youth

Campaign pain?

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November’s presidential election already looms on the horizon like a herpes outbreak, promising nothing so much as a painful, shame-filled denouement to a drunken and ill-conceived flirtation with someone you thought you knew. So it’s refreshing that the San Francisco Mime Troupe’s seasonal offering of free, rabble-rousing political theater is an election-year special in which the opposing candidates from the two monopolizing parties are conspicuously absent. Instead, Red State, which opened by tradition July 4 in Dolores Park, focuses on the screwed-if-you-do/screwed-if-you-don’t quandary of voting itself, and does so with populist gusto tinged with a reddish hue — a thematic color imbuing everything from the design scheme to the pointedly funny dialogue’s New Deal–style social-democratic slant. It also reflects the rising blood pressure that results from underlying but palpable frustration and outrage.

Reclaiming red from the dusty color wheel of history, Mime Troupe head writer Michael Gene Sullivan’s smart and consistently funny script — brilliantly delivered by a uniformly sharp and charismatic cast and fueled by composer–band leader Pat Moran’s eclectic set of apt and catchy songs — posits FDR’s small-town America as marooned at Francis Fukuyama’s end of history. Set in a puny Kansas ‘burb named Bluebird, Red State casts November’s "Countdown to Armageddon" (as the play’s CNN reporter colorfully advertises his network’s election coverage) in the screwball style of Depression-era comedies as Bluebird becomes the unlikely tiebreaker in an electoral dead heat.

Suddenly the nation’s eyes are riveted on an otherwise microscopic microcosm of average American life at the beginning of the 21st century. This focus on the lives of the town’s humble and much abused citizens throws everyone for a loop, not least the government’s smarmy and ambitious election official (Velina Brown), who is so obsessed with thoughts of a cush Washington, DC-based promotion that she has difficulty remembering which state she’s even in.

For its part, Bluebird feels like a town under siege, but just who the enemy is remains initially hard for the inhabitants to fathom, or agree on, anyway. Is it the wrath of God? The communists? It all depends on whom you ask among the locals, a population whose representative eccentrics include a God-fearing, Jesus-toting fundamentalist (Noah James Butler, bearing cross and life-size Christ) and a rabid (and equally anachronistic) anticommunist named Eugene (Robert Ernst).

What is clear enough is that jobs have dried up (the local pencil factory — the onetime pride of the town, which liked to promote itself as "the Number 2 pencil capital of North Central Kansas" — just relocated to the cheap labor environs of Uzbekistan), public services have dwindled to nil, and the dilapidated sidewalks and roads are a physical menace (nearly undoing a local soldier, played by Adrian C. Mejia, who’s just returned in one piece from Afghanistan).

If that wasn’t enough, the town’s only electronic voting machine is on the fritz. But this little debacle, in the context of an electoral tie, ends up being an opportunity that gets the town thinking and the earth trembling beneath Washington, DC. Deciding to withhold their votes until the proper share of their tax dollars gets re-diverted back to their community where it belongs, and away from endless war-making and corporate welfare, Bluebird manages (in the most unlikely but coruscating of Capra-esque scenarios) to hold a corrupt and hubristic system at bay, spotlighting the government–big business alliance that for decades has fleeced towns like Bluebird of their taxes, able-bodied military-age youth, and everything else not nailed down. Or so to speak: before the town turns the tables on the system, even Bluebird’s fundamentalist is driven in desperation to ask the Antiques Roadshow host, "How much for Jeezus?"

RED STATE

Through Sept 28, free

Various Northern California locations

Visit www.sfmt.org for schedule

San Francisco’s undocumented children

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OPINION The recent news stories criticizing the city’s juvenile probation department for sending undocumented children home instead of handing them over to the federal immigration authorities has ignited a firestorm of negative attacks.

However, the stories missed a key fact: the city’s practice of transporting youth home was enacted with the full knowledge and cooperation of the Immigration and Naturalization Service 12 years ago.

San Francisco’s 1989 voter-approved sanctuary law specifically forbids city officials from providing information to federal immigration authorities to aid in deporting noncitizens. While the law does not protect adult felons, it’s silent on the issue of what the city should do with undocumented children after their juvenile cases are concluded.

In 1996 the city’s Juvenile Probation Department drafted a set of policies declaring that undocumented children were entitled to due process of the courts. The policies stipulated that juveniles who wanted to return to their families would be given an airline ticket home after completing their sentences. Children whose families could not be located would be released to halfway homes or foster care, consistent with the way other minors were treated.

In 1993 the INS was sued in the class action suit Flores vs. Reno for unlawfully housing undocumented minors in juvenile correction facilities without access to their families or legal representation. The case settled in 1997 with the INS agreeing that detained children should be placed in the "least restrictive environment," and that every effort would be made to reunite minors with their families.

Prior to the Flores settlement, juvenile probation officials and an attorney for the SF Public Defender’s Office met with representatives from the regional INS office to review San Francisco’s policies.

In 2002 the INS was subsumed by the Department of Homeland Security and became Immigration and Customs Enforcement. While ICE was given the task of prosecuting undocumented children, the Office of Refugee Resettlement, part of the Department of Health and Human Services, was given the responsibility of protecting these children. Unsurprisingly, in the post-Sept. 11 era, ICE took a more aggressive stance against immigrant youth, particularly those involved in the juvenile justice system.

Meanwhile Congress began debating what to do with unaccompanied children who are taken into ICE custody. In 2002, Sen. Dianne Feinstein introduced the Unaccompanied Alien Child Protection Act, stating that "unaccompanied alien minors are among the most vulnerable of the immigrant population." Feinstein noted that "many of these children have entered the country under traumatic circumstances … they are young and alone, subject to abuse and exploitation."

San Francisco’s solution of sending kids home to their families, while imperfect, served at least one purpose: of the seven children represented by my office who were sent home in the last 18 months, none have been rearrested in the United States. San Francisco’s reunification policy was legally justified, fair to youth and their families, and cost-effective.

Jeff Adachi

Jeff Adachi is San Francisco’s public defender.

Stevie Wonder satisfies onboard the Sleep Train

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Don’t you worry ’bout a thing: Stevie Wonder, circa the ’70s.

By Joshua Rotter

When two travel four hours to see one of their all-time favorite artists, Stevie Wonder, perform at a venue that should have been a 40-minute drive away – the usual journey from San Francisco – a simple outing becomes a vision quest.

En route to Wonder’s Sleep Train Pavilion show in Concord on Tuesday, July 8, amid triple digit temperature, and dehydrated and dampened by sweat in my friend’s passenger seat, I was convinced that we would never see the legendary R&B performer. Car accidents and heat-induced area power outages seemed to conspire against us. San Francisco may have been as hot as July elsewhere in the county, but Concord was hotter than hell. We inched closer and closer, but the venue, obscured by rolling hills, wasn’t even in eye shot, much less the eighth Wonder of the world.

Whether it was the excess of heat, the lack of liquids and nicotine, or being hopped up on myriad packs of sugary gum, an image of the vocalist suddenly appeared in my mind’s eye, and I was set adrift on memory’s bliss, imagining much of his career, from the innocent tracks of his early Motown period – “Uptight (Everything’s Alright),” “My Cherie Amour,” “For Once in My Life” – to his ’70s consciousness-spreading classics “Superstition,” “Living for the City,” and “Higher Ground,” through the Stevie of my youth – “I Just Called to Say I Love You,” “Part Time Lover,” and “That’s What Friends Are For,” as well as his guest-starring role on The Cosby Show, in which he invites the Huxtables to join him in the studio after his driver hits two in a fender bender. But traffic was too stalled at this point for any such luck to befall me.

Youth gone wild: Black Tide

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blacktide.jpg

Who better to embody the spirit of mayhem than a posse of rock-crazed teenaged boys? Especially if it’s capital-M Mayhem, which happens to be the name of a package tour of metal bands sponsored by crack-tastic Rockstar Energy Drink?

The show, which hits the Shoreline on Saturday, July 12, with a roster of bands both horns-worthy (Mastodon!) and ehhh (Five Finger Death Punch?), signals the local debut of Black Tide, a quartet whose chief source of notoriety thus far is that they’re fronted by a 15-year-old (their oldest member just turned 20). Yep, you read that right: though they’re the same age you were when you got your first job at Jamba Juice, this gang of Miami whippersnappers has a deal with Interscope Records and are currently touring the world to promote their new album, Light from Above. What gives? Do we have a metal Hanson on our hands, or what? And would they kill me for suggesting as much (duh)? I called up bassist Zakk Sandler mere hours after Black Tide played their first Mayhem set at tour’s kickoff in Seattle, Wash.

Sound in the balance

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"Anger is an energy," sang John Lydon in the Public Image Ltd. tune "Rise." San Francisco electronic artist Kush Arora harnesses a similar combustible force in his live shows and on the three full-length recordings that have made him an established club fixture and touring act. "I try to do something different with music and express the frustrations of the youth in this country," says the affable 26-year-old Haight District resident, who performs with Chicago’s MC Zulu July 13 at Dub Mission.

Arora’s ragga-techno fusions have struck a chord with audiences from the Bay Area to New York, while monthly hybrid live/DJ sets at Club Six’s Surya Dub night have earned him a broad audience that includes dubstep heads, bhangra fans, experimental electronic admirers, and grime listeners. It makes sense as the former Montessori School teacher has always balanced different cultures.

Born in San Leandro and educated in Orinda’s leafy suburbs, Arora ingested death metal, punk, and experimental-industrial sounds, as well as his family’s Indian and Punjab music, learning traditional instruments like the single-stringed tumbi and algoze flute. His music experience increased after interning at his uncle Aman Batra’s Manhattan hip-hop studio Sound Illusions, and later working for sound-editing software company Arboretum Systems.

In high school he formed an experimental band called Involution, which he helmed for six years before launching his solo noise project Clairaudience in the early ’00s. But it was while attending a 14-month audio recording course at Emeryville’s Ex’Pressions that he learned a signature skill: recording live vocals. "When I was writing songs for my first album [2004’s Underwater Jihad (Record Label/Kush Arora Productions)], I wasn’t impressed with my own work or where electronic music was at the time. It wasn’t badass enough," explains Arora, who also felt there was a lack of high quality, vocal-based dance music in the Bay.

Soon Arora contacted and tracked stateside Punjabi singers and ragga MCs, including Chicago’s MC Zulu, Trinidad’s Juakali, Jamaica’s N4SA, Los Angeles’ Wiseproof, and San Jose’s Sukh and Sultan. "I wanted to work with people who were dangerous and different, especially vocalists who didn’t fall into their music’s niche or category," Arora says of the often confrontational and political artists he’s recorded on full-lengths like 2006’s Bhang Ragga and 2007’s From Brooklyn to SF, both released on his Kush Arora Productions imprint. The albums brought club bookings far and near.

Over the past several years Arora has played large Indian gatherings, small IDM shows, underground warehouse events, raves, and the monthly Non-Stop Bhangra party in San Francisco. His performance breakthrough happened in 2006 at DJ Sep’s weekly Sunday-night reggae party at the Elbo Room, Dub Mission. "That changed my whole presence in the city," he says.

Arora believes his family’s roots in the often-volatile Punjab region between India and Pakistan breathes through his music. "That’s why I like bhangra. It has an element of aggression and sadness," he reflects, acknowledging that those also are traits he looks for in his vocal collaborations. "The artists I work with have a real tug-of-war between good and evil in their lives. My music is their redemption and my redemption in a fateful balance." *

KUSH ARORA

Dub Mission on Sundays, 9 p.m., $6

(Arora and MC Zulu on July 13, $7)

Elbo Room

647 Valencia, SF

www.dubmissionsf.com

Noise to go

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Load combo Monotract inspired immediate double — nay, triple — takes as it took the stage at the label’s South by Southwest showcase at Room 710 in Austin, Texas, last year. Noise impresario Carlos Griffoni and ace drummer Roger Rimada were missing in action due to a snowstorm, and the New York City band’s sole rep turned out to be guitarist-vocalist Nancy Garcia — flailing away on guitar with massive curls and girlish frock and evoking images of early punk women before the genre’s look, and sound, became codified. Alongside Garcia was an impromptu experimental-music supergroup incarnation of Monotract — Sonic Youth’s Thurston Moore also on guitar, Burning Star Core’s C. Spencer Yeh on violin, and Magik Marker’s Pete Nolan on drums — generating a memorable, noise-fueled set only tangentially related to the genuine article’s powerful album that same year, Trueno Oscuro (Load). The fourth album by the band ended up drawing praise from both Pitchfork Media and The Wire for its loud-soft waves of epic distortion ("Red Tide"), no-wave-ish blurt ("Cafu y Kaka"), and electronic-groan tribal-chant ("Big N"), which saw Garcia memorably motor-mouthing toward the reverb-bristled finale.

Apparently Garcia is not only resourceful in a jam, but something of a triple, even quadruple, threat. The Miami, Fla., native of Cuban American descent has been working in dance, video, and visual art, in addition to music, since moving to NYC eight years ago, where she studied at the Merce Cunningham dance studio and recently received a master’s in interactive technology at New York University’s Tisch School of the Arts. And she’s traveled far —aesthetically and geographically — from her sun-baked teen years in Miami, listening to grunge on the radio and flailing at her guitar as part of Rat Bastard’s Laundry Room Squelchers.

Her first tour with the noise group at 18 led to some "permanent damage, for sure," she says with a chuckle, speaking by phone from NYC. "I was really young and in high school, so it was just really amazing that someone invited me to go on a stage and I could play whatever I wanted. Basically there was no judgment passed, ever."

A dancer since age six, Garcia began composing music and dance at around the same time, so it was natural that one medium informed the other. Garcia’s 2007 dance piece, No Keys, for instance, juxtaposed frugging and head-banging rock moves drawn from Tina Turner and Iggy Pop with lyrics from the Slits and John Holt, beneath one of the musician’s wall-size drawings. Another work, 2005’s localstwang, saw Garcia moving and making music simultaneously, using contact mics attached to effects pedals and amps. That sense of play will factor into Garcia’s Mission Creek show — a first for her as a solo live performer: it will involve guitar, oscillators, and perhaps other "random instruments in the space," she offers. "I like to stay sort of open. Oh, also some movement. It’s hard not to move when there’s music playing."

NANCY GARCIA

With Fishbeck/Duplantier, Jane(t) Pants, and Kunsole

Fri/18, 8 p.m., $5–<\d>$15 sliding scale

New Langton Arts

1246 Folsom, SF

(415) 626-5416

Laid, paid, played

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› kimberly@sfbg.com

"The problem with you is that you have a shitty way of looking at things. I just look at the dopeness, but you just look at the wackness." Ouch. Tough talk coming from the girl of your dreams, but Stephanie — The Wackness‘s been-there, banged-that uptown teenage heartbreaker — turns out to be right on, in her glibly damaged way.

It’s 1994, a moment simultaneously innocent and ominous, heady and paranoia-stoking: the year Kurt Cobain checks out of this temporal plane, while the Notorious B.I.G., OutKast, Nas, and assorted members of the Wu-Tang Clan check in with name-making first albums. New York City’s new mayor, Rudolph Giuliani, is taking his crackdown on so-called quality-of-life crimes citywide, giving his police department more power to put the kibosh on graffiti, public beer drinking, and loud boom boxes. The threat of imminent arrest hangs, seldom spoken, over Luke Shapiro (Josh Peck), who’s just graduated from high school and selling pot as the summer days melt away before his college years begin. Lonely and socially awkward, Luke either withdraws from reality, playing videogames and listening to rap, or stays at a safe remove, choosing a remote perch above the crowd at parties. The latter tactic comes in handy as he witnesses his parents’ squabbling and increasing money troubles.

Luke’s sole talent seems to be peddling weed from an ice cream cart as he roams the city. That, and making mixtapes, thanks to ideas caught from his supplier Percy (Method Man, who wittily introduces Luke to the Notorious B.I.G. by way of "The What," a Biggie and Method collabo). His only friend appears to be his therapist, Dr. Squires (Ben Kingsley), a gray-maned boomer who trades sessions for dime bags and is in dire need of some healing himself. Squires’ stepdaughter Stephanie (Olivia Thirlby) is the hopelessly distant beacon of hope in Luke’s firmament, so when the two are stuck in the city for one last summer before irrevocable collegiate change, Luke can’t help but lose his cool.

Turns out it’s the sweaty, sweltering season for everyone: a time to tell truths and strip away shopworn facades. Squires and Luke bond, roving way out of the office. The teen instructs the counselor in the ways of weed dealing, while amping up his business to save his family from eviction. The pair also look to get laid, Squires’ prescription to all of Luke’s ills. And the women do sail through, including Mary-Kate Olsen as Luke’s jam band–y socialite client, who amazingly gets to second base with Squires, a half-mockable, half-empathetic character that Kingsley disappears into with sweaty, beady-eyed desperation.

Writer-director Jonathan Levine shows he learned a thing or two from a youth spent assisting NYC rhapsodist-anthropologist Paul Schrader. Painting this surprisingly gentle étude to an urban youth in sepia hues, he takes care to get the context right, from the vernacular built on "that’s mad crazy" and "that’s really dope" to a soundtrack laced with tunes like A Tribe Called Quest’s "Can I Kick It?". That song’s "Walk on the Wild Side" bassline conjures the gritty, narcotic lassitude of summer in the city while bridging the years between Squires and Luke.

Luke may not be as brainy and broken as Holden Caulfield or as mortality-fixated and mundane as Andrew Largeman of Garden State (2004), but Peck hits the right notes of cringe-inducing yet pungent realism required to turn this potential cipher into a full-fledged character. Especially when Luke dares to reach for dopeness and call Stephanie on a pay phone, and his "I love you" quickly turns into a defensive "OK, if you can’t handle that, fuck it! Fuck you!" Alternately vulnerable, stumbling, and Teflon-clad, the kid will find his way through the urban jungle of his teens, one way or another. 2

THE WACKNESS

Opens Fri/11 at Bay Area theaters

www.sonyclassics.com/thewackness

Orphan storm

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The orphan was a staple figure in silent cinema. She or he evoked the pathos required in sentimental melodramas, and also highlighted a prevalent social problem. The predicament wasn’t that orphans existed so much as that orphanages did. Dickensian clichés of wicked minders profiting from the ill-keeping of abused and undernourished charges were often not far from the truth.

The notion that flowers of pure innocence might spring from this kind of environmental mire was a popular dramatic conceit. It floated entire careers for such variably waiflike or plucky Pollyannas as Janet Gaynor, Lillian Gish, Mary Miles Minter (until she went down in a murder scandal), and of course, Mary Pickford, who was still playing foundlings in 1926, at 34. Their male counterparts were generally allowed to be scrappier: sad from being misunderstood, but gosh-darn-determined to prove the haters and snobs wrong.

One of the least-known titles in the 13th San Francisco Silent Film Festival, The Soul of Youth is a small delight that hews to and transcends the reigning tropes of screen ragamuffinery circa 1920. It opens on a note of heavy moral correctitude, as titles inform us that "A woman, who pray God there be no more like, has offered for sale her unborn child. Think of it: a helpless little baby, before its eyes have opened on the world, labeled ‘unwanted’ and sold!" Framed only to call the mother’s character into question, it’s no matter that this woman is impoverished, or that she dies after giving birth, or that she was initially tricked into the exchange by an addict who had the goods on her errant politician boyfriend.

Little Ed is then dumped into the nearest orphanage, a cruel place where — when next encountered at age 14, as played by 17-year-old Lewis Sergant — he is considered incorrigible and unfairly blamed for thefts and other misdeeds. His rescue of an imperiled black babe (cringingly named Rastus) goes unappreciated. It’s only when he secretly takes in a fellow underdog — a stray canine named Simp — that "for the first time, love enters Ed’s life." When this uninvited boarder is discovered, the pair must escape the orphanage and then the police, landing on that "Mecca of the homeless — the streets."

Meanwhile it turns out the sleazebag who rejected him as a son is now a corrupt mayoral candidate angling to defeat a terribly upstanding one. Ed’s accidental involvement in that race — by risking his neck to preserve the respectability of virtuous rich folk and becoming a hero — proves his ultimate salvation. In classic wish-fulfillment fashion, he ends up (à la Little Orphan Annie) rewarded via adoption by the morally superior luxury class. But Soul of Youth is savvy enough to contrast Ed’s new family with a wealthy neighbor who thinks she can replace her beloved lap-cat with a cherub sporting "blue eyes and golden curls." Just like Paris Hilton and her impulse-buy menagerie!

Soul of Youth was directed by William Desmond Taylor, whose yet-unsolved 1922 murder destroyed the futures of actresses (and intimates) Minter and Mabel Normand. The lovely work he does here makes one lament his too-short career. His protagonist, the floppy-banged, spunkily adorable Sargent, played Huckleberry Finn the same year. He subsequently suffered the usual post-juvenile career slide, resurfacing as a pal of Tarzan in mid-’30s serials and exiting as an unidentified thug in Miss Mink, a beyond-obscure film from 1949. He spent the next 20 years as a California state probation officer.

During Taylor’s youth as a performer, Victorian morality still targeted his own lack of a parent — as well as his outright illegitimacy — as inherently morally suspect and something to be overcome. Simultaneously prim and liberal in teaching its big lesson, Soul of Youth winds up firmly on the side of nurture over nature. "The kind of man this boy will make depends on his surroundings. It’s up to us, dear," the film’s virtuous tycoon tells his vain socialite wife.

Alongside the poorhouse and the asylum, the orphanage was a widespread 19th-century American public entity later disgraced/dismantled by reformists. The orphanage helped usher in the "welfare" era — stressing economic support where parents couldn’t manage rather than pushing abandoned, "bastard," or otherwise problematic kids into warehouse institutions. (Those group and foster homes they were shunted toward hardly fixed all historic problems, however.) Soul of Youth retains charm for insisting class, economic, and other social divisions might well tumble before the sheer force of Ed’s nascent Boy Scout–dom.

THE SOUL OF YOUTH Sat/12, 11:40 a.m., Castro

THE 13TH SAN FRANCISCO SILENT FILM FESTIVAL runs July 11–13 at the Castro, 429 Castro, SF. Advance tickets (most shows $12–$17) are available by calling 1-800-838-3006 or visiting www.silentfilm.org

Local Heroes

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Del Martin and Phyllis Lyon


Del Martin, left, and Phyllis Lyon
 

Del Martin and Phyllis Lyon have lived active lives — although “activist” would be the better word. One, the other, or both have been founding members of the Daughters of Bilitis, the Alice B. Toklas Democratic Club, the Council on Religion and the Homosexual, and Old Lesbians Organizing for Change. Martin, 87, was the first lesbian elected to a position in the National Organization for Women, where she was also the first to assert that lesbian issues are feminist issues. Lyon, 83, edited the Ladder, the first magazine in the United States devoted to lesbian issues. And together, it seems, there’s little they haven’t done, from coauthoring books to becoming the first gay couple in the nation to legally marry on Feb. 12, 2004, almost 50 years to the day they first became a couple.

Deemed void later that year, their marriage was reconstituted this June when the California Supreme Court ruled that same-sex marriage is, in fact, legal. Once again, Martin and Lyon were the first in line to tie the knot.

But gay marriage wasn’t the right they were fighting for when their relationship began back in 1954. “We had other, bigger issues. We didn’t have anything in the ’50s and ’60s,” Lyon recalls. “We were worried about getting a law passed to disallow people from getting fired or thrown out of their homes for being gay.”

Even something as simple as having a safe space to congregate was elusive. Before the mid-1950s, the only organizations that dealt with gay issues were run by and focused on men. So Martin and Lyon, along with a few other lesbian couples, founded the Daughters of Bilitis in 1955. “We would meet in homes, dance, and have drinks and so on, and not be subject to police raids, which were happening then in the gay and lesbian bars,” Lyon said. Those informal get-togethers eventually became the first lesbian organization with chapters nationwide.

They say their activism isn’t something that was sparked by their gender and sexuality, but came from being raised in politically conscious homes — Lyon in Tulsa, Okla., and Martin in San Francisco. When they met, working at the same company in Seattle, “both of us were already politically involved,” Lyon says.

“Really, ever since we were kids,” Martin adds. “You followed elections. You followed things like that. We wore buttons for Roosevelt. We couldn’t send money because we didn’t have any.”

“And then when we both moved in together, in San Francisco, the first thing we did was get involved with Adlai Stevenson,” Lyon says. They quickly got to know the major Democratic movers and shakers in the city, like the Burton family and later Nancy Pelosi, whom they would eventually turn to when there were gay issues that needed a push.

“We didn’t come out to everybody, but we came out to Nancy and the Burtons,” Lyon says.

These days age has tamped down the physically active part of their political activism, although they still donate money and were ardent Hillary Clinton supporters during this year’s Democratic primary race. They’re now backing Barack Obama over John McCain, though Martin expressed reservations. “I’m waiting to see how he handles the question about women and women’s rights. I’m not satisfied yet.”

Amanda Witherell

 

Local hero

Alicia Schwartz


Alicia Schwartz
 

Whether she’s demanding sit-down time with the mayor to discuss asbestos dust at Hunters Point Shipyard, offering to debate former 49ers president Carmen Policy over the need to develop 50 percent affordable housing in the Bayview, or doing the cha-cha slide on Third Street to publicize the grassroots Proposition F campaign, which fought the Lennar-financed multimillion-dollar Proposition G on the June ballot, Alicia Schwartz always bubbles with fierce enthusiasm.

“I absolutely love my job,” says Schwartz, who has been a community organizer with POWER (People Organized to Win Employment Rights) for four years.

Born and raised in Marin County, Schwartz graduated from the University of California, San Diego, with a degree in sociology and anthropology before returning to the Bay Area, where she is enrolled in San Francisco State University’s ethnic studies graduate program and works for the San Francisco–based POWER.

“It’s an amazing organization full of amazing people, united for a common vision, which is ending oppression and poverty for all,” says Schwartz. “In cities, the priorities are skewed to benefit folks who are wealthier and have more benefits. But the folks who keep the city running are not recognized or are suppressed.”

Prop. F wasn’t Schwartz’s first campaign experience. She had previously organized for reproductive justice, for access to health care and sexual-health education, and against the prison-industrial complex.

But it was the most inspirational campaign she’s seen so far.

“I saw the Bayview transformed,” Schwartz explains. “I saw people who’d lost faith in politicians come to the forefront and fight for the future. And I saw people across the city rallying in support, too.”

Schwartz acknowledges that Prop. F didn’t win numerically.

“But practically and morally, and in terms of a broader vision, Prop. F advanced the conversation about the future of San Francisco, about its working-class and black future,” Schwartz says. “Clearly, that fight isn’t over. It’s just beginning.”

Schwartz says she believes that the other success of Prop. F is that it raised the question of who runs our cities.

“And I think it was a huge victory, even being able to accomplish running a grassroots campaign, with no money whatsoever and where we had to up the ante, in terms of getting to know some of the political establishment.”

Most of all, Schwartz says she appreciated being able to work with people who hadn’t been part of POWER.

“And I appreciated being able to advance a set of demands that a broad range of people could support, while keeping the Bayview and its residents at the forefront,” she says.

While that particular campaign may be over, the battle for Bayview–Hunters Point continues on many fronts, says Schwartz.

“Are we going to allow it to be run by developers who don’t have our best interests at heart and who fool us with payouts and false promises?” she asks. “Are we going to allow San Francisco to become a place where people can’t afford to live, but surely have to come to work?”

Amanda Witherell

Local hero

James Carey, Daniel Harder, and Jeff Rosendale


From left, Daniel Harder, James Carey, and
Jeff Rosendale
 

It would be unfair to give any one person credit for stopping the state’s foolish plan to aerially spray synthetic pheromones to eradicate the light brown apple moth (LBAM). Thousands were involved in that struggle.

But there are at least three individuals we can think of who successfully fought the state with science, a tool that too often is used to dupe, not enlighten, the public.

They are James Carey, a University of California, Davis, entomology professor; Daniel Harder, botanist and executive director of the UC Santa Cruz Arboretum; and Jeff Rosendale, a grower and horticulturalist who runs a nursery in Soquel.

Together and separately, this trio used experience, field observation, and fact-finding tours to make the case that the California Department of Food and Agriculture (CDFA) would court disaster, in terms of lost time, money, and public goodwill, if it went ahead with the spraying.

And they did so at a time when UC, as an institution, remained silent on the matter.

“I felt like I needed to do this. No one was stepping up from a position of entomological knowledge,” says Carey, whose prior work on an advisory panel working with state agencies fighting the Mediterranean fruit fly between 1987 and 1994 led him to speak out when the state sprayed Monterey and Santa Cruz counties last fall.

Carey says the signatures of two UC Davis colleagues, Frank Zalom and Bruce Hammock, on a May 28 letter to the US Department of Agriculture also helped.

“All of us are senior and highly credentialed scientists,” Carey notes, “so our letter was taken really seriously by the agriculture industry.”

Rosendale and Harder had taken a fact-finding tour last December to New Zealand, which has harbored this leaf-rolling Australian bug for more than a century, to find out firsthand just how big of a problem the moth really is.

“We wanted to get the best information about how they were dealing with it, and what it was or wasn’t doing,” Rosendale recalls. What he and Harder discovered was that New Zealand had tried using organophosphates, toxic pesticides, against the moths — but the chemicals killed all insects in the orchards, including beneficial ones that stopped parasites.

“When they stopped using organophosphates, the food chain took care of the LBAM,” Rosendale says.

Like Carey and Rosendale, Harder believes that the state’s recently announced plan to use sterile moths instead of pesticides is a lost cause. He says it’s impossible to eradicate LBAM at this point because the pest is already too widespread.

“It’s not going to work, and it’s not necessary,” Harder says.

And now, Glen Chase, a professor of systems management specializing in environmental economics and statistics, says that the CDFA is falsely claiming that the moth is an emergency so it can steal hundreds of millions from taxpayer emergency funds.

“The widespread population of the moth in California and the specific population densities of the moth, when analyzed with real science and statistics, dictate that the moth has been in California for at least 30 to 50 years,” states Chase in a July 15 press release.

The state has put spraying urban areas on hold, but the battle isn’t over — and the scientists who have gone out on a limb to inform the public are still on the case.

Sarah Phelan

 

Local hero

Queer Youth Organizing Project


From left, Fred Sherburn-Zimmer,
Josue Arguelles, Jane Martin, Vivian Crocket,
Justin Zarrett Blake,
Joseles de la Cruz, and Abel-Diego Romero
 

The queer-labor alliance Pride at Work, a constituent group of the AFL-CIO, added a youth brigade last year, and it’s been doing some of the most inspired organizing and advocacy in San Francisco. The Queer Youth Organizing Project can marshal dozens of teen and twentysomething activists with a strong sense of both style and social justice for its events and causes.

Founded in March 2007, QYOP has already made a big impact on San Francisco’s political scene, reviving the edgy and indignant struggle for liberation that had all but died out in the aging queer movement. Pride at Work has also been rejuvenated and challenged by QYOP’s youthful enthusiasm.

“It really is building the next generation of leaders in the queer community, and man, are they kick-ass,” says Robert Haaland, a key figure in both Service Employees International Union Local 1021 and Pride at Work. “Pride at Work is now a whole different organization.”

QYOP turned out hundreds of tenants for recent midday City Hall hearings looking at the hardball tactics of CitiApartments managers, an impressive feat that helped city officials and the general public gain a better understanding of the controversial landlord.

“They have a strong focus on tenant issues and have done good work on Prop. 98 and some tenant harassment legislation we’ve been working on,” says Ted Gullickson, director of the San Francisco Tenants Union. “They really round out the coalition between tenants and labor. They do awesome work.”

In addition to the energy and numbers QYOP brought to the campaign against the anti–rent control measure Prop. 98, the group joined the No Borders encampment at the Mexican border in support of immigrant rights and turned a protest against the Human Rights Campaign (which angered some local queers for supporting a workplace rights bill that excluded transgenders) into a combination of pointed protest and fun party outside the targeted group’s annual gala dinner.

“It’s probably some of the most interesting community organizing I’ve seen in San Francisco,” Haaland says. “It’s really made a difference in our capacity to do the work.”

As an added bonus in this essentially one-party town, QYOP is reaching young activists using mechanisms outside the traditional Democratic Party structures, an important feature for radicalized young people who are wary of partisan paradigms. And its members perhaps bring an even stronger political perspective than their Party brethren, circulating reading lists of inspiring thinkers to hone their messages.

Haaland says QYOP has reenergized him as an activist and organizer: “They’re teaching me, and it’s grounding me as an activist in a way I haven’t been for a long time.”

Steven T. Jones

Frameline 32:That’s us

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› johnny@sfbg.com

Wild Combination: A Portrait of Arthur Russell is like an audiovisual kiss from Russell to those who loved him, and to a greater audience who has yet to discover him. That’s the highest praise I can think of for Matt Wolf’s movie about the composer and musician, who died of AIDS in 1992. Clearly enamored with Russell’s wonderful and unique world of echoing sound, Wolf breaks free from the all-too-familiar generic commercial tropes of music documentaries to try a little tenderness. The gesture of affection is more than fitting: though Russell wasn’t a pop sentimentalist, he was capable of writing entire songs (such as "A Little Lost" and "Lucky Cloud" from the 1994 album Another Thought) about equally entire days spent thinking about his lips pressing against those of his beloved. As he sang, "Kissing I go overboard."

That beloved is Russell’s boyfriend Tom Lee, whose generous intimacy while being interviewed is one of the qualities that makes Wild Combination special. Though the Talking Heads are mentioned more than once as Wolf’s movie follows Russell’s idiosyncratic paths through the creative spots of downtown ’80s New York, the film’s chorus of commentators never falls into the kind of talking-heads detachment one associates with documentaries. There is a rare, moving intimacy to the camera’s rapport with Lee and with Russell’s Iowan parents, Chuck and Emily. That rapport only builds in the emotionally powerful final moments, yielding a story about love and family that, through sheer openhearted understatement, is a revelation. Think of it as a nonfiction answer to Brokeback Mountain: more shattering, nuanced, and hopeful because it is based in a commitment to creative life rather than manufactured myth.

"I’m watching out of my ear," Russell’s voice declares, with characteristic quiet softness, as Wild Combination first flickers onto the screen. This synesthetic intuitiveness seems to guide the film as it simultaneously travels his life story and communes with his spirit. The cinematography of Jody Lee Lipes passes like wind through the corn fields of Russell’s youth and the New York piers of his adult life, both of which provided lyrical inspiration. By simply tapping into Russell’s relaxed and meditative creativity (at least when Russell was working solo), Wolf makes the film’s charm and depth seem so easy. But subtly potent structural corollaries emerge, as when Chuck Russell’s remembrance of a physical fight with his gentle yet maddening son is mirrored — same words, but a recollection of a different situation — by musician and friend Ernie Brooks.

Wild Combination is the first feature film by the 25-year-old Wolf, whose Web site (www.mattwolf.info) is a treasure trove of gay sensibility and whose early short films suggested an affinity for this kind of project. Wolf has already made a short fictive documentary about the late artist-writer David Wojnarowicz, a contemporary of Russell’s — in a Guardian article on Russell (see "Prince Arthur, 03/04/04), I compare the two — who followed similar paths. That 2003 film, Smalltown Boys, possesses the acutely critical parodic imagination of early Todd Haynes movies, a rare characteristic. But Wolf has since graduated from Haynes’ academic tendencies. He’s soulfully true to Russell, whose idiosyncratic gifts and personality led him to butt heads with avant-garde heartlessness and dance through underground discos. While alive, Arthur Russell never found a creative home outside of himself and those he loved. But in Wild Combination, Wolf proves those homes are more than enough. *

WILD COMBINATION: A PORTRAIT OF ARTHUR RUSSELL

Sat/21, 9:45 p.m.

Roxie

FRAMELINE

The 32nd San Francisco International LGBT Film Festival runs June 19–29 at the Castro Theatre, 429 Castro, SF; Roxie Film Center, 3117 16th St., SF; Victoria Theatre, 2961 16th St., SF; and Rialto Cinemas Elmwood, 2966 College, Berk. Tickets (most shows $10) are available at www.frameline.org.

Pixel Vision blog: Johnny Ray Huston interviews Matt Wolf. Plus: an Arthur Russell discography and short Frameline reviews

A heart once nourished

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› gwschulz@sfbg.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meanwhile, problems at Ella Hill grew.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"I don’t got any," the boy responds.

"You don’t have any," Smith corrects.

Smith suddenly realizes what time it is.

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

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

The house that Hiero built

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› a&eletters@sfbg.com

**Update: The Paid Dues Independent Hip Hop Festival has been cancelled. See below for more details.

I’m not accustomed to receiving rappers at my home at 8 a.m. — an hour most rappers have only heard of — but I made an exception for Tajai Massey, member of Souls of Mischief and Hieroglyphics. A self-confessed early riser and the first MC to ever accept my offer of a cup of coffee, Massey is a busy man.

While gearing up for the Hieroglyphics’ Freshly Dipped tour, which kicks off June 14 with the Paid Dues Festival at the Berkeley Community Theatre, the lanky 33-year-old head of the group’s Hiero Imperium label was about to head to Seattle for a spot date with his new rock outfit, Crudo, with Dan the Automator and ex-Faith No More frontman Mike Patton. Meanwhile Massey’s been juggling two upcoming projects, one of which he hopes to release in the fall: a new, self-produced Hieroglyphics disc and the fourth studio release by Souls of Mischief, produced by legend Prince Paul. In the interim, he’s prepping fellow Souls-member Opio’s second solo album, Vulture’s Wisdom, Vol. 1 (Hiero Imperium), for July.

Yet none of this accounts for our meeting. Our conversation instead focused on Massey’s other job: overseeing his own imprint within Hiero, Clear Label. Though begun in 1999 to release his SupremeEx trip-hop collaboration with Hiero Web designer StinkE, Projecto: 2501, Clear Label really established itself circa 2005 with two artists of a very different sort: Shake Da Mayor of "Stunna Shades" fame and Beeda Weeda, whose 2006 full-length, Turfology 101, yielded the hit "Turf’s Up."

While Shake has since departed, Beeda has cemented his Clear Label connection, moving his whole camp, Pushin’ the Beat (PTB), into Hiero’s two-story East Oakland compound, which was purchased by the veteran collective in 2004. Known within Hiero as "the Building," though designated "Hiero" by everyone else, the space houses nine rooms, five studios, and a small warehouse of T-shirts, CDs, and other goods. Soon Beeda’s friend and collaborator, J-Stalin — himself signed to one of the Bay’s biggest rap independent labels, SMC — began bringing his own Livewire crew by, including Shady Nate, Clear Label’s next signee.

Bulging with the usual conglomeration of computers, mixing boards, rough-hewn vocal booths, and a fine layer of empty 1800 bottles and Swisher Sweet ashes, PTB’s two ground floor studios contrast with the Building’s general tidiness, like a kids’ playspace in an otherwise adult house. Yet they also exhibit an atmosphere of dedication. Dropping by on any given day, among the crowd of just-past-high-school aspiring MCs, you might see Beeda and Stalin studiously hunched over spiral notebooks with Mistah FAB, working on their NEW (North-East-West) Oakland project.

And FAB isn’t the only high profile visitor: everyone from San Quinn to the Federation comes through. Too $hort stops by regularly, and even national acts like Dem Franchize Boyz and Cease of Junior Mafia have found their way here. Given that Beeda and Stalin are two of the hottest young Oakland rappers and attract such elite company, Hiero suddenly finds itself at the center of what might be called the Bay’s post-hyphy moment, one embodied in a tougher, less dance-oriented sound, combined with classic Bay slap and tempered by R&B overtones.

"I wasn’t after a bunch of streeter-than-street dudes," Massey said, laughing. "But I sure ended up with some."

THE OTHER BAY BRIDGE


Intentional or not, the current emphasis on street rappers is consistent with Clear Label’s overall mission.

"Our fans aren’t that forgiving. Even bringing up other acts like Knobody or Musab, who are on the same tip as Hiero — our fans want Hiero music," Massey said, in reference to Hiero Imperium artists and the group’s demanding backpacker following. "So we’ll give it to them, and let Clear Label be the outlet for other acts, especially my relationship with PTB/Livewire."

HieroSlideShow.gif
Oakland hip-hop converges on the Hiero HQ. Photos by Alexander Warnow

It helps, Massey continued, that J-Moe, the CEO of PTB, has a vision. "That dude is a genius," the Clear Label honcho said. "He’s called the Machine, because he’s always working." With an uncanny ability to spot new talent — like 17-year-old phenom Yung Moses, who J-Moe dubs "the future face of the franchise" — the Machine is a crucial part of the evolution of Clear Label.

But Clear isn’t just a "street label," Massey continued. He’s working with a "rock ‘n’ roll" dude, Chris Maarsol, as well as League 510, which he describes as working in "really a new genre." Hailing from East Oakland, 510 blends lyrical, positive rap and house-influenced grooves in a mix the group calls "Town Techno." "It’s like bridging the hyphy movement and the alternative crowd," Massey said. "I know they’ll do well in cities like Miami, Chicago — where they have a house scene — and in Europe."

Interestingly, according to Massey, European fans have been more receptive to Hiero’s new connections than the domestic audience. "It’s crazy," he said with a laugh. Among other acts, Massey also scooped up Baby Jaymes, digitally re-releasing his 2005 debut, The Baby Jaymes Record (Ghetto Retro), and dropping a new single, "The Bizness," including Turf Talk. "Baby Jaymes is huge in Germany and Belgium, even Australia," Massey added. "I’m in Amsterdam and people are like, ‘Where’s Beeda Weeda?’ Out there people understand the association, whereas in Oakland, they have no idea. It’s odd how Europeans look deeper into it, and it’s a whole different language."

‘WE ALL FROM OAKLAND’


Perhaps it isn’t so odd. The language barrier may even facilitate European acceptance, because despite the differences between Hiero’s conscious lyricism and PTB/Livewire’s grimy topics, the musical bond is already there.

"There are more similarities than differences," Opio told me. "We all from Oakland. Hiero looked to Too $hort and E-40 when we began our independent hustle."

Though he admittedly can’t keep track of the crews’ ever-expanding rosters, former Hiero Imperium head Domino — who, after helming the organization from its mid-’90s inception, stepped down in 2006 to concentrate on production — also welcomes the influx of young talent. "As you get older," he said, "there’s not the same excitement as an artist. You can’t totally get it back, but you can feed off their new energy."

Beyond their shared approval, members of Hiero have already begun to collaborate with PTB/Livewire. Souls member A-Plus, for example, produced the dancehall-inspired opener, "Da Town," on Beeda’s new all-original mixtape, Talk Shit Swallow Spit possibly the hottest Bay Area disc this year — while Casual appears on Beeda’s forthcoming album, tentatively titled Turf Radio. PTB, moreover, has added a more conscious lyricist, Tre Styles, upsetting what Opio describes as "the boxes the corporate market puts people in."

Massey agrees. "Look at Beeda or Shady. Their mentality isn’t ‘go dumb, go stupid,’<0x2009>" he noted. "Their lyrics are militant, and these guys are growing." Massey was also quick to point out the multidimensional side of J-Stalin, whose crime-ridden raps are infused with melancholy ambivalence about street life. "Stalin could be big like 2Pac," he opined. "He’s not trying to look hard. He’s a little dude, but he’s got all this heart and emotion."

Stalin himself is more modest, albeit slightly, at least concerning his upcoming SMC disc, The Pre-Nuptial Agreement. "Pre-Nup is going to be one of the greatest Bay Area albums ever," he said. "I ain’t saying I’m the best rapper. I’m saying I put together a great album." Judging by the songs he played for me that day — including the radio-ready "Get Me Off" with E-40 — he’s right. SMC’s Will Bronson is sufficiently confident in Stalin — and Beeda — to partner with Thizz Entertainment this summer to bring out the former’s Gas Nation as well as the latter’s The Thizzness, both pre-albums designed to tide fans over before their full-lengths in the fall.

"Stalin and Beeda are the only two new artists really buzzin’," Bronson said. "I couldn’t go a week without hearing about them."

As a result, Stalin and SMC plan to collaborate on future Livewire projects, including a group disc showcasing up-and-comers Shady and J Jonah, longtime members such as ROB, Lil Blood, and Ronald Mack, and newer recruits like Philthy Rich and 17-year-old Lil Ruger, whose wild, almost Keak-esque flow foretells fame.

The connection to SMC and Vallejo’s Thizz, moreover, suggests a serious new coalition which, given the waning of hyphy, threatens to become the next major force in Bay Area rap. "We’re just trying to keep the unity," Stalin concluded. "Because we’re all from different places, we wouldn’t be able to do this in the street."

UNITED FRONT


Such unity, always in short supply in the Bay, is one of the most intriguing aspects of the Hiero/PTB/Livewire situation. "We’ve got a movement, but it’s not a movement," said Jamon Dru, who, along with DJ Fresh, Tower, and others, formed the Whole Shabang, an autonomous production squad linked to both PTB and Livewire. "We’re trying to make music everyone will feel, not just the Bay. That’s put a hurt on us because we do have a ‘fuck everyone else’ attitude, like, ‘I don’t care if anyone else likes this shit.’ But we got families, friends, people in jail we gotta feed. We can’t be half-steppin’ like that."

Like Traxamillion, and unlike many local producers, Dru is candid about the influence of the radio on his sound. "It’s a little Southern-influenced," he said, "a little East Coast with Fresh chopping up samples, but with the 808s and a West Coast bassline. Every beat we make with samples, we gotta put an 808 knock in it." While it’s difficult to generalize, given the work of so many producers, Dru’s statement is a good sketch of the PTB/Livewire sound: it looks to the Bay’s older mob music through the modern lens of hyphy, even as it sheds the more gimmicky excesses of the latter.

Beginning his career under Beeda Weeda’s wing, Dru is already a mogul of his own, currently developing 19-year-old Gully, whose work can sampled on his mixtape Hustla Movement. Like Yung Moses, the saltier-voiced, vowel-stretching Gully is considered one of the most promising rappers in the camp, and the two are already slated for a collaboration. A song like Gully’s "Bush," imagining the life of a ghetto youth who suddenly finds himself a soldier in Iraq, even suggests that Hiero’s more politically progressive themes are creeping into the youngster’s work.

At present, however, Beeda remains the "face of the franchise" for PTB and Clear Label.

"Beeda’s got the biggest buzz," Massey said, "so it makes sense to lead off with him. I just want to set him up properly." Proper set-up in the Bay generally involves a "pre-album," and Beeda’s got three. Besides the all-original Talk Shit mixtape and The Thizzness, Beeda’s collaboration with DJ Fresh, Base Rock Baby an ’80s-themed disc referring to Beeda’s generation as the first to be born after the crack epidemic began — appears in July.

"We’re going to push that online," Massey said, though there will be hard copies for sale. "Right now, if Beeda’s record sales matched his popularity, I’d be ready to retire." Still, he confessed, "everyone has Turfology, but only a few people bought it," citing the difficulties of selling albums in the era of burnt CDs and file-sharing, not to mention ongoing recession under the George W. Bush administration.

Another problem was the lag between Beeda’s video for "Turf’s Up" becoming popular on YouTube and the actual release of Turfology, confusing consumers who assumed the CD was already out. "This time we got the timing down," Beeda said. "We’ll build that buzz first, and everything will be ready to go." Nonetheless, as falling numbers of mainstream releases attest, selling albums has grown increasingly difficult regardless of timing.

"That’s not how we eat anymore," Dru said. "You put out an album to get shows and verse features [guest appearances on other artists’ songs]. So we gotta look at these songs as bait." Massey, meanwhile, is seeking other income streams to support his label and artists, like soundtracks and licensing.

As Massey confirms, street rap comes with headaches not usually associated with Hiero. A few weeks ago, as Clear Label began preparing Shady Nate’s debut, Son of the Hood, for release, Shady was arrested on an alleged weapons violation and remains incarcerated pending trial.

"They’re trying to throw the book at him," Massey said. "I’m hoping we can work it out because Shady’s a good dude, and his album is great." Even if Shady has to do a stretch in prison, Son of the Hood will probably see the light of day sometime later this year.

Ultimately the big question for PTB/Livewire is whether the coalition can achieve the mainstream success that eluded the hyphy movement. Beeda and Stalin think so, and with the support and mentorship of the Hiero camp, they have as good a chance as any in the Bay — and maybe even the best.

With the long view of a rapper 15 years into his career, Massey is philosophical about the prospects of his Clear Label empire. "If we break even it’s cool," he said. "If we make money, even better. But if I break even, I’m happy, because it wasn’t a loss for me to put out great music."

PAID DUES FESTIVAL***

With Hieroglyphics and others

Sat/14, 5 p.m., $40

Berkeley Community Theatre

1900 Allston, Berk.

www.ticketmaster.com

***This show has been cancelled. From the promoters: Guerilla Union and MURS 3:16 regret to announce that the PAID DUES INDEPENDENT HIP HOP FESTIVAL scheduled for Saturday, June 14 at the Berkeley Community Theatre in Berkeley, CA, has been cancelled due to matters beyond our control.

For fans that have purchased tickets to the show, we apologize for any inconvenience this may have caused. Refunds are available for ticketholders at the point-of-purchase.

And so it begins

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› sarah@sfbg.com

Mayor Gavin Newsom chose a telling site for the June 2 release of his budget: the San Francisco Police Department’s Special Tactical Operations Center at Hunters Point Shipyard. And if its relationship to Proposition G, the mayor’s plan to let Lennar Corporation develop the southeast part of the city, wasn’t clear enough, Newsom made it explicit.

"You’ll have the opportunity to support Proposition G and reject Proposition F, the one that is getting in the way," Newsom told department heads and the press as police, who warned budget protesters that it is illegal to campaign on city property, looked on in silence. It is also illegal for the mayor to campaign for ballot measures on city property.

In his speech, Newsom labeled as the "heroes" of this year’s budget the unions that have agreed to unpaid days off, including the Laborer’s Union, the Deputy Sheriff’s Association, Firefighters Local 798, and the Municipal Executives Association. Conversely, he vowed to remember that the police, nurses, and lawyers unions wouldn’t amend the contracts Newsom negotiated last summer.

Sounding more like a gubernatorial candidate intent on winning over Orange County voters than the leader of the most progressive city in the nation, Newsom said, "We are living within our means and being fiscally prudent, without out-of-control borrowing and without tax increases. But we still have a $338 million shortfall."

But there has been widespread criticism of the mayor’s plan as details emerge of its massive cuts to health and human services, while increasing the city’s budget for street repaving, pothole repair, and police academies.

"It’s the least democratic, least transparent budget process in many years, in terms of lack of information from the Mayor’s Office to the city departments and the community-based organizations that are affected," said Coleman Advocates for Children and Youth organizer Chelsea Boilard. "In the past, programs were given a heads-up. This year it continues to be a frantic scramble."

According to Boilard, city departments were still finding out the extent of the cuts even after Newsom made his presentation, including the news that the budget addbacks approved by the Board of Supervisors last year are not being continued in the 2008-09 budget.

"A nightmare," was how Debbi Lerman of the San Francisco Human Services Network described the budget.

"If we listen to mayor’s presentation, everything is rosy, revenue-wise. It’s just a spending problem. But from the community’s perspective, it’s shocking," Lerman said, citing $15.5 million in cuts to the Department of Public Health, $3.5 million in cuts to the Human Services Agency, and a 20 percent cut to domestic violence programs.

"And [the cuts] have been a constantly moving target," Lerman added. "We’re mere weeks away from the implementation of this budget, but no one knows which clients, programs, or services will be lost, though we are sure that there will be a lot of layoffs in our sector. The mayor should not balance his budget on the backs of the poor."

She believes the city needs to look at some non-essential services during a bad budget year and see what can be deferred to the future — and find ways to increase its revenue.

"The mayor is not a stone. He does get it to some degree. But it’s unfortunate that he’s not chosen to put forth revenue measures at this point," Lerman said.

Robert Haaland of Service Employees International Union Local 1021 agrees that the city has a revenue problem. He also believes that it’s not OK to ask the city’s lowest-paid workers to make concessions, again and again: "[SEIU 1021] has repeatedly stepped up to the table, we’d like to see some others do it."

Jonathan Vernick, executive director of Baker’s Place, which is facing the prospect of having to close one floor of its medical detox program, argues that many of the mayor’s proposed cuts are in conflict with Newsom’s stated goal of getting the homeless and inebriated off the street. "Ironically, this budget seems to fail to meet a simple criteria — that the proposed cut actually saves money," Vernick said. "All I can see is cuts that by end of fiscal year will have dismantled a system that’s been working for 35 years."

John Eckstrom of the Haight Ashbury Clinics believes the budget cuts will decimate the model of integrated services. "These are very deep cuts," said Eckstrom, who expects to lay off 40 to 50 of his 170 employees.

"It’s a testament to the willpower of the nonprofits that we are able to stay alive," Eckstrom said. "But what are the mayor’s priorities? There’s his rhetoric that says it’s not a revenue problem, and then there’s the reality."

With the Board of Supervisors set to conduct public budget hearings throughout June, Board President Aaron Peskin sees Newsom’s proposal as a "law and order budget."

"Domestic violence programs have lost $750,000 in funds, substance abuse programs have been taken to the woodshed, and mental health programs are being cut by 25 percent," said Peskin, criticizing the mayor for "introducing and extolling new programs while failing to protect the safety net of human and health services that San Francisco has put together over many years."

"Last time we had a budget like this, Mayor Willie Brown was much more forthright and honest about its disastrous impact on the poor," Peskin added. "This administration has cloaked this disaster in a press blitz. But any way you dress it, it’s a pig."

As chair of the Board’s Budget and Finance Committee, Sup. Jake McGoldrick was equally blunt in his criticisms as he set about deciphering the details of Newsom’s proposal

McGoldrick refuted as "a deception" Newsom’s claim of having cut 1,085 jobs. "The real number is 99.08 positions," McGoldrick said, factoring in preexisting vacancies, Newsom’s three proposed police academy classes, and the 26 staff positions for Newsom’s 311 program, not to mention other new proposed programs and initiatives.

Upset that Newsom has budgeted $500,000 for a Community Justice Court that will divert people to the kinds of programs that Newsom’s budget is undermining, McGoldrick told the Guardian that he "aims to identify at least $30 million to $40 million in deceptions and redirect these funds to top priority human needs and services that are already woefully underfunded."

"The mayor is trying to pump all the problems over to the Board of Supervisors," McGoldrick said. "It’s going to be a labor of love to figure out how to direct money to folks who are hurting now."

Peskin said he expects the supervisors to discuss three new revenue proposals in the next month in order to avoid another slash-and-burn budget next year. These proposals include a property transfer tax, closing a payroll tax loophole on partnerships, and preserving the city’s 911 fee, which is under legal attack.

As of press time, the Mayor’s Office had not returned calls about revenue creation. Maybe Newsom’s handlers were busy figuring out how to deal with a budget protest slated for 6 p.m. June 11 outside the his residence in the Bellaire Tower building, 1101 Green St.

Organized by Jennifer Friedenbach, executive director of the Coalition on Homelessness, the protest aims to draw attention to what Friedenbach calls "Mayor Newsomator’s plans to terminate the poor."

These plans include closing the Ella Hill Hutch Homeless Shelter as well as the Tenderloin Health Homeless Drop-in, and the almost total elimination of the SRO Families United Program. The Board has until July 31 to adopt a revised budget.

San Francisco Ethnic Dance Festival

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PREVIEW World premieres are not what you expect in traditional, culturally specific dance. But the myth of the unyielding art form passed from generation to generation dies hard, perhaps because there is comfort in believing that "some things don’t change." Sorry, but the village square has gone the way of stoop sitting. So-called ethnic dance started to change the minute it moved from the grange to the stage. What’s great about the enduring appeal of World Art West’s San Francisco Ethnic Dance Festival — celebrating 30 years this year — is that its producers encourage rethinking traditional forms so that they honor the past while embracing the future. It’s the only way an art can survive. To put more than moral support toward that effort, SF EDF gave out four 30th-anniversary commissions this year. Ensambles Ballet Folklorico de San Francisco presents its commission, Las Cortes Mayas, a celebration of Mexico’s regal past, this weekend. Another highlight is the first appearance of one of India’s classical dance genres, Kuchipudi, which is related to but faster-paced and more feathery than Bharatanatyam. Sindhu Ravuri’s solo is inspired by Indian temple sculptures. Hailing from Oakland is hip-hop/modern dance troupe Imani’s Dream in a premiere that reflects the youth group’s everyday reality. What else can you expect on this second of four weekends of cultural dance offerings? Afro-Peruvian footwork, Middle Eastern belly, Korean memorializing, Chinese court, Caribbean-flavored flamenco, and Scottish ritual dance. You’ll also hear a lot of live music: these days, EDF is almost as much a world music as a dance festival. And if that’s not enough to lure you in, throughout the month of June, World Arts West is offering a series of low-cost participatory workshops that welcomes all comers.

SAN FRANCISCO ETHNIC DANCE FESTIVAL June 1–29. This week: Sat/14–Sun/15, 2 p.m. (also Sat, 8 p.m.). $22–$44. Palace of Fine Arts, 3301 Lyon, SF. (415) 392-4400, www.worldartswest.org

Uh-oh: Lennar’s $25 million shipyard funding gap

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Sup. Chris Daly wants an immediate hearing into the fiscal health of Lennar’s construction project at Hunters Point Shipyard, (you know, the one where they repeatedly messed up the asbestos dust monitoring).

Daly made his request at the June 10 Board of Supervisors meeting, following the discovery that the San Francisco Redevelopment Agency has applied for, but has so far been denied, a $25 million grant to subsidize infrastructure costs at the site.

The agency filed its grant application with the California Department of Housing and Community Development in April 2008. During that same period, Lennar spent an estimated $5 million to successfully persuade voters to support Proposition G, which will allow Lennar to develop luxury condos at Candlestick Point, as well as at the Shipyard.

(At the last minute, Lennar appeared to sweeten Prop.G’s terms, by negotiating a community benefits deal with the San Francisco Labor Council, including promises of 32 percent affordable housing and job creation investment. But tthe deal stretches the definition of “affordable” to way above what your average Bayview Hunters Point resident earns. And it only becomes legally binding, if, and when, something gets built at Candlestick/Hunters Point.)

Holding up a big fat binder, stufed with spreadsheets, financial data and grant applications, Daly read aloud to his fellow supervisors from documents that suggest that there is a serious financial shortfall at the Parcel A site, where Lennar graded an entire hillside in preparation for developing a 1,500 unit condominium complex.

“This raises questions about Parcel A and the mixed use project,” said Daly, citing from documnents that claim that the receipt of gap funding, “will restore the ability of the SFRA and the Developer to continue the development.g

As the agency’s own grant application states, “The Gap Funding in the amount of $25,021,079 provided by the infill infrastructure grant will enable the San Francisco Redevelopment Agency and the land master developer to continue the development of the Shipyard.”

“The infill infrastructure grant will be instrumental in moving forward the Capital Improvement Project in light of exisiting market conditions and increased construction costs.”

“Without the receipt of the grant, it will face delays in the timing of the completion of the infrastructure and creation of much needed parks.”

Hmm.

Daly’s cache of documents also reveal that the Shipyard Legacy Fund has shrunk from $30 million to $5 million. This raises serious doubts about the City’s ability to deliver on a list of promised community benefits at the Shipyard.
According to the SFRA’s own documents, “The Legacy fund is charged with reinvestment of the Agency’s proceeds from net land sales back into the BVHP community with an emphasis on employment, housing and financial/asset development, youth development, elder services, arts/culture & recreation and environment/safety.”

Stay tuned.

Shock and aw

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› kimberly@sfbg.com

The White Stripes may be dormant and the Black Keys may be slowly incinerating their blues-rock genre confines, but elsewhere the minimalist, ’00s-styley, binary-busting power of two remains potent. Recent releases by No Age and Crystal Castles — Nouns (Sub Pop) and Crystal Castles (Lies/Last Gang) respectively — demonstrate as much. At first listen, the pair of twosomes seems spazzily coupled, sharing a short-attention-span feel and what-the-fuck adventurousness.

Yet it only takes a few listens to uncover major divergences. No Age’s two-part cluster bomb boasts forward-facing rock juxtaposed with moments of Sonic Youth–like distorto-delicacy. They may be a two-fer, but they’re also a clear segment of a community: witness the rainbow connection of faces in Nouns‘ booklet. Meanwhile Crystal Castles finds Ethan Fawn, né Kath, and Alice Glass looking determinedly toward the future, in us-against-the-world lonesomeness — armed with keys modified, as legend has it, with an Atari 5200 sound chip. Though their simultaneously noisy and dancey, agitated pop — searching, sample-heavy, and propelled by Glass’s effects-doused coos and cries — comes off as surprisingly accessible, theirs isn’t a trillion-bit future of audiophile perfection. And definitely don’t call the Toronto twosome nu rave, even though they remixed pals the Klaxons early in their four-year existence.

"There is nothing ‘rave’ about the way we sound," Kath writes in an e-mail from Moscow. "There is nothing ‘rave’ about the way we look." Instead, he adds, Crystal Castles’ earliest idea was "to try putting a New Order beat under noise-punk."

The duo met while reading to the blind as part of "community service punishment," as Kath puts it. "I was in a metal band, and we could not cross the US border because I had a criminal record. I did the community service work to clear my record. Instead I met Alice. We bonded over our shared love of noise-punk bands. She invited me to see her noise-punk band [Fetus Fatale], and I fell in love with her lyrics."

According to Kath, he left his group, Kill Cheerleader, on the verge of major record deal to make music with Glass under a name cribbed from She-Ra’s stronghold. "We are named after a line in a commercial for the toy version of She-Ra’s castles," writes Kath. "The line is ‘the fate of the world is safe in Crystal Castles.’"

The collaboration grew from a handful of Kath guitar-noise tracks supplemented with Glass’ vocals, to a second batch that, he offers, "were 100 percent based on samples (Madonna, Joy Division, Death from Above 1979, 8bitcommunity, Grand Master Flash). In 2005 we abandoned the idea of using samples and began looking for own our songs."

Meanwhile their experiment has been catching on: an early "Alice Practice" track put out as a 500-copy 7-inch by London’s Merok Records sold out within three days. More recently Crystal Castles — which compiles "Alice Practice" and other sold-out singles, unreleased tracks from the same era like "Courtship Dating" and "Vanished," and new tracks such as "Black Panther" and "Through the Hosiery" — has established a beachhead on CMJ charts.

The duo may never have thought their remixes of Bloc Party, among others, would be popular ("The [Klaxons] remix was so well-received that other bands began offering me money to remix them as well. It was at a time when we couldn’t afford a small bag of chips, so I was saying yes to everything," writes Kath). And they may have never imagined their so-called failures would find life online. For "Crime Wave [Crystal Castles vs. Health], Kath says, "I tried to cut up the vocal track from a Health song and place it over an unused CC rhythm track. I believed it was a failed experiment, but the track leaked and people were trading it on the Internet and finally in 2007 a label called Trouble Records decided to release it as a limited seven-inch single. It sold 2,000 copies in a week." But at least part of the world outside Crystal Castles listened closely.

All of which explains some of the controversy swirling around the band. In April the Torontoist and Pitchfork reported on the duo’s use of Trevor Brown’s black-eyed Madonna image for T-shirts, the "Alice Practice" single cover, and an early "banned" Crystal Castles cover. The band has stated that they initially found the art uncredited on an old flyer, and went on to form a handshake agreement with the artist. Brown, on the other hand, alleges he was never paid for the work’s use, while the group and its management allege that they tried to contact him without success.

Furthermore, the chiptune or 8-bit community appears to be up in arms regarding Crystal Castles’ sampling, leading BlogTo.com to report on Crystal Castles’ alleged use of Belgian producer Lo-bat’s "My Little Droid Needs a Hand" for their track "Insecticon," which some say is outside the provisions of Creative Commons licensing (the work was available free for noncommercial uses, though some chip-tuners claim "Insecticon" has been used promotionally in a way that violates Creative Commons’ spirit).

Meanwhile Crystal Castles, which has deferred comment on the allegations, continues to navigate a fine, fragile line. Though the fortress has clearly been breached, the duo emphasizes its hermetic remove ("We created the songs in isolation," Kath writes), which is colored by a somewhat understandable defensiveness. ("We think there is hostility in all the tracks"). "People seem to love or hate the music," Kath writes. "We never thought about our listeners. We put these songs together for ourselves, and it’s a shock that anyone is listening."

At the very least, the twosome have retained the kind of fatalistic humor that surely led them to create the Crystal Castles CD art: an image of the pair looking down, faces hidden, and bowing — or rising up. "In the universe of pop music," Kath opines, "we are the litter collecting at the sewer grate."

CRYSTAL CASTLES

Tues/10, 8 p.m., $16

Independent

628 Divisadero, SF

www.theindependentsf.com

Beyond the budget spin

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OPINION Local government is frozen. The mayor’s office and the Board of Supervisors have been engaged in open warfare for months. This week, Mayor Gavin Newsom announced that in order to balance San Francisco’s budget, city services and community-based organizations will have to undergo draconian cuts.

In a preemptive move against embarrassing protests, the mayor’s press office did not reveal the location of the annual budget presentation to the news media until late Friday afternoon. Even the supervisors, who will be debating and voting on the budget during the month of June, were left in the dark until then.

While the mayor didn’t blame city workers for the financial crisis, he did suggest that Service Employees International Union Local 1021, which represents the low-wage, frontline, service-providing city workers, should "help out."

Well, we have. SEIU members stepped up to "help out" in fiscal years 2003–04 and 2004–05 by agreeing to wage freezes and self-funding our pensions. All the recent midyear cuts were in public health agencies and among SEIU-represented nonprofits.

Most recently we stepped up by helping draft and vigorously campaigning to pass Proposition B, which freezes city workers wages for two years and tightens eligibility for retiree health care benefits in exchange for a modest increase in city pension benefits.

The mayor’s budget director repeatedly has said that this is a spending problem, not a revenue problem. Talk about spin.

Moreover, in his June 2 budget presentation, the mayor made no mention of raising revenue as an answer to our fiscal problems. You could almost hear Gov. Schwarzenegger’s voice as Newsom presented a slash-services budget with a "no-new-taxes" slogan waiting in the wings for his next campaign.

Everyone knows it’s expensive to live in San Francisco. Paying city employees a wage that allows them to stay in the community they serve isn’t a budget "problem." It ought to be a basic part of what City Hall does and cares about. And if that means looking at bringing in new sources of money, we should have that conversation.

We believe there are various revenue sources that make more sense to explore than some of these service cuts, including a real estate transfer tax increase for high-level properties.

Fortunately, the mayor’s proposal is just a starting point. Soon we will be proposing specific alternatives.

Toward that end, the San Francisco Human Services Network and Coleman Advocates for Children and Youth have organized a citywide forum on the mayor’s proposed budget cuts. SEIU 1021 is cosponsoring this event. The San Francisco budget and revenue town-hall meeting will be held June 9 from 2-4 p.m. in the San Francisco Main Library’s Koret Auditorium, 100 Larkin (at Grove)

Don’t get angry. Get organized.

Robert Haaland

Robert Haaland is a longtime San Francisco activist who works for Local 1021.

Rise above

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

› duncan@sfbg.com

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

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

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

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

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

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

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

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

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

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

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

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

"Is that your daughter’s bike?"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scraper success

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"This is what happens when Bay Area gas goes to 4 bucks!! We cant even afford to rap about cars..lol [sic]."

So reads one YouTube viewer comment for "Scraper Bike," a music video by local rap group the Trunk Boiz. Rather uncharacteristically for hip-hop, the clip includes a crew of hoodie-wearing, dreadlock-shaking young guys pedaling through the Oakland streets on their tricked-out bicycles. With zero support from radio, "Scraper Bike" became an underground hit last year, making alternative transporation cool for Escalade-obsessed East Bay youth.

"My scraper bike go hard, I don’t need no car," intones Trunk Boi B-Janky in the chorus of a song that’s so catchy it’s viral. Through Web word-of-mouth alone, "Scraper Bike" became one of the 20 most-watched YouTube videos of 2007. In March of 2008, the video was nominated for a YouTube Award, putting the Trunk Boiz in such illustrious company as Obama Girl.

With 2.5 million views and counting, "Scraper Bike" spurred a local trend now gone global, with folks from as far away as Turkey and Bavaria petitioning the Trunk Boiz to come pimp their rides. Yet scraper bikes are pure East Oakland, an homage to their four-wheel counterparts: long a fixture of East Bay car culture, "scrapers" are hoopty rides — usually ’80s-era Buicks or Oldsmobiles — made ghetto-fabulous with candy paint, huge rims, tinted windows, and booming speakers in the trunk.

Trunk Boi Baby Champ, inventor of the scraper bike, recalls his initital inspiration. "At that time I was real young and didn’t have no license or nothing," he says. "So I just wanted to take the pieces of the car and put it on a bike and mold it and shape it like that. I just took it and ran with it." In transutf8g the scraper aesthetic, not only does Champ outfit the bikes with neon colors and decorative spokes, he even wires up stereos to the handlebars and loads speakers on the rear. "That’s one of our promotional schemes," B-Janky informs me during a group interview at their West Oakland studio. "We ride around on scraper bikes eight deep, with speakers slappin’ our music."

Hustlers and entrepreneurs, the Trunk Boiz bring a whole new meaning to the Bay-slang term "out the trunk." The phrase refers to the marketing strategy immortalized by Too $hort, who early in his career famously sold music out of his car. Yet when the Trunk Boiz slang CDs "out the trunk," that trunk is less likely part of a Cutlass Supreme than a double-axle three-wheel cruiser — essentially, a tricycle on the back of which is a wooden cart painted in Oakland A’s colors with the words "That Go!"

A rather endearing sense of juvenalia surrounds the Trunk Boiz mystique. After all, their average age is about 19. As one might expect of a group of more-or-less teenage boys, songs tend to focus on adolescent preoccupations such as partying, looking fly, and getting girls. But unlike blunt rappers like Lil’ Weezy — who endlessly employs stale metaphors to describe their male members — the Trunk Boiz make sex romps sound clever. In the track "Cupcake No Fillin’," MCs Filthy Fam and NB drop double entendres, extending the concept of "cupcaking" — Oakland slang for flirting — into a confectionary ode to casual, no-strings-attached hookups (i.e., with "no feeling").

It may not be a message mothers want their daughters to hear, but the kids love it. The video for "Cupcake No Fillin’" has nearly 100,000 YouTube views, and helped expand the group’s female fanbase by casting the rappers in a loverboy light.

Given the group’s penchant for high-energy antics, the Trunk Boiz were happy to ride the hyphy train while it lasted. They even got scraper bikes into videos for the Federation’s "18 Dummy" and Kafani’s "Fast (Like NASCAR)." None other than Too $hort called Champ the day of the Kafani shoot, urging the scraper bike crew to roll through and bring some local flavor. They continue to glean game from the legendary rapper through their involvement with East Oakland nonprofit Youth UpRising, where Too $hort volunteers.

Inspired by such mentors, the Trunk Boiz have become more civic minded than one might expect of a group that raps about going "SSI" ("Socially Stupid Insane") — a track off their sophomore album, due out this summer. Not only are they involved with Youth UpRising and Silence the Violence but also with the "Ban the Box" reentry-reform efforts in Oakland as well as Bikes for Life, an antiviolence campaign launching July 13 with a ride around Lake Merritt. In August, they’ll attend the National Hip-Hop Political Convention in Las Vegas, where they’ll roll down the Strip on their scraper bikes.

Fortunately, when it comes to homegrown innovation, what happens in Oakland doesn’t always stay in Oakland. *

For more on Bikes for Life, call (510) 238-8080, ext. 310.

www.scraperbikes.net

Weekend warrior

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Phil Spector may or may not have been the first to use layers of overdubs to convey the widescreen-aspect ratio of teenage emotion. Nonetheless, he certainly carved a niche. Adolescent euphoria be thy name: Brian Wilson, "Baba O’Riley," Bradford Cox, and now Anthony Gonzalez on his new M83 album, Saturdays=Youth (Mute).

"I have such good memories of my teenage years," Gonzalez confesses over the phone from his native Antibes, France. Saturdays=Youth wraps wasted youth in nostalgia for 1980s pop, and it’s a dangerously fun tonic. "John Hughes was my main influence on this album," Gonzalez said, and the proof’s in the overheated lyrics, the sun-struck portraits, and the quick changes between subgenres, which resemble so many high school cliques. Saturdays=Youth is no less ambient than Brian Eno’s chilliest scores, but instead of Music for Airports, it’s Gonzalez’s "Music for a Molly Ringwald Movie."

When Gonzalez first emerged with his massive, bright synth rainbows on earlier M83 albums like M83 (Mute, 2001) and Dead Cities, Red Seas and Lost Ghosts (Mute, 2003), he came off as a post-shoegaze Enya. The crucial change on Saturdays=Youth is first apparent after the marching chorus opening "Kim and Jessie" drops out, leaving space for Gonzalez’s verse. Instead of coasting on an endless climax-loop, the song makes effective use of a traditional pop structure — choruses, bridge, and masterfully diffused outro — to convey the simple exuberance of two teenage girls sneaking liquor in a patch of woods. Gonzalez downplays revisionist favorites like My Bloody Valentine and the Jesus and Mary Chain here in favor of shinier surfaces descending from groups like Simple Minds and Tears for Fears.

M83’s dips into catchy new wave ("Graveyard Girl"), Hot Topic goth ("Skin of the Night") and electro-gospel ("We Own the Sky") are smoothed by the album’s high definition gloss. After only working with sound engineers in the past, Gonzalez opted to collaborate with two different producers on Saturdays=Youth. Ken Thomas’ long résumé makes the album one degree removed from Gonzalez favorites Cocteau Twins, while Ewan Pearson is known for his sleek dance tracks. "The combination of these two producers brings something interesting," Gonzalez muses, and the songs do seem to sway between velvet reverie and intense ear candy.

"My older brother used to lend me his VHS, so I used to watch with my friends," Gonzalez said. "A lot of horror movies and a lot of the teen movies. When I was watching the John Hughes movies, I was 13 or 14. I felt really close to the characters." At its best, Saturdays=Youth slows these generational markings into a ritualized ghost dance. The album is certainly a simpler, less troubled nostalgia piece than something like Donnie Darko (2001). What of the fact that this heavily marketed teenage paradise was borne of American conservatism? Gonzalez doesn’t have the answers, but his transporting music makes you feel silly for asking too many questions.

M83

With Berg Sans Nipple

Wed/21, 9 p.m., $16

Great American Music Hall

859 O’Farrell, SF

www.musichallsf.com

“Reprise”

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REVIEW Norwegian helmer Joachim Trier may or may not be Lars von Trier’s distant relative. Let me back up a bit: according to several sources, the two directors are kin — but the former’s feature debut, Reprise, pleasantly reassures us that even if Joachim had the misfortune of sharing the same genes with Lars, at least he doesn’t share his bad sense of filmmaking. Nevertheless, the younger Dane did grow up in an environment where cinema was greatly appreciated (he first used an 8mm camera at age 4), which probably explains why his first attempt at full-length moviemaking is governed by such refreshing and refined ideas about the cinematic language. Trier is also a national skateboarding champion — something that might seem unrelated but may, on the other hand, account for Reprise‘s playful, edgy approach. Set in contemporary Oslo, the film follows friends Erik (Espen Klouman-Hoiner) and Phillip (Anders Danielsen Lie), who have dreams and aspirations about becoming great cult authors. Casting mainly nonactors and employing a slew of unannounced flashbacks and flash-forwards, Trier creates a fluid chronology where happiness and sadness coexist, and potentials are imagined, shattered, and rediscovered all at once. Like its 20-year-old protagonists, Reprise is disorderly, hazy, adventurous, and inquisitive, thus adequately reutf8g the agony of youth.

REPRISE opens Fri/23 in Bay Area theaters.

Starry-eyed and stripped

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REVIEW More than one witness has reported that Mayor Gavin Newsom, fiancée in tow, dropped by the jam-packed opening reception for photographer Ryan McGinley’s show at Ratio 3. The civic-minded pair joined the fray of cool kids and art world cognoscenti — I heard John Waters and Todd Oldham were there — and in some ways the appearance was apropos: the artist and politician share a lineage of tall, charismatic Irish Catholics who inspire others to action. Noting celebrity, political, and religious connections is admittedly a little suspect in a review of a contemporary art show; still, the youthful but stately mayor’s presence at a gallery on a somewhat gritty Mission side street has meaning as an expression of the widespread appeal of McGinley’s pictures. Who could resist lush images of nubile white boys and girls cavorting naked amid what seem like national parks and roadside America?

McGinley is a particularly American artist. One of the photographs on view is even a dead ringer for an Andrew Wyeth painting. Rather than Christina crouched in the wheat field, McGinley’s Running Field (2007-08) offers a lithe young woman dashing through golden rolling hills wearing only white sneakers. His choreographed vision is a brand of hipster organic purity, a dream of back-to-the-land naturalism and free love.

McGinley also manages to straddle a number of positions and demographics. Among the 16 pictures in this satisfying exhibition, there’s full frontal male nudity, and a wonderful image of a shirtless blond guy embracing a black bear, both of which unabashedly read as queer. A centrally placed picture of a group of hikers in a rocky canyon plays like a still from an update of Antonioni’s Zabriskie Point (1970). McGinley’s photograph exudes cineaste hippie-spiritual vibes, as does the acid trippy image titled Blue Falling (2007-08), in which the silhouette of a male figure — the hair on his legs crisply visible in profile — is seemingly suspended in an intensely hued sky. Dakota’s Crack Up (2007-08), visualizing an ebullient male/female couple caught in an active moment of undressed while roller-skating, brims with both clothing-optional resort appeal and fashion photo bravado.

The youth and nakedness of this universe seems to be related to Larry Clark’s kid obsessions, except McGinley is still young himself — he had a solo show at the Whitney five years ago, when he was 24 — and his surprisingly wholesome pictures are more hooked on fresh air and community than the more troubled eroticism of the wizened though still dreamy-eyed elder artist. A cinematic influence also binds these two figures. Most of the photos in McGinley’s show blur the line between naturalism and studio artifice: the hikers on the rocks are positioned in light in such a way that they appear to have been inserted digitally, the woman in Fireworks Hysteric (2007-8) seems to be floating in a glittering, celestial space, as do other subjects who have been catapulted into thin air. And is that a naked dude embracing a stuffed animal or a real live bear?

According to the artist, the animal is a living thing, albeit a trained one. He also admits the colors in his works are achieved through an intense darkroom practice. That gray area between the real and the imagined works in the artist’s favor, lending his images a sense of the uncanny: the activities captured in his photos did happen, though they come across as otherworldly.

There’s also a performance art backbone to McGinley’s process. His photos depict a team of models, cast for their looks as well as their athletic abilities, who travel together for extended periods. The constant contact promotes intimacy and physical fearlessness, and while they are very believable as an actual pack of marauding, hopeful young people, they are in fact a constructed entity — a family of paid actors directed by an artist with a clear vision of a kind of communal lifestyle. McGinley assuredly realizes these images, but they don’t come off without some suspicion. Where can these photographs go from here? The likeability of the pictures — and models — is tinged with envy and perhaps a resentment of the cool high school kids who seem impervious to social or sexual obstacles. That McGinley’s models reportedly sustain their share of photo-shoot injuries only attests to his winning feats of fiction. It all appears so smooth and dreamy. I don’t know what the mayor thought, but in the end, McGinley’s work won me over, and I want the feeling to last. *

RYAN MCGINLEY: SPRING AND BY SUMMER FALL

Through June 21

Wed.–Sat., 11 a.m.–6 p.m.

Ratio 3

1447 Stevenson, SF

(415) 821-3371

www.ratio3.org

SPORTS: Black baseballers MIA

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By A.J. Hayes

It may seem overly dramatic to call Giants rookie shortstop Emmanuel Burriss a member of baseball’s “lost generation” — but if you have any doubts just look at the numbers.

The fact that Burriss is young, African-American and playing professional baseball makes him a rarity in today’s game. It’s no different in college baseball.

burriss.jpg
Emmanuel Burriss

Sixty-one years after Jackie Robinson broke baseball’s color line, the influx of new black in the sport’s elite ranks has all but dried up.

“It’s sad,” Burriss, 23, said. “I don’t think many young African-Americans kids would even know who Willie McCovey or Reggie Jackson is today.”

Born and raised in Washington, D.C. before playing three seasons at Kent State University, Burriss is the first product of the District’s public school system to be drafted by a major league baseball club since 1989.

A “sandwich” pick (33rd overall) by San Francisco in the 2006 amateur draft, the speedy Burriss batted .360 and led the nation with 42 stolen bases in his final collegiate season.

Now, less than two seasons later, Burriss has already graduated to the major leagues. In 22 games, the middle infielder has batted .255, and has demonstrated a sturdy glove and strong arm.

“I didn’t even know they had baseball in D.C.,” said the former African-American big league infielder and current Giants cable television commentator Bip Roberts, with a sadness tinged sigh. “When I watch Manny the thing I notice is that he has good baseball instincts. He has ability that a manager likes. He’s a switch hitter, has great speed and instincts to play shortstop at a high level. I can see why they kept him up here.”

Burriss also has a sense of social consciousness to match his high baseball I.Q. If Major League Baseball is really about making baseball attractive again to inner city kids, Commissioner Bud Selig should make it a point to pick Burriss’ brain ASAP.

For a number of reasons, including the skyrocketing costs of playing organized youth baseball, lousy promotion of the game’s top black stars and competition from other sports, baseball’s popularity in the inner city has dropped off the charts over the past 20 years in the inner city.

The Giants currently have four African-American players on their active roster. Across the bay, Oakland has three.

Burriss said it was so rare to run into an African American player in college his first two seasons of minor league ball, that he immediately forms a bond with them.

“I always thought it was exciting whenever I’ve run into another African-American on the field. It’s like ‘Wow there’s someone else. I’m not alone in this,” Burriss said. “I always make it a point to meet them and talk about the fact that we are African-Americans and that we have to work hard to keep the population up in baseball.”