Denise Sullivan

Author, Journalist, Culture Worker

Tales of the (Gentrification) City: Tom Heyman and Deirdre White

I’ve been working on a new column series based on real life stories from the heart of Gentrification City. The first one concerns songwriter and recording artist Tom Heyman and visual artist and community college instructor Deirdre White, a couple of longtime Mission District residents who’ve found a way to survive in high-tech town as working artists.

That Cool Blue Feeling album by Tom Heyman. Cover photo by Deirdre White

That Cool Blue Feeling album by Tom Heyman. Cover photo of sunset in the Outer Richmond by Deirdre White

Debuting this week at Down With Tyranny, I’m seeking a permanent home for the serial (it might be here, there or elsewhere).  Until then, please find the first installment here and let me know what you think:  The story is just beginning. Turns out this 49(ish) square mile patch of scenic beauty is smaller than ever before. The lives of those of us who remain here are all very much interconnected.

I look forward to sharing the stories of 21st Century San Francisco with you and am exceedingly grateful I’ve been given the opportunity to do so.  Until the next installment, I’ll be here riding the waves and the ropes, too. Stand strong people:  They can’t take away our souls or the songs in our hearts…

Filed under: Arts and Culture, California, column, serial, Sunnyside Up, Tales of the Gentrification City, , , , , ,

MLK: The Last Holiday

01269r-1“In the end we will remember not the words of our enemies but the silence of our friends.” –Martin Luther King, Jr.

This weekend I joined hands with Down With Tyranny! to present a series of guest blogs. Following a bit of background on the creation of the King holiday by a musician, I write a little about the music in the extraordinary film, Selma, and direct listeners to the old songs that still sing out strong during the current justice movement afoot in the US.

Yesterday’s post concerns the State of San Francisco following last week’s mayoral address.  Tuesday will feature an everyday story of gentrification and how it is impacting the lives of two working people here in town.

Wishing you peace and enjoyment of this day of service.

Filed under: anti-war, Arts and Culture, Civil Rights, Dr. Martin Luther King Jr., Freedom Now, , , ,

We’re On The Freedom Side

There’s a new version of the labor standard, “Which Side Are You On?” going around: Sung at the Black Lives Matter and Blackout Coalition actions, it’s also been used as the intro and outro marching song at some of the Black Brunch protests.

Malcolm X was a freedom fighter
And he taught us how to fight
We go’n’ fight all day and night
Until we get it right
Which side are you on, my people? Which side are you on?

In the early ’30s when the United Mine Workers of America began to organize around Eastern Kentucky (in an effort to end practices like payment in scrip and pay docking toward rent in substandard housing) it was Florence Reece, a Kentucky miner’s daughter and wife who wrote the original lyrics to “Which Side Are You On?”.  It remains a labor movement standard.

They say in Harlan County
There are no neutrals there
You’ll either be a union man
Or a thug for J.H. Blair

Blair was the sheriff who rousted Reece’s family during the strike among Harlan County mine workers, just one of the struggles which contributed toward the region earning its nickname “Bloody Harlan County.”   In the ‘70s, workers struck again and Reece reprised the song for striking miners (preserved in this clip from Barbara Kopple’s Academy Award-winning documentary, Harlan County U.S.A.).

The song’s melody is said to be based on a hymn, “Lay the Lily Low.” Some researchers believe it is the same song that forms the basis for the traditional “Jack-a-Roe,” (also known as “Jack Munro”), its best-known version performed by the Grateful Dead. But I think that somewhere in the Kentucky mountains, singers have been intoning this strange melody for hundreds of years, its deep minor tones more reminiscent of the mystic drone of a Gregorian chant than anything known to folk or gospel. Whatever its melody’s true origins, “Which Side Are You On?” was first repurposed during the Civil Rights Movement by topical singer-songwriter Len Chandler (you can hear his recorded version on the album, WNEW’S Story of Selma).

Come all you Northern liberals,
Take a Klansman out to lunch
But when you dine instead of whine
You should serve nonviolent punch
Which side are you on? Which side are you on?

Chandler told me his story, of how he came to be a topical singer in Greenwich Village, then moved on to marching with Dr. King from, Selma to Montgomery (he appears in archival footage in the new film, Selma). “I’d write a song like that and then I’d be singing it in a mass meeting that night. People would be playing and singing for forty five minutes, until you were just worn out,” he said. Fifty years later, he remains in pursuit of social justice through action and song (Chandler’s full story appears in Keep on Pushing). I learned from listening to Chandler’s songs and to his songtalk, and by studying the work of freedom singers like Odetta, Bernice Johnson and voting rights activist Fannie Lou Hamer, that group singing among activists gives people who may start the night as strangers a chance to bond. Communing over songs, we become more bound to purpose. Singing together is energizing, nourishing, and feeds the spirit; it provides strength to move forward, together as one. But group singing for justice serves a further purpose beyond what some mock as a moment to join hands and sing “Kumbaya”:  In the fight for non-violence, singing has the ability to disarm.

Hamer practiced the power of song when she sang alongside Chandler and other SNCC volunteers at the mass meetings and marches, through her representation of the Mississippi Freedom Democratic Party at the 1964 Democratic Convention and on to the passage of the Voting Rights Act of 1965. Women at the forefront of workers organizing, who’ve pushed for voting and employment rights, and led the fights to end war, poverty, and racism across the planet all know well the power of song: Whether Hamer, Reece, or Ani DiFranco (who updated the song in 2012 then titled her collection of socially conscious songs, ¿Which Side Are You On?) or the Black Lives Matter and Blackout Coalition organizers, women are allied in a long and storied legacy of traditional and gospel song.  With songs we have contributed to toppling apartheid in South Africa, had voting rights granted in the US, fought warlords in Liberia and begun to make corrections to the broken justice system in the USA. With songs that have traveled the road from blues to hip hop, we will continue toward freedom for all people. It’s good to hear the timeless soundtrack to justice making a comeback. Now, which side are you on?

Filed under: anti-war, Civil Rights, Coal Mining Songs, Dr. Martin Luther King Jr., Origin of Song, , , , , ,

Margaret Cho’s on a Mission: Helping Homeless Youth in San Francisco

“If you have, give. If you need, take.” That is comedian and San Francisco native Margaret Cho’s simple, seasonal message to the people of her hometown and so far the directive is working: Staging impromptu street performances, Cho is devoting two months to raising awareness and much-needed funds and supplies for the homeless here, in memory of her philanthropic comic inspirer, Robin Williams.

Cho for change, Market and Powell, San Francisco (photo courtesy Gerard Livernois)

Cho for change, Market and Powell, San Francisco (photo courtesy Gerard Livernois)

“With Comic Relief he raised 70 million dollars for homelessness causes,” claims Cho of the series of televised charity shows and events hosted for over 20 years by Williams, Whoopi Goldberg, and Billy Crystal. Calling from San Antonio where she was performing her stand up act over the weekend, Cho explained, “He had written into his contracts that a certain percentage of homeless workers had to be employed on the set. He was very conscious of homeless people and he turned in perhaps the greatest performance of a homeless person ever in The Fisher King.” The loss of Williams this year she says, was more than the death of a dangerously depressed fellow comedian and street theater vet. “We lost a passionate activist.”

Read the Entire article at 48 Hills:

Filed under: Arts and Culture, California, income disparity, new article, San Francisco News, , , , ,

December 8: Strange Days, Indeed

Remembering Jim Morrison’s birth and John Lennon’s death.  Rest in peace, brothers. Your energies and ideas are still very much needed here on earth.john-lennon-eyeglassesjim-morrison-2

Filed under: anti-war, Arts and Culture, , , , , ,

New Doors Single Benefits All Tribes

Ghost Song FNLYou have to hand it to the Doors’ drummer John Densmore: For over 40 years he’s refused to cave-in to requests from advertisers to use his band’s music in commercials when artists of more stature have not hesitated to compromise.

So why has this drummer (largely regarded to be a rock band’s low man) managed to stay so hardline and true when it comes to decision-making? “You know a long time ago Jim Morrison kinda blew up at us because we were considering ‘C’mon Buick light my fire…’ Because the dough looked good and we were young.  And Jim didn’t primarily write that song, and I thought God, he cares about the catalog, what we represent in general, the whole thing.  And he’s dead. And I’m not.  So I’m not gonna forget that,” said Densmore. His most recent book, The Doors: Unhinged, chronicles his battle with his former bandmates for the rights to the Doors name and his efforts to keep their musical legacy clean, while serving as the drummer’s meditation on greed—how it impairs people and society.

In a world filled with clutter, contradiction, and compromise, this past Black Friday, the Doors issued a limited edition single of “Ghost Song” b/w “Drums,” its sleeve designed by Shepard Fairey. “Ghost Song” is of course plucked from Morrison’s poetry, the one that nods to Indians…scattered on dawn’s highway, bleeding… “Drums” is a composition by Peter La Farge recorded by Densmore for Rare Breed, a tribute to the songs of La Farge (first popularized when Johnny Cash cut them on his 1964 Native American-themed album, Bitter Tears).  Both Fairey and Densmore advocated staying out of stores on Friday, but for those who ignored the boycott (protesting over-consumption and the shooting of Mike Brown) and just couldn’t resist shopping, proceeds of their Doors purchase went to the Honor the Treaties organization which funds collaborations between Native artists and Native advocacy groups. Again, you can thank Densmore for that.

So when people ask me, as they often do, why I should want to write a book about Jim Morrison and the Doors, I tell them there is more to the band than its singer’s alcoholism and “Light My Fire.”  In fact, there is a deep well of influence from which the band has drawn, though it generally remains hidden from view. Tonight at the Balboa Theatre in San Francisco, I will be noting the publication of my book Shaman’s Blues which delves into some of those influences by introducing the Doors documentary When You’re Strange (2009), directed by Tom DiCillo. Both the film and the book are additions to an already healthy pile of Doors-related material on view and for sale—it is arguable whether the world needs more of the same.  And yet these two 21st century Doors artifacts drive home a similar point: Here is a band that succeeded where its peers and contemporary artists have failed to hold the line: They chose not to sell-out.  That’s something worth remembering, documenting, and celebrating.

Filed under: Uncategorized, , , , , , ,

November 20, 1969: Indians Claim Alcatraz

On November 20, 1969, All Tribes of the Native Nations occupied the island of Alcatraz in the San Francisco Bay. The taking of the former state penitentiary (the one that once held down gangster Al Capone and the notorious “Birdman,” famous for escaping it) was a major awareness-raising event, illuminating the treatment and near-extinction of Native people in the US. Issues like land theft and other deceptions served to Americans were in process of being clarified for all of us by members of the Native Nations: the Indians had longer-term plans to establish a culture center on the Rock, but federal authorities ultimately ended the peaceful occupation—with force—after a 19-month stand. Today, the former prison operates as a museum; it is presently hosting an art installation of work by renowned Chinese artist Ai Weiwei, with reference to the island’s Native American protest past)

Among those who heard the call to gather in 1969 was John Trudell (Santee Sioux) who served as a broadcaster, the Voice of Alcatraz. Radio Free Alcatraz reached the airwaves daily via KPFA in Berkeley and KPFK in Los Angeles (the Pacifica radio network). “He is extremely eloquent, therefore extremely dangerous,” says the note in Trudell’s FBI file. In 1979, Trudell lost his wife, his three children and his mother-in-law in a mysterious house fire. The event was a turning point toward his life as a poet, musician and actor; miraculously his spirit remains outspoken and free.

Deborah Iyall (Cowlitz) was just a teenager at the time of the occupation: She ran away from her childhood home (with her mother’s blessing) to join the protestors on Alcatraz. “I remember a song this woman Oona taught me at the powwow… I felt like I had these little nuggets and culture to hang on to.” Iyall remained on the Rock for a few foggy and cold nights before returning home, but her introduction to a creative Native person helped shape her own identity as a professional visual artist, poet and musician (Iyall recorded and toured as the frontwoman of Romeo Void and remains a solo artist. Read more on the lives of Debora Iyall, the work of John Trudell, Buffy Sainte-Marie and other artists inspired by the American Indian Movement in Keep on Pushing).

The anniversary of the Alcatraz occupation, the annual sunrise Thanksgiving Day ceremony there, the team sports protests and the ongoing violation of Indian lands made it an Indian news-filled week here in Nor Cal, but then, here in the US, everyday is an opportunity to remember what the Indian people sacrificed for US and to say thank you for their land which the rest of us occupy.

Thanks to Mary Jean Robertson—host of Voices of the Native Nation, broadcasting every second, third, and fourth Wednesday of the month on KPOO—for bringing the news to Natives and their allies. Last night she played the above clip by Redbone, released in 1970 at the height of the occupation, with footage collected from more recent sunrise ceremonies. 

Filed under: anti-war, Arts and Culture, Buffy Sainte-Marie, California, Environmental Justice, income disparity, , , , ,

First-Ever Howard Zinn Bookfair Convenes In San Francisco: Marcus Books is Back!

Today’s first-ever Howard Zinn Bookfair zinnportraitconvenes at San Francisco’s historic Mission High School with a list of right-on authors as long as your arm so you’re going to have to check the program to believe your eyes. Organized by author James Tracy who also founded the San Francisco Community Land Trust,  the day is jam–packed with discussion and presentations concerning the people’s history—past, present and future—and is free to the public. I’ll be leading the discussion titled Supporting Our Bookstores in a Time of Gentrification from 1:30-2:30 PM in the James Baldwin Room, and will be joined by Karen and Gregory Johnson of Marcus Books San Francisco and Kate Rosenberger of the Mission District’s Dog Eared and Alley Cat Books. We hope to see the room filled with bookstore workers and supporters as we imagine ways in which our City’s bookstores can work cooperatively and reach out to each other more in what was a record-breaking year of small business closures in San Francisco.

As the day-long celebration of our stories transitions into the evening, there will be an arts and awards ceremony: I’m pleased to say, Marcus Books will be making an announcement about the store’s future and will be receiving a lifetime achievement award for their service to the people of San Francisco and beyond it.  Read my coverage on the current state of San Francisco’s bookstores at 48 Hills,  and I’ll see you at the people’s bookfair.

Filed under: anti-war, Arts and Culture, Book news, Books, California, Civil Rights, income disparity, James Baldwin, San Francisco News, , ,

Bob Neuwirth: Here and Then and Now

Bob_NeuwirthBob Neuwirth is a character in the secret history of rock ‘n’ roll. In 2011, on the occasion of a retrospective of his paintings showing in LA, I seized a rare opportunity to interview him for Crawdaddy! and got a few words on the state of the 21st Century’s art and music.

“I think it was Matisse who said artists should have their tongues cut out,”  says Bob Neuwirth. As a visual artist and songwriter, his large abstract canvases are enjoyed by collectors, while his solo singer-songwriter albums Back to the Front and 99 Monkeys are appreciated by connoisseurs of the form. Neuwirth has also played a unique role in the lives of his fellow artists. A great teller of tales, as opposed to a tale-teller, he’s served as an ear to friends in the arts for five decades now; as a catalyst to epic songs,  he’s lived the moments we read about in history books.

“Art is everywhere,” explains Neuwirth. Though to recognize it,  “It takes a different set of eyes. If it’s music, it’s a different set of ears…Just because something is reproduced in multiples doesn’t make it good,” he says.“Turn on the radio.  What you hear on the radio is for people who aren’t really listening,” he says.

If some of what Neuwirth is rapping sounds as cryptic as a zen koan, it’s because he’s earned the right to wax on; he’s pulled-off the great American hat trick of living an artist’s life while remaining just under the radar of massive success. An original hipster—back when it was still cool to be cool—his tales of beatnik glory took him from Boston’s Back Bay, hanging out with folk guitarist Sandy Bull, to checking into art school (“but not for long,” as he sings in his semi-autobiographical song, “Akron,” the rubber city from which he ran away).  From Boston it was on to busking in Paris with Ramblin’ Jack Elliott; from there, it was to Berkeley where he developed his abstract-expressionist painting and tried winging it as a folksinger who “couldn’t sing and couldn’t play,” he says.

In his time, he was insulted by Lenny Bruce, kissed on the mouth by Miles Davis, and invited to meet the Beatles while on tour with Bob Dylan in England, a trip he took in exchange for art supplies. “He said I’ll give you a leather jacket and all the canvas you can paint on,” remembers Neuwirth of the deal with Dylan.  The resulting tour was documented in D.A. Pennebaker’s milestone rock documentaries, Don’t Look Back and the follow-up, Eat the Document, which Neuwirth also had a hand in technically assisting. He remained a confidante of Dylan’s (he was there when they switched on the electricity at Newport, and was also invited on board the Rolling Thunder Revue).  He’s been a compadre to Kris Kristofferson, a friend to Janis Joplin (he co-wrote “Mercedes Benz”),  a companion to Jim Morrison and a filmmaker for the Doors.

In the ’70s  Neuwirth moved on to pre-punk New York and the Max’s Kansas City scene, a legendary hanging place for visual artists. He brought in songwriters like Willie Nelson and Waylon Jennings, and contributed to the making of the music there as he gathered more fuel for his great untold stories of rock’n’roll. “Then the New York Dolls showed up, and that was pretty much it,” he says of the displacement of the folky, singer-songwriters from the scene. But Neuwirth also had a hand in the changing of the guard when he advised one of the club’s regulars, Patti Smith, to turn her poems into some songs: “Next time I see you I want a song out of you,” is how Smith remembered his encouragement in her autobiography, Just Kids.

Going on to collaborate with John Cale on The Last Day on Earth, a musical theater piece concerning the apocalypse, and working on projects that took him from Cuba (Havana Midnight) to Appalachia (Down From the Mountain), Neuwirth remained in the orbit of collaboration with musicians and artists of all stripes. There are plenty more stories where these came from, though between his brushes with greatness, Neuwirth stayed devoted to his own art, attempting to collage and paint his own masterpiece. Bumping around from studio to 20110409115304-2studio, he lived in a rat-infested loft formerly occupied by jazzman Eric Dolphy. But New York and the art scene was changing. The roads for struggling artists to take gradually began to close down and the art and music inspired by the ideas that emerged in the ‘60s and ‘70s were subsumed into a new age of mass consumerism. Could Neuwirth imagine the culture returning to a time when artists and musicians held as much influence as 15 minutes of fame does today?

“In the 21st Century, everyone thinks they’re an artist,” he says, “But trying to do anything good is harder than it looks. There’s lots of good around but that doesn’t make it excellent and it doesn’t make it art. Someone actually just said to me that they thought banking was an art,” he says.

So where does one find art in the culture today? “If people want art, they have to look for art,” he says, noting there’s no shortage of work. “There are plenty of musicians with things to say. There’s plenty of jazz…classical….there’s really good paintings around—maybe not for sale. ” Acknowledging one person’s cup of meat might not be another’s  (“There’s something to be said for beauty being in the eye of the beholder,” he says) he concedes there’s room for everyone by way of one of his trademarked aphorisms with which we can’t argue: “Bad art is better than good bombs.”

Filed under: Arts and Culture, Bob Dylan, California, film, Folk, Interview, video, , , , ,

On Litquake, Legacy Businesses, Logos and Literacy: Are You Reading Me?

SAN FRANCISCO, CA—Where the fall days are shorter, sometimes hotter, and always foggier, where we are spoiled for choice between theimg_1987865_primary play-offs, election season, the Mission Playground debacle, and our annual book festival, Litquake, already in progress, and where we are one progressive free weekly shorter as of this afternoon. It is here, in this wonderland that just yesterday, the Columbus/Indigenous People’s holiday, that District 9 Supervisor David Campos chose the Beat literature/Italian American landmark, Caffe Trieste in North Beach as the time and place to roll out his proposed legislation that may contribute toward saving San Francisco from itself. Grasping at straws?  Pulling at threads?  It’s all in a day’s work around here, but I promise it will all come together before nightfall, or daybreak—at least that’s what I tell myself.

Flanked by a handful of small business advisers, city officials and somewhat surprisingly, me (representing for the independent booksellers in past or imminent peril due to increasing rents and few protections), the Supervisor pledged on Monday,  “City Hall has a responsibility” to protect what he’s calling our legacy and heritage businesses.

In a report commissioned by Campos and released last Friday, the number of small businesses here that will be lost by the end of this year is 4,378. You read it correctly. That’s “a significant increase from the 693 businesses lost in 1992, the first year of the study.” Closures and relocations in the period from 1992 to 2011 have also risen: from nearly 1300 to nearly 13,000. What happened in the intervening years is of course familiar to anyone vaguely familiar with the economic system in the USA, Inc.com. But it seems someone at City Hall is listening and it just might be Campos (and Supervisor Mark Farrell who co-created the plan based partly on programs in place in London, Barcelona and Buenos Aires where policies have been implemented to aid local heritage). San Francisco could be the first US City to add small local and culturally relevant businesses to its recently collated registry of historic bars and restaurants deemed worth preserving. By incentivizing commercial property rentals and when possible, advising and assisting through cooperative agencies the purchase of anchor businesses and properties, community character and services shall be retained and our neighborhoods will continue to provide jobs, remain more diverse, enjoy less crime, and stay vital, all according to plan.

Screen+shot+2011-06-08+at+10.27.38+AM-1Sounds lovely, doesn’t it? And apparently it’s entirely possible, especially if you belong to the stable sector of small retail that hopes to benefit from the heritage program. For example, a store like Green Apple Books, awarded 2013 Bookstore of the Year by national book trade magazine Publisher’s Weekly, is an exemplar of the kind of indie business the City is looking to preserve. Who can’t appreciate and celebrate the successes of a bookstore like Green Apple? They earned their kudos and we all wish them well-deserved continued success. Though at the other end of the spectrum are the stores that are struggling through crushing economic downturns, bad loans, wily speculators, poor City planning and a trail of broken promises that leads straight to City Hall. These are the stores that serve our communities most at risk—sometimes at their own peril—and have done so for decades. Stores like Marcus Books San Francisco (evicted, 2014,and hoping to relocate after 53 years), and Modern Times Bookstore Collective (after 43 years it is next in line to close in 2015 unless something gives), and Bibilohead Bookstore (in a holding pattern after 10 years, displaced behind a retrofit and awaiting terms of a new space). These are the stores that some of us rely on for our everyday interests, our community, our culture and lives of the mind. As an author, a part-time bookstore worker and activist, I have seen our stores time and again get left out and left behind or be judged by the community as “not having the right business model.”  They’ve been accused of “mismanagement” or entering into “bad leases” (are there good ones?). None of these booksellers could have thrived for as long as they did and have the answers to their problems be quite so convenient. These stores and their personnel have been on the wrong end of wrongheaded assumptions and I fail to accept that kind of treatment of our small retailers and fellow San Franciscans (you know, the ones who’ve allowed you to use their bathroom, even though you couldn’t repay them by buying a book from them).  Rather, it’s matters of racism, sexism, classism, simple greed, poor Cityimages-1 planning and the public’s allergy to reality which are at the root of the problems faced by these stores and others like them (like queer-focused A Different Light which closed in 2011). I’m happy that Supervisor Campos has displayed the courage to acknowledge these facts—that the City does indeed have some kind of responsibility to its small businesses, in particular the ones which are most at risk precisely because they promote literacy, diversity and community, to the people who need those things the most: The immigrant, poor, working class, artist, intellectual and politicized people and people of color in town. These are the folks who gave San Francisco its progressive reputation in the first place and who have been disgraced and abandoned on Mayor Lee’s watch.

UnknownThe businesses that I and others in the progressive communities are interested in registering and preserving received loans with interest rates too high for anyone to make good on because they were discriminatory. The mortgage crisis put some of these small business owners and their stakeholders homes at risk as they attempted to keep the businesses afloat. Some of them have been harassed or received ambivalent protection from law enforcement. What do I mean by that, exactly? Well, the political and activist groups who convene at community spaces are targeted for spurious code violations and other so-called crimes. Marcus Books’ property was stolen and destroyed in broad daylight! Disbelieve me if you like, but these are some of the more systemic problems besieging our City; I want to believe Supervisor Campos is not blind and seeks to amend them.

Here it is a little more concretely: On Sunday, Modern Times celebrated 43 years of progressive bookselling with its Litquake event featuring writers and poets Aimee Suzara, Dee Allen, Kim Shuck, Ocean Capewell, Tommi Avicolli Mecca and Don Skiles. Last year the Litquake legacy celebration at Marcus headlined literary and visual artists esteemed as Genny Lim, Chinaka Hodge, Raina J. Leon and Lewis Watts. I mention all this because this year, Marcus Books didn’t have a Litquake event and next year, Modern Times might not have one either. So when we talk about preserving our City’s cultural institutions and legacy businesses, I hope this is the kind of thing the Supervisor is mindful of, because it’s what’s on my mind. And while we’re here: Litquake is our City’s only festival of books: It is the finest moment—now in its 15th year—of our small but mighty book community. It celebrates author excellence, charm, and ridiculousness. Founded by my colleagues Jack Boulware litquake-2014and Jane Ganahl (who both made the move from journalism and publishing toward organizing literary events), they survive by their wits, and to my knowledge, with little to no funds from the moneybags known as City of SF, a circumstance that appalls me and I hope outrages you, too. Without the stewardship of our community by Boulware and Ganahl, I’m not sure we’d have a book community at all. My expression of gratitude to them is to devote as much time to their festival as I can as a curator and booster. But while we are all congratulating ourselves, celebrating our new books, all our new multi-digi-partner-publishing-platform ventures, and awarding our community pillars like Malcolm Margolin and Dave Eggers, let us also pause for a moment of grave concern:

San Francisco is hemorrhaging bookstores and small businesses, and though you won’t hear a lot of talk about it at the lit festival, or at the new restaurant on Divisadero, nor will you read a thing about it in the paper,  please take a moment of your time to remember the bookstore that held you up in lean times, that gave you your start, provided you with reading matter or a seat and place to read in rain. They have been on the critical and missing list for some time and will remain there until further notice, to be replaced by a vegan bacon donut shop or some other culinary monstrosity coming to a vacant $675.10 (actual figure) per square foot space near you soon.

Campos_logo-02So yes, it is my wish that so inspired by Mr. Campos on his way to Sacramento, that we all insist his personal legacy be a registry of historic legacy businesses that includes as many of our small bookstores all over town (but especially the three on Calle 24), whether they be shiny and new or dusty and dark, so that we may all eat and grow strong and acknowledge our beauty and power collectively, despite the world being on fire just outside our doors. And oh: Go Giants.SF-Giants-Logo

Filed under: Arts and Culture, Book news, Books, California, Editorial, income disparity, San Francisco News, , , , ,

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