthday parties (Her fairy name is Ginger-Snap. We know it’s a stripper name. We’re over it.)—is taking her to the Black and White Ball on Saturday, and I’ve been drafted into shopping. We’re now faced with a pretty awkward question: what do normal people wear to the fancy-pantsiest occasion on the San Francisco calendar?

Other people must have faced this problem before. After all, tickets to the party are $200, not cheap by any means but still well within the reach of many modest-living San Franciscans. Maybe some are kept away by the event’s reputation; personally, even if I had $200 to throw around, I would be way too scared to go. Whatever the case, there’s no information out there about how to dress for the B & W if you’re not immensely rich. One thing we know for sure: the boyfriend, while he may be shelling out $400 for tickets, isn’t about to spring for a $10,000 gown. That leaves us to dress on a fairy’s budget.

I figure we have three options:
(1) try and find a cute discounted dress a la TJ Maxx,
(2) go completely casual, or
(3) go vintage.

truman capote.jpg

Hellarity burns

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› 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." *

Like butter

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› le_chicken_farmer@yahoo.com

CHEAP EATS I was eating eggs fried in butter and scratch biscuits made with butter and then slathered with butter, thinking about addiction, and how I don’t have an addictive personality.

I’m addicted to popcorn. But oddly enough, I don’t like butter on my popcorn. That’s how I know I’m not addicted to butter. Just popcorn.

The last time I saw my sweet, good, dear friend what’s-her-name, we were standing in her kitchen at 9 p.m. eating butter with spoons. It wasn’t just any butter. It was fresh-churned, European-style, organic, free-range, home-schooled hippie butter. And it was bringing me back.

See, I grew up on the stuff. My mom used to buy unhomogenized milk from our Amish neighbors, skim the cream off the top, and we kids would take turns cranking the churner and cursing our mother for being such a hippie-ass Amish wannabe.

Probably I complained the loudest. And without doubt I consumed the most butter. To me, butter never was a "spread" as much as a food group. We had this 100-percent whole wheat bread that was heaven hot out of the oven and then cooled into basically lumber. So there was a window of opportunity for bread and butter, and the rest of the time it was just butter. For me. Thanks.

But: I’m not an addict.

This week my mom turns 75. She doesn’t read me, but I’ll say it anyway: happy 3/4 of a stick, you goddamn hippie-ass Amish wannabe! Thank you for giving me butter. And thank you, dear sweet goddamn Juicy Toots, for respoiling me half-a-life later. Because frankly, even though I have spewed prose, poetry, and other art forms in praise of butter, I had kind of forgotten what it tasted like.

It tastes like clouds. Slightly sour, somewhat sweet, seriously salted cumulus clouds formed from the condensed tears of exiled angels, with annatto for coloring.

First I thought she churned it herself, and perhaps milked the cow that morning at some North Oakland happy hippie co-op creamery.

No, she said. She got it at the store.

I was astounded. I shop in stores. Like millions of Americans, I make my weekly grocery list on the back of some junk mail envelope, faithfully magnet it to my refrigerator, forget to bring it to the store with me, come home and stand before the refrigerator, with bags of sweating things around my feet reading my grocery list to see what I forgot, and never once have I forgotten to buy European-style, fresh-churned, cultured and salted butter that tastes like clouds.

I slept on Juicy Toots’ couch that night, with Juicy Toots’ cat, also named Juicy Toots, and I dreamed of slippery and saturated things. We had eaten butter for an appetizer, butter on bread with our spaghetti, and then butter again for dessert.

On my way home in the morning I stopped at the store, any store, listless as usual and with only one thing on my mind (although I’m not an addict). Yes, they had it! A couple different kinds of fancy-pants, top-shelf butter, ranging from like seven to eight bucks. No wonder I never saw it! My mind has a kind of barcode-scanning filter chip that doesn’t even allow me to see things that cost more than $2.89.

What I did: I bought a pint of heavy cream for $2.89, let it sit in the car for a few hours after I got home, cooled it in the fridge, poured it into a glass jar, shook it for 20 minutes until a big yellow lump formed, poured off the buttermilk for future pancake batter, rinsed the solid lump in cold water, pressed it dry, sprinkled it with salt, plopped it on a plate, and stood there looking at it and giggling. I had made my own butter.

You can too, dear reader, unless of course your time, unlike mine, is valuable. Twenty minutes of vigorous shaking, just to make butter? I know, I know. Gotta get to work. Gotta get to the gym and tone those arms, so they stop jiggling. Check it out: www.bunsofbutter.com


My new favorite restaurant is Uncle Willie’s BBQ & Fish, in downtown Oakland. Wings and fishes get fried, and ribs, chickens, and briskets go on the grill. The fried is pretty good, but the ribs are great. Very smoky, tender, and juicy. Whatever Willie’s dry-rubbing … it works. Of the sides I’ve tried, I loved the collard greens and corn bread. The red beans and rice are nothing special. Nice folks, great place. 2

UNCLE WILLIE’S BBQ & FISH

614 14th St., Oakl.

(510) 465-9200

Mon.–Sat., 11 a.m.–9 p.m.

No alcohol

MC/V

Big fat gay wedding announcement

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The California Supreme Court has announced that it will issue its long-awaited same sex marriage ruling tomorrow morning at 10 a.m., deciding whether the current ban is unconstitutional. City Attorney Dennis Herrera, whose office has been fighting for the right of LGBT couples to get hitched and whose website has extensive links to documents on the case, will host a press conference at noon to react to the ruling.
So far, nobody knows what to expect except the fact that whatever the ruling, it will be big, big, big news for San Francisco and the rest of the state. Stay tuned.

Sub Pop pops the cork on two decades with NW fest

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‘Member when you first heard Nirvana’s Bleach (1989)? ‘Member when you first spun 1986’s Sub Pop 100? Yeah, it was the ’80s, and college-alternative-indie-whatever-rock was a piping hot, tumescent, rich vein, ready to bedazzle. Still, the lil’ label from the Northwest, Sub Pop, stood out from the slew of worthies with its prescient picks from a roused, riled, and increasingly loud underground, a wise-acre attitude, and a forward-facing outlook on the state of the rock.

So gather round as the Seattle imprint celebrates its 20th anniversary – yeesh, it’s been that long – with a fine comp, Happy Birthday to Me: Terminal Sales Vol. 3 (including tunes by Mudhoney, Foals, Wolf Parade, No Age, Kelley Stoltz, Flight of the Conchords, and the Helio Sequence); a series of reissues begining with Mudhoney’s Superfuzz Bigmuff: Deluxe Edition (coming May 20); a limited relaunch of the lauded Sub Pop Singles Club; a July 11 comedy show with Eugene Mirman and Patton Oswalt; and a benefit fest, which runs July 12-13 at Marymoor Park outside Seattle in Redmond, Wash.

The Bay will be represented by Comets on Fire on a bill that includes Flight of the Conchords, Foals, Iron and Wine, Low, Pissed Jeans, Wolf Parade, and Ruby Suns. And those who remember the ’80s (and early ’90s) will be psyched to hear that such reunited grunge-meisters and rock hurlers as the Fluid, Green River, Beachwood Sparks, and Red Red Meat will also put in a few appearances. Yes, there will be a half-pipe.

For a $35 single-day or $60 two-day pass to the fest or a $20 ticket to the comedy calvacade, call (206) 628-0888 or go to the Ticketmaster site.

Kills thrill

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› Kimberly@sfbg.com

SONIC REDUCER "So … what kind of drugs inspired the record?"

"What kind of drugs?" Allison Mosshart of the Kills has to puzzle only briefly over that question. "Mmm … none. No, we didn’t take any drugs when we were writing the record. None. No, ate a lot of kale, drank a lot of coffee, made cocktails if we were getting bored, but no … "

Mosshart thinks I’m totally high. But I’m not: I’m just going ever so slightly deaf — thanks to all those Marshall stacks I’ve cozied up to over the years and those songs I can’t stop cranking to 13. And it doesn’t help that I’m feeling a wee bit hungover, and that the SF-UK phone connection this way-too-early Sunday morning is somewhat linty. So instead of hearing Mosshart sincerely explain that for the Kills’ latest album, Midnight Boom (Domino), she and bandmate Jamie Hince "didn’t listen to music, so we did things like read books, and watch documentaries, and cut out pictures from magazines, and type on typewriters, and take photographs, and do drawings," I semi-consciously absorb all of the above — as well as a tantalizing " … and do drugs." This is your brain on too many sidecars and Sazeracs.

That’s not Mosshart, though. "You know how when you’re trapped in a building and you don’t ever go outside for a long time?" she says of the CD’s recording. "It’s quite important that you don’t eat like shit so you don’t go mad."

Yet that inspired madness, the classic creative negativity of rock ‘n’ roll romanticism — the kind one might find in the nicotine rasps of Jennifer Herrema, hooked on the Stones as filtered through a jillion crappy boomboxes, or in the tattered valentines of Berlin-era Lou Reed, gloomed-out on jet-set trash — is just what the Kills seem to mainline. I witnessed as much at the sweaty, sizable hotbox of a Domino showcase at this year’s South by Southwest fest, where the pair entered silently and quickly, noisily conjured the outta-hand spirits that most definitely don’t virtuously devour kale or read good books. Hanging on to her mic stand like a lifeline in roiling waters, swaggering with a familiar rock pirate insouciance, and sporting big-cat spots like a lady who wanted less to drink from Keith Richards’ "Loving Cup" than to be the Glitter Twin himself, Mosshart sang, swayed, and spat. Her eyes were hidden behind midnight bangs, as if daring you to gaze at anything else.

So the vocalist-guitarist’s bare-faced honesty and earnest willingness to analyze the Kills’ work comes as a refreshing surprise. For instance, of the press literature that accompanied Midnight Boom, which pointed to Pizza Pizza Daddio, a 1967 documentary about inner-city kids and their playground songs, she complains good-naturedly: "I wish I could rip that press release up because every time I do an interview, every 15 minutes someone brings up that same thing." Mosshart and Hince merely identified with the "simplicity" of the subject matter, saw its similarity to what they were doing, and liked the juxtaposition of "these seven-year-old girls singing with these huge smiles on their faces, and the songs are really dark. They’re about murder and domestic violence and alcoholism."

More than anything, she says, they wanted a third album — which includes beats and additional production by Spank Rock producer Alex Epton — that "sounds like now. The other two records [2002’s Keep on Your Mean Side and 2005’s No Wow (both Domino)] are quite retro, y’know. The first one sounds a bit like a Velvet Underground record, and the second one sounds like a Suicide–Cabaret Voltaire kind of record."

So the Kills hunkered down at the Keyclub studio in Benton Harbor, Mich., far from the distractions of London where the twosome is based. After more than half a year and a getaway to Mexico, they came up with a clutch of songs they were satisfied with.

The scathing "Cheap and Cheerful" revolves around "just being honest with yourself and honest with other people despite hurting other people’s feelings and sometimes making a real big mess of things," Mosshart offers. "But not quite burying your emotions for the good of everybody all the time. Otherwise you’ll completely explode."

Most of the tunes were the pure product of collaboration. UK native Hince, whom the American-born Mosshart met in 2000, is "my best friend," she says. "He’s kind of like the most perfect creative partner I’ve ever had. There are no rules in this band. It’s not even a band — it’s this thing, whatever we do."

It’s something even tabloid attention — now that Hince has been linked to Kate Moss — can’t tear apart. "It’s a different world, isn’t it?" Mosshart says, sounding subdued. "It’s not my world, and it isn’t really Jamie’s world so … it’s nothing I, like, care too much about. I care about him being happy. That’s about it."

Supermodels or no, the Kills will continue to stoke the flames of that chemistry. How do they work themselves into that state? "We just get nervous, y’know," Mosshart says modestly. "There are so many ideas and so few of us. When I’m onstage, I’m, in a way, daydreaming and trying not to think about anything that’s really happening around me. Other than Jamie and not falling over."

THE KILLS

Sat/17, 9 p.m., $16

Slim’s

333 11th St., SF

www.slims-sf.com

BLOW BY BLOWFLY

BLOWFLY


OMG, the OG of dirty way before ODB. Anyone with the chutzpah to turn "What a Diff’rence a Day Makes" into "What a Difference a Lay Makes" can come play by me. Sat/17, 10 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

SKY SAXON AND THE SEEDS


Marin County garage-rock legend/lurker Sky (a.k.a. Sunlight, a.k.a. Dog) Saxon at the legendary punk palais? Don’t push too hard. With Powell St. John and the Aliens, Kreamy ‘Lectric Santa, and Saything. Sun/18, 5 p.m., $8. 924 Gilman Project, 924 Gilman, Berk. www.924gilman.org

CLINIC


Surgical scrubs on wry. The sly Liverpool quartet continue to keep "funk, celebration, and soft metal" alive with Do It! (Domino) — unbeknownst to Nike. Mon/19, 9 p.m., $17. Independent, 628 Divisadero, SF. www.theindependentsf.com

Renters fight back

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› gwschulz@sfbg.com

A stream of perturbed tenants living in buildings owned by one of the city’s largest landlords, CitiApartments, Inc., converged on City Hall May 12 to testify that in recent years the company has engaged in an alleged campaign of intimidation and harassment against residents living in rent-controlled units.

Attendees, many wearing stickers that read "Tenants standing together for fair treatment," quickly filled to capacity a committee room used by the Board of Supervisors before the overflow was moved to two other large rooms where televisions airing the meeting were situated.

CitiApartments turned out its own army of supporters in an attempt to offset the impression that it’s unpopular among renters in the city. Dozens of people who claimed to back the company’s business practices attended the meeting wearing shirts that stated, "I support CitiApartments."

But a volunteer with the Queer Youth Organizing Project and organizer against CitiApartments complained to the supervisors that the crowd of supporters had either been paid to attend the meeting or were employees of the company. Few CitiApartments supporters filled out comment cards or spoke publicly in defense of the company.

Some CitiApartments tenants said they endured months of lingering construction work that filled their buildings with debris and garbage after CitiApartments bought its buildings, the upheaval intentionally designed to drive them out in frustration and thus give up their stabilized rent rates.

Others said vulnerable tenants like undocumented immigrants and seniors were specially targeted with intimidation tactics by a private security group working for CitiApartments that appeared at their doors asking for personal information. Utilities were frequently shut off, tenants said, or elevators relied upon by the physically disabled were left inoperable for long periods of time, all part of a campaign to scare them away from their apartments.

"This is not simply about a bad landlord," tenant Debbie Nuñez, who lives in a Lower Nob Hill building purchased by CitiApartments in 2000, told the supervisors. "This is about a well-oiled machine."

Sup. Chris Daly sponsored the hearing by the board’s Land Use and Economic Development Committee to receive an update on the city attorney’s lawsuit against CitiApartments, a.k.a. Skyline Realty. He also wanted to discuss the company’s swift rate of property acquisitions in San Francisco and to hear testimony about mounting alleged building code violations at some of its buildings.

City Attorney Dennis Herrera sued the company and several of its subsidiaries in August 2006 alleging an "egregious pattern of unlawful and unfair business practices," and a "shocking panoply of corporate lawlessness, intimidation tactics, and retaliation against residents."

Five months prior, the Guardian published a three-part series of stories documenting claims by current and former CitiApartments tenants that they had been the victims of persistent, aggressive attempts to oust them from rent-controlled housing units. If such tenants vacate the apartments for whatever reason, CitiApartments can raise the rent on those units dramatically.

A recent report by the Legislative Analyst’s Office shows CitiApartments today owns nearly 300 properties here, which combined hold from 6,300 to 7,500 units and about 12,000 tenants.

Sup. Aaron Peskin, who sits on the committee with Sups. Gerardo Sandoval and Sophie Maxwell, said at the meeting that his office receives a complaint once a week or at least every 10 days about CitiApartments, a figure that has increased over the last three years.

"I don’t recall ever hearing complaints about Trinity Properties in the city," Peskin said. "They own 6,000 units."

Daly pointed to a May 9 New York Times article that reported on the rising phenomenon of "predatory equity," in which private investment funds bankroll the acquisition of a large number of rent-controlled apartments in New York anticipating higher-than-usual vacancy rates. But tenant advocates say achieving such rates requires a concerted effort, either through offering one-time buyouts, finding nuances in the law that allow for an eviction, or harassing tenants until they grow exasperated and leave.

The significantly higher revenue generated from market-rate rental prices then enable building buyers there to repay the equity firms that gave them the huge loans to buy the properties in the first place. Daly wants to find out if CitiApartments is deploying a similar "business model" in San Francisco.

According to the Times piece, developers backed by private equity firms have purchased nearly 75,000 rent-controlled units over the last four years in New York. One company that bought a group of buildings in Queens subsequently filed around 1,000 cases against tenants in housing court during an 18-month period.

A lawyer for CitiApartments, Tara Condon, promised the committee members that the company would investigate the complaints made by tenants at the May 12 meeting. She added that the company increases tax revenue for the city when it improves the conditions and appearances of buildings it purchases. She also declared that the company makes local charitable contributions and has reached out to financially troubled tenants.

"We are a business, but we try to work with [the tenants,]" Condon said. "We want to make sure they can stay in their apartments."

One former tenant, Donna O’Brien, testified that CitiApartments helped her and her husband find a more affordable apartment after the company bought a previous building she lived in at 516 Ellis St. last year. She said CitiApartments also paid for her moving expenses. "Quite honestly, CitiApartments has been very good to us."

The real energy-policy choice

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EDITORIAL According to City Attorney Dennis Herrera, if San Francisco wants to see the Potrero Hill power plant, which spews pollution over the southeast part of the city, close down next year, the city’s going to have to operate its own fossil fuel plants in the neighborhood. Some environmentalists say that’s not true — that the city could develop enough renewable energy and use existing backup systems to obviate the need for the so-called peaker plants.

Opposition to the plants comes from the Sierra Club, Supervisors Chris Daly and Ross Mirkarimi — and Pacific Gas and Electric Co.

Even for people who spend an inordinate amount of time studying energy policy, it’s a confusing mess of a situation — and San Francisco, of all cities, shouldn’t have to be facing it.

The peaker dilemma exists for a reason: San Francisco has allowed private-sector companies like PG&E and Mirant, which owns the existing Potrero plant, to control the city’s energy systems. The good news is that the fight over the power plants is driving a new move for public power — a move that ought to bring together the public interest activists on both sides of the plant divide.

Sups. Ross Mirkarimi, a peaker foe, and Aaron Peskin, a peaker supporter, plan to introduce a Charter Amendment mandating that the city’s Public Utilities Commission create a plan to establish a retail power agency in San Francisco. The amendment would provide the badly needed kick start to get city officials to act on San Francisco’s historic mandate for a municipal electricity system.

Peskin and Mirkarimi may not agree on the three peaker plants the PUC wants to site at the foot of Potrero Hill, but they do agree that PG&E is up to no good here. The giant private utility desperately wants to keep the city from developing its own electric power plants: the city peakers would be competition for PG&E and would open the door for the city to get more directly into the electricity business. Although the fliers put out by the "Close It Coalition," funded by PG&E, talk about environmental issues, that’s just old-fashioned greenwashing. PG&E is building similar combustion turbine gas-fueled generators all over the state.

Why should this be the city’s only choice?

If there’s going to be a fight over energy policy in San Francisco, it ought to focus on the real long-term questions: Who should control the local grid, and the future supply of electricity, and the decision over how much of the local portfolio should be in renewable resources? Should PG&E continue to hold that power, or should the city take it over?

The movement for public power is exploding all over California. In Marin County, a group called Marin Clean Energy is mounting a sophisticated campaign for a community-controlled power agency that would use 100 percent renewable power. The South San Joaquin County Irrigation District is trying aggressively, against a full-scale PG&E political assault, to buy out PG&E’s distribution facilities and create a new public power system. Stockton is looking at becoming a public power city.

San Francisco is pursuing CCA, but needs to do much more. This is, after all, the only city in the nation that has a mandate under federal law to sell retail electricity.

If the city had created a public power agency years ago, the peakers wouldn’t be an issue. San Francisco would have been able to develop more extensive renewable power sources, create a long-term energy plan, and concentrate on shutting down fossil fuel plants instead of building them.

But whatever the outcome of that fight, it’s time to think about the future — and the future is community-owned energy programs. That’s the choice that ought to be on the ballot in November.

PS: Stop the presses — has Newsom buckled to PG&E? The mayor at the last minute May 13 has orchestrated a delay in the peaker vote — at the behest, we hear, of PG&E, which is begging the mayor to do anything to stop public power. Now he wants to retrofit the Mirant plant. That’s an unacceptable option and needs to be rejected.

PG&E offers Newsom a blank check

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Gavin Newsom is a mayor who hates to make the tough decisions, and the proposal for three new power plants in Southeast San Francisco is his worst nightmare.

Newsom’s own Public Utilities Commission is pushing the plan, and he’s backed it in the past. Environmentalists are making a stink about it, and that’s caused the mayor-who-wuold-be-green some headaches.

But the major reason he suddenly decided to ask for a delay in the power-plant vote may have nothing to do with environmental issues at all.

Seven lobbyists for Pacific Gas and Electric, led by Travis Kiyota, visited the mayor May 5th and told him that the giant utility would spend whatever it takes to stop the peakers, a reliable City Hall source tells me. Attending the meeting were Sup. Michela Alioto-Pier and PUC commissioner Dick Sklar, the source said.

According to this source’s account, PG&E offered to pay for more power cables into the city, for an expensive demand-management program … for just about anything that would prevent San Francisco from owning its own power plants.

I couldn’t reach either Sklar or Alioto-Pier this afternoon. But Nathan Ballard, the mayor’s press secretary, confirmed that the meeting took place:

On Monday, May 5, PG&E participated in a meeting to provide substantive
expertise in the areas of energy efficiency, demand response and power
generation and transmission. Along with staff from the Mayor’s Office,
Board of Supervisors, San Francisco Public Utilities Commission, Department
of Environment, the Office of Economic and Workforce Development, CA Public
Utilities Commission (CAPUC), and the National Resources Defense Council
(NRDC), we were able to engage some of the most creative and knowledgeable
experts in the room together as we work to identify alternatives to the
current action plan.

Ballard also said that retrofitting the Mirant plant — leaving the big privately owned polluter in place — was “one of the options on the table.”

As far as I can tell, there were no public-power advocates in the meeting.

So PG&E is still driving energy policy in the Mayor’s Office. How nice.

Oktoberfest in May: Tourist Club returns?

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By Justin Juul

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The Tourist Club , an authentic German beer garden at the end of a mile-long unmarked trail in the Muir Woods, is probably one of the coolest places in the entire Bay Area. It’s one of those spots you take out-of-town friends when you want to impress them with how awesome you’ve become since up and leaving whatever shithole town they’re still rotting in. It’s exclusive, hidden, and stunningly beautiful. Plus, there’s beer!

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The only thing is, the place has been closed for the past six months and it doesn’t look like it’s opening anytime soon. It’s sad, really. I mean think of all the hipsters who’ve made the mile-long hike this Spring only to discover the club’s rude sign: Closed To The Public Until Further Notice. Think of all the disappointment. Think of all the cool points suddenly turned lame. But there’s hope.

Word on the street (and on The Tourist Club’s new website — exclusively for site members) is that the German’s will be opening their doors for a one-time bash, called Maifest, on May 18th. Maifest is an annual celebration of German heritage, beer, and sausage. Just like Oktoberfest. But in May! Awesome.

$20-$25
The Tourist Club (AKA The Hidden German Beer Garden AKA The Nature Friends Club)
30 Ridge Ave, Mill Valley.
(415) 388-9987
www.touristclubsf.org