Whatever

Migden sues the FPPC

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› jesse@sfbg.com

Barack Obama and Hillary Clinton aren’t the only Democrats beating each other up this campaign season. The race for California’s third senate district has turned into a nasty three-way donnybrook, with incumbent Carole Migden fighting for her political life against San Francisco Assemblymember Mark Leno and former North Bay Assemblymember Joe Nation.

Now, to save her campaign from possible financial ruin, Migden has taken on yet another adversary: state campaign finance regulators.

On March 3, in a stunning move, Migden filed a lawsuit in federal court against the Fair Political Practices Commission, challenging its decision to strip her of nearly $1 million in campaign funds. A hearing is scheduled for April 1.

If Migden loses, it could leave her with very little money to spend in the heat of an expensive primary battle — a situation that might seriously hurt her chances for reelection.

"This lawsuit is very unusual," government scholar and former FPPC general counsel Bob Stern told the Guardian. "I can’t remember the last time a legislator sued the FPPC. Usually it’s the other way around."

Last October, after several months of investigation, the FPPC barred Migden from accessing $997,340.28 in her reelection accounts. She had transferred the cash to her current campaign from an account dating back to her days in the State Assembly. California’s "surplus funds" law, which Migden’s suit seeks to overturn, says public officials running for a new office must move old campaign funds into new accounts before they leave their original office. Migden did not move the money until October 2006, four years after she left the assembly.

After it was filed in the federal court for the Eastern District of California, the senator’s lawsuit provoked an angry response from the commission’s chair, Ross Johnson. In a statement, he said Migden was attempting to "bully" and "distract" the FPPC. Johnson, who pledged to "enforce the law," also asserted that Migden had already spent "nearly $400,000" from her assembly campaign. That could mean big trouble for the senator: by law, she might be liable for up to three times that amount in penalties, as well as additional fines. In recent weeks, FPPC commissioners have met several times in closed session to discuss an unnamed matter that many observers guessed was her case.

Last week, the commissioners met in secret again — and after they adjourned, they disclosed that they were in fact consulting with their attorneys about Migden. Given their actions both before and after the senator filed her suit, the buzz around Sacramento was that it was only a matter of time before the regulators started formal proceedings against her.

By beating them to the punch and challenging the law in the federal system, Migden may be trying to head off disaster. Polls show her currently running third behind Nation and Leno. In such a tight race, a large fine would cripple her campaign. And even if the FPPC didn’t choose to fine her, she still desperately needs the cash that they forbade her from spending — not just for the election, but also for a slough of legal expenses she’s racked up defending herself against regulators. As the text of her lawsuit states, her lost assembly funds, "could well make the difference in the June primary election."

Migden’s lawyer, James Harrison, called her campaign’s failure to properly transfer the money from her assembly accounts "a technical glitch" caused by a volunteer staffer. Why the senator would trust a volunteer to make sure such a huge sum of money was moved legally from one account to another has people in and around the capital scratching their heads.

"It’s mind-boggling to me," Stern said. "This is an awful lot of money to entrust to a volunteer. How long has she been in the Legislature?"

Migden told us by phone that at the end of 2006, after she was fined nearly $100,000 for other violations by the FPPC, she initiated a "top-to-bottom audit" of her finances. During the audit, she said, "We discovered that we had problems that exceeded the [abilities] of volunteer staff, so we brought in experts." Migden herself is now listed as the treasurer of her reelection campaign committee as well as her legal defense fund. But these staffing changes, she said, came after the assembly money had been transferred.

Whether or not the faulty funds transfer was caused by an innocent mistake, Migden is taking huge political as well as legal risks by challenging state law in federal court. Her lawsuit cites a controversial 1976 Supreme Court case, Buckley v. Valeo, which holds that the First Amendment’s right to free speech protects political campaign expenditures. That decision has been used by many — mostly conservative — opponents of campaign finance reform. In other words, Migden, a liberal lawmaker in one of the most liberal districts in the state, finds herself arguing from a conservative viewpoint against a key campaign finance law. Moreover, Migden publicly supported a 2000 ballot initiative, Proposition 34, which reaffirmed the surplus funds statute — the very law she now says is unconstitutional.

Reached by phone, her opponent Leno pounced on Migden’s apparent flip-flop on the law she is now challenging. "She never suggested that the [surplus funds] law was unconstitutional prior to breaking it. I wasn’t aware that as citizens or lawmakers, we got to pick and choose which laws we follow."

Migden would not address the matter of Proposition 34 with us. "The funds ought to be available to communicate with voters," she argued. "It’s a constitutional protection … whatever we did was lawful, we believe, and therefore we’re asking for a court decision."

For Stern, Migden’s gambit shows that she has nothing left to lose anymore. "It’s obvious that she needs this money desperately because [the lawsuit is] not good press…. She’s probably not going to win [in court], but there’s so much at stake, I can understand why she’s doing it."

Clinton, Obama and affirmative action

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Does anyone really believe that Geraldine Ferraro was speaking only for herself, and not for the Clinton campaign, when she went after Barack Obama? Because I don’t.

I’ve been watching how the Clintons work for years. They do what it takes – sometimes, whatever it takes – to win. That doesn’t mean Hillary would be a terrible president, and if she wins the nomination, I will happily and proudly vote for her. I like her health-care plan better than Obama’s, and I think having someone in the White House who is tough and fierce and knows how to fight in the streets with the worst of the political hacks is not entirely a bad thing.

But let’s be honest here: This was carefully, and brilliantly, orchestrated.

Ferraro is a veteran politician, and she knows how presidential campaigns work. She knows that you don’t make comments about something as sensitive as race without checking with headquarters. She’d be a fool – and she isn’t a fool – to just blurt that out.

Think about what she did from a political perspective. The key battle now is Pennsylvania, a state with a mixed demographic. Obama will win Philadelphia, with its large African-American population and sizable numbers of students and liberal white people. But there are plenty of more conservative, suburban and working-class areas – and in some of those places, there are no doubt people who are unhappy about affirmative action.

And that’s who Ferrero’s comments were aimed at – the angry white people who want to blame their problems on black people.

Her message was pretty simple, when you get right down to it: Obama got an unfair advantage over a white person (Clinton) because he’s black. She may not have said it in so many words, but in the areas where the Clinton polling shows she can exploit that sort of fear and resentment, people will get the point right away.

Naturally, Clinton could never say anything like that (any more than Obama could say that his opponent was a “monster” who would do anything to win). But both candidates wanted that message out, and in both cases, sophisticated surrogates put it out, then fell on the sword and resigned for the team.

I know this sounds incredibly cynical, but this is how the game is played at this level.

Fresh sips

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› culture@sfbg.com

Spring is positively bursting with wacky holidays. Arbor Day? April Fool’s Day? Patriot’s Day? How the heck are you supposed to celebrate those with a cocktail or two? Figuring out what drink to pair with which spring holiday can become an overwhelming ordeal. Sure, the first few are easy: St. Patrick’s Day and green beer, Passover and four glasses of kosher wine. But what about the others? After a careful and tipsy review, I’ve paired some of my favorite local cocktails with these unusual days of celebration.

Rusty Robot Of all the major Christian holidays, Palm Sunday seems the least alcoholically celebrated, even though feasting is the order of the day. Why not figure in a Rusty Robot from Homestead? A combination of Wild Turkey, Tuaca, lemon, and bitters, it’s perfect for vigorous consumption. The lemon flavor is as wild as the Turkey, but the drink achieves a simplicity missing from most cocktails — the tastes don’t just augment one another; they smack together, almost like two palms. Get it? Homestead, 2301 Folsom, SF; (415) 282-4663.

Green Man Tea Just as we’re getting over our green St. Paddy’s Day hangover, we’re immediately hit with St. Joseph’s Day on March 19 — or more familiarly, the day the swallows return to Mission San Juan Capistrano. Bird lovers across California, rejoice! But with what? I encourage you to stick to something green-related, like Green Man Tea at Nihon Whisky Lounge; your system may not yet be ready for other colors. Made with lime and pineapple juices, green tea liquor, and single malt Scotch, this drink brings together two distinctly different flavors — the Scotch’s smokiness and the other ingredients’ fruity tang — to take delicious flight. Nihon Whisky Lounge, 1779 Folsom, SF; (415) 552-4400, www.nihon-sf.com.

Vieux Carre How do you raise a glass to a good April’s Fools Day prank? Since only rush-hour radio hosts and nine-year-olds actually carry out pranks, you probably don’t. So relax, there’s no need to fuss over this "holiday." Instead, take the time to savor a fine local drink. The Vieux Carre is a version of a classic New Orleans cocktail with its amalgam of rye, cognac, and sweet vermouth. It tastes more like Manhattan in 3-D, however, than it does an Old-Fashioned, Sazerac, or Sidecar — a high-powered, cheek-parching blast. Alembic, 1725 Haight, SF; (415) 666-0822, www.alembicbar.com

Take Your Pick Few outside Massachusetts, Maine, or Wisconsin celebrate Patriot’s Day, which falls on the first Monday in April. But it’s a great excuse to patriotically hoist one. Head to Dimples on Post and order whatever. The mirrored-out decor and neon light overload is so dazzling that your cocktail choice won’t matter — it’ll be like an early Fourth of July, but indoors. Go, USA! Dimples, 1700 Post, SF; (415) 775-6688.

Blue Tokyo Come Earth Day, the Blue Tokyo at Festa Wine and Cocktails should be the perfect drink to remind you that our island cities will soon be submerged, once the sea levels rise high enough. An unfussy mix of vodka, pineapple, and Curaçao amid Festa’s menu of ostentatious pear cosmos and pomegranate martinis, the drink is a useful aid to celebration — it’s almost a frat house cocktail in its simplicity. It wouldn’t jive at most bars, but at this kitschy lounge overlooking Webster — complete with fake skyline behind the karaoke stage — it works perfectly. Festa Wine and Cocktails, 1581 Webster, suite 207, (415) 567-5866.

Bohemian Forget the corporate beer and margarita mix branding that’s attached itself to Cinco de Mayo. Do something different, dammit, and head to Blondie’s Bar and No Grill in the Mission for a Bohemian. Along the same taste lines as, but more full-bodied than, a Cosmo, this well-balanced drink contains a generous dose of 151, so you can feel sunny and in sync with Cinco. Blondie’s Bar and No Grill, 540 Valencia, SF; (415) 864-2419, www.blondiesbar.com.

Sangre Amado Few complicated cocktails are as rooted in earthy flavor as the Sangre Amado, and no place in town makes it better than Catalyst Cocktails. After a fulfilling, tree-hugging Arbor Day, cozy up with this drink made with either vodka or gin, rosehips-hibiscus syrup, grapefruit juice, and fresh strawberries. For all its contents, the concoction is far from overwhelming, and it easily plants the seeds for another round. Catalyst Cocktails, 312 Harriet, SF; (415) 621-1722, www.catalystcocktails.com

Dark and Stormy Despite its name, this semiclassic cocktail — which gets its best treatment at Koko Cocktails — is the perfect way to kick off Memorial Day weekend and ease into the summer season. The taste brings to mind yachting through the Caribbean, which is why I hope the name is ironic. A smooth mix that falls halfway between a mojito and a whiskey ginger, this bevvie consists of ginger beer, lime, and a mild rum that makes it soar. KoKo Cocktails, 1060 Geary, SF; (415) 885-4788

Craft fare

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› le_chicken_farmer@yahoo.com

CHEAP EATS There was this crafts fair at one of our bars, and Sockywonk said she knew a guy who was giving away waffles. "Crafts fair?" I said, picturing clothes, jewelry, and purses, but not waffles.

Yeah, she said. He’d figured out a way to get waffle batter into an aerosol can, like Reddy-Wip, and he was promoting his brilliant invention by feeding all the craft fairies for free.

I loved Sockywonk for knowing such a thing. But after a sporty morning, I had me a good sticky, stinky sweat on and was mostly interested in her bathtub. We were going to a potluck at another bar later in the afternoon. I still had my soccer socks on.

"Well … " I said.

"Waffles!" she said, and what could I say? I had to agree with her 100 percent, once she put it like that. Waffles! Free ones, at that, and I was hungry and only had exactly $1.15.

"Waffles!" I said. And I changed my socks, borrowed a shirt, and found all sorts of things in Sockywonk’s bathroom to rub and spray on myself in lieu of a waterier bath.

At the end of the block we joined forces with Natty King Coal, the oatmeal pusher, and his charming bag lady–enforcer (and my personal hero) Little Orphan-Maker Annie, who was on crutches due to a grisly roller derby smash-up. She hadn’t been out of the house in months. I’m not kidding.

Annie had a crazed and wonderful look in her eye, like Give Me Blood, or syrup, or bargains. She also had a handicapped-parking thingy, so we drove to the bar even though it was within walking distance — or would have been, without pins and rods and crushed bones and so forth.

"What’s that smell?" Natty King said once all the car doors were closed.

"Do you mean ‘What are those smells?’" I said. "They represent a delicate yet complicated blending of the usual — sweat, smoke, and chicken shit — with the unusual: whatever the hell Socky keeps on the shelf in her bathroom."

Sockywonk works at a girly, soapy bath, spray, and general smell shop called Common Scents, and that was pretty much what I smelled like, like the entire store, Common Scents, on 24th Street. Plus sweat and smoke and of course chicken shit.

"I like it," the Orphan-Maker said, turning in her seat and smiling. Christ, she’s so sweet. And that was the end of that discussion.

At the crapshoot, or crafts fair, Sockywonk left less $40, the Orphan-Maker dropped two great T-shirts’ worth, plus the $20 she spotted the Wonk for even more cool stuff. Natty King, who knows how to treat his girls, bless him, went down whatever-the-worth of three bags of hot-sauced mango from a sidewalk vendor. Yum! And I, your chicken farmer truly, walked away with exactly $1.15, plus Aunt Jemima stains all over my borrowed shirt. Syrup. Sorry, Socky.

The verdict on aerosol-can waffle and pancake batter?

Yeah. Whatever. No, I mean, it was free, and it was delicious. But being a person who loves to cook, and who loves to spend as much time as possible doing the things that I love to do, like cooking, why in the world would I ever in the world squeeze waffle batter out of a can? And then blow time looking out the window that I could have more wisely spent separating egg whites and hand-whisking until they hold soft peaks?

No kidding, I make three meals a day. I want to have my hands in the food, and my arms, teeth, and tongue when appropriate. Like sex, I actually want it to take as long as possible. And dirty all the dishes. (I’ll do ’em in the morning.) You’re in a hurry, I know. You have a job. Check it out: batterblaster.com. Me, I’ll keep doing what I do … stirring constantly.

——————————–

My new favorite restaurant is Pretty Lady, a divine dive in West Oakland. Me and Deevee both ordered fried egg sandwiches, because we only had $10 between us, and all of it was hers. She laughed at me for ordering my sandwich eggs over easy, and I laughed last when my first bite squirted egg yolk all over my shirt and pants and the place. Which I really and truly love, did I mention? Nothing but counter, U-shaped for easier people-watching/eavesdropping. Saw a good-looking salad and stir-fry down the counter, so … stay for lunch.

PRETTY LADY

1733 Peralta, Oakl.

(510) 832-1213

Mon.–Sat., 7 a.m.–3:30 p.m.

No alcohol

Credit cards not accepted

Secret crush

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By Andrea Nemerson


› andrea@altsexcolumn.com

Dear Andrea:

I’m having the best sex of my life, but when I’m having a good time — which is often — my PC muscles have minds of their own and they get enthusiastic. I know I’ve got strong PC muscles because the last time I went to Doc Stirrup she told me to squeeze and then said, "Whoa." The end result is that I inflicted one doozy of a bruise on my poor guy’s junk.

He’s being a sport about it and says he doesn’t mind, but I know it hurts him afterwards and I’d rather not strangle my man.
Any advice?

Love,

Supergirl

Dear Girl:

I think we’d all rather you not cause permanent damage, physical or psychic, to your sweet baboo’s manhood (also either physical or psychic, come to think of it), and I do think I can help, although I understand that you are a woman to be reckoned with and he probably shouldn’t take anything for granted. (Note: I know the writer slightly, and nobody would mistake her for anything less than a force of nature, although obviously I had no idea just how much of a force. Bruising! Really.)

Now here’s the thing: the whole deal with yer basic dentata muscles is that they do operate via conscious control, so even though you’d rather be all transported and let your eyes roll back in your head and all that, you’ll need to think, really think, about relaxing those muscles while you’re at it, exactly the way those with less-toned bits have to concentrate on contracting them. In fact, perhaps it’s best to look at this entire problem backward, if you will.

While your (boyfriend’s) problem is not unheard of — one can, for instance, rapidly lose all feeling in one’s hand after inserting it up to the wrist in the terrifyingly well-toned interior of a Kegel-exercise enthusiast — the opposite complaint is far more common. When a woman can’t feel much upon intromission, or her male partner finds himself diligently thrusting away but has to keep reminding himself that he isn’t just pumping blindly into thin air, then it’s time for some Kegeling and some applied mindfulness. I suggest that you practice not contracting your pelvic muscles when excited, either with his help (warning: this exercise is not particularly erotic), or alone, or both ways. Women trying to get their muscles under conscious control can buy something such as a "Kegelsizer" or "vaginal barbell," even. These are rather lovely, smooth, heavy devices of stainless steel or similar, and one practices holding onto the larger, more bulbous end and progresses to the smaller, at which point one may also be able to project ping-pong balls across the barroom or smoke a cigarette in an unexpected manner. (But of course you’re not interested in such circus tricks. You’re not, right?)

I am quite sure that you could employ such exercises in the pursuit of less instead of more, since it’s less reflexive clenching you’re after, not less muscle. Just do be careful not to accidentally ultratone yourself. You could break something.

There are also, of course, tips and tricks for genital-size-discordant couples that could be brought into play here — in reverse. Women who want more friction for themselves and/or their partners keep their legs close together, so do the opposite. The famous but not-for-amateurs modified missionary position where the woman lies supine and the man straddles her legs, keeping them clamped between his manly thighs lest they dare to make a break for it, is another obvious no-no. The one with your feet up around his ears while he clutches your hips? Don’t do that. Also, all those tricks for better alignment (hip-tilt pillows and whatnot) are meant for G-spot (internal clitoral) stimulation, but that is accomplished partly by just making things tighter in there, so they’re contraindicated too. I’d also throw in whatever you yourselves do in pursuit of greater sensation, since in intercourse sensation is linked to tightness, which is linked to friction, and quit doing (briefly, we hope) whatever you were doing when you caused the bruising. Remember, we’re in Bizarro World here, so whatever feels especially intense is on the "quit it" list, at least until you get those Supergirl muscles under control. And in the interest of equal time for opposing cartoons, stop eating spinach.

Now, let’s consider lube. Lube is tricky, since it actually decreases friction yet improves sexual sensation, making a lie of what I said above about friction, but never mind that. Yes, I tell people who aren’t feeling enough to try more lube, and yes, I tell people who are feeling too much to try more lube. What the heck, it’s cheap.

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.

Freedom of Information: Battleship metadata

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› sarah@sfbg.com

On Valentine’s Day, Assemblymember Jose Solorio (D-Santa Ana) introduced Assembly Bill 1978, legislation that seeks to define computer mapping systems and make them available to commercial interests at a fee — a one-two punch that freedom of information advocates fear constitutes a serious blow to the California Public Records Act.

Noting that computer mapping systems, computer programs, and computer graphic systems do not constitute public records under current law, Solorio’s bill seeks to amend the CPRA to define computer mapping systems to include "assembled model data, metadata, and listings of metadata, regardless of medium, and tools by which computer mapping systems are created, stored, and retrieved."

AB 1978 would also allow "commercial interests, who are most benefited by these systems, to obtain the portion of these systems developed by a public agency, at a fee designed to offset the agency’s cost of maintenance for the computer mapping systems."

But Oakland-based Bruce Joffe, who works as a geographic information consultant to cities, counties, and state agencies in California, warns that AB 1978 would allow public agencies to charge the public more for this data than the cost of duplication.

"It would severely weaken the CPRA and reduce the public’s access to government records," said Joffe, noting that as the law currently stands, CPRA requires state and local agencies to make their records available and, upon request, to provide copies on payment of any applicable fee.

Solorio aide Hazel Miranda told the Guardian that the intent of the bill is to protect software, not to restrict access to information.

"Our intent is to protect the software, not to restrict the information that is given out on it," Miranda said, noting that the bill’s sponsor is the government of Orange County. "The concern was that a lot of corporations were taking this information — and when the information is given out, you have to give out the software, too — and using it to their own benefit."

Joffe, who was the California First Amendment Coalition’s technical advisor when CFAC successfully sued Santa Clara County over access to the county’s tax maps, disagrees.

"When you give information out, you are not giving out software, you are giving out data in export format," said Joffe, who believes Solorio wants to change the law so that AB 1978’s sponsor, Orange County, which has sold its tax maps for $400,000 in the past, can continue to sell its data.

Holly Fraumeni, the AB 1978 lobbyist with the well-connected firm Putf8um Advisors, deferred questions to Bruce Matthias of Orange County’s legislative affairs, who told us, "The County of Orange has never disagreed on sharing public data. We are not trying to hide data down here. If you want it on a disk, we charge 25 cents. All we are doing is updating language in the bill. Our exclusive intent is to protect the software we’ve developed." Records show Orange County paid Putf8um Advisors $60,000 between October 1 and December 31, 2007.

CFAC executive director Peter Scheer believes AB 1978 is an attempt to take the information that CFAC has tried to make freely available and put it back under lock and key, so that it is proprietary information that can be sold.

Recalling how, years ago, the only way you could see a county’s tax maps was as an engineer’s rendering on paper, Scheer observed that when this data is computerized and made publicly available, "individuals and businesses can create all kinds of valuable tools or simply post the raw data on the Internet."

Blair Adams, chief consulting officer at San Francisco’s Department of Technology and Information Services, says the city’s GIS data has been publicly available for five years.

"We have no intent to change that," Adams said. "Our motto is ‘Go have it, and help us make it better.’<0x2009>"

But while San Francisco treats this data as a public record and copies it for the price of a blank DVD, Santa Clara and Orange counties have treated it as a revenue generator.

"They charge an arm and a leg, and another arm and leg, and whatever other appendages they can think of," said Scheer, noting that Santa Clara County charges $100,000 for a full base map of its real estate parcels — data that can be used to determine whether properties are assessed correctly, and whether pothole repairs are carried out equitably.

"Likely clients willing to purchase this data would be utilities, phone companies, and developers, who can’t do without it," Scheer said. "But public health and safety departments need access to it, too."

Joffe agrees, and it’s something he has plenty of experience with. He helps cities and counties create geographic information systems that allow ambulances to take the most efficient routes, the Department of Public Works to carry out better capital improvements, and the police to conduct better crime analysis.

"Every department uses it, and because it’s in the government system, therefore it is a public record, and the public has the right to access those records at no more cost than it takes to duplicate them," Joffe said. He added, "If AB 1978 passes, we’ll lose considerable access."

>

Editor’s Notes

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› tredmond@sfbg.com

The week that the San Francisco Unified School District sent out preliminary layoff notices to 535 teachers, the New York Times Magazine devoted much of its special money issue to educational philanthropy. It’s a vicious kind of irony.

The United States heads into a deep recession, but for a new generation of multibillionaires, it’s another gilded age. Fortunes built over the past 15 years or so put the likes of Carnegie and Rockefeller to shame, and as the guys from Google recently proved, it’s still going on.

And the tax laws are more favorable to the rich than they have been at any time since the 1920s, so less and less of that greater and greater concentration of wealth is available for public priorities such as education.

But that’s OK, the Times says: Bill and Melinda Gates are giving a lot of money to schools. Something like $350 million a year. Wow! That’s enough to make up for maybe 10 percent of the current cuts to school districts in just the state of California. Thanks, Bill.

I don’t think anyone with the last name of Gates or Buffet reads the Guardian every week, but I bet a copy or two makes its way down the Peninsula to the Googleplex and maybe Oracle headquarters, so I’d like to make a suggestion here to the very rich.

You want to make a difference with your philanthropy? Well, you could start by funding a massive educational campaign to convince Californians that public education works and is valuable, then underwrite a ballot initiative to raise income taxes on people like yourselves. That would do more good, for more kids, for more years into the future than any amount of grantmaking on planet Earth.

But maybe that’s asking too much. Maybe that’s not measurable or accountable enough. Maybe you can’t put the test scores on a computer graph and track the day-to-day impact or your investment the way you can track your stock prices.

So let’s try something else. Maybe you could save one school district.

That’s right: one school district. A big one. Somewhere in urban America. I’d suggest the San Francisco Unified School District in the great state of California, but I’m biased. Just pick a district where the public money falls far short of the educational needs that also has a credible, competent elected school board running things.

And instead of setting up charter schools or building new gyms or concert halls with your name on them, put a big chunk of money — say, $3 billion — in a trust fund that would generate a few hundred million a year, forever. And then let the local school board spend it.

Sure, you’ll get some corruption. Sure, some of the money will be wasted on stupid pet projects or dumb ideas. But that’s going to happen whatever you do. And I would argue that right now, if the San Francisco schools got an additional $300 million a year, no strings attached, on top of the existing state funding, the public schools would improve radically, a generation of kids would be far better prepared for life, the achievement gap would close up a good bit, and there would be quantifiable, measurable progress on every possible metric.

And suddenly, maybe even the tax-averse people of California would realize that well-funded schools are worth paying for.

Sergei? Larry? Anyone?

SFIAAFF: Manila: the drama

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› johnny@sfbg.com

Over roughly the past year, Brillante Mendoza has brought a pair of films to festivals that pack a particular one-two punch when they are programmed to play at the same event. Foster Child first bears witness to the final day that caretaker Thelma Maglangqui (superb veteran actress Cherry Pie Picache) mothers three-or-four-year-old mestizo John-John (Kier Segundo), and as sunlight gives way to night, it follows her from a Manila slum into the ostentatious hotel where she passes him over to wealthy white foster parents from San Francisco. Slingshot also uses a real-time conceit, but in an entirely different manner — locked within the mazelike alleys and shanties of Manila’s Mandaluyong City, it foregoes long takes and methodical passages to careen as if the camera were a baton passed from one preoccupied, panicky person to another. Or perhaps more aptly, as if the point of view was a valuable that one character fleeces from another’s pocket.

As a melodrama, Foster Child fits into the dominant genre of Filipino feature films that screen at international festivals — a genre that certain North American critics might enjoy more than writers such as Richard Bolisay and Alexis Tioseco, whose critical conversations are as vital to thriving "CineManila" activity as any current filmmaker. In a piece on one of Tioseco’s excellent Web sites, Criticine, Noel Vera recalls a Rotterdam screening where fellow film scholar and Chicago-based critic Jonathan Rosenbaum compared Mike De Leon’s Kisapmata (1981) to Rainer Werner Fassbinder’s Martha (1974). Perhaps in that spirit, Rosenbaum’s contemporary, the critic and influential programmer Tony Rayns, has likened Foster Child to Fassbinder as well.

I’d add another comparison that, however Eurocentric, is meant as a great compliment: Foster Child shares a number of similarities with Douglas Sirk’s mother of all melodramas, Imitation of Life (1959), such as a harshly ironic perspective on maternal bonds in a racist, capitalist world. When Mendoza’s film reaches its final wrenching moments — and Thelma seems stripped, at least temporarily, of life (even the future repetition of her foster maternal duties is harrowing) — a lesser director would have simply milked the pathos. Instead, Mendoza allows no mercy to invade his sympathy, presenting a sequence that calls to mind a scenario depicting Lana Turner’s selfish protests by the bedside of her dying maid Annie (Juanita Moore) in 1959’s Imitation of Life, a sight that is extra bitter because Annie’s lost daughter Sarah Jane (Susan Kohner) can be seen smiling in a nearby framed picture within the shot. Foster Child‘s climactic heartbreak is set against a backdrop of vulgar department store displays that privilege white glamour and which celebrate a false vision of familiar perfection. "The house that love built," proclaims one callow ad, depicting a mother and child. The cruel gods of capitalist marketing provide perfectly horrible set design.

Those last glances, leading to a weary climb up a concrete public transit stairwell, also ricochet off Foster Child‘s sustained (and indeed Fassbinder-like) first shot: a silent, postcard-perfect view of Manila’s high-rise cityscape that gives way to a noisier look at the ramshackle slums at the feet of those skyscrapers. A more subtle echo occurs between two scenes that take place nearer to the narrative’s center: an idyllic, sunlit view of Thelma bathing John-John outside her home, and a later moment when she has to wash him in a hotel’s many-mirrored, intimidating bathroom.

Engaged Web sites such as Bolisay’s Lilok Pelikula (Sculpting Cinema) have greeted this neorealist symbolism, and Foster Child‘s standing ovation at the 2007 Cannes Film Festival, with some wariness. Indeed, it is frustrating if international audiences take Mendoza’s movies for the whole of Filipino independent film today, when thanks to the punk-fueled Khavn de la Cruz, the monumental Lav Diaz, the prodigiously visionary Raya Martin, and the autobiographical John Torres, CineManila is frankly more inspired than almost all of the indie film — and much of the experimental work — currently coming from the United States. Mendoza’s talent equals or bests anyone who has passed through the Sundance factory in the past decade, but he and his more formally radical contemporaries have to vie for the same too-few spaces allocated to feature films from the Philippines at most festivals.

By working within relatively linear narrative structures and feature-length frameworks, Mendoza veers toward the mainstream currents of vital Filipino independent cinema. But he’s demonstrating great versatility. Slingshot‘s burnt-brown palette, verging on black-and-white in nighttime scenes, contrasts greatly with the more colorful, sun-dappled view of slum life in Foster Child, which is so pleasant that soap bubbles blown by children float through one shot. But it would be a mistake to see Foster Child‘s view of cramped city blocks as purely idealized, simply because a fresh array of mothers with newborn babies can be found on every corner — a scene in which foster system overseer Bianca (comedienne Eugene Domingo) greets these women and knowingly checks in on their offspring has a sinister underpinning.

Its title translated from a term (tirador) denoting a street hustler, Slingshot is harder and faster — money or valuables are frequently handed from one character to another on the sly as people move in an out of a shot that is itself moving forward. A viewer had best be on the top of his or her game while watching, because everyone in the film is on the make. But the gay Mendoza brings a subversive eye to the masculine genre of action: he knows that harder and faster might seem tougher, but it doesn’t necessarily mean one is savvier. Interestingly, while Slingshot‘s critical reception in CineManila realms seems warmer than that given to Foster Child, the film has had its share of semiblind assessments in English-language publications. More than one critic has complained that the film wears a viewer out with its frantic pace before it abruptly ends. The reviews fail to note that Mendoza frames his many-stranded story line and slum-stranded characters amid a broader view of societal and political corruption. He kicks the story off with cops raiding blocks of Mandaluyong City to round up and arrest people who are then bailed out by politicians in exchange for votes. He fades out with a glimpse of a pickpocket at work during a quasireligious campaign rally dominated by empty, clichéd speeches.

Between those crowd scenes, Slingshot joins a wide variety of characters for intimate treks through semi-anonymous acts, only to abandon them — just as fate might and a politician’s promises are certain to. Tess (Angela Ruiz) steals video equipment to pay for a pair of dentures. Her illicit lover Rex (Kristofer King) neglects fatherhood in favor of druggy reverie. In an example of tail-biting irony, the impulsive Caloy (Coco Martin, whose open-faced melancholy carries over from Mendoza’s debut feature The Masseur [2005]) needs to scrape together cash to keep the pedicab that he’s using to earn money. Meanwhile, Leo (Nathan Ruiz, the gamine title character of Aureaus Solito’s 2005 The Blossoming of Maximo Oliveros, now adolescent and pimply) begins what will eventually become one of the worst days of his life by accidentally getting his dick caught in his pants zipper. The two-dimensional faces of political candidates — including actor Richard Gomez, then running in real life for a Senate position — look on from the campaign billboards and posters that dominate public spaces.

In the eyes of the official system, Lopez’s Leo is the thief character of Slingshot‘s Tagalog title, but in the real world he’s just one of many everyday bandits, who are doing whatever they can to survive while a faceless upper class profits from their votes. There’s a potent undercurrent to Lopez’s performance perhaps being the titular one, though, since it’s much harsher than the similar turn he delivered as Maximo in Solito’s comparatively romantic film festival favorite. The differences in pace and look between Foster Child and Slingshot demonstrate that Mendoza is capable of sculpting widely contrasting true visions of Manila’s streets, which in turn shows that the exact same setting can take on widely varying characteristics based on one’s perspective at any given moment.

Part of Mendoza’s versatility might be grounded in his background as a production designer under the name Dante Mendoza. It also might reflect a developing, nuanced queer sensibility, one that has forsaken forebear Mel Chiongo’s eye for international markets to also produce a feature, 2007’s Pantasya, that possibly plays off of Slingshot‘s view of corrupt police forces and probably adds a critical dimension to the age-old "I love a man in an uniform" motif of gay porn. After half a dozen features as a director, Mendoza has ranged from melodrama to action, from a pentet of gay sex fantasies to a story about education amid the Aeta tribe (2006’s Manoro). His next step will probably be hard to predict, and it’ll definitely be worth watching.

FOSTER CHILD

March 14, 6:45 p.m., Kabuki

March 16, noon, Kabuki

SLINGSHOT

March 15, 7 p.m., Pacific Film Archive

March 18, 7 p.m., Kabuki

>> Complete Asian American Film Fest coverage

Editor’s Notes

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› tredmond@sfbg.com

When Jerry Brown was governor of California, he was almost done in by the Mediterranean fruit fly. So he knows a thing or two about bug infestations and aerial spraying.

It was 1981, and Brown, approaching the end of his second and final term, was running for a spot in the United States Senate. He was the odds-on favorite to win the seat being vacated by the Republican S.I. Hayakawa; his chief Republican rival was a mild-mannered and hardly charismatic San Diego mayor named Pete Wilson.

But that summer, the fruit flies, known as medflies, started showing up in residential areas, mostly in gardens and fruit trees outside of San Francisco. Farmers worried that the pest could spread to the central valley and points south — and experts warned that the state stood to lose $1 billion per year if the agricultural industry got hit.

The flies breed rapidly and turn fresh fruit to mush. That would have been bad for growers. Even worse, the rest of the country was so worried about the tiny creatures that any sign of a commercial crop infestation might have led to a nationwide boycott of California produce.

Brown, still the staunch environmentalist, ordered the California Conservation Corps to strip the fruit off trees in the affected areas, and he ordered the release of millions of sterile flies to interrupt the mating cycles. As it turns out, the shipment of supposedly sterile flies from a Peruvian lab included at least some that were fertile; Brown argued that the error prevented the ecologically sound alternative from working.

But for whatever reason, the flies continued to spread — so the chorus from agribusiness got louder and louder. They wanted aerial saturation spraying of the pesticide malathion.

But Brown resisted. "All I could think about," he told me 10 years later, "was poison raining down from the sky."

That’s all a lot of environmentalists could think about too. The governor was knocked around like a ping-pong ball, to the delight of a mainstream media that never much liked or respected Jerry Brown. And in the end, he caved: helicopters, flying five abreast in military-style formation, began carpet bombing hundreds of square miles of mostly residential areas, dumping a chemical that a lot of critics argued could have untold long-term health effects.

The indecision pissed off the conservatives. The final outcome pissed off the environmentalists. Brown lost the Senate race.

When I talked to him about the decision, it was 1991 and I was writing a book — and Brown was mounting a surprisingly strong run for president. In retrospect, Brown thought the spraying was wrong. He thought he had to do it, but he felt horrible about it. Back then, he was a progressive populist.

And now he’s California’s attorney general, and he’s defending the state’s plans to bombard San Francisco, Marin, and the East Bay with an artificial pheromone wrapped in tiny plastic bubbles to eradicate the light brown apple moth (see page 10). I know all the arguments, but please: I have two little kids now. It’s a nasty chemical, raining down on us from the sky.

The medflies came back. So will the moths. Brown wants to come back to his old job too. You wonder if he’s learned anything.

Gonzalez joins Nader’s pursuit of infamy

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matt-cover.jpg
Our Nov. 19, 2003 cover story
It’s bad enough that Ralph Nader is running for president yet again, but whatever. He’s already ruined his once stellar reputation and nobody was going to take another sequel that seriously. Yet I’m truly saddened by today’s news that Matt Gonzalez has agreed to be Nader’s running mate and angry about Matt’s deceptive, preemptive effort (in a guest editorial in yesterday’s Beyond Chron) to knock Barack Obama down a few notches.

That seems to signal this independent, ego-driven campaign’s desire to once again paint the Democrats and Republicans with the same broad brush, denying the obvious difference between Obama and John McCain, as well as the need to be strategic in running for this high-profile office during such a divisive era. In doing so, they undermine the legitimate and desperately needed feeling of hope that Obama is inspiring, sowing cynicism and giving McCain a chance to win the White House.

Nader has always bristled at the “spoiler” label, saying he has a right to run and force a debate on his issues. That’s true. But when Gonzalez characterizes Obama’s campaign as, “one of accommodation and concession to the very political powers that we need to reign in and oppose if we are to make truly lasting advances,” it’s clear that they really aren’t aiming much higher than spoiler.

And if they help spoil an ascendant Obama campaign, they will do irreparable harm to the peace movement, the chance for fundamental change, efforts to bring together progressives and communities of color, people’s sense of hope, and to their own reputations.

On like him

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› a&eletters@sfbg.com

I’m typing this with one hand, because I’m patting myself on the back with the other. According to Eddi Projex himself, I’m the first writer to ever interview him, back in 2003 when he was a member of Hittaz on tha Payroll, who’d just released their retail debut, Ghetto Storm (Hitta). It was the tail end of the Bay’s turn-of-the-century commercial drought, yet the group — including Polo, Curcinado, and Fletchberg Slim — sold almost 4,000 copies. On April 6, 2005, I wrote a Guardian piece on Projex when he had a BET video hit with "Drank-A-Lot," featuring his former mentor Numskull and Money B.

Now here we are again, and while I claim no credit for Projex’s success, I can’t help feeling gratified. I knew he just needed a shot and he got one: his Bedrock-produced single, "On like Me," was one of the hottest Bay records of 2007, despite the increasing difficulty of getting local music on the radio. Showcasing the skillful hook-writing evident on Ghetto and "Drank," "On like Me" confirms Projex’s status as one of the top three post–Mistah FAB Oakland rappers, along with Beeda Weeda and J-Stalin.

"I’ve always jumped on the hook," says Projex. "That’s the most important part of the song. You could be the rawest verse-writing nigga ever, but if you ain’t got the catchy hook, the raps don’t mean shit."

At that time, hyphy was heavy, he recalls: "I almost bit. I took the beat to the studio, got to talking about shakin’ dreds, and D-Kash [who signed Eddi to Hi-Speed Records] says, ‘Eddi, that ain’t you.’ So I went to my car, put the CD in, and blasted it. And I just started rappin’: ‘Candy on the paint / Chrome on the feet / Is anybody out there on like me?’ I took that bit for the hook, put everything together. Called that nigga the next morning — check this out! He was, like, ‘Yeah!

"FAB was, like, let me hear that," Projex continues. "Then he called me, like, ‘Eddi, this the one!’ He played it that Friday on Yellow Bus Radio."

"The response was crazy," Mistah FAB confirms. "Rick Lee from KMEL gave it a chance, then Mind Motion. It just took off."

Unfortunately, Projex wasn’t prepared to consolidate his success. "Album was nowhere near done," he concedes. "I just had a song on the radio. It jumped off, and I wasn’t ready for it." It wasn’t until the end of the year that Projex dropped his album, Now or Never (Hi-Speed/Payroll), which includes the "On like Me" remix with FAB and Too $hort as well as new singles, "Wiggleman," produced by Bedrock, and "Breezy," produced by the Mekanix and highlighting Keak da Sneak.

While Now brims over with grimy street raps, it also shows Projex’s deeper side, reflected in such tracks as the love song "I’m Feeling You," the politically minded "That’s Right," and the homage to family life, "Grown Man."

"My grandma love that song," Projex says of "Grown Man." "I’m not afraid to say I got a wife and kids. I’m still a player though. But I try to make music that everybody listens to. I’m a well-rounded dude." Though the tracks are way more gangsta, those numbers make Now arguably the most lyrically substantial street record since FAB’s Baydestrian (Faeva Afta/SMC, 2007).

What makes Projex’s positive songs so powerful, moreover, is his undeniable street cred. The 26-year-old rapper, born Eddie Scott, hails from East Oakland’s Stonehurst district, a.k.a. Stone City.

"That’s the last turf in East Oakland besides Sobrante, on the border of San Leandro," he explains. "Basically the 100s. That’s the first place I seen rocks selling, sold a rock, whatever. When Stone City was created, there wasn’t no rolling 100s. Then everybody came together to rep the 100s."

Wanting to set him on the right path, Projex’s mother sent him to Berkeley High School to pursue a promising football career, which was cut short by a shattered ankle. In his sophomore year, he dropped out to sell crack in Stone City and hooked up with Hittaz on tha Payroll, who became Numskull’s crew when the Luniz broke up.

By the time he was 18, Projex was traveling across the country with Numskull, from Los Angeles to New York City, rubbing shoulders with elite rappers like Xzibit, Jayo Felony, and Wu-Tang Clan. Though he and Numskull have since parted ways, Projex remains grateful for the experience, which separates him from the majority of his peers, many of whom have yet to venture East.

"I’ve seen the light, so I want that back," Projex says. "But this time I’m going to be in that light. I still got my Hitta roots, but I’m trying to make music for the masses. I’m trying to go putf8um and make millions."

Ghost writer

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› a&eletters@sfbg.com

REVIEW In the English-speaking press, Roberto Bolaño is widely touted as the hottest novelist to come out of Latin America since Gabriel García Márquez. There are no levitating virgins in the work of Bolaño; he depicts instead a more recognizable if still defamiliarized Western Hemisphere, full of intellectuals, tragic activists, poets, queers, prostitutes, and drug dealers. And Nazis.

Although Bolaño died in 2003, his death hasn’t slowed the rise of his reputation; he is posthumously leading the revolt of a generation of writers and readers who were crushed under the weight of Latin America’s major literary exports, the Boom writers. Bolaño’s idiosyncratic style isn’t magical realist or sentimental about folk traditions, but he isn’t exactly a realist either. Nazi Literature in the Americas (New Directions, 280 pages, $23.95), newly translated into English by Chris Andrews, follows the path of Jorge Luis Borges. It presents brief bios and bibliographies for 30 imaginary right-wing writers from North and South America.

Although Nazi Literature was first published in 1996, it follows its catalog of writers past that date and into the future: Willy Schürholz, for example, born into a mysterious, walled-off community of Germans within Chile, is a solitary poet who sets out "countless variations on the theme of a barbed-wire fence crossing an almost empty space," and eventually publishes a book of children’s stories that idealize "a childhood that was suspiciously aphasic, amnesic, obedient and silent." Its nameless boy protagonist "displaced Papelucho as the emblematic protagonist of children’s and teen fiction in Chile," while Schürholz himself ends up in Africa working as a photographer and guide until his death — in 2029.

Bolaño’s writers interact with recognizable historic and literary worlds; they are wandering Colombians who fight for the fascists in Spain; they are aristocratic Argentines handled by Hitler as infants; they are Beat-influenced North American poets who, after being hit on by Allen Ginsberg, flee to panicked careers filled with homophobic and anti-Semitic invective, becoming enormously successful in the process. They write stories, poems, and novels with titles like Cosmogony of the New Order, I Was Happy with Hitler ("misunderstood by the Right and the Left alike"), and The Children of Jim O’Brady in the American Dawn. In Bolaño’s hands, these biographies are hilarious. At the same time, they are often surprisingly moving and sometimes terrifying.

Throughout Bolaño’s translated work, from By Night in Chile (New Directions, 144 pages, 2003), the monologue of a dying priest, to The Savage Detectives (Farrar, Straus and Giroux, 592 pages, 2007), which follows a group of avant-garde poets in Mexico in the ’70s along their downward-spiraling paths, he is concerned with the sometimes surprising intermingling of radical and conservative literary and political realities. If Bolaño’s monsters are occasionally ridiculous and moronic, it is to his credit that they are also always complicated, and sometimes brilliant and romantic. His Nazi writers are not so different from his non-Nazi writers; they are ambitious or derivative or avant-garde in equal measure. They fall tragically in love and develop drinking problems alongside their leftist peers. Bolaño’s clear-sighted examinations of social context underline the insight that literature isn’t innocent — an invigorating insight in our own cultural moment, when the very act of reading or writing is usually considered harmless but inherently ennobling.

Perhaps Bolaño’s most seductive, fascinating, and terrifying monster is the Chilean poet Carlos Ramírez Hoffman. Bolaño readers will recognize his story as that of Alberto Ruiz-Tagle, elaborated in more detail in Bolaño’s second novel to be translated into English, Distant Star (New Directions, 149 pages, 2004). His tale is worth revisiting for those readers, as it functions differently as the conclusion to Nazi Literature. The book suddenly becomes more intimate, more frightening, and more ambiguous, as Bolaño appears for the first time as a character and becomes personally linked to the fate of Ramírez Hoffman. "Bolaño," like the author of the same name, is arrested and briefly imprisoned by the Pinochet dictatorship after the coup in 1973. While Ramírez Hoffman transforms himself into a torturer, a murderer of women, and a skywriter, Bolaño watches the ephemeral poems appear in the sky from the prison yard. The story of the narrator’s obsession with the traces of this enigmatic antihero’s literary career becomes a discomfiting mirror in which some of our dearest romantic myths about literary outlaws are laid bare with startling implications.

In less thoughtful hands, Nazi Literature could be a terrain inhabited largely by "repressed" homosexuals, following the 20th century’s tidy equation of fascism and sublimated male homoeroticism. Whatever sexual desires are repressed or unrepressed by this horde of monsters, they are as varied and bizarre as those of the rest of the human race. Bolaño was the queerest of straight male writers and his sensibility the queerest I know of, period, in all of Latin American literature — notwithstanding José Lezama Lima, José Donoso, Manuel Puig, Reinaldo Arenas, and the many closeted contributors to the fussy literature of the Boom.

Bolaño’s descriptions of the experimental and speculative works of his dark doubles allows his own baroque imagination free rein. He dreams up plays in which "the action unfolds in a world inhabited exclusively by Siamese twins, where sadism and masochism are children’s games," and poems in which a 90-year-old Leni Riefenstahl makes love with 100-year-old Ernst Jünger, their jaws creaking, their eyes lighting up, hinting at the lesson that "it is time to put an end to democracy."

The literary references in Nazi Literature are dense and possibly unfamiliar to a North American audience; we may not always know which pompous literary critics actually lived, or which dueling Cuban queens are real and which are imaginary. Bolaño has the most fun with his speculative and science fiction writers, and with those who assume fake identities in order to promote their derivative work. This book is full of rumor, unverifiable reports, and false claims: it fundamentally entwines the false with the true to create a kind of vaporous zone that we immediately recognize as the world we inhabit. At the same time, Bolaño’s writing cracks that world open and charges it with startling electricity. It’s a reminder that writing is life — organic, complicated, sick, heartbreaking, and hilarious.

Change of heart

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› le_chicken_farmer@yahoo.com

CHEAP EATS You don’t know me. You think you do, but not even my closest friends in the world know what a foolish, silly, misguided, and clumsy chicken farmer I can be. Key word: can be. Key words.

Luckily, we do have a choice, or at least a say. I have decided to be flattered by what happened on the night when I made a beautiful chicken pie out of one of my own, then accidentally dumped it in the sink. This point of view was not easy to come by.

At first I felt about as awful as it is possible to feel without dying. People who were in the kitchen had to leave the kitchen because they couldn’t bear to see me like that. I said what any English-speaking chicken farmer would have said right then. I said, putting it mildly, "Fuck!" My posture, I am sure, said the rest. I was bent or buckled over the counter next to the sink, my head in my hands, feeling entirely broken.

There was a time, earlier that day, when I had looked in the mirror and thought, I look pretty. Yeah, and there was a time, however brief, when my pie had looked delicious. Now it was a pile of steaming ruins in the bottom of the sink. Is this life? I keep trying to find out what life is, and the results keep coming back from the lab: an image of something ugly over porcelain.

Fortunately, I laugh easily and play hard, so I don’t stay down for long. During my already overdocumented recent depression (thanks for the concerned e-mails, BTW) I spent a long, blubbery time on the phone with my beloved Sockywonk, and she kept saying, "Your chickens! Your chickens!" And this is why I feel so sorry for people who struggle with longer-term depression. Because when you’re like that, not even the things you love can quite cut it. Not even chickens. Not to mention that, truth be told, I don’t even love my chickens. Not these ones. Not yet.

There’s no delicate way to say this. My chickens are pussies. Remember? I had to coax them out of their house and into the world with ham sandwiches. They had been outdoorsy, technically free-range chickens for months without ever really ranging freely. With half an acre of brush and stumps and logs and trees to explore, they mostly stay in the bushes right outside their door and just quiver.

Houdini they are not — Houdini being my famous and beloved escape-artist chicken whom I loved and then killed, when, even in death, she leaped out of the pot and bit me. In fact, hey, wait a minute! Come to think of it, ohmigod, this was Houdini, the end of her, the last little bit of freezer-burned meat, the last couple cups of broth, that went into this pie! I swear.

Holy shit! So she had one last escape attempt in her!

Not that it succeeded. The sink being pretty clean, Choo-choo and me spatula’d it all back into the pan, a broken mess, a chicken-pie casserole — but those who were brave enough to try it liked it.

Wow. Which would also explain why, while I was walking to my car after a sleepless night in Earl Butter’s closet, even the leftovers tried to get away. The pan, I swear, flew out of my hands and, without spilling, clattered across the sidewalk. I attributed this, at the time, to precaffeination, but now I’m thinking: Houdini!

That right there, that is spirit, soul, zest, zing, and that’s what my current chickens lacked. I had yet to look out my kitchen window and see my favorite sight in the world: chickens running around being chickens. So when Sockywonk said, Your chickens, your chickens, I was, like, whatever. Like I didn’t even hear her.

But they did, I guess, because four hours after we got off the phone, when I finally had the strength to get up from the table and turned to the sink to fill the teakettle, there they were. In the waning daylight. In the big yard. First time ever. Loving life and running around like chickens with their heads still on. Their world had just gotten bigger.

Mine too. I smiled for probably the first time in weeks.

My new favorite restaurant is Calafia Taqueria ’cause it’s where Mookie gets his burritos. This is the nice thing about dating an Alamedite. One of the nice things. Now I get to know where to go in Alameda, and then you get to know too! Anyway, the carne asada is great, they grill the tortillas, and there’s a big bar of fresh salsas. Didn’t get to try them all, but I’ll be back. *

CALAFIA TAQUERIA

1445 Webster, Alameda

(510) 522-2996

Mon.–Sat., 11 a.m.–10 p.m.; Sun., 11 a.m.–8 p.m.

Beer

MC/V

Tooth and consequences

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› culture@sfbg.com

It’s two days after Christmas and I’m sprawled out on a plastic-lined chaise lounge, sipping fluoride and waiting for the blood to stop gushing from my gums so the doctors can get back to work. Beyond the noise of drills and X-ray machines I hear grunts from several other patients and the sounds of merchants outside hawking sombreros, sweetbread, bootleg Fendi bags, and pottery. Kind of strange, but I’m not worried anymore. This is my second day at Dr. Rafael Lopez’s dental clinic, and I’m no longer freaked out that it’s nestled among trinket stores and cantinas in a bustling bazaar in Mexico.

I also don’t care that the dentists here speak hardly any English, nor I any Spanish. I mean, it’s not like I’m alone. All the other patients at Dr. Lopez’s office are either Canadian or American, and all the people shopping out front are too. In fact, nearly every person I’ve met on the streets here is Caucasian and an English speaker. We’re all dental tourists, and we’ve come to Los Algodones — a sunny border town near Yuma, Arizona, which allegedly has more dental clinics and pharmacies per block than any other city in the world — to save money. In my case, I’m in for three root canals with posts and crowns for the price of a secondhand scooter on eBay: $1,850, about a third of what I’d pay for the same procedures in the States.

I’d heard about Dr. Lopez’s clinic through a friend of my mother’s, but Los Algodones, like other dental tourism destinations, was easy to find on the Web. In fact, the town’s Web site, www.losalgodones.com, is actually a dental clinic referral network, with pictures of smiling clinicians and graphic before and after shots flashing across its home page. Clinics like Dr. Lopez’s, which often handle 10 to 20 patients a day, are set up exclusively for foreigners. Dr. Lopez estimates that 80 percent of his customers are American and 20 percent are Canadian; most Mexicans in the area can’t afford his rates. Many of them come to towns like this for big-ticket procedures like bridges and reconstructive surgery, some of which can cost more than $10,000 at home.

And they’re coming in increasing numbers. According to HealthCare Tourism International, a nonprofit accreditation and information organization set up to monitor the medical tourism boom, an estimated 1 million Americans will travel abroad this year for some of sort of medical service, up from the National Coalition on Health Care’s figure of about 150,000 in 2004. Of the procedures sought, 40 percent will be dental related. A recent article in the New York Times on the dental tourism phenomenon cited a boom in luxury travel packages designed around dental procedures. A root canal followed by a little fly-fishing in Costa Rica? Why not? The money you save can justify a short vacation.

ROOTS OF THE PROBLEM


Dr. Lopez’s clinic is, hopefully, the end of the road for me. I’ve been struggling with dental problems (and the potential resulting bills) for years. With all this talk of health care reform, you’d think I would have been able to find a decent low-cost US dentist, especially in civic-minded San Francisco. But it just wasn’t happening. For whatever reason, dental care and health care are viewed as two separate issues in the United States. When it comes to diseases, colds, and broken bones, you can usually catch a break, but good luck trying to get your teeth fixed on a budget. The truth is, even if you have some form of dental insurance, which is unlikely — according to the American Dental Association (ADA), only about half of all Americans do — dental care is nearly impossible for average wage earners to afford. At least, I’ve never been able to afford it. And I’ve looked everywhere.

My own dental horror story began nearly a decade ago when the Marine Corps kicked me off my retired father’s lifelong dental plan. I was fine for about a year, until the day I awoke with a terrible pain in my mouth. I was 19 at the time, taking classes at a community college and working at a café — barely able to pay rent, let alone find the time and money for a visit to the dentist. So I did the next best thing: simply ignored the pain, staving it off with copious amounts of ibuprofen when it got intense. The over-the-counter denial did the trick for almost two years, but I knew I would be forced to eventually bite the bullet, however softly.

And then it happened. My teeth started breaking. Not hurting, at least no more than usual, just breaking off — in huge, gray chunks.

This went on for years. By the time I was 25, four of my teeth had shattered and the rest seemed well on their way to doing the same. I adopted the diet of a five-month-old, unable to chew anything tougher than bananas or scrambled eggs. It was time to act, but I had no idea where to go. As a full-time student, getting by on financial aid, loans, and whatever I could rake in as a part-time waiter, I was nearly destitute. I’d recently transferred to San Francisco State University, but at that time, in order to purchase the student dental plan the school offered, I also had to purchase its medical plan, a combination that would have increased my monthly bills by nearly $200.

It was tempting, particularly in comparison with most employer-related or individual plans I qualified for, which could run into the thousands. But SFSU’s dental plan screened out existing problems, like the trainwreck I had going on, and carried an annual cap of less than $1,000. (Unlike medical insurance plans, which feature deductibles, most dental plans have annual monetary ceilings.) So even with the plan I would still be unable to afford even a fraction of the work I needed to have done. Since my student days, SFSU has implemented a dental-only plan available to undergrads, but often the limits are too low to cover anything other than cleanings and fillings.

Thus I began my search for a pro bono dentist, figuring that with all the uninsured people living in the city there must be someone around. It quickly became clear, however, that scoring free dental is harder than finding a decent vegetarian restaurant in rural Alabama.

QUEST FOR DENTAL


First, I had a glimmer of hope: a medical and dental clinic in Berkeley that had the word free in its name.

The Berkeley Free Clinic (BFC) has been offering free medical and dental care to the hard-up since 1969. It provides free HIV tests, medicine, preventative education, and more. But I needed dental work — and that was another story. As the only clinic in Northern California offering free fillings, extractions, and referrals to discount dentists, BFC is insanely popular. And since it’s run by volunteers and donors, it’s also chronically understaffed. Jessica Hsieh, a clinic coordinator, explained that the facility does as much as it can with limited resources. "We used to take patients on a first-come, first-served basis," she says. "But there were so many people lined up every night that our waiting room and hallway became fire hazards."

To deal with this problems, the clinic has devised a maddening selection system, which includes spotty business hours and a name-in-the-hat-style lottery. It sounded a little sketchy, but I gave it a go.

After making the 45-minute commute from my home, I arrived at the clinic at exactly 5:30 on a Monday evening. I scribbled my name on a small slip of paper, handed it to the receptionist, and took a seat in a waiting room crowded with students, broke workers, and homeless people. A nurse came out and told everyone to sit tight; the dentists were taking our names into a separate room and she’d return soon with their random choices. Ten minutes later, she came out again, read off three names, and then told everyone else to go home.

The room had been quiet as we all waited to see who’d won, but when a young blond girl with designer jeans and a fancy cell phone rose to claim her prize, the atmosphere became tense.

"That’s fucking bullshit," said a man with dirt on his face and ripped boots. "I’ve been coming here for weeks. This is her first fucking time!"

One of the dentists apologized and reminded us that we were welcome to keep trying as many times as we liked. I took his advice and returned three more times, missing a day of study or work for every fruitless visit until I gave up. One of my teeth in the back had started aching like hell, and I couldn’t stomach the wait any longer.

I broadened my search to include dental schools like that at the University of California San Francisco, where the wait times were rumored to be long, but once on the list, getting work done was guaranteed. After talking to students at the UCSF clinic, though, I realized treatment would require several days off from work and school because each step a student made during surgery would have to be approved by a busy professor and analyzed by other students. And the discount wasn’t exactly phenomenal.

The average cost of a single complete root canal procedure (root canal, post, and crown) at UCSF is more than $1,100, almost twice the amount I wound up paying in Mexico and way more than I could afford at the time.

So I scrapped the dental-school idea and dug deeper, figuring that if I couldn’t find free or cheap dental work, I could at least find a place that offered a payment plan. And I did find such a place.

Western Dental is like the McDonald’s of dental clinics. With multiple locations in almost every city in California, it’s effectively cornered the market on affordable dental work. Only it’s not cheap. A complete root canal procedure on one tooth can cost up to $1,590 — a lot less than a regular dentist, but much more than a dental school and about three times as much as Dr. Lopez charged me in Mexico. People flock to Western Dental because it lets you pay off your dental work like you would a car. You plunk down $99 for a yearlong membership, make a 20 to 30 percent down payment, and then pay the rest off monthly over the course of one year. And Western Dental doesn’t take your credit history into account when working out a plan.

Out of desperation, I eventually did get one of my teeth fixed at the Mission and 24th Street location, and wound up paying a $350 deposit and monthly installments of $110 for the next 12 months.

CAVITY CAVEATS


With my most painful tooth taken care of, I could now focus on finding a better deal, which is how I wound up in Mexico. So far it seems to have been a pretty smart decision. My new teeth look great and they’re holding up fine. I was treated extremely well by Dr. Lopez’s staff. But there are many reasons not go to Mexico for cheap dental work. And Brad Hatfield, a Korean War vet and retired city planner from Arizona City who asked that I not use his real name, knows them all.

Hatfield has been making the three-hour trip to Los Algodones for nearly a decade. He’s seen the town evolve from a haven for cheap trinkets and booze into what it is now: a medical resort for Americans with expensive tooth and eye issues. Hatfield started going to Los Algodones when he realized that even with his insurance he’d never be able to afford necessary dental work. But now, many years and thousands of dollars later, he’s learned his lesson.

"The problem with dentistry in Mexico," says Hatfield, "is that there’s no recourse. If something bad happens, you can’t sue anyone. All you can do is ask for your money back." And that’s just what Hatfield did when he returned from Los Algodones recently and discovered that his new teeth were worthless. Indeed, he claims that almost none of the work he’s gotten in Mexico has held up longer than a year or so.

This last time was the worst. "As soon as I got home," says Hatfield, "my gums started hurting really bad and bleeding off and on." When he called his clinic to complain, they denied his request for a refund and invited him back for some discounted work instead. Hatfield went back, got the work done, and thought his problems were over. But a few days later he realized they weren’t. "I was sitting here eating a piece of chocolate, and all of a sudden I realized I was chewing on two of my teeth and the bridge that was connecting them. All the work they had done had just fallen out."

Hatfield has tried repeatedly to get his dentist to refund his money back, but all he gets in response are invitations to return for more work. "Now they want to just rip all my teeth out and give me a full set of implants. It’s going to cost thousands of dollars on top of the $10,000 I’ve already spent there over the past year."

Hatfield is currently trying to get his problems fixed at a dental college in Mesa, Arizona, but he’s facing steeper prices and will probably have to return to Mexico soon. "My dental and medical problems have ruined me as a person," he says. "I can’t get a job because my teeth are so screwed up, and I can’t think through all this pain. I just don’t understand why dental work is so expensive. It’s much worse than medical."

THE BIG YANK


Hatfield brings up a good point. For some reason dental issues aren’t included in national or local debates about health care. Healthy San Francisco, the universal, citywide health care access program operated by the San Francisco Department of Public Health, doesn’t cover access to dental services, which were never even considered for inclusion. When reached by the Guardian for comment on this exclusion, SFDPH spokesperson Eileen Shields stressed the difference between the city’s program and regular insurance plans, saying "[Healthy San Francisco] is a health access plan, providing access to basic medical care. I mean, my health plan doesn’t even include dental — does yours?"

Denti-Cal, the state dental insurance program offered as part of Medi-Cal, is an option for California residents with a low income, a social security number, and at least one child. But it obviously doesn’t help the throngs who fill the waiting rooms of Western Dental. San Francisco General Hospital keeps an oral surgeon on call for extreme emergencies but if you want your janked-out teeth replaced or aren’t doubled over in chronic pain, SF General can’t help you.

It doesn’t look like any of this is changing soon. None of the candidates running for president this year has announced a platform that specifically deals with the high cost of dental care in America. Why? Why are medical and dental issues treated as two separate entities? And why is it so hard to afford dental treatment even with insurance?

Hsieh of the BFC thinks it may have to do with the fact that dental issues aren’t thought to be as life-threatening as medical issues. But if an infected tooth is left untreated, it can lead to death just as surely as unchecked pneumonia. On its Web site, the ADA acknowledges the high cost of dental insurance but privileges prevention over treatment, claiming that most dental problems are preventable. If Americans would just take care of their teeth, use their paltry insurance plans for routine checkups, and quit eating so much candy, they wouldn’t have to get root canals. But I brush after meals, floss regularly, and stay away from sweets — and I’ve been in and out of dental clinics with major problems since I was five.

Another theory has to do with the high costs of dental school and specialized equipment, which makes sense. But the truth of the matter, commonly pointed out in the ongoing health care debate, is that mixing profit with patients is a recipe for disaster. As long as insurance companies are able to make billions by fleecing their customers, and as long as dental clinics and drug companies are allowed to set their own prices, the general population is going to be cavity ridden and kind of ugly.

For now, it seems dental tourism may be the best option for people with normal-to-low incomes and chronic problems. Two months after my visit to Mexico, my teeth feel much better and I’m back on solid food. But this kind of travel isn’t for the fainthearted. The weather and food in Los Algodones are great. But getting your teeth ripped out and reconstructed in a foreign country with no legal recourse is dangerous and scary, especially during the high-traffic winter season when the tendency to rush through patients escalates.

My triple root canal, for example, took a mere two visits. The doctors hacked away for 10 hours straight, let me heal for one day, and then stuck on the crowns and pocketed my check. I stumbled out of Dr. Lopez’s office a few days before New Year’s, in a Novocain-induced daze, with blood on my shirt and pieces of rubber molding stuck to my cheeks. My jaws and head ached as I shuffled through the mile-long border-crossing corridor, sweating and dry-heaving.

As I approached the checkpoint, I wondered if I had made the right choice.

Then I remembered that I hadn’t actually made one. It was this or nothing.

Emma Lierley contributed to this report.


>>View a video interview with a Canadian dental tourist

Noise Pop: Retooling along Americana’s byways

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By the fall of 2003, when Eric Earley’s Portland, Ore., outfit Blitzen Trapper released its self-titled debut on Lidkercow, alt-country was in fairly desperate need of its own alternative. Tweedy was too far afield, Adams was too far gone, and the subgenre teetered on the brink of becoming a slur. A track like Earley and company’s "Whiskey Kisser" was a blessed antidote to post-Whiskeytown blues, serving up dirt-road stylings at their least stylish: bilious slide guitar, freewheeling harmonica, tarted-up kid sisters, and maverick state cops. "Kisser" and the surrounding album weren’t country, exactly, but they were close enough to count as smashing correctives.

Four years on, Blitzen Trapper have executed a neat roundabout: they’re no longer plausibly in alt-country’s orbit, but they’re still solving problems with scenes. The group’s third LP, Wild Mountain Nation (Lidkercow), which arrived last June, unearthed one sort of West Coast music in the context of another, juxtaposing rambling ’70s highway rock with the skuzzy experimentalism of a newer Oregon. The classic-rock turn is at its most sublime on the title track, a pile of juiced-up blues riffs and lyrics so inexactly mellow they’re nearly a caricature ("When the red moon wanes / We’ll be moving on the plains / Through the tall grass out to the sea"). "Wild Mountain Nation" almost feels engineered to hit our sweet spots, which is worth noting as a development in indie theory. Within a pretty asexual music culture, Blitzen Trapper seem to be authorizing a return to the libidinal anthem. Given the massive hooks and field-and-stream rhyme schemes, the big rock hit is back!

It’s nowhere near that simple, even if simplicity is just what a song like "Wild Mountain Nation" promotes. The album touches on other tributaries of classic rock: Byrds-ish Rickenbacker gambols in "Futures and Folly," warm canyon folk on sun-dappled ballad "Summer Town." Yet Nation insistently neighbors these songs — and often imbues them — with heavy experimental turns ranging from raucous guitar noise to bleeping keyboards. Looked at suspiciously, the record might be propping up crowd-pleasing hooks just so it can set them alight.

But as Earley tells it, the Blitzen Trapper project is far less sinister: he’s a studio rat by nature, and the self-immolation is mostly a function of curiosity. "A good song can take a lot of abuse," the bandleader commented by e-mail. "Sometimes I enjoy seeing how much sonic abuse a well-crafted piece can take and still seem timeless or nostalgic." He’s not callous about his music’s grimy elements either. He’s actually hypersensitive to them. Though Nation‘s eponymous song comes off as a clean tune, rowdy only in familiar and approachable ways, Earley pronounced its production "very rough and unfriendly." He may be the only one surprised it took off.

Since Nation, the group has released an EP, Cool Love #1 (Lidkercow), its four songs gleefully denying a current pressing question: whether Nation‘s Led Zepplin–style jags were a detour or something more permanent. After two tunes’ worth of weighty rock guitars, Cool Love abruptly regresses to country, ending up in "Jesus on the Mainline," a flurry of electro-tinged banjo and harmonica. Earley describes the next full-length, which he’s begun work on, as taking a third way: heavy on the hooks but distinct from the overall Nation sound. So it may be that all of the attempts to parse Blitzen Trapper’s music as rock or country miss the point. The band is, in a sense, the purest sort of alternative act, ready to ding up whatever sort of Americana comes across its path.

BLITZEN TRAPPER

With Fleet Foxes, Here Here, and Sholi

Feb. 28, 8:30 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

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Noise Pop: Little twin stars

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So are they or aren’t they? A pop twosome that make lovely music together in more ways than one is the irresistible scenario embedded in more rock, soul, and country partnerships than one can count — who doesn’t fall for the notion of torturously entangled C&W soulmates that extends far beyond Walk the Line turf and into the year in and year out of George Jones and Tammy Wynette, Dolly Parton and Porter Wagoner, Loretta Lynn and Conway Twitty, Emmylou Harris and Gram Parsons territory? Nancy Sinatra and Lee Hazelwood’s affections remained unrequited up to the latter’s 2007 death, as did the palpable chemistry between Marvin Gaye and Tammi Terrell.

Well, gawkers remain out of luck here, says Matt Ward, a.k.a. M. Ward, the manly half of indie rock’s latest sweetheart duo, She and Him. He and actress-singer-songwriter Zooey Deschanel are just friends, friend. "People are always going to think whatever they’re going to want to think, no matter what they read in interviews or what the facts are," the extremely soft-spoken Ward says from Omaha, Neb., where he’s currently mixing his next LP, with Bright Eyes’ Mike Logan. "I think music is a lightning rod for people’s imaginations — and I don’t think that’s a bad thing."

He can hardly expect a listener to stop dreaming while listening to the Deschanel originals. With Ward’s production and arranging input, the tunes take on the luscious feel of gimlet-eyed ’60s-style girl-group protorock ("I Was Made for You"), pedal-steel-sugared, chiming country ("Change Is Hard"), and subtly colored girl-singer pop ("I Thought I Saw Your Face Today"). Leslie Gore, Darlene Love, Julie London, Ronnie Spector, and all of those other dulcet voices of teen agony, ecstasy, and crash-and-burn romantic disaster, move over: Deschanel is the next worthy addition to those ranks — a doll-like upstart cross between Sinatra and Carole King — thanks to She and Him’s maiden outing, Volume One (Merge).

Director Martin Hynes brought Deschanel and Ward together to cover a Richard and Linda Thompson tune for his as-yet-unreleased film The Go-Getter. Deschanel and Ward discovered they were "mutually fans of each other’s work," the latter says. One song led to another and, he adds, "eventually Zooey mentioned she had some demo songs that she had under her hat. I had no idea she was a songwriter — let alone a really incredible songwriter and vocalist. They had really beautiful chord progressions, and as a producer, it makes things easy when you have great songs and amazing vocals." He decided to play Phil Spector to her King.

"We started with a pile of songs that I had written," Deschanel e-mails from her current movie, "and had found their life up to that point completely in the safety of my bedroom. It was amazing to see what such a creative individual as Matt could bring to those songs. He brought a tremendous amount of life to them without killing their original essence. His instincts are dead on."

Deschanel wasn’t above making the bizarre instrumental contribution: the mysterious bazookalike sound on "This Is Not a Test," for instance, "is actually me playing mouth trumpet," she writes. "I said, ‘This song needs a trumpet,’ and then I said, ‘You know, like this’ and I did that bit. Matt liked it. We didn’t have the budget for horns so I just did it."

They took each song as its own "island," as Deschanel puts it. "The compositions tell you where they want to go," adds Ward, who strived for a warm analog production. "We tried keeping it away from computers and digital technology as much as we could. I think that’s the main reason the record sounds good — that and the songs are good."

The approach perfectly jibed with Deschanel’s aesthetic. "I have always been attracted to old music. I have always been a fan but I continue to discover ‘new’ old music," writes the vocalist, who says she started writing at age eight, was in bands in high school, and later had a cabaret act called the Pretty Babies. Elf (2003) gave her a chance to sing on film, but otherwise she had limited her music primarily to demos: "Demoing became sort of a hobby that I found relaxing."

She isn’t concerned with trying to please hipsters or cool kids who might view her as a movie-star dilettante simply passing through the trenches of indie pop. "I hope each person responds to [Volume One] naturally without any agenda of mine seeping into the matter," she offers. "Ideally audience and artist should be uncorrupted by each other."

Not a surprise from a singer in love with the passion and craft of country music. "I think," Deschanel opines, "sincerity is hugely underrated."

SHE AND HIM

With Whispertown2000, Adam Stephens, and Emily Jane White

March 2, 8 p.m., sold out

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.gamh.com

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DJ Shadow and Cut Chemist rock SF

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Two turntables and a microphone? Hells no, try EIGHT turntables, four mixers, two DJs on two microphones, a looping system, and some big ass speakers. That’s what DJ Shadow and Cut Chemist used to rock a capacity crowd at the Regency Ballroom last night. That, and stacks of vintage vinyl 45s (not a computer or CD anywhere in sight), a concept that was the subject of a short informational film that kicked off the show. Technically impressive, yes, but whatever this venerable duo was using to rock the place with funky old school beats and inspired scratching, it worked! Great show.

Drink, then Swallows

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When Jon Miller was a boy, his parents pulled off an impressive trick: convincing him there was beauty to be found on the New Jersey Turnpike. Wondering, as any hopeful naïf might, about the strange fogs puffing from roadside refineries, the lad was given a celestial explanation. Those were, he was told, cloud machines.

Miller is old enough now to be a bit more suspicious of Garden State industrial output, but that entrancing image gets new life as the title of his second record with Portland, Ore., duo Swallows. The pair, Miller on drums and pal Em Brownlowe covering vocals and guitar, have been honing a sinewy turn on Pacific Northwest alt-rock since 2003. They call it garage pop, but that term feels too claustrophobic, too sweaty for the sound they develop on their Cloud Machines EP (Church of Girl, 2007). The previous Swallows effort, Me with Trees Towering (Cherchez la Femme Projects, 2006), was fairly sludgy, with guitars thrust forward in the mix and Brownlowe’s piercing vocals left to fight it out from the rear. Cloud Machines is no less textural, but it is largely free of such gridlock. Its filthy space is bigger. Put a warehouse or a factory in front of that pop.

But be sure to keep calling it pop. Cloud Machines‘ intrigue stems from the cohabitation it gins up: cheery American melody making keeps its shape amid angular chord charts and sharp vocal tones. On lead track "Anchors," Brownlowe has moments of channeling Patti Smith, but she’s also describing how she’ll kick out the jam: "Start to move your feet / Jon’s gonna find his beat / And it’ll burn the house down." Much like its titular image, which envisions a utopia on dystopia’s home turf, the record gets fantasy and disaffection all mingled up.

I asked Miller and Brownlowe about this, and they confirmed that their songs are meant not just as tracks but as ditties. Brownlowe copped to aiming for "memorable and catchy" music: "stick in your head"–type cuts. But on this point, even the band isn’t sure where the parody ends and the sincerity begins. Brownlowe related how the most sugary track here, "When You’re in Love," initially started as a "mockumentary" dashed off as a joke with her girlfriend. Portland bands, after all, do not sing things like "When you’re in love, nothing else matters / When you’re in love, you smell the flowers." But then she showed the gag to Miller, and "he wanted to write a verse too," she said.

The vocals are key to Swallows’ evolution on Cloud Machines, but equally crucial are Miller’s increasingly adventurous drums. The group’s earlier songs hint at impatience with straight-ahead rock rhythms — both "Words of Love" and "Pulsar Heart Attack" from Me with Trees Towering include unorthodox tom-tom rumbles — and tradition has now been pretty thoroughly dismissed. The beats of Swallows 2.0 almost encroach on world music territory, an effect increased by Miller’s out-of-order kit and unusual tuning. He claims to have copied his intervals from "Three Blind Mice," but whatever manual he’s using, it’s effective. On album closer "Language Is Restless," for example, he uses shifty rhythms to leave the melody unmoored and adrift, cleverly scrambling our wish for a quick fix.

All of this sullied pop got me thinking about another image, complementary to those merry smokestacks, that Brownlowe detailed in an e-mail about Swallows’ early days. When she and Miller first began playing together — in a "dank practice space in the industrial part of Portland run by a crazy alcoholic stoner" — they cut an EP as Dirty Shirley, a reference to the vodka-laced Shirley Temples that fueled the sessions. Other bands just have beers. These two had to spike a nonalcoholic drink.

SWALLOWS

With Agent Ribbons and the Moral Tourists

Feb. 22, 9:30 p.m. doors, $5

Edinburgh Castle Pub

950 Geary, SF

(415) 885-4074

www.castlenews.com

SWALLOWS

With Agent Ribbons and Light Peaks

Feb. 24, 9:30 p.m., $6

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

Wherefore art thou, Romero?

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On returning to his independent filmmaking roots: When we made [1968’s Night of the Living Dead] we were just a bunch of young people in Pittsburgh. We had a commercial production company, so we had our own equipment, and we audaciously decided that we should go out and make a movie. So the first one was real guerrilla filmmaking — but actually the first five or six films that I made were completely independent. After Dawn of the Dead [1978] we hooked up with a distributor-production company, and they financed us to some bigger budgets. But even those films were independent. There was a period when I was courted by Hollywood and made a couple of studio pictures and was getting very discouraged. Finally, the last zombie film that I made, Land of the Dead [2005], was for Universal. And they really let me alone — they let me make that movie. But it was a grueling process. And I realized, "Man, this is all getting too big. It’s approaching Thunderdome here." I felt this incredible disconnect with the roots, with where it all came from. I really wanted to throttle down and back up and see if I had the energy and the chops to go do another really low-budget film. I needed to revitalize myself.

On the trend of movies using the self-filming technique: I haven’t seen Cloverfield. Redacted, I guess, was similar. Vantage Point I haven’t seen. I thought that we would be the originators of it, but now I guess I have to say we’re part of a trend. I think there’s some kind of collective subconscious — all the world has a camera these days. I think it’s rather obvious for fiction writers, filmmakers, whatever, to take note of that and use it. It’s pretty scary, this blogosphere — man, you just wonder who’s out there throwing up all these ideas.

On finding truth in the media, be it mainstream or underground: To me that’s the argument that’s central to [Diary of the Dead]. When there were three networks, sure, [the news] was all being managed and controlled and spun, no doubt. Now it’s completely unmanaged. And it’s not even necessarily all information — it’s opinions, viewpoints. Anybody could get on there with any kind of an idea and find followers. That’s what spooks me. What would you rather have: it being controlled but not be insightful, or would you rather have this chaos? And I don’t have the answer to that. I almost blame the public more than anybody else for being suckered into it and not bothering to do their own homework. People would rather have somebody tell them the way it is, and go along with it.

On the living dead: The zombies, to me, don’t represent anything except the disaster. They could be a hurricane. They could be an approaching asteroid. My stories have always been about the people and how they respond or fail to respond or respond improperly — and keep trying to preserve the world as they knew it instead of readjusting to whatever these changes are on the planet. The zombies are just zombies. They’re the reason that I can get these movies made. They’re the fun part of it! But to me, they don’t represent anything in particular.

Shelter shuffle

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EDITOR’S NOTE Guardian reporter Amanda Witherell and intern Bryan Cohen spent almost a week staying in various San Francisco homeless shelters. To get an unfiltered look at the conditions, they didn’t identify themselves as journalists, so some names in this story have been changed to protect people’s privacy. Their undercover reporting was supplemented with extensive research and on-the-record interviews with key officials, providers, and recipients of homeless services.

>>Read Amanda Witherell’s nightly shelter journals, with photos

>>Read Bryan Cohen’s nightly shelter journals, with photos

>>Homeless people share their stories

>>The mayor’s Feb. 14 press conference about homeless shelters

It’s about quarter past seven on a Thursday night, and I’m late for curfew. Not even during my wildest high school days did I have to be home by a certain time, but tonight, 29 years old and sleeping in a homeless shelter, I’m supposed to be in by 6:30 p.m.

Heading down Fifth Street toward the shelter, I wonder what I’ll do if I lose my bed for being late. Can they set me up at a different shelter? Will I have to head back to a resource center in the Tenderloin or the Mission District to wait in line for a reservation somewhere else? Either way, I could be walking the streets for the next few hours, so I adjust my heavy backpack for the journey. Waiting to cross Bryant Street, I stare up at the large, hulking building with its utilitarian name, Multi-Service Center South, and notice there are no shades on the windows in the men’s dorm. Since it’s lit from within, I can clearly see someone standing beside his cot, clad in nothing but blue plaid boxers, obviously unaware that he’s so exposed. I wonder if the windows would be shaded if it were the women’s room. Maybe that’s why we sleep in the basement.

Inside the door I shed my pack and step through the metal detector. The security guard dutifully pats it down and pushes it back into my arms. At the desk I give the last four digits of my Social Security number and am checked in. No questions about being tardy. I’m in.

I’m also late for dinner. A staffer hands me two unwrapped sandwiches from a reused bread bag under the counter. Ham, mustard, and American cheese between two pieces of cheap, sliced bread. After two days in the shelter I still haven’t seen a piece of fruit or a vegetable. I wrap the sandwiches in the newspaper under my arm and head down to my bunk. On the stairs I pass a guy and nod hello. He nods back, then calls out, "Hey, can I ask you something?"

I turn. "Sure."

"What’s a nice girl like you doing in here?"

I shrug and step back, unsure of what to say.

"I’m not trying to mess with you," he says. "I’m not fucking with you. I don’t do drugs. I’m straight. I don’t mess with anything," he goes on, trying to reassure me.

I believe him and dish it back. "Then what’s a nice guy like you doing in here?"

He laughs and shrugs. He tells me he doesn’t really stay here. It’s just for a couple of days. He lives in a $200 per week hotel in Oakland, but if he stays there more than 28 consecutive days, it becomes residential and the rates go up, so he clears out for a few days every month and comes here. The hotel’s nicer than this, he claims. It’s clean and safe, and he has his own space. "I can walk around in my underwear," he says.

We sit on the stairs, talking about how you lose all your privacy when you stay in a shelter, how the regimentation is reminiscent of prison. There are no places to go and be on your own, rest, and be quiet. Once you’re in for the night, you can’t leave except to step out for a smoke.

I ask if he has a job. He tells me he’s a chef for Google. I raise an eyebrow, recalling that the company’s stock is hovering somewhere between $600 and $700 per share right now. The pay isn’t the problem — he gets $16 an hour, but he’s been out of town for a while, caring for a sick family member, and has just returned. He got his job back, but only part-time, and he lost his home.

He’s wary of being on welfare — that’s not the way his mother raised him — but he’s in the County Adult Assistance Program, which gets him $29 every two weeks, a guaranteed bed at the shelter, and a spot on a waiting list for a single-room-occupancy hotel room, the bottom rung on the permanent-housing ladder.

What he really wants is a studio, but his searches haven’t turned up anything affordable. He needs a little boost of cash for a security deposit on an apartment, but when he asked the General Assistance Office if it could help him out with that, the answer was no.

His brow furrows with concern, and then the conversation turns to me. "You got a job?" he asks.

What can I say? I’m a reporter for a local newspaper. I’ve heard that some of the city’s homeless shelters are lacking basic standards, accessing a bed can be complicated, and services are scattered. I thought I’d come find out for myself.

Here’s what I learned: San Francisco has a cumbersome crazy quilt of programs, stitched together with waiting lists and lines. Policies that are written on paper and espoused in City Hall are often missing in shelters. Some rules don’t seem to exist until they’ve been broken. Others apply to some people, but not all. Getting a bed is a major hurdle, and I say that as a stable, able, mentally competent, sober adult.

And once you’re in, it’s sort of like sitting in a McDonald’s for too long. Years ago a friend told me the interiors of fast food restaurants are deliberately designed to make you feel a little uncomfortable. They don’t want you to get too cozy; they want you to eat and leave, making way for the next hungry mouth they can feed.

In other words, shelters are designed to make people not want to use them.

The only information I took with me was a one-page handout I got from a San Francisco Police Department Operation Outreach officer. He said it’s what cops and outreach workers give to people they come across who are sleeping on the streets. I figure if it’s good enough for them, it’s all I need to navigate the system.

The map, as it were, is a cramped, double-sided list of places to get free meals, take showers, store your stuff, sober up, and, of course, get a bed.

For the bed, it instructs, you have to go to a resource center and make a reservation. Some of the resource centers are also shelters. Some aren’t. Some are just reservation stations. They all have different operating hours and are located all over the city, but mostly in the Tenderloin and South of Market.

It takes me a while to puzzle out which ones are open, where exactly they are, then which is closest to me. Phone numbers are also listed, so I assume it’s like making a hotel reservation and dial one up on my cell phone.

The first number doesn’t work. There’s a digit missing. Dialing methodically down the list, I discover that none of the numbers connect me to a person. This is obviously not the way to go.

The way I ultimately get into a shelter is not the way you’re supposed to. In San Francisco’s system, you’re not supposed to just walk up to a homeless shelter and get a bed, but that’s what I do.

At first the woman behind the counter at MSC South tells me the only open beds are across town, at Ella Hill Hutch in the Western Addition. Then another staffer looks at the clock and says he’s not sending me out there. He’ll "drop" beds instead.

The city’s 1,182 beds for single adults are managed through an electronic database called CHANGES. It’s a modern-day improvement on people roaming from shelter to shelter everyday, putting their names on lists for possible beds. Launched in 2004, CHANGES now does that electronically and maintains profiles of people who use the system. If you’ve been kicked out of a shelter, missed your tuberculosis test, or not shown up for curfew, CHANGES knows and tells on you.

Every day around 8 p.m. shelter staff trawl through the reservations and drop the no-shows, cancellations, and reservations that have expired or whose makers have moved on to hospitals, rehab, the morgue, or — less frequently — housing.

MSC is allowed to make reservations for any shelter except itself — that’s against policy. I learn this the next morning, and I’m told it’s because there’s too much corruption and favoritism. MSC is apparently one of the better shelters, so to keep clients from cutting deals with staff, the policy doesn’t allow clients to reserve a bed there.

But after half an hour the staffer hooks me up for a two-night stay, bending the rules to do so. While I’m waiting, he turns away a client who had a seven-day bed but didn’t show up the previous night. The guard confiscates his fifth of vodka, and he gets an earful about drinking.

When the city’s shelter system was born in 1982, it was first come, first serve at the doors of churches and community centers. President Ronald Reagan’s cuts to federal domestic spending landed hard on low-income people, so then-mayor Dianne Feinstein called on local organizations to temporarily house and feed the growing number of street sleepers.

Throughout the ’80s wages stagnated while the cost of living soared: between 1978 and 1988 the average rent for a studio apartment in San Francisco jumped 183 percent — from $159 a month to $450. Twenty years later it’s $1,114. In 1978 the Housing and Urban Development budget was $83 billion. Today it’s $35.2 billion, almost nothing by federal budgetary standards, and almost no new public housing units have been built since 1996, while 100,000 have been lost.

Every year the federal government spends almost twice as much on a single attack submarine as the Department of Housing and Urban Development spends on homeless assistance. State and local governments have been left to pick up the hefty price tag.

San Francisco spends more than $200 million on homelessness, through services, financial aid, supportive housing, emergency care, and shelter beds. There are 13 city-funded shelters, four resource centers, and three reservation stations in San Francisco. The Human Services Agency spends $12.5 million per year on shelters through contracts with nonprofit managers. The Department of Public Health also manages two contracts, for a battered women’s shelter and a 24-hour drop-in center.

But it’s not enough: the nonprofits supplement operating expenses with grants and private donations and recently relied on a special allocation of $300,000 to purchase basic supplies like soap, towels, hand sanitizer, sheets, pillows, and blankets.

James Woods, a spry 51-year-old wearing a red Gap parka barely zipped over his thin, scarred chest, rattles off the places he’s lived: Detroit, Atlanta, Seattle, San Francisco, Louisville, Ky., and his hometown, Nashville, Tenn. "Out of all the cities I’ve been in, this is the only city where you have to go and make a reservation for a bed at the rescue mission all the way across the city in order to come back to the place you started," he says, jabbing the floor of MSC with his cane. "I can’t even make a reservation here for a bed here. They’ll send me across the city to another place to do that."

Woods has been pounding the pavement between MSC and the Tenderloin AIDS Resource Center for eight months. Every day around 3:30 p.m. he heads to the Tenderloin, where he gets in line for a bed. Woods has a fractured hip and arthritis, pins in his knees and feet, and hepatitis C. He’s been HIV-positive since 2002. He walks with a limp that can transform into a springy, stiff-legged canter when he chases the 27 bus down Fifth Street.

Rather than tote all of his possessions with him, he hides them in the drawer of an emergency bed at MSC, so it’s imperative that he get back there every night. Sometimes he waits hours for an MSC bed to open up.

Though Woods speaks highly of some city services, swooning a little when he mentions his doctor at the Tom Waddell Health Center, the daily bed hunt has left him exhausted and disgusted with the city. "They’ve got the program designed to run the homeless off," he says. "They have it as hard and difficult as possible for you to take a breath, take a rest, get a routine."

While a person can reserve a bed for one to seven nights and, if on General Assistance, make arrangements through a caseworker for 30- to 90-day stays, Woods has rarely been able to procure a bed for longer than one night. "Maybe twice I’ve gotten a seven-day bed," he says.

The inability to connect people with beds is not lost on city officials. Mayor Gavin Newsom’s recently hired homeless policy director, Dariush Kayhan, told me, "I really want to solve the issue of the juxtaposition of vacant beds and homeless people on the streets. That to me is untenable."

However, he only discussed the issue in terms of people who’ve chosen not to use the shelters and are sleeping in the street. To him, empty beds signify that there’s more than enough shelter for people. "At this time there’s no plan to expand any shelter beds, and I think homeless people, in many ways, many of them vote with their feet and have decided that shelter’s not for them," he said.

But the Guardian found that even if you are willing and waiting for a bed in a place where someone can presumably connect you with one, it often doesn’t happen.

According to the 2007 Homeless Count, there are 6,377 homeless people in San Francisco. The nine year-round single-adult shelters have enough beds to accommodate one-third of that population. Other emergency facilities shelter some of the overflow on a seasonal basis. The remaining homeless sleep in jails and hospitals, respite and sobering centers, parks and sidewalks.

People also pile up at Buster’s Place, the only 24-hour drop-in resource center in the city, where they slump all night in chairs, forbidden by staff to sleep on the floor.

It took Guardian writer Bryan Cohen five nights to find a spot at a shelter. He spent Jan. 20 and 21 at Buster’s waiting to see if a bed would open up. None did. According to the shelter vacancy report for those two nights, there were 108 and 164 beds set aside for men that went unfilled. On an average night this January, a month marked by cold weather and flooding rain, 196 beds were empty.

Buster’s does not have access to CHANGES but can apparently call shelters and ask about empty beds. I was at the Providence Foundation shelter one night and overheard a call come through and shelter staff tell whoever rang that no, they couldn’t bring more people here. There were four empty mats beside me.

Laura Guzman, director of the Mission Neighborhood Resource Center, said CHANGES was a breakthrough in getting people into beds, but when it was first launched in 2004, things were different. "You had a choice. Shelter of choice was much easier to achieve. Then Care Not Cash happened," she said.

Most of the city’s beds are assigned to beneficiaries of certain programs, like Swords to Ploughshares and Newsom’s signature plan Care Not Cash, or to people with mental health or substance abuse issues who have case managers.

Though beds can be turned over to the general public when they are dropped after curfew, one wonders how effectively that happens.

The challenges are worst for Latinos, refugees, and immigrants, who face language barriers and the potential hurdle of illegality.

As a result, they flood one of the few places they can get in. Dolores Street Community Services reported the second-lowest vacancy rate in January, just 5 percent. The 82-bed program hosts a waiting list and is one of the more flexible in the city — deliberately so, as many of its Latino participants have jobs or work as day laborers. Marlon Mendieta, the executive program director, says, "They have a plan and just need to save up some money to move into a place."

However, rising rents have made moving on difficult. "We have people who are basically just cycling from one shelter to another," Mendieta said. "We see some who exit our shelter, find housing, but might end up back at the shelter if rent goes up or they lose work."

Providence is one of the sparest of homeless facilities and is located in a Bayview church. Unlike at other shelters, there’s no hanging out here. When the doors open at 9:30 p.m. about 90 people with reservations are already lined up in the rain on its dark side street.

We receive one blanket apiece, and the men shuffle into the gym while I follow the other females into a smaller side room, where 12 mats are laid out on two ratty tarps. Several women immediately lie down, speechless.

The cook gives a quick blessing when plates of food arrive on two sheet pans: spaghetti, heavily dressed salad, limp green beans mixed with cooked iceberg lettuce, and a very buttery roll. It’s all heavy and slightly greasy, but also warm and a closer approximation of a square meal than any of those offered by the other shelters I’ve stayed in so far.

Moments after I finish eating the lights are turned off, even though a couple of women are still working on their meals. A shelter monitor comes through and confiscates our cups of water, saying she just refinished the floors in here and doesn’t want any spills. I notice that unlike at other shelters where I’ve stayed, none of the women here have bothered to change into pajamas. Some haven’t even removed their shoes. I follow suit, tucking my jacket under my head for a pillow and pulling the blanket around me.

When the lights come back on at 5:45 a.m., I understand why no one changed: there’s no time to get dressed. Shelter monitors enter the room, rousting sleepers with catcalls to get up and get moving. One turns on a radio, loud. They’re brisk and no-nonsense, grabbing blankets and shoving them into garbage bags, pulling mats into a stack at the edge of the room.

A woman becomes perturbed by being hustled and talks back to the shelter monitor. A verbal battle ensues, with the client picking up her mat and throwing it across the room, scattering her possessions. "What a woman, what a woman," the shelter monitor yells. "We’ll see if you get a bed here tonight."

Another staffer comes through with a toxic-smelling aerosol, which she sprays around us as we get ready to leave. The bathroom, the cleanest I’ve come across in the city’s shelter system, is still a clusterfuck as a dozen women wait to use the three toilets and two sinks. One stall has a broken door, and the only morning conversation is apologies to the occupant.

Even though the contract between Providence and the HSA says the former will provide shelter until 7 a.m., it’s a little after 6 a.m. and all 90 of us are back out on the street, rubbing sleep from our eyes, shivering in the dark dawn, and waiting for the Third Street T line. When the train comes, most of us board without paying and ride back toward the city center to get busy finding some breakfast and making preparations for where to stay tonight. I have four hours before I have to be at work.

Shucrita Jones, director of Providence, later tells me the shelter’s materials have to be cleaned up by 7 a.m. because the church is booked for other activities. "We turn the lights on at 6. The clients have at least until 6:10 to get up. We encourage everyone to be out of there by 6:15 so we can be clear of the building by 6:30," she says. To her defense, she adds that the shelter monitors often let people in earlier than the contracted time of 10 p.m. and that when the weather is particularly nasty she’ll open the doors as early as 8:30 p.m. to let people in out of the cold.

As for the discrepancy between empty mats in the shelters and people going without beds, she blames the reservation system. "CHANGES has a lot of glitches," she says. "It’s got a lot of errors the city and county [are] trying to fix."

What I witness isn’t as bad as what I hear. In the shelters everyone has a horror story — some are about how they got there, others about what’s happened to them since they arrived. Nearly all include a questionable experience with staff — from witnessing bribes for special treatment to being threatened with denial of service for complaining. Their observations echo mine: the administration and certain high-level staffers exhibit genuine concern and an ability to help when you ask, but lower-tier workers aren’t as invested in providing good service.

Tracy tells me she sent her daughter to private school and considers herself a victim of the dot-bomb era and an illegal eviction that landed them at the Hamilton Family Center. "We were given one blanket. It was filthy. It had poo on it, and, I’m not kidding, there were even pubic hairs," she says.

She describes the shelter’s intake process as similar to that of jail bookings she’s seen on television. Six days later she and her child were thrown out. No reason was given, though she’s convinced it’s because a staff member overheard her complaining about a recent incident involving another client sneaking in a gun. When she was told to leave immediately, she wasn’t informed that she had the right to appeal. So she and her daughter hastily gathered their things and hit the dark Tenderloin streets.

A grievance system exists for people who’ve been hit with denial of service, or DOS’d, the colloquial term for kicked out. But the process can take months. Shelter managers I spoke with don’t deny that stealing is rampant, favoritism exists, and complaints occur — the greatest number about staff and food.

General complaints are supposed to be handled within the shelter, though they may be copied to the city’s Shelter Monitoring Committee. The SMC submits quarterly reports to the Board of Supervisors, Mayor Newsom, and the public, which show regular instances of inconsistent and unsafe conditions, abusive treatment, and a lack of basic amenities like toilet paper, soap, and hot water.

Those reports prompted Sup. Tom Ammiano to sponsor legislation mandating standards of care for all city-funded shelters (see "Setting Standards," 1/30/08). The new law would create baseline standards and streamline a complaint and enforcement process.

According to the HSA, many of these standards are already policies included in the contracts with the nonprofits that run the shelters, requirements such as "provide access to electricity for charging cell phones."

During my stay at the Episcopal Sanctuary, I asked the shelter monitor on duty where I could plug in my cell phone and was told I couldn’t. When I asked why not, the only reply was that it’s against shelter policy. At Ella Hill Hutch Community Center, Cohen was told he could plug in but at his own risk — his unattended phone would probably be stolen.

I reviewed all of the contracts between the city and the nonprofit shelter providers, as well as the shelter training manual that’s given to staff. I was unable to find the same list of policies the HSA gave to the budget analyst. I asked HSA executive director Trent Rhorer how these policies have been communicated to the shelter staff, but he did not respond by press time.

While the ability to charge a cell phone seems relatively minor, its ramifications can be huge. The first time James Leonard met with his case manager at Next Door shelter, he knew exactly what he needed to get back on his feet: bus fare to get to and from three job interviews he’d already scheduled, a clothing voucher so he’d have something nice to wear when he got there, and a couple of dollars for the laundry facilities at the shelter. He also needed to charge his cell phone to confirm the interviews. He said he was denied all four things.

The standards of care, if passed, could improve access to those basic provisions, but some in the Mayor’s Office have balked at the estimated $1 million to $2 million price tag. The budget analyst’s final report is scheduled for release Feb. 14, in time for a Feb. 20 hearing at the Budget and Finance Committee.

Deborah Borne, medical director of the DPH’s Tom Waddell clinic, is a proponent of the standards from a public health perspective. "For me, I’m looking at decreased funding and how can I best affect the most population with what remains," she said.

Dirty shelters can help spread disease outside their four walls, as clients leave every day to use municipal services like buses, libraries, trains, and restaurants, which we all enjoy. Borne says this is something that’s been tackled by other facilities that house large numbers of people and is long overdue in the shelters.

"You can argue about whether we should or shouldn’t have shelters, but there are no city, state, or federal regulations for them. There are tons of regulations for the army, for public schools and colleges, but we put people in shelters and there’s none," she said. To her, San Francisco is on the cutting edge of care with this legislation. "I can’t wait until we do this on a state level," she said.

Kayhan said he and the mayor support the spirit of the legislation and have no problems with most of the no-cost items, but the price tag for staffing, training, and enforcement is a concern. "I think when you’re looking at how much money you’re going to spend on homelessness overall," he told us, "I would rather allocate additional resources to create another unit of housing for someone as opposed to enhancing the service model of the shelters."

Every day he’s on duty in the Tenderloin, police captain Gary Jimenez comes across homeless people — or people who seem homeless but aren’t.

"One day on Turk Street, I came by a long line of people drinking. I was walking with a Homeless Outreach Team officer, and he said he knew them all. Only about 20 percent of them were actually homeless. They don’t want to sit in their rooms drinking. We give people housing but we don’t acclimatize them, get them used to being inside. They want to do what they’ve been doing, and they go out on the streets to do it. It’s social," he said.

Larry Haynes agrees. "It’s lonely and depressing in your room," he says. He lost his Beulah Street apartment through an Ellis Act eviction and has been living in the Vincent Hotel for three years, after a nine-month stint in the shelter system. He’s a tenant representative now, advocating for improved conditions in the SROs, which still beat the shelters.

"The criticism I hear from people on the streets is that there are some good shelters but you can’t get in them," Jimenez said. "Then there are shelters that are open that you can go to, but you wouldn’t want to because they’re really bad."

He tells me he’s visited shelters but finds it difficult to get a feel for how valid the complaints are. "I can’t tell without waking up there or knowing what it’s like to be thrown out on the street at 6 a.m. in the cold when there’s nothing open," he said.

The Shelter Monitoring Committee has requested that HSA staff stay in shelters at least once to get firsthand experience, but it’s yet to receive confirmation that this has occurred. When we asked Rhorer about the policy, he said, "There are 1,800 employees who work for HSA, so there is no way of knowing if any of them have been homeless and used the shelter system."

In our first conversation, Kayhan told me he had never stayed in a shelter. In a later interview, when I asked what he thought about the public perception of the shelters, he said, "I’m just not sure that the criticism that I hear around the shelters as being dangerous hellholes — or whatever has been said — matches what I see in the shelters or what I read with respect to incident reports or what I hear at the Shelter Monitoring Committee or at the shelter directors’ meetings. So perception is reality."

"Housing first" has been Mayor Newsom’s modus operandi for handling homelessness, and it’s a good one — the idea being to stabilize people, whatever condition they’re in: drunk or sober, clean or using, ill or able, young or old, alone or with family.

The city’s 10-Year Plan to End Chronic Homelessness, released in 2004, recommended 3,000 units of supportive housing to get the chronically homeless off the streets. Kayhan confirms the Mayor’s Office of Housing is on track to meet that goal through master-leasing SROs and building or renovating new affordable units, where occupants will get supportive services.

The chronically homeless, a catchall term for folks who stick to the streets and don’t or aren’t able to use the system, have been the mayor’s target and Kayhan’s priority. This makes sense because they’re the most visible face of homelessness.

Last year’s city budget allowed a tripling of staff for the Homeless Outreach Team, which works diligently to move the most entrenched homeless off SoMa side streets and out of encampments in Golden Gate Park. A special allocation of shelter beds was set aside for them, and those who refused shelter were put directly into stabilization units in SROs, bypassing the shelter system entirely.

For some, this has been great. It’s how Leonard finally started to make some progress. He bailed on the shelters after having his possessions thrown out three times by staff and hit the streets, where HOT found him, deemed him "shelter challenged," and moved him into a stabilization unit.

"I feel almost as good today as the day before I became homeless," he tells me one afternoon in January. The Bay Area native is hoping to transition into a subsidized rental soon.

Twenty-five percent of shelter staff are required to be homeless or formerly homeless. Some shelters hire up to 80 percent. Tyler is one of them — he lives at MSC South but works for Episcopal Community Services, which runs Sanctuary, Next Door, and the Interfaith Emergency Winter Shelter Program. He shows me his pay stub to prove it, and I note that every two weeks he takes home more than I do. "Yeah, I make good money," he agrees.

He’s been looking for an apartment, but rents are high and he hasn’t found anything good. A plan to move in with a family member fell through, so he’s just hanging out on the housing wait list. "What I really want to do is see what they’re going to do for me. I’ve been on [Personal Assistance Employment Services] for six months. Where is my SRO if I can afford to pay for it? So obviously that shit doesn’t work," he says.

He’s bitter about the effect the Golden Gate Park sweeps have had on the SRO stock. "They got SROs right away," he said of the 200-plus people who were removed from the park by HOT, put into stabilization beds, and transitioned to SROs. "They took them right away ’cause Gavin had to clean that shit up," he says.

Tyler, like many people I spoke with, keeps as sharp an eye as possible on City Hall. They read the papers and have opinions informed by firsthand experience about programs like Care Not Cash. They know Kayhan is making $169,000 per year and they’re making $29 every two weeks.

One morning, coming out of the bathroom at Sanctuary, I stop to study a posting for affordable housing on a bulletin board. It’s a studio for $863 per month, more than I pay for my one-room Mission flat. The longer I stay in the shelters and the more people I talk to, the less secure I feel in my economic stability.

Ruby Windspirit has been homeless since Jan. 14, two days before I started my tour of the shelters. The 59-year-old Irish Navajo was attending school in Portland, Ore., studying photography and science, when she became ill with bone cancer. She came to San Francisco to convalesce closer to her daughter, who lives in a one-bedroom apartment in the Castro with three other people.

Windspirit knew she couldn’t stay on the couch for too long and made a reservation for a $27 per night hotel in the Tenderloin. Despite the reservation, she couldn’t get in for two days and the bed she was ultimately given was two box springs with a piece of plywood for support. The sheets were dirty. She left after two weeks and entered the shelter system. She says Next Door is "150 percent better" than the hotel. She has a bed off the floor and the extra blanket her doctor recommended, though she was scolded for trying to plug in her phone.

I try to imagine what people like Windspirit would do if there weren’t shelters. But the Ten Year Council also recommended a phasing out of shelters within four to six years, to be replaced by 24-hour crisis clinics and sobering centers.

There are 364 fewer shelter beds in San Francisco than when Newsom became mayor. This year more may go. The city is currently requesting proposals to develop 150 Otis, which serves as a temporary shelter and storage space for homeless people, into permanent supportive housing for very-low-income seniors. About 60 shelter beds will be lost.

The HSA confirmed there are currently no plans to open any more shelters in San Francisco. The last plan for a new shelter — St. Boniface — fell through, and the money that was set aside for the project still languishes in an HSA bank account. Midyear budget cuts proposed by the mayor put that money on the chopping block.

Buster’s Place is also on the list of cuts. By April 15, the only place where someone can get out of the elements at any time, day or night, could be closed for good.

Kayhan, who previously oversaw Project Homeless Connect, Newsom’s private-sector approach to the problem, agreed that shelters will always be needed. What he worries about are the people who become dependant on them and refuse housing offers, although he’s also thinking about ways that shelters could be more amenable.

"I’d like to look at the next step with Homeless Connect to try and institutionalize that in the way we do business specifically in the shelters," he said, imagining a shelter pilot of one-stop shopping for services.

But just three weeks into his new job Kayhan was reaching out to constituents to try to figure out what isn’t working. He told us, "What I’m trying to do since I came into this position is be on the street and measure the impact the system is having on those that are on the street day in and day out and try to see what part of the system isn’t working properly or needs to be resourced differently so that we don’t see homeless people, long term, on the streets."

One night at MSC, in the bathroom before bed, a young woman tells me her story while I brush my teeth and she washes off her makeup. Not too long ago she drove here from Florida to meet up with her boyfriend. They were hanging out on the street one night when a cop came by, cited him for an open container, and discovered he had a warrant. Now he’s in jail in San Rafael.

She started sleeping in her Suburban while she looked for job and a place to stay. One night while she slept, parked at Castro and Market, she was hit by a drunk driver. She lifts a hank of long blond hair and shows me a bright pink tear of stitches above her temple. An ambulance took her and the drunk to the hospital. Her totaled car was towed. When the hospital found out she had no place to go, it sent her here.

"Now I’m in a fucking homeless shelter," she says, genuinely aghast at the situation and truly lost about what to do. She has her bed for five more days.

She could get a job. She says, "I have hella references," from working in restaurants for years. She could sleep in one of her friends’ cars, but it seems like so much work: waking up in the car, going to a resource center or shelter to wash up, then going to work.

We joke about living in the shelter. "Yeah, you can come over," she imagines telling her friends. "Dinner’s at 4:30."

"You’ve got to leave by 10," I say.

"It’ll be fun. We can hang out and smoke on the patio," she says.

I don’t know what else to say, except "Good luck." I know what it’s like to chase a boyfriend to San Francisco. I remember sleeping in my car when I was 21, during a strange time between graduating from college and getting a place to live for the summer in a town where housing was tight. I think about my little sister, packing up her Subaru one day and taking off to Miami, where she didn’t know a soul. You have a little money, a lot of hope, and that youthful sense of invincibility, but sometimes it all comes down to luck.

I bid her good night, pack up my toiletries, and wipe my face with my shelter-issued towel. It smells vaguely of bleach and shit.

› amanda@sfbg.com

Bryan Cohen contributed to this report.

Cleaning up the shelter mess

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EDITORIAL Shelters aren’t a solution to homelessness. Everybody knows that; everyone agrees. But in San Francisco the shelter system that was set up as a short-term patch to address the growing number of homeless people on the streets in 1982 has, over a quarter century, become a fixture of city life. And as long as the federal government continues to abandon cities and affordable housing and create poverty, this is not likely to change any time in the immediate future. Even the most ambitious local housing program — and there will be a fairly ambitious one on the November ballot — isn’t going to create an immediate and permanent place for all of the 8,000 or so people in this city who can’t afford a place to live.

So shelters are going to be with us for a while — and it’s inexcusable that the city continues to operate them under such horrible conditions.

As Amanda Witherell reports in this week’s cover story, the shelter network is a bureaucratic nightmare. Clients get bounced all over town, it’s almost impossible to reach any of the shelters by phone, and the directions you have to follow to get a bed are complicated and confusing. Although everyone knows that shelters are now more than temporary housing, it’s hard at some shelters to get a bed for more than one night; lots of homeless people spend four or five hours per day waiting in lines for a shot at a bed (and even after that, some wind up not getting a place to sleep). The shelters — mostly run by nonprofits under city contracts — have the feel of prisons; they are strictly regimented and often unsafe and lack even basic amenities like soap. Clients often have to ask for toilet paper.

In 2006 the city’s Shelter Monitoring Committee found that only 6 of the 19 San Francisco homeless facilities met even basic standards for hygiene and sanitation. Fifty-five percent of shelter clients who participated in a May 2007 survey by the Coalition on Homelessness reported some kind of physical, sexual, or verbal abuse. One-third had no access to information in their native language. Thirty-five percent had nothing to eat.

It’s no surprise that many homeless people would rather sleep in Golden Gate Park — and as long as the abysmal conditions persist, that problem will continue.

The city’s not in the position to create luxury hotels, but it can make the shelters a lot less degrading, dehumanizing, and unpleasant. Sup. Tom Ammiano has already vowed to introduce legislation that would mandate minimal standards of care, and the Board of Supervisors needs to pass a tough bill as soon as possible.

Among the things that need to be addressed:

Basic public health The Department of Public Health is concerned that the shelters can be breeding grounds for disease, and that’s a serious problem: there have been some close calls with tuberculosis, and bedbugs are a chronic issue. Many of the shelters lack such basic supplies as hand sanitizer, soap, rubber gloves, and clean towels. For just $15,000, public health nurses from the city’s Tom Waddell Health Center, working on a pilot project, were able to make significant inroads in hygiene and sanitation in two shelters. They’re now moving on to attack bedbugs and scabies. That approach should immediately be expanded to every shelter in the city.

Safety Some of the shelters, particularly the men’s shelters, are lacking in basic security measures. It would be nice to have full-time security staff in every facility, but that might be expensive. At the very least, the staffs need more security and violence-deescalation training, the centers need to have operating and functional locks, and the city needs to mandate that the places are safe enough that clients aren’t afraid to stay there.

A ridiculous bureaucratic labyrinth and lack of coordination Nobody should have to stand in line for three hours per day just to get a reservation for a shelter bed. Nobody should have to trek across town (on foot or on Muni, without the bus vouchers that the shelters ought to be giving out) from one shelter or homeless service center to another just to find out where to stay. There ought to be a one-stop shop (or a series of them) where a person can check in anytime during the day, find a shelter, line up a bed, get a ticket, and be on his or her way. City officials don’t talk much about this, but many of the shelter residents have jobs; they go to work all day but still can’t afford a place to live in San Francisco. The hoops they have to jump through make the system brutally unfair.

A lack of reality Mayor Gavin Newsom says he wants to get beyond the shelters, to use them only as entry points into a system that will find treatment, counseling, job training, and permanent housing for all homeless people. We want that too. So does just about everyone who cares about this issue.

But the mayor also talks about getting rid of aggressive panhandling, and he and his supporters complain about the people on the streets who hassle tourists. And nobody seems to want to admit that many of the folks who are typically lumped under the term homeless actually have homes.

The city has managed to lease, renovate, and otherwise make available hundreds of single-room-occupancy rooms, and quite a few formerly homeless people have found long-term residences there. But the mayor’s Care Not Cash policy ensures that most of the modest welfare payments these people get are seized by the city for their housing, leaving them with nowhere near enough to survive. So they panhandle — is anyone surprised?

It may sound radical, but if the city, state, and federal cash grants to people who for whatever reason can’t find work were increased to a level that would support a tolerable lifestyle in one of the world’s most expensive cities, a lot of the quality-of-life problems Newsom bemoans — and that the city spends millions trying to mitigate with law enforcement resources — might go away.

Meanwhile, the shelter residents who do have jobs or who are looking for jobs spend so much of their lives trying to navigate a Byzantine system that they have little in the way of waking hours to improve their economic prospects.

The disaster that is San Francisco’s shelter system is the legacy of many years of public policy that allowed the interests of developers, landlords, and speculators to trump the needs of the city as a whole. The housing crisis isn’t going away tomorrow — but the victims have a right to a basic level of human decency. The supervisors need to make that happen, with dispatch.

Editor’s Notes by Tim Redmond

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› tredmond@sfbg.com

Mayor Gavin Newsom is all hot and bothered about the report by the Board of Supervisors budget analyst saying Newsom has taken $1 million that is supposed to pay for homeless services and Muni and used it to pay his own staff. The mayor says it’s all just a personal attack on him by the supervisors. He also says other mayors have done the same thing. According to the San Francisco Chronicle, Phil Ginsberg, the mayor’s chief of staff, called the report "bullshit." (Actually, the Chronicle, in its infinite decorum, used the term "bull-," to avoid offending the tender values of its readers.)

OK, look: there are politics going on here. The supervisors and the mayor aren’t getting along, the mayor has unleashed a rather savage attack on board president Aaron Peskin, Peskin is going after some of the mayor’s commissioners, and maybe Sup. Jake McGoldrick, who asked for the report, had some sort of political motivation. Or perhaps McGoldrick, who doesn’t tend to like this sort of bullshit, just got mad that the mayor was doing something funky with the taxpayers’ money.

Whatever. Nobody is denying the factual accuracy of the report. And if Newsom wants to make an issue of it, he ought to get beyond the politics and the accusations and just tell us:

Does he really think this is a good way to spend city funds?

Should the Human Services Agency, which is responsible for the most needy and broke people in town, be spending $95,000 per year to pay for a mayoral press aide? Does that money really help the homeless? Is there a good argument that having a media flack in Newsom’s shop defending the mayor’s homeless policies helps save lives, provide housing, or get substance abusers into recovery?

Fine, Mr. Mayor: perhaps you can elucidate it.

Was Stuart Sunshine, until recently Newsom’s chief transportation aide, really worth $203,000 per year? Did paying him that salary out of Muni’s budget help improve bus service? I dunno, maybe it did. But I haven’t heard Newsom tell me how.

Is it fair — and is it a good idea — at a time when every city department is being asked to cut back, when crucial city programs are being reduced or eliminated, when it’s going to be an ugly year for the public sector in general and San Francisco in particular, for the mayor to be filling his staff jobs on someone else’s dime?

That’s the real issue here: if Newsom thinks his high-paid staffers in his newly renovated office are doing such a bang-up job that two underfunded city agencies ought to be writing their paychecks, then the public is welcome to listen to his pitch. But there is nothing political or personal about asking the questions; that’s exactly what the supervisors ought to be doing.

Newsom is the chief executive of San Francisco. He sets the policies; he hires the senior staff. He can be upset with the legislators who are the checks and balances of his power, and he can disagree with the conclusions of a report that the board’s budget analyst has produced. But to call it bullshit when he knows it’s true (and when he knows from his own experience that Harvey Rose, the budget analyst, is widely respected for his fairness) … well, that just sounds defensive. Bad place to be, Mr. Mayor.

DJ Cheb i Sabbah speaks his Worldly mind

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This Saturday night (2/9) at the Worldly party at Temple, Cheb i Sabbah — the Algerian-born, San Francisco-based DJ and producer extraordinaire — celebrates the release of Devotion, his seventh album on Six Degrees Records.

Recorded and produced entirely in Delhi, Devotion is Cheb i Sabbah’s trance/fusion inspired take on raga (Indian classical music) and the rich and diverse musical traditions Hinduism, Sikhism, and Sufi Islam.

What sets Cheb i Sabbah apart from other producers of so-called global electronica –and what must partly explain a worldwide popularity that far exceeds his local fan base — is his ability to add modern beats to classical music in a way that preserves the integrity of the original forms.

At age 60, Cheb i Sabbah’s life has been as much a kaleidoscope of social and artistic movements as his music is of musical and spiritual traditions. In the early 1960s, Cheb i Sabbah was one of many Jews who fled Algeria after its independence and headed to Paris, where he spent his teenage years.

 

Cheb i Sabbah has had what he describes as three distinct incarnations as a DJ. The first was in 1964, when he was a 17-year old on his own in Paris making a living spinning Otis Redding, Wilson Pickett, and Arethra Franklin. The second was in 1980, returning to Paris after over a decade of traveling, when he spun mainly Brazilian music. The final and most recent incarnation began in the early ’90s, when he started his “1002 Nights” weekly at Nickies in the Lower Haight, where he still spins North African, Middle Eastern, and South Asia beats every Tuesday.

The span of Cheb i Sabbah’s 40-year musical career was punctuated by involvement in two experimental theater groups — the Living Theater from the late-’60s through the ’70s, and the Tribal Warning Theater in the late ’80s — as well as a host of odd jobs, including work at Amoeba Records and Rainbow Grocery in San Francisco. His music was also greatly influenced by a long-time friendship and collaboration with jazz trumpeter Don Cherry, whose music Cheb i Sabbah remixed with that of Ornette Coleman and the poetry of Ira Cohen to create his debut album, The Majoon Traveler, in 1994.

With a thick French accent and extraordinary patience for helping navigate the dense weave of movements and traditions that compose his life story, Cheb i Sabbah talked to the SFBG about his most recent album, Devotion, as well as his long career in music and theater.

SFBG: You recorded all of the music for several of your albums, including Devotion, in India. What is it like working with highly trained classical musicians?

Cheb i Sabbah: What has always struck me about working with those musicians is how humble and really sincere they are. You are dealing with people who have done this all of their lives. When they meet me, they have no idea who I am. But throughout the session, this friendship develops. There are many cups of Chai in between. Later on, we keep contact.

The concept for my music is very simple: take classical music and add modern beats to open it up to more people. The fact that [the classically trained musicians] went along with it to me is still pretty amazing.

I feel that I am lucky because there is a sense that in the end I will be respectful to what they are doing. They do want to be involved with something that will reach a Western audience and something modern. But they are not always sure. Because take Bollywood music its remixes, for example: some are good, some are quite awful. That is the thing they are weary about a little bit—not to end up with something they hate.

Working on Devotion, the musicians actually liked what they heard because the raga was still there, in a way, untouched. What was added to it wasn’t too much in the sense of distorting their thing. I seem to have been lucky enough to find the balance between putting the electronics with their classical thing and make something that was pleasing to them.

SFBG: Who composes the music?

CIS: It’s not really a question of composing or not composing. It’s more like — for Devotion, when you come to an artist who does Kirtan, which is a call-and-response devotional music, I will say, “I would like to do a couple of Kirtans with you,” and then he just sings them. The composition comes after the singing. The singer will say, “Yeah, okay, I’ll do it, but write me a simple melody.” So what we do is a little thing on a keyboard, send the MP3, and then they have that for a couple of days and return to the studio with the melody.

SFBG: Are the other musicians improvising?

CIS: No, they score the songs. Some do improvise — I work with three percussionists who play every percussion you can imagine. They will score each song individually. When you ask a sarangi or sitar player, they listen to it once and say, “Ok, I got it.” And then they just play—nothing is written whatsoever. They just play by ear, tune to the particular raga, and go from there. After that, of course, comes the electronic part, which is editing what you got from them, and take the best parts and maybe repeat it or loop a little bit of this or sample that.

SFBG: You’ve had a very interesting past. What was it like moving from Algeria to Paris as a 13-year old in the ’60s?

CIS: Of course when you are dropped from North Africa into a big place like Paris, as you can imagine, there is so much going on. I didn’t want to go to school, so I started to work when I was 15, which was even more freedom, all the way through May ’68, when France stopped for a few months — there was a general strike basically. I was involved with the artistic part and also with the Living Theater — which was Julian Beck and Judith Malina. They happened to be in France because they had been in Europe for a few years in exile from America and from the IRS.

SFBG: What is the story of the Living Theater?

CIS: If you lived in Paris at that time, Julian Beck and Judith Malina had been part of the ’50s bohemia trip in New York with Merce Cunningham, John Cage, Alan Ginsberg, and all of that. The Living Theater went to Europe and had become a mythical kind of a group — just the way they looked, the way they acted, the kind of theater that they did. I was a DJ so I had free time. I was basically free from everything, just living on my own when I was 17-years old in a hotel room and being a DJ at night. When you went to see the Living Theater, it was just an amazing kind of experience — I had never seen that before.

In ’68, some of us took [over] the Odéon Theater, which was the bastion of French culture. We lived there for a while and had assemblies and reunions and all of that. Then, a few months later, in July, I went down to the south of France and stayed with the Living Theater for a couple of months while they were working on a play called Paradise Now. I wanted to join, but at that time, after May ’68, they decided to split into three groups. One went to India, one stayed in Europe, and the one with Judith and Julian went to Brazil, where eventually they got arrested, went to jail, some members were tortured, beaten up, and all of that. Eventually they came out in 1970, and that’s when I joined the Living Theater — in New York City. We used to have a house across the street from the Brooklyn Academy of Music. We rehearsed there everyday.

SFBG: What brought you to the States?

CIS: I found myself being taken to America by an American woman actually. She kidnapped me and took me first to New York and then to Berkeley. When I arrived in Berkeley, it was the whole thing about the People’s Park, and the Living Theater was touring the US. We met and reconnected with Living Theater in Berkeley. There was a memorable performance with Jim Morrison acting out during the play as an audience member but getting involved with Paradise Now, which was all about audience participation.

SFBG: How would you describe Berkeley and the Bay Area during that time?

CIS: It was the beginning of the end kind of thing. Compared to Paris, it was pretty lightweight. Because if you saw ten cops running, you saw hundreds of people running back, whereas in Paris it was a different thing in terms of the demonstrations.

SFBG: What was your role with the Living Theater?

CIS: My role was acting, but then I became Judith [Malina] and Julian [Beck’s] assistant. I was very fortunate because I had never taken an acting class — they just took me in. I would go on tour with them whenever they did lectures to raise money. They would go around East Coast campuses and give theater lectures, so I would always be with them taking care of little things, selling books. I have all that kind of training—a very close relationship with both of them. Then I became the money person. I would figure out the money with Julian and then pay the artists — which wasn’t very much money, but at least a weekly whatever, enough for subway and cigarettes maybe. Nobody got paid but we all lived, ate, and worked together.

SFBG: Was your involvement with the Living Theater through the ’70s?

CIS: Yes, from the late ’60s to the ’70s. We lived in Brooklyn, as I said before, and then we went back to Europe. I had residence in a few places in Italy. And then of course, we toured Europe—France, Germany, and everywhere. We were invited to Italy by the Communist Party. One thing about the Living Theater was that whenever we did a play in any country, we did it in the language of the country, even if some of us did not speak the language, we said our lines in the language of the country.

SFBG: What was your involvement with music during that period?

CIS: There was some but at that time I was just acting. It was when I left the Living Theater and came to San Francisco. Suzanne Thomas and I, we were a couple. We started a group called Tribal Warning Theater. It was very successful. We always played to packed sold-out audiences. But it was hard to keep it going, you know. Obviously, nobody involved got paid. Most people had jobs, so we rehearsed at night and on weekends—and we performed on weekends. We performed at The Lab. We used to open for Psychic TV. That was when I started to do soundtracks. At that time it was the height of the industrial music — you know, Throbbing Gristle, Psychic TV, and all of those groups that were doing industrial weird kind of music. I would do a multi-track collage of sound that we would use as a soundtrack along with our lines, but we had microphones and everything else. We had slide shows and videos—a multimedia kind of thing. Our soundtrack was as loud as Psychic TV live. When we came on, it was massive sound, besides the visuals and the actual acting.

SFBG: How did DJing grow out of your involvement in theater?

CIS: All those major kind of things I got involved in artistically — we’re not taking about the shit jobs in between—it was always kind of by chance. It was a simple thing: I was working at Rainbow Grocery on 15th and Mission. I was the buyer in charge of homeopathy and Chinese herbs. I worked in the vitamin department. Of course, I was still collecting music. I would make tapes for the customers. I had made a tape of Algerian raï music. This guy came in and the music caught his attention. He came to me and asked what kind of music. I said, “That’s considered Algerian raï rebel music.” He said, “That sounds pretty cool.” We started talking. He said, “You know, I run a place called Nickies in the Lower Haight. If you want to come and spin there, that would be cool.” So I showed up the next week at Nickies. This year is the 18th year spinning there.

SFBG: When did you start to perform with Don Cherry?

CIS: Right around that time too, because he had moved to San Francisco to work with the Hieroglyphic Ensemble. I had met him a few years before in Europe, while I was in the Living Theater. I would see him wherever he was—Vienna, Paris—I would go to his concerts or he would come to Living Theater shows. That is how I met him—he came to a Living Theater show in Torino, Italy. From that first night, I went back to his hotel room, we had this long—I guess—25-year friendship. When he came here, we met again, and then before I was a DJ, he actually performed with us as Tribal Warning Theater. Don Cherry always wanted to do theater but never had the patience to sit through rehearsals and all that. We did a few plays at the Victoria Theater.

SFBG: What was your introduction to India and Indian music?

CIS: The music was my first introduction to India. In the ’60s was yoga and everything—but I was never joining anything. That was another big thing with Don Cherry and I. If you look at the jazz musicians, most of them in the ’60s during all the Black Panthers and everything else, most African American jazz musicians went back to Africa and Islam, many of them changed their names. But Don Cherry, John Coltrane, Charles Lloyd—they didn’t go that route; they went to India, so did Alice Coltrane. They went to Indian spirituality. And that is an interesting kind of thing. Only a few did that. So Don Cherry and I had this other Indian music/spirituality and also Tibetan tantra.

SFBG: You have a large Western audience and are very popular in the Burning Man community. Do you ever feel that your Western fans exoticize Eastern and South Asian culture?

CIS: That’s a hard one. In the West, there is a lack of initiation ritual and other places because everything is such a mess. There is a lack of communion with the village. That is what class and race and all of that have become. If you take techno or trance music, which is really based on repetition, you can see how, in the right environment, it brings people together and gives a ritual of togetherness through vibration, which in the end, everything in the universe is about vibration. If you feel good or feel better after going to dance or listening to music, you are definitely more positive towards the universe. It is difficult to be positive these days. And music does have that power. It might be short-lived, but anything we can do or think that is positive is what is needed.

Cheb i Sabbah Devotion CD Release Party, February 9th, 10 p.m., Temple Bar, 540 Howard Street, $18.