You’ve probably heard the urban planning acronym NIMBY, which stands for Not In My Backyard. Often used in a pejorative sense (as in nimbyism), the word recalls the political sentiments of neighborhood groups—nominally, wealthier ones with more clout—to cease any local development or change whatsoever, regardless of social benefit. The term could be applied, for instance, to Marin County’s perpetual efforts to stop BART from running through their county (much-needed 40 years ago when first proposed) —motivated by racist fears of diluting their lily-white demographic.
Then there’s SFBARF, a citizen activist group that promotes YIMBYism—the counterfactual to NIMBY, i.e. a philosophy of “Yes In My Backyard.” A punk-sounding acronym for “San Francisco Bay Area Renter’s Federation,” SFBARF advocates for building more luxury homes and condos as a way of reducing the housing crunch on middle- and lower-income households in the Bay Area. To that end, they travel around the Bay Area and attend city council meetings, lobbying on behalf of developers.
Illustration by Naomi Rosenberg.
Does that sound confusing? Here’s the economic logic: lots of rich people want to move to the Bay Area, and they don’t necessarily want to live in poorer neighborhoods—but, they will if that’s all they can find. Better to keep building condos and luxury high-rises in wealthy areas, so as to keep the poor and middle-income neighborhoods for those who need them most.
Yet many Bay Area activists have called for SFBARF’s head, claiming that they’re a “faux-grassroots” group that only encourages developers, and poses as progressive. Is there any basis to that claim? Continue reading →
Santa Cruz County has taken quite a bruising in terms of housing costs. Despite being an ill-advised commute to Silicon Valley and having a much more working-class constituency, Santa Cruz County is the fifth most expensive in the US for renters. This is even more remarkable considering that the southern parts of the county are primarily farmland, that at least 20,000 residents are university and community college students, and that there are few high-paying industries besides higher education.
Hence, there’s a deep question as to why housing is so expensive in Santa Cruz. One theory touted is that despite the more working-class constituency, housing is subject to inelastic demand. Since shelter is a requirement to merely survive, demand for it is divorced from market price changes. Yet “inelastic demand” feels like a free-market euphemism. Landlords do not have to explicitly collude, but know that they will be paid when they raise rents. Working people have no choice but to pay them—or, as both students and farmworkers often do, live 2 or even 3 to a bedroom.
Housing, unlike tea, pineapples or manicures, is not an optional expense, nor a commodity. Yet it is treated as such by investors and financiers. It is not recognized as a right. The need for housing can mean life or death, shelter or homelessness, for many people. So it is unsurprising that renters have strong feelings. But, how can renters, the large majority of us, fight back against a system that tells us housing is not a right?
One piece of evidence that the housing kettle has boiled over? Craigslist. Continue reading →
Two grand juries that failed to indict police officers for the murder of unarmed black men—Mike Brown of Ferguson and Eric Garner of New York—have spurred to action a burgeoning movement against systemic racism and police violence in the United States. (Solidarity protests have since spread worldwide.)
The number and breadth of protests in any region is difficult to coordinate and organize, but we’ve found a number of resources for finding local protests in the Bay Area. (Note: This post will continue to update as new information is available.)
San Francisco is a city of murals: from the Progressive Era to the waves of Latin American immigrants in the 1970s and 1980s, the city’s radical history lends itself well to splashes of life and color. By the time the Mission Muralismo movement peaked in the 1980s and 1990s, San Francisco was post-industrial, grimy, and full of artists and punks: in a sense, the perfect locale for a burgeoning graffiti and mural scene. Continue reading →
OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE A’s
By Lark Omura
When it comes to sports, calling me a fair-weather fan would probably be… well, fair. At the last Super Bowl party I attended, I announced my intent to leave after the next inning, to the chagrin of everyone around me. I was swiftly corrected, my colleagues seemingly less concerned over my departure than my attempt to count the innings in football. I’d thought it was simple: there were four. Continue reading →
In 1965, on the cusp of the counterculture movement, Students for a Democratic Society (SDS) organized the first “teach-in” at the University of Michigan at Ann Arbor. In contrast to a lecture or symposium, the teach-in was oriented towards action; indeed, SDS’s goal was to teach about Vietnam and organize students against the war. Remarkably, thousands attended the teach-in, yet this paled in comparison to the tens of thousands who turned up a few months later at Berkeley for an anti-war teach-in that included a range of intellectual luminaries, including Norman Mailer, I.F. Stone and Alan Watts. Continue reading →
The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures.
By Tony Kushner
Directed by Tony Taccone
Berkeley Repertory Theatre, May 16–June 29
(l to r) At Berkeley Rep, Mark Margolis (Gus), Tina Chilip (Sooze), and Joseph J. Parks (Vito) in Tony Kushner’s “The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures.” Photo courtesy kevinberne.com.
There is a phantom haunting the theater—the phantom of socialism. Look to the Bay Area theater scene, and you’ll notice an array of socialist playwrights and subject matters: Berkeley Rep just opened The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, its second definitively radical show, after Dario Fo’s Accidental Death of an Anarchist. All of California Shakespeare Theater’s non-Shakespeare shows this season were written by socialists (Lorraine Hansberry’s A Raisin in the Sun [read our review] and George Bernard Shaw’s Pygmalion). The (Tony-winning) San Francisco Mime Troupe is avowedly far-left, but then they’ve always been. Remarkably, Shotgun Players just wrapped up a trilogy of Tom Stoppard plays about obscure Russian radical Alexander Herzen, “the father of Russian socialism” (I am unsure which is more shocking—that they decided to put up the entire trilogy, or that Stoppard’s yawn-worthy dialogue resulted in the trilogy’s run being extended).
(L to R) Ryan Nicole Peters as Ruth Younger, Zion Richardson as Travis Younger, Marcus Henderson as Walter Lee Younger, and Margo Hall as Lena (Mama) Younger in Cal Shakes’ A Raisin in the Sun by Lorraine Hansberry, directed by Patricia McGregor; photo by Kevin Berne.
My husband quickly tucked his blunt under his baseball hat to save for another time as we hiked up the hillside, towards the Cal Shakes theater, to see Lorraine Hansberry’s A Raisin in the Sun. We quickly realized we were the only young latinos among an aged sea of silver and white hair in Orinda, California. He had misread this outdoor venue by a mile; obviously this was not the place for him to blow a hazy low cloud from his swisher, which he had brought from our East Bay home in hopes to pacify him, while I dragged him out to see a play on a Friday night.
A series of civic dialogues have been taking place in Oakland on the subject of development and gentrification.Oakland Reconstructed: The Birth of a District was one such event, billing itself as an attempt to “bring as many un-likeminded people as possible together to have as honest a discussion as participants were willing to engage [in].” PopFront will be covering this and future forums in Oakland as they progress.
As the tech boom creeps north and east, it seems inevitable that Oakland will face the same structural changes that remade San José, the Peninsula and now San Francisco. But is redevelopment inherently harmful? On April 2nd, a town-hall style forum was held in midtown Oakland to tackle this very topic. The group that hosted the event, Top Ten Social Club, titled the evening “Oakland Reconstructed.” The panel featured Jahmese Myres, a local Senior Research Associate at the East Bay Alliance for a Sustainable Economy (EBASE); Jeremy Liu, a Bay Area native and Co-Founder of Creative Development Partners (CDP); Orson Aguilar, Executive director at the local Greenling Institute; Alan Dones, an Oakland Native and principal of ADCo, LLC and managing partner and co-founder of SUDA, LLC; and Mike Ghielmetti, a local founder and president of Signature Development Group.
From left to right: Calvin Harris, Orson Aguilar, Jahmese Kathleen Myres and Jeremy Liu. Photo by Dakarai Towle.
“Hemorrhage: An Ablution of Hope and Despair”
Dance Brigade’s Dance Mission Theatre
3316 24th Street, San Francisco CA 94110
photos by Mily Trabing
In April 1937, Mussolini and Hitler’s air forces, in compact with Franco’s nationalists, began a bombing campaign against the Basque city of Guernica. The city had no military defenses and few soldiers; hundreds of civilians were killed or maimed in the assault. While the Basque civilians were horrified at the senseless aggression of the fascists, the rest of the world barely noticed. Rather, it took a generation of artists to take to their typewriters and paintbrushes to communicate the fascists’ war crimes to a callous world.
One of these artist happened to be the Spaniard Pablo Picasso, who was living and painting five hundred miles northeast, in Paris. His response was to paint “Guernica,” perhaps his most famous canvas, an abstract depiction of the agonizing death of Guernican civilians under the wrath of the bombers. So powerful and illustrative was the painting that it is rumored to have prompted a Nazi officer to arrive at Picasso’s doorstep in Paris and ask, “Did you paint this?” To which he responded, “No. You did.”