Story Archives 2011

To Trent...From Tiny

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

June 2000

 

#1

It was a small tree in the corner of a piece of partial nature only allowed to be there because it was the landscaped frame for a PGE processing plant ,,proving that poor people like us are not important unless we are sponsored by a corporation....

#2.......

You came to me that night in a yellow plastic bag surrounded by yellow police tape ......

the kind of police tape you would have used to throw at a cop who harassed homeless people -

the kind of cop who would hand out quality of life infractions ,

the kind of quality of life infractions that would get you a warrant ,

the kind of warrant that would land you in court ..the kind of court that you would fight ...

..the kind of fight that would land you in jail ............the kind of jail that would manufacture the yellow

tape that you would BREAK OUT OF ..

.for,,,EVER and ever and ever ..................

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To Trent, From Joe

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

June 2000

Last night on Friday, a man was found dead on San Francisco’s hard streets. I saw him once in a staff meeting; the name he went by was Trent. He was part of Media Alliance and participated in Community Newsroom at POOR. He had addiction problems; I don’t know the drugs used: it’s a non-issue. But Homelessness is ultimately what killed him.

To be homeless, focusing your mind on more than immediate food, shelter, and clothing is difficult enough to many, for some nearly impossible.

Trent did it, turning a so called negative outcome into an asset, an expert on the vagaries of threadbare survival.

Someone or thing cut Trent’s thread... Who, why, when are questions we may never know, but someone does, SOMEONE DOES!

We can all rise, learn, and move on: Trent proved that. I hope he has found a resting place; no longer worried about anything except returning to learn a few more lessons.

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To Trent, From Terry

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

June 2000

I mourn his loss tremendously. Not only because he was a good, decent, and committed activist, but also because he was the single most exceptional and talented writer I've ever seen come out of the homeless movement. His writing had enormous potential to create social change. He was able to write every kind of story on every subject and make it compelling, vivid, and inspiring.

He wrote about Doug Ferrari. Doug was a great comedian who ended up homeless in the Tenderloin. Trent wrote his life story so that you could feel the ups and downs of Doug's life. You could see the hell he went through with substance abuse and mental disability. You could see the hellhole slum hotels that Doug was forced to live in. Because Trent wrote that story, he single-handedly lifted Doug Ferrari out of the oblivion of poverty and got him onto the front page of the San Francisco Chronicle. Trent was responsible for enlisting Doug Ferrari's friends to give him a helping hand.

Trent also wrote absolutely brilliant investigative journalism. He wrote about the police persecution of homeless people in Sacramento. He wrote about Hospitality House and the financial misconduct of its past officers. He was just truly a great writer with enormous ability to make a change for the better.

That is why his loss is felt so keenly by all of us who care about economic justice. His loss is more than a loss of a friend. It is an incredibly hard loss to the movement as a whole. And it’s very sad and tragic that he was never given the credit in this life for the greatness of his talent. And now the world may forget his great writing ability, unless we, his friends, are a voice for him now to remind people of how special and fine a person and a writer Trent was.

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To Terry, From Jack

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

June 2000

Your inspiration, encouragement and ethics will be with me forever. I will miss you. AND I promise to spell better in the future; perhaps.

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BAD NEWS Harpo Corleone throws a seven

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

June 2000

I finally wander into the COH offices around half past noon Saturday, June 3rd. People who call me a workaholic are closer to the truth than I'll ever let on: Money jingles in my pocket, and teeming along sidewalks linking all the many liquor stores of the Tenderloin are the typical legions of dealers and hustlers and runners and lookouts and all the whatever elses I don't care to contemplate and am trying to avoid - all of them choking back the despair of poverty and illness for a few moments at a time… sealing their fates in the bargain.

On Saturdays, all that chaos and misery stays out on the sidewalk because the office door is locked, limiting the measure of turmoil and anguish in the office to only that which we permit, or that which we bring with us.

The office seems empty at first but the lights are on, then I run across a couple of volunteers in the back office. One flashes this funny look to the other, and then they get real quiet. Before I can ask what's up, one of them says to me in that bearer-of-bad-news tone "Sit down, bro. There's something I gotta tell ya."

After he successfully insists that I actually sit down I'm racing ahead to the presumption that A) the bad news is he fucked up my workstation and now he's afraid I'm going to go off on him, and B) an entirely inappropriate level of drama is accompanying our little moment together.

"Trent died last night."

I discard premise A, but premise B isn't disproved. I automatically chant the standard response I learned along the years: "OK, Trent's dead. Everybody dies, man. That's just part of life. How did it happen?"

The volunteer reels off a sketchy account gleaned from earlier conversations with la Tiny. Died homeless last night at Larkin and McAllister. Other people who knew him were present. Suspected overdose. When Tiny had arrived at the scene via some freakishly macabre category of coincidence, he was already in the body bag. One of Trent's companions at the scene reportedly charged that the SFPD officers present "let my friend die." Or hasten the process perhaps?

Later, after the volunteer had finished relating events long on reactions and short on details, I realized that the circumstances surrounding Trent's death would come to light soon enough. He had joined the ranks of San Francisco's homeless dead, and we would be studying his premature demise along with the many scores of others. We will then distill all the year's homeless mortality data into a report to be released (perversely enough) between Thanksgiving and Xmas. That, and Trent's name will go on a list which will be read, and later burned, at an evening memorial ceremony in Civic Center on the next Winter Solstice. The list grows longer each year.

Every year my "private list" - the names which conjure memories of familiar faces - grows longer, too. Call it an occupational hazard.

But this wasn't the case for the bearer of the sad tidings. He'd camped out by the beach with Trent and another homeless COH volunteer for a while about a year ago, and it was clear that he hadn't yet grown accustomed to witnessing the savage mechanisms which render loved ones and friends into statistics. I told him it would be harder when he hears Trent's name read in December.

Trent was homeless, and volunteered in our Civil Rights project. He was bright and talented and sarcastic. He was well-schooled in that anarcho-punk DIY attitude of cooperative collaboration. When he was fully engaged in an issue he could compose some of the most original copy we've ever published. Trent didn't need any of my guidance or encouragement to be one of our best writers, he only needed to find refuge from the dehumanizing and alienating milieu of grinding poverty and homelessness on these quality-of-life streets of San Francisco. He just needed to be part of something bigger than himself that accepted him as he was.

His best work was usually captured in one-shot marathon sessions at one of the civil rights project's workstations - transfixed in the separate reality of focused creation. And that's the only place where Trent Hayward (aka Harpo Corleone) ever found respite from a life of shit. The only reward Trent had found on the bottom of society was a passion for justice, and Harpo was justice's champion. And like many other creative, passionate people - homeless or not - his sensitivity would nourish the roots of his demise.

In an impartial analysis, Trent's death isn't very surprising. His appetite for alcohol and drugs was formidable, and he often carried a clear plastic sport bottle brimming with Royal Gate vodka as an accessory to his urban camping kit. Trent's face frequently bore cuts and bruises - souvenirs of the previous evening's impromptu endover to the pavement or tumble down a hillside at the beach. His smartass wit would eventually devolve into loud confused drunken hostility. Bitterness always lay just below the surface, awaiting chemical release.

Darkness courted Trent. He had a "past." Everyone who's ever been homeless has such a story. The dynamic is best expressed as an amalgam of bad luck compounded by bad choices, or vice-versa. A busted relationship, family violence, drugs, disability, prison, death of a loved one: loss and grief and despair. After someone then internalizes the stigma of their state of homelessness - when they come to believe their lives aren't worth much more than the all the "urination and defecation" that flavors so much of what issues from their persecutors' mouths - getting loaded enough to find fleeting unconscious oblivion in whatever park or doorway you find yourself in is about as good as it's ever going to get.

We had occasionally shared a few beers after 5 pm, trying to relieve the sometimes unbelievable frustration that come from trying to educate a public constantly propagandized by television and all those "horse traders" at the Chron. One such night last December, as y2k drew near and the end of the world was in the back of everyone's mind, we were half-drunkenly speculating that if the Christian Messiah were homeless in SF, what would he be doing right now? I told Trent the old joke that Jesus must be in jail, because that's where everyone finds him.

This led us to the not-so-terribly-clever speculation that he would be in a mental ward, but not in SF because mental health care has been the red-haired stepchild of our Dept. of Public Health for decades. Then Trent got real serious and told me that Jesus would be an addict - that's how we crucify people in our capitalist society.

Trent was trying to become his own savior. He was finding a way out through his writing. When he landed the gig at the GUARDIAN I was excited for him. I told him that no matter if it was shitwork, or if his co-workers ever turned their noses up at him, it still represented a quantum leap up from the STREET SHEET - sex ads and all.

He also wrote an article recently that chronicled the downward spiral of a once-promising comic named Doug Ferrari. More recently, an EXAMINER human interest story told us how the (uncredited) article led to a chain of events where one of Ferrari's successful friends found him living in the Tenderloin and was helping him to regain a career in entertainment. I hope Trent's life had more purpose than to only serve as the agent of another's fortune. If Trent had friends with the means that Ferrari's friends had, he might be with us today.

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POST-SCRIPT

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

June 2000

Like many writers, some of Trent's best stuff wound up being edited. This was edited out of an article the STREET SHEET ran last summer titled "Hate McMuffin," describing an incident where a McDonald's security guard beat up a homeless customer for demanding the same coffee refill that other, non-homeless customers were enjoying without problems. It describes the widening gulf between the haves and have-nots in SF, and anyone who's ever been shit on 'cause they're homeless knows exactly where Trent was coming from. c.m.

If the cause and circumstances leading up to this violent incident are not readily available to the reader at this point, I would like to offer my humble take on all of this. Brother Nicky is homeless. He is treated as a public menace and a general scourge in this fucked up society, but obviously not menacing enough not to take his money from him. He is however, enough of an "eyesore" that his right to a "free" refill of coffee is denied, so he doesn't "hang around" and offend the high standards of your average fast-food glommer.

I also find it infuriating that the "public" these self -appointed guardians are trying to protect from the sad realities of San Francisco 1999 can occasionally step up and prove themselves human beings capable of being sickened and hurt by the way we treat each other sometimes. But who of them speaks for me? Who speaks for Nicky, and who speaks for that man in the suit you think you are trying not to inconvenience? Fuck you and your flimsy, ragged sense of duty. Fuck you and your twisted self- important idiocy.

And how dare you assume you can speak for me, or anyone else. Better yet; just fuck you.

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To Trent, From Connie Lynch

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

June 2000

We had a routine. I'd be five minutes late. A black coffee with two heaping teaspoons of brown sugar and one orange juice would be the order.

Sometimes Jack and Tommy would be with us; sometimes it would just be me and Trent. We'd be at what he once described in an article as "an oasis," the Wild Awakenings coffee shop. We had a lot to cover-- the diatribes of P.J. O'Rourke, old movies (of which he knew so much more about), the latest SF politics, stories about Boston, stories about our families. Inevitably, I'd admit that our talks made me wish I could be more adventurous. He would laugh in a way that I knew he agreed. After one of his comforting hugs, weíd be off to start our days. These mornings filled with the stories that he so easily penned are what I came to cherish. The loving friendship that sprung from them will forever be with me. Thank you, Trent, for sharing yourself and your oasis.
 

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Tambien la luvia (Even the rain) a PNN ReViewsForTHe RevOlution movie review

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

 

"Siempre es dinero (its always about money)...." We open with Spanish filmmakers Gael Garcia Bernal and Luis Tosar driving their late model SUV’s through a lush green backdrop of our sacred Pachamama, chuckling, bickering, thinking of the ways they will produce a movie about Christopher Columbus with a small budget by exploiting the indigenous peoples of Bolivia and their lands

 

After that first scene, we learn that the filmmakers are launching a media project dripping with 1st world arrogance and modern day 21st century colonizer hypocrisies. Arty director Costa (Gael Garcia) has a "vision" to depict a "good" colonizer, Antonio de Montesinos, one of the Columbus-era priests who had spoken out against the slavery of indigenous peoples. make a movie about colonization which is real and different and therefore any thing he does to this end is, "ok" .

 

"Cara Blanca," In the next scene we meet Hatuey aka Daniel (juan carlos aduviri), the indigenous leader from Bolivia, who begins a resistance in the miles long line of people who are waiting patiently to audition as extras in the film. The brilliance of the movie begins here. Gael Garcia's character is wracked with guilt and bickers with the Cara Blanca (white face) character of Costa (Luis Tosar) who is all about the bottom line and seems to have no concsiousness about the modern day colonization they are perpetuating in the production of the film itself

 

A third layer of colonization unfolds in the background of the movie, with the brutal IMF inspired attempt to privatize Bolivian water rights and the revolutionary resistance Hatuey, his family and his comrades launch in resistance.

 

As an indigenous Taino person whose peoples were slaughtered and enslaved by Columbus, the mock "scenes" with Cristobal Columbus were almost impossible to watch, causing the opening of a deep and painful ancestral memory. These scenes provided no epiphany for me, i have had personal experience, as most indigenous peoples have had, with user-friendly colonizers who claim rights to all of our art and dreams and words in the production of their well-intentioned media production, be they produce films, video documentaries, radio projects, research studies, journalistic stories, or social work. It is a special kind of carte blanch arrogance to land, story, image and resources that seems to inform all first world folks involved in art and/or service.

 

That said, this is a very powerful movie that depicts the subtle and not so subtle ways 21st century default colonization happens and i i would recommend it highly as a primer for anyone involved in art, film, missionary, academia or service provision locally or globally, to begin a conversation about how and who art and story and land and dreams should be shared, produced, and depicted.

 

For indigenous peoples living art, and survival in resistance we neednt see the movie, but rather deepen the discussion about the ways we own, lead, and share our stories, art and resources.

 

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Indigenous Peoples Highway!!!

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
mari
Original Body

 

It was late at night on the Southern Ute Indian Reservation, there were two girls who need to fall asleep and rest up for their road trip, but couldn’t stop giggling and laughing about the most random things. All of the sudden Rachel looked at Mari and said, “OMG! Indigenous Peoples Media Project should become Pow-wow Highway!”

Mari said what we going to talk about, “Cute grassdancers?, How about Indigenous Peoples Highway? We could document what is happening with indigenous peoples while we go on a road trip together, and the times we can’t be together we still stay connected and document.”

That’s how Indigenous Peoples Highway was born…

A taste about us...

Rachel is a kid at heart who loves to travel and meet new friends. She enjoys story telling, poetry, and playing in the park. She is a co-founding collective member of La Semilla Childcare Collective de Austin and studying to be a birth companion.

Mari is the Indigenous Peoples Media Project Coordinator at POOR Magazine. She loves to go to round dances, traditional 49sbeardances, and pow-wows. She enjoys talking with elders about issues that affect our world and laughing with rez kids. She also like to wear Rachel’s cowgirl boots when she allows her...

Everyday we will document this journey of Indigenous Peoples Highway and it will be filled with stuff about our everyday lives and the everyday lives of Indigenous Peoples.

 

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The Fighter for Interdependence - A PNN ReViEwSfortheReVoLutioN movie review

09/24/2021 - 09:12 by Anonymous (not verified)
Original Author
Tiny
Original Body

 

The Fighter opens with Dicky Eklund (Christian Bale) strutting down the street followed by his brother,  Micky Ward (Mark Wahlberg), in the "poor" neighborhood of Lowell Massachusetts. Its a walk of deep love for neighborhood for brothers and for community. This community love, family love, respect and honor for the real  peoples and places that built you and made you sets the tone for the real "fight" in this beautiful movie which is as much a document of indigenous resistance as simply another fight film.

Contrary to what people might think, the fight in the fighter does not take place in the "ring" , rather, the fight takes place within a capitalist US reality, which would rather pathologize, criminalize and marginalize poor people and separate families to purportedly "save" the strong or possibly successful person in the family so that he/she can become a "productive" member of society, code for money-generating member of a consumerist  US machine.

With a calm demeanor and soft gaze in the opening scene, Mickey Ward, Dicky's more "normal" or in my mama's words, less ghetto, brother begins to establish the roots of the fight he will carry throughout the film which is for family strength and together-ness above all else. This was Mickey Ward's fight in the fighter- a fight for interdependence.

Throughout this movie, we meet all of Mickey Ward's very ghetto, family members, his mama, (the brilliant Melissa Leo) replete in tight jeans and big hair, always smoking long-tipped filter cigarettes, and trying to figure out how to navigate the boxing industry for her sons and still keep family together, his brother Dickey who struggled with addiction, and the violence of poverty, causing him to lose touch with the fame he achieved in the 70's in a famous fight, (Against Sugar Ray Leonard) his multiple, big-haired, street tough sisters, his hard-working step father, and his soft-spoken trainer (his real-life trainer, Mickey O'Keefe).

For many scenes into the film, the camera captures the subtle and not so subtle tension of this family of Irish poverty scholars trying to love each other while also dealing with the stress of survival and the omnipresent promise of "success" within the corporate controlled  boxing industry, which like all industries within capitalism encourage the "weeding out" of people with problems, with no concern for whether that weeding out destroys the family, the person or the community.

I come from poor people, black, brown and bright white. Puerto Rican, African and Indigenous Taino, Roma and Irish. All of them fought with each other, hated on each other, became colonized separated and deconstructed by racism and capitaIism and unlike, Mickey Ward's family, were eventually completely destroyed.

The tension rises even higher when Mickey hooks up with girlfriend Charlene, (Amy Adams) who encourages, Mickey to take offers to be trained and managed by successful trainers) ii.e., not his mama and always late because he is crack-using brother.  But  in the end,  the values of indigenous love and justice by Mickey Ward  defies all corporate and capitalist pimping. He fights for a decision that will permanently impact not only the current Ward-Ecklund generation and family but generations and communities in Lowell to come. 

The beauty of this films revolution was in the way it depicted resistance within a family to poverty and the cult of independence. A lot of people and researchers and media producers conduct studies about the cause of poverty in the US and yet no-one ever looks at the real issues of how we as a society operate on western, psycho-therapeutic model of mental health, models that encourage people to make decisions to leave family and community that are seen as "dysfunctional".  What is never discussed is the impact on the people left behind from these surgical and brutal choices of departure by the  "so-called" stronger family members. Then the people left behind are hungrily eaten up by the Prison Industrial Complex and the Non-profit Industrial Complex  built to profit off our depression, drug abuse and "crime".  By all Freudian standards, Mickey's family was dysfunctional, but what he showed is through his love and eldership and community involvement and dedication, he acted as a good son who like the Malawi people practice,  if one member of the family "makes it" everyone will be ok.

The film's journey to be produced was an example of resistance in and of itself by Mark Wahlberg  who made sure this film was made, by any means necessary as he felt a deep affinity for the  values practiced by Mickey Ward, a young man who in all indigenous, non-western cultures (and by my mama), would be considered not only a good fighter, but a good son. 

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