In principle the annual Burning Man festival sounds a bit like a socialist utopia: bring thousands of people to an empty desert to create an alternative society. Ban money and advertisements and make it a gift economy. Encourage members to bring the necessary ingredients of this new world with them, according to their ability.
So why do rich libertarians love it unironically? Perhaps because the way that the city is created charitably allows them to build the world that they desire, unimpeded by the pesky democratic process or the protestations of the proletariat; in other words, it provides a model for the sort of laissez-faire, top-down economy they want to live in: .
This is the dark heart of Burning Man, the reason that high-powered capitalists — and especially capitalist libertarians — love Burning Man so much. It heralds their ideal world: one where vague notions of participation replace real democracy, and the only form of taxation is self-imposed charity. Recall Whole Foods CEO John Mackey’s op-ed, in the wake of the Obamacare announcement, in which he proposed a healthcare system reliant on “voluntary, tax-deductible donations.”
This is the dream of libertarians and the 1 percent, and it reifies itself at Burning Man — the lower caste of Burners who want to partake in the festival are dependent on the whims and fantasies of the wealthy to create Black Rock City.
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.)
Anne Bluthenthal and Dancers (ABD) concludes their fall season of Skywatchers on Wednesday, November 12 with live music, dancing, and a photography exhibit by Deirdre Visser at the Tenderloin National Forest.
Illustration courtesy Naomi Cogan Rosenberg/Google Street View.
If there is one thing the Tenderloin has more than any other neighborhood in San Francisco, it is heart. Walking through the streets, you would never expect to find a redwood, but tall trees and lush growth in planters line what used to be another dark and dreary alleyway. As an urban renewal project started by The Luggage Store, a local arts non-profit, this formerly dark corner is now the Tenderloin National Forest. Continue reading →
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 →
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 →
(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.
With a wallet freshly fattened by my first commission check, I proudly marched into my place of employ for the first time not as a salesperson, but as a customer. My feet springing on the buoyant surface of the socioeconomic level to which I had ascended, I readied myself to at last engage in the ritual to which my newly heightened stature earned exclusive participatory rights. In so many words, I prepared myself to make a purchase. But this wasn’t just any purchase. For I wouldn’t return to the grand threshold of Barneys New York with eggs or bread, pots or pans, socks or underwear. My purpose at this moment was singular in its irreverent flouting of necessity for the sake of paying worship to its opposite. Luxury, a quality that I saw living and breathing in the seams of that Fall 2010 Balenciaga dress. A design roused from the house’s storied archives, it was classic, it was modern, it was fabulous. It was most definitely worth $1,395.
The concept of such an object’s value, ensconced as it is within the artificial structures of production and consumption that gird the tenuous constructs of the capitalist economy, is necessarily divorced from the reality of its utility. Rather, the value assigned stems from a collective illusion, internally generated and externally sustained, of the worth of that object’s possession. Such worth is illusory because the desire to own an object is preceded by the desire to acquire the object. In other words, the desire to have obscures the more pressing desire to shop. Continue reading →
“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.”
In an editorial entitled “SF needs to make the Main Library safer,” the San Francisco Examiner lauded Mayor Ed Lee’s effort to “institute stronger consequences for breaking the rules” at the main branch of the San Francisco public library. “Give Mayor Ed Lee credit,” wrote the editorial staff. “[Lee] is right in making a big push to rid the Main Library of what he called [the] ‘small number of people who create disturbances and commit crimes, tarnishing the experience for everyone else.’”
“People who commit crimes” is a rhetorical construction designed to obfuscate. If the Examiner were being truthful, they might have rephrased this sentence to something like: “people—many them poor, and many of whom have untreated mental illness, and have no where else to go—whose desperation leads them to commit crimes.” The truth is that poverty in San Francisco’s civic center is nothing new—nor is the civic tendency to criminalize them.