Denise Sullivan

Author, Journalist, Culture Worker

New Replacements Bio Lays Rock to Rest

-1Faultily wired from the womb, like all true rockers from Little Richard to Johnny Thunders, the things that were wrong with the Replacements were precisely what was so right about them. Forming in the late ’70s, a time before rock became the domain of the pasty and privileged college set, problem child Bob Stinson slapped a bass on his baby brother Tommy in an effort to save him from a similar juvenile delinquent fate. A girl, and there were always girls around, introduced them to drummer Chris Mars. Eventually, Paul Westerberg, the child of an alcoholic with his own disobedience disorder, heard the din coming from the practice house, and the games would commence.

“It was the four of us.  It was an attitude that made those songs,” says Westerberg in the new and definitive biography of the band, Trouble Boys: The True Story of the Replacements, by Commercial Appeal critic, Bob Mehr. READ ENTIRE BOOK REVIEW AT BLURT:

Filed under: Books, new article, Punk, rock 'n' roll, , , , , , ,

Black History Month: Langston Hughes

Chronicling the New Negro Movement of the 1920s and 1930s, Langston Hughes (born February 1, 1902) was a leading figure in the Harlem Renaissance.  Writing about life in a familiar and authentic vernacular, he incorporated the sound of music into his prose and poems:  “Take Harlem’s heartbeat, Make it a drumbeat, Put it on a record, Let it whirl.” Originally a Midwesterner with a family history that included mixed-race people and abolitionists, Hughes’ ability to distill truth and outrage while maintaining an uncommon faith in humankind made a deep impression on the voices of the Freedom Movement in the ’60s. His style was a breakthrough in modern literature and its lyricism translated into the development of blacker voices in music, too.  Nina Simone, Len Chandler, Richie Havens and Gil Scott-Heron are among the musical artists who say they were profoundly influenced by Hughes’ jazz-inspired work.  As decades wore on, his imprint resounded in the work of poets Amiri Baraka, Al Young, Jayne Cortez, Sonia Sanchez, Nikki Giovanni and many more.  Decades later, Hughes remains a continuous source of inspiration and influence, his words impacting the work of artists and scholars diverse as Cambio and Dr. Cornel West.

Filed under: Arts and Culture, Books, Freedom Now, Poetry, video, ,

The Last Holiday: Remembering Dr. MLK, Jr.

 

mlkIt was a long road to the third Monday in January when all 50 states observe the birth of Martin Luther King, Jr. and the day named in his honor.  Largely owed for making the dream of a King holiday a reality is Stevie Wonder, who back in 1980, wrote the pointed song, “Happy Birthday,” then launched a 41-city U.S. tour (and invited Gil Scott- Heron along) to promote the idea which was first mooted by Rep. John Conyers in 1968. The musical efforts were ultimately the key in collecting the millions of citizen signatures that had a direct impact on Congress passing the law signed by President Ronald Reagan in 1983, declaring a day for MLK. Observed for the first time in 1986, some states were late to the party, however, by the turn of the 21st Century, all were united in some form of remembrance of the civil rights giant. “Happy Birthday,” which served as the Wonder-campaign theme (and is now the “official” King holiday tune) is  the last track on Hotter Than July. The album also features “Master Blaster,” Wonder’s tribute to Bob Marley (he’d been scheduled for the tour until he fell too ill to participate). Stepping into the breach was Scott-Heron whose 2011, posthumous memoir The Last Holiday, details his own journey with music and activism, and helps retracethe long and winding road Wonder took to bring home the last US federal holiday, with the help of a song.


The Hotter Than July tour brought Gil and Stevie to Oakland, where they played in the name of King, as did Rodney Franklin and Carlos Santana. In a weird turn of events, the concert coincided with the shocking night John Lennon was killed. The musicians and crew learned of the tragedy from a backstage television; the job fell to Wonder,  with Scott-Heron and the other musicians at his side, to deliver the news to the arena of assembled music fans. “For the next five minutes he spoke spontaneously about his friendship with John Lennon:  how they’d met, when and where, what they had enjoyed together, and what kind of man he’d felt Lennon was,” wrote Scott-Heron.  “That last one was key, because it drew a line between what had happened in New York that day and what had happened on that motel balcony in Memphis, Tennessee, a dozen years before.  And it drew a circle around the kind of men who stood up for both peace and change.”  Scott-Heron devotes the final pages of The Last Holiday  to a remembrance of how the murder of Lennon fueled the final drive to push for a federal observance of an official MLK Day.

The politics of right and wrong make everything complicated

To a generation who’s never had a leader assassinated

But suddenly it feels like ’68 and as far back as it seems

One man says “Imagine” and the other says “I have a dream”

Filed under: anti-war, Arts and Culture, Books, Civil Rights, Concerts, Dr. Martin Luther King Jr., video, , , ,

Punk Rock: US, UK, and San Francisco-style

The following is an extract from, Keep on Pushing, Black Power Music From Blues to Hip Hop, a perhaps unlikely source for a chapter featuring a mini, concise history of punk rock, with a San Francisco-bias.  It’s a subject I’ve been interested in since Patti Smith’s Horses reached me in the Summer of 1976. On September 24, I will be among the panelists at SF Punk Renaissance for Punk:  What Went Wrong…or Right? a discussion on the music and movement that inspired my generation.

All over the world, youth were collectively inspired to take back rock and put it into the hands of their generation, and they did it themselves, without corporations or websites or even a whole lot of love behind them. They did it with spit, muscle, sweat, and even Sid Vicious’s blood, and a couple of copies of Raw Power between them.

220px-Spiralscratch“It seemed like it had to go back to the three-minute song, something immediate and direct,” says Buzzcocks’ Steve Diggle.  “And from that people came alive again.”

Among punk rock’s targets was the comfortable numbness of quotidian life, partially provided by expensively produced (Pink Floyd, the Eagles, Steely, Dan, and Fleetwood Mac) and lightweight (James Taylor and Carly Simon) rock.  The back-to-basics music style combined with the anti-authority philosophy meant punk was largely a scene without leaders, organization or infrastructure.  It can’t be said enough that in the United States there was virtually no commercial airplay for the music and there was very little in the way of favorable aboveground rock press for it either.  But self-starting had its own rewards.

“People gained confidence in who they were, even ourselves, even with all our insecurities,” says Diggle.  “It wasn’t like we were the big show business act to come to entertain people, it was more like…These guys are the same as us,” he says.  “It was real people singing about real things and when we go up on stage we just put on guitars and there’s no big act.”

The do-it-yourself directive also lead to the resurgence and proliferation of the self-released seven-inch single, a format that had virtually become extinct with the popularization of seventies album rock.  Buzzcocks was one of the first bands of the punk surge in England to release its own record, debuting with their Spiral Scratch EP in January of 1977.  That spring the Ramones, with the Nerves and Pere Ubu, took the first murmurings of punk all across the USA.  Though at the surface the punk pop of the Buzzcocks wasn’t political, “It was about personal politics,” explains Diggle.  “It questioned things on many levels.”  A song like “Autonomy” was about “self-rule.”  And ‘Fast Cars’ was about the business of having a fast car,” he says.

Whether it was the words they sang—at once passionate and dispassionate—the way they sang them, or the fact that they sang them at all, songs like “Fast Cars” telegraphed something that went beyond the general speed limit:  It confronted individuality and choice in a market-driven culture.  “I hate fast cars!” was a radical statement, a rejection of values prized by a capitalist society.

The Ramones and the Sex Pistols have both been called the Johnny Appleseeds of punk, crisscrossing their respective countries and crossing the Atlantic while punk bands were breaking out like a spotty rash in places likely (London) and unlikely (Akron, Ohio).  The Ramones brought their show to San Francisco’s Savoy Tivoli in 1976 and inspired a few artists and musicians to form bands of their own.  The Sex Pistols did the same, bringing their show to the United States in early 1978, though the resulting media circus marked the end of the Pistols and the death of the early phase of punk.  penelope-houston-the-avengersPenelope Houston’s band the Avengers opened the last-ever Sex Pistols show at Winterland in San Francisco.  Less influenced by the entertainment of the Sex Pistols and the fun of the Ramones, Houston was a punk rocker of the battling kind. “I definitely recognized that Dylan was fighting against the things he saw as wrong but I would say my biggest singing influence would be Patti Smith,” she says.

The blank generation, a term coined by poet Richard Hell, found its muse, its voice, and its generation’s answer to Bob Dylan in Smith who released her first punk single in 1974. Having escaped a New Jersey childhood for the Chelsea Hotel, the young poet was also the girlfriend of photographer Robert Mapplethorpe and together they made art before she ever had the idea of making a record.  Through the course of her bookstore clerk days and Max’s Kansas City nights, Smith emerged an androgynous, rock ‘n’ roll type, a person with more in common with Dylan and Keith Richards than any woman in rock.

Smith went to the San Francisco Bay Area in 1974—high Watergate season—to perform at Rather Ripped Records on the North Side of Berkeley campus.  At the time, it was one of the few places you could buy an independent seven-inch record, what you might call the broadside of the late seventies.  Smith’s new single was “Hey Joe,” the song with which Jimi Hendrix had ended his fateful set at Woodstock in 1969.  The A-side began with a poem titled Sixty Days:

“Patty, you know what your daddy said, Patty, he said, he said, Well, sixty days ago she was such a lovely child , and how here she is with a gun in her hand.”

The Patty to whom she referred was Patricia Campbell Hearst, the newspaper heiress who’d taken the name Tania following her abduction by the Symbionese Liberation Army, an armed band of radicals, one group among a host of urban predators and terrorists raising hell in the Bay Area during the protracted aftermath of the Summer of Love.  Tania had seemingly joined her captors in the class war struggle; “Hey Joe,” marked the official arrival of the new generation.

“I’m nobody’s million dollar baby, I’m nobody’s Patsy anymore, and I feel so free.”

From the decaying urbanscapes epitomized by the rotting Big Apple and the Rust Belt cities, and especially in hippie haven San Francisco, the post-sixties air of revolution hung heavy; Smith was the something new that blew in, wild, from the streets.  San Francisco would remain the scene of more high times and inexplicable crimes throughout the decade.  Home to the historic free speech and antiwar movement gatherings in the sixties, the Bay Area continued to be a place where minds behind movement and invention—whether high tech or slow food—converged.  Its consecration as a gay mecca at that time is well known, while the role disco music played in gay liberation movement, and the role San Francisco played in the development of the punk rock movement, remain less documented. Perhaps these stories go some way toward providing necessary connections, as might the next section on punk’s relationship to reggae and hip hop.

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

Writing on the Wall: Selected Prison Writings of Mumia Abu-Jamal

mumia-writing-wallMumia Abu-Jamal has been in jail longer than members of the millennial generation have been alive. Those who’ve followed his case know he’s served his time in the Pennsylvania State Correctional Institution “ona move,” to use one of his catchphrases. The most identifiable prisoner in the known world, through his own persistence and with the help of a core council of support who works to deliver his books and his Prison Radio broadcasts, Writing on the Wall is his latest communique to reach us from the confines of the prison nation. Published by City Lights Books and selected by Johanna Fernández, a scholar, educator and coordinator of the Campaign to Bring Mumia Home, over 100 previously unpublished short essays by Abu-Jamal well-cover our history of violence (from the police bombing of the MOVE headquarters in Philadelphia, to commentaries on the violence in Ferguson, MO ) and the media circusry that accompanies it. Prepared in the style and format of his Prison Radio pieces broadcast on public radio, Fernández wrests hope from Abu-Jamal’s prophecies that one day America might live up to the truth of its own advertising. “Like Nelson Mandela, Mumia defies his captors by preserving his integrity and compassion in the face of the hateful repression orchestrated against him,” she writes. Read the full review at Down With Tyranny!

Filed under: Book news, Books, France, , , , , ,

Remembering The Outlaw: Eugene McDaniels

A portion of this post originally appeared here as an obituary in July, 2011.8765 It has been updated and amended as a remembrance.

Rare groove chasers know well the name Eugene McDaniels; his 1971 album for Atlantic, Headless Heroes of the Apocalypse is a standard-bearer for psychedelic soul/funk/jazz rhythms and is borrowed frequently for its samples (most famously by A Tribe Called Quest and the Beastie Boys). The album is a fierce statement of Black pride, anger, and frustration, equally powered by a super-soul fever, a yearning for world peace, and ultimately love. A showcase for McDaniels’s breadth as a composer, from folky singer-songwriter styles (“Susan Jane”) to proto-rap (“Supermarket Blues”), his strongest words are demonstrations of righteous indignation (“The Lord is Black, his mood is in the rain…he’s coming to make corrections”).  His reward for creating such a unique piece of work was to have it recalled from the shelves and suppressed by Nixon’s White House; it remains a lost classic and is a story waiting to be told.

McDaniels is also the composer of “Compared to What,” the jazz-soul wartime protest made famous by Les McCann and Eddie Harris, a worldwide hit in 1969.

Born in Kansas City in 1935, McDaniels studied at the Omaha Conservatory of Music, and graduated from Omaha University. After forming a band in the 1950s, and singing with the McCann trio, he signed with Liberty Records and hit in 1961 with “A Hundred Pounds of Clay,” followed by five more Top 40 hits, including “Tower of Strength.” With six hit records to his credit, McDaniels turned his focus to writing (he worked closely with Roberta Flack and ultimately wrote her hit “Feel Like Making Love,” among others). Following the success of “Compared to What,” by the time he attempted to relaunch his solo career as a singing and songwriting artist with his 1970 album The Outlaw, McDaniels had developed an intensely personal and pointed new style and direction. Fearless with his melodies and in his verses, the instrumentation on his early ’70s companion albums was a wild combination of folk-funk: electric and acoustic bass brushed against guitar, drums, and piano. The arrangements combined with the lyrics to strike inner chords of deep recognition, touching places in the heart  only music can reach. McDaniels injects each song with theatrical and emotional soul power, delivering the verses with a fascist-fighting folker’s impeccable style of oration.  Incensed and confused by injustice, his notes echo and stretch, like the sound of someone losing his mind. His elegy for the genocide of America’s indigenous population, “The Parasite (For Buffy),” dedicated to Native American and folksinger Buffy Sainte-Marie, is a shining example of his dramaturgical song style that places his subjects in a social, political. and psychological context. But McDaniels’s revolution of the mind is a peaceful one; though he paints pictures of hell and all hell breaking loose, his narrator does not advocate use of violence as a solution. Rather, violence is portrayed as the problem.

In Keep on Pushing: Black Power Music From Blues to Hip Hop, I touched on McDaniels’s status as one of Nixon’s Enemies. It was in fact his story that in part inspired me to probe 50 years of freedom singing, and how resistance in song is received (or not) by a mass audience.  I remain deeply curious on the subject, but when my faith in music and in people is lagging, I pull out Headless Heroes of the Apocalypse and find it restores and inspires me. Whatever darkness he’s describing, the McDaniels point of view remains poised and unique; his higher consciousness and keep-on-pushing spirit bleeds between the notes of each slyly rendered gospel-laced track. Years later, the Beastie Boys would turn to McDaniels, nicknamed the Left Rev McD, for a sample, as would the Afro-centric, conscious hip-hoppers, A Tribe Called Quest who used a piece of “Jagger The Dagger” throughout People’s Instinctive Travels and the Paths of Rhythm. John Legend and the Roots brought back a version of “Compared to What,” which was most recently updated by the trumpet player and bandleader Terence Blanchard (with E-Collective featuring PJ Morton).

Eugene McDaniels made it real—no comparison. Listen below to “Supermarket Blues,” his musical statement from 1971 on racial profiling, police violence, and white supremacy: It sounds as fresh as the day it was recorded.

Filed under: Arts and Culture, Books, Eugene McDaniels, Folk, Jazz, Keep On Pushing, Protest Songs, Roots of Rock'n'Soul, , ,

National Poetry Month, Jazz Appreciation Month, and Record Store Day: Go Get Yourself a Gil Scott-Heron LP

April is National Poetry Month, Jazz Appreciation Month, and the consumer holiday known as Record Store Day (RSD) is April 18. Gil Scott-Heron is a timeless poet and performer who published poems and prose, in addition to performing songs on piano. He also has a vast recorded catalog, most all of it available on vinyl. Though he was often classified as a jazz artist, his emphasis was truly on his words. Truth was, there were echoes in his grooves of blues and gospel, rock and soul. If ever you seek his work in the record bins, cross-check the rock, jazz or “miscellaneous” sections and you’re likely to find the discs there. Last year’s RSD release by Heron, Nothing New, is a collection of stripped-down tracks, recorded in 2005.  This sample cut, “Alien (Hold On To Your Dreams),” was originally released on the 1980 Gil Scott-Heron and Brian Jackson album, 1980, as a full band, gospel-synth track.

It’s amazing how timely the song and its story of border crossings remain, though it is of course the nature of visionary poetry and jazz to foreshadow our concerns. The song’s refrain, “hold on” is recurrent in liberation songs and movement: The most obvious reference is the spiritual “Gospel Plow,” rendered as the civil rights anthem, “Keep Your Eyes on the Prize.” Scott-Heron conjures its spirit of persistence in his own tenderly rendered immigrant song.

In 1970, Gil Scott-Heron was barely 21 when his first novel, The Vulture, was published and his startling, spoken-word record, Small Talk at 125th and Lenox, caught his incisive cool on tape. “I consider myself neither poet, composer, or musician. These are merely tools used by sensitive men to carve out a piece of beauty or truth that they hope may lead to peace and salvation,” he wrote in the album’s liner notes. Accompanied only by conga drums and percussion, Small Talk at 125th and Lenox featured a reading of “The Revolution Will Not Be Televised”, Scott-Heron’s most enduring work and an early masterpiece, its flow combining elements of both poetry and jazz.

“The revolution will not be brought to you by Xerox

In four parts without commercial interruptions.”

Excoriating the media and marketing, the song’s structure burrowed its way into the collective consciousness of musicians—both mainstream and underground—and listeners alike; it is referenced throughout the rock ‘n’ soul songbooks, and rather un-ironically the title phrase has been repurposed to advertise consumer goods, from sneakers to television itself. The piece is also foundational to hip-hop, its words potent and direct, even if some of the allusions and references may be lost on those uneducated in ‘60s or ‘70s culture. It also sounds great, which explains why it’s a standard-bearer for all music, whether it be politicized rock, soul, funk or jazz. Pulsing throughout the piece is Scott-Heron’s projection, a foreshadowing of the realities of global connectivity and the pacifying effect on the brain produced by viewing from a small screen. Heron’s vision was a word to the wise:

“The revolution will not give your mouth sex appeal…
The revolution will not make you look five pounds
thinner, because the revolution will not be televised.”

Positing a necessary parsing of media-generated “reality” from truth and setting his poem to music on his 1971 album, Pieces of a Man, Scott-Heron was caught in the chasm between jazz and soul, poetry and rock, and few knew just what to do with the new poet and big bass voice on the scene, though time would reveal his impact: As the years rolled by, this poet of vision would weigh in on matters environmental and racial, as well as political and social. Though Scott-Heron’s voice was too often a cry in wilderness, it served as a clarion for future generations of conscious writers and thinkers.

Born in Chicago April 1, 1949, Scott-Heron was raised in Tennessee by his grandmother until he and his single mother, a librarian, eventually moved north to New York City. As a teenager, he excelled at writing and earned enrollment at Fieldston, a progressive Ivy League preparatory school. Upon graduation, he chose to attend Lincoln University in Philadelphia, quite simply because it was the alma mater of poet Langston Hughes. His memoir, The Last Holiday, details this background and is gloriously written in plain spoken style.  As a musician, Scott-Heron’s sound was conjoined with the word styles of Hughes, as well as those of talkers like Malcolm X and Huey Newton. But it was “musicians more than writers” who inspired him, and he used the rhythms of folk, blues, soul, and jazz to fulfill the intensity of his emotion. “Richie Havens—what he does with the images and themes, Coltrane—the time defiant nature and thrust of his work. Otis Redding—the way he sings lyrics so that they come through as sounds. You can really appreciate how close a saxophone is to the human voice when you hear Otis singing. I sometimes write poetry, in a way, like Otis sings. The sounds form shapes. Like clouds banging into each other. That’s how I get loud sounds in my poetry,” said Scott-Heron to Jazz and Pop‘s Nat Hentoff. Scott-Heron died on May 27, 2011 leaving a huge void in vision and voice, poetry and jazz, though through the miracle of recorded sound and the printed page, his words and music still echo in hearts of his fellow travelers.

Read: More on Gil Scott-Heron in Keep on Pushing.

Filed under: anti-war, Arts and Culture, Books, Civil Rights, , , , , ,

Love Your Local Bookstore

4344631_origThis week, KQED-FM, San Franciso’s NPR- afffilate and longstanding listener-supported radio station aired my Perspective on the economic boom and resultant gentrification situation here in San Francisco specific to how it impacts small business and in particular, bookstores.  Longtime readers know that since I moved home following a decade-in-exile in Southern California, I’ve become more than a little concerned about the changing book scene here.  I observed as two beloved West LA community insitutions, Midnight Special and Dutton’s, closed their doors. Citing emerging technology and real estate development as part of the complex, the closings left an area arguably already culture-spare without an accessible, substantial independent bookstore. Believe me when I say readers were bereft, though they were at a loss at how to turn things around without the assistance of major donor intervention or legislation.

And yet, a question I’m often asked is, what’s my personal stake in the matter of San Francisco bookstores? As an author, my livelihood depends in a small part on the sales of my books. I review books. Many of my friends are authors and I want them to succeed:  I support their work as I can—much of our work goes on in bookstores and on the backs of each other’s books.  I like bookstores.  I work parttime for a bookstore. Without bookstores, my husband wouldn’t know what to do with his spare hours when he isn’t working tirelessly; they feed him with more inspiration and fuel so he can work some more (books are part of his creative process and ability to earn too).  Children need books so they may learn how to read. People learn languages, new things, chart new paths, and cure diseases thanks to the knowledge found in books. Must I go on? I could, but you can just as easily listen.

This small effort in San Francisco, from the campaign to support 50-year-old Marcus Books to the ongoing progressive mission of 43-year-old Modern Times Bookstore Collective has resulted in the formation of United Booksellers of San Francisco (UBSF).  We have a long way to go, but I hope you will tell your friends what we are doing and that you will join us in the struggle to keep our small bookstores and the literary culture to which they contribute strong and vital.

Filed under: Arts and Culture, Book news, Books, column, Editorial, income disparity, It's Personal, , ,

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, , ,

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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