Poetry

Deep water, hard rock

0

In a house overlooking the San Francisco Bay, a young painter named Amy (Dena Martinez) hosts a seeming vagabond, Palo (Johnny Moreno), through one long grief-filled night. She’s in numb, guilt-stricken mourning for her husband, a purportedly shallow man who, out of his emotional depth, stepped off his sailboat, into the ocean. Palo, for his part, is convinced he knows Amy as Lila, the woman he once loved, abused, and has been searching for up the long coast from Mexico. So their meeting at the Marina Safeway, where Palo finds Amy stalled in the detergent aisle staring helplessly at the Tide, comes fraught with significance for both while reflecting the humor, irony, and metaphorical richness at work throughout Gibraltar’s brilliantly layered poetry.
The latest work by internationally acclaimed Bay Area playwright Octavio Solís, the San Francisco–<\d>centered drama was commissioned by and premiered at the Oregon Shakespeare Festival in 2005. Its impressive Bay Area debut comes somewhat revised, in an intelligent, well-crafted coproduction by Thick Description with the San Jose Stage Company (which will host it in the South Bay in early 2007). Solís’s relationship with Thick Description goes back a long way — to the playwright’s first major theatrical success, 1993’s Santos and Santos — and despite some unevenness in the generally strong cast, artistic director Tony Kelly’s discerning staging surely reflects, in part, the fruit of this long association.
Scenic designer Melpomene Katakalos renders Amy’s environment, a plank-board living room whose sole furnishing is a futon, with a serene, dreamlike simplicity, as if that futon were a life raft adrift in an endless night. One assumes Amy has taken the handsome but intensely volatile Palo home to her flat as an instinctual reflex betraying her acute loneliness and sexual tension.
Their violent courtship, which takes the form of competing stories, is as much a struggle as a dance, a wrestling with deep feelings and needs worthy of the term Solís uses throughout — duende — the ultimately untranslatable Andalusian term for a kind of soul or spirit, what Federico García Lorca spoke of as coming to life “in the nethermost recesses of the blood.” Visually, it is evoked here in the blackness at the edge of the stage (and also, later, in a poignant unveiling of a canvas entirely painted over in black).
Amy’s and Palo’s dueling stories, or cuentos, form a strong narrative current, pulling other stories, equally suggestive of duende, into the fray: a young man (David Wesley Skillman) whose boyhood grief over his father’s suicide resurfaces in the affair he has with the woman (Vivis) who drove the older man to despair; a police officer (Danny Wolohan) driven to desperation and self-doubt when his wife (Danielle Thys) leaves him for another woman; and finally, the story of Amy’s own involvement with a middle-aged man (Michael Bellino) and his Alzheimer’s-stricken wife (Joan Mankin), which begins to unravel the secret of her own despair. As she replays these scenes, interacting with them in a spot where time and space dissolve, Amy finds herself compelled to rewrite them. “This is not how the cuento ends,” Palo complains. “You’ve changed it. You’ve changed everything.”
Gibraltar’s mediation on love — its ruthless, destructive ferocity and its redemptive promise — shrewdly mimics the forces at work on its eponym, washing over its audience with the turbulent yet creative force of the surf as it constantly reshapes the shore.
GOMEZ FOR THE HOLIDAYS
Alone and horny on Christmas. Not even Mrs. Claus deserves that. But when Cochina (a nickname meaning “pig” bestowed on the title character as a free-spirited child by her deeply repressed and highly authoritarian maiden auntie) responds to this crisis with a militant government-funded abstinence program, she’s asking for some karmic retribution. Thus Marga Gomez’s solo show The 12 Days of Cochina — a revised and politically up-to-date version of her popular 2001 play, sharply staged by Theater Rhinoceros artistic director John Fisher — follows a jilted, sex-starved lesbian through a not exactly Dickensian but still Ebenezer Scrooge–<\d>like reawakening. Fans of the charismatic playwright-performer don’t need telling, but Gomez’s work is consistently funny and smart, and her high-energy performance is as deft as they come.
GIBRALTAR
Through Dec. 17
Thurs.–<\d>Sun., 8 p.m.
Thick House
1695 18th St., SF
$15–<\d>$25
(415) 401-8081
www.thickhouse.org
THE 12 DAYS OF COCHINA
Through Dec. 17
Wed.–<\d>Sat., 8 p.m.; Sun., 3 p.m. and 7 p.m.
Theatre Rhinoceros, Studio Theater
2926 16th St., SF
$15
(415) 861-5079
www.therhino.org

Mod couple

0

› a&eletters@sfbg.com
One of the hottest hip-hop albums of the year comes from the unlikely combination of a six-foot-seven Canadian producer and a New Orleans mother of two. Voice’s Gumbo (Groove Attack) is a testament to the modern modes of production, with the protagonists only recording in the same room twice but nonetheless able to marry beats and rhymes into a vehicle for a rapper who is not only talking loud but saying something.
Toronto’s too-tall Kevin “Moonstarr” Moon has long been known to heads who like their hip-hop with a side of jazz and a chaser of broken beats through his productions for his own Public Transit Recordings as well as remixes for the likes of Recloose and Jazzanova. In spring 2001 he was introduced to Erin “Voice” Tourey through mutual friend Rosina Kazi of LAL (also on Public Transit), with whom Tourey was staying. “I met with her on a Friday, and we just connected. She came by the studio, and I gave her a beat CD. The next day we got together, Saturday afternoon, and she had already written two complete songs to my beats,” Moon remembered with awe over the phone from Toronto. One of those songs ended up on the Scattered Snares compilation released on Twisted Funk, a label run by Marc Mac of 4 Hero, and the other went on Moonstarr’s own Dupont (Public Transit). The pair have been collaborating ever since.
TOTAL FREEDOM
“She’s so versatile — she’ll flip from a rhyme to poetry and back to a rhyme again, so it’s total freedom with her in terms of what you can get away with,” Moon enthused when pressed to explain why he enjoys producing Tourey. “It’s really cool to work with her because you’re not constricted by, like, a straight-up hip-hop snare on every second [beat].” Witness “Guerilla Hustlin’,” in which Moon swings from three kick-drum beats that lurch into the fourth over to snare drums that threaten and stutter with Brazilian flare beneath a trilling flute as Tourey spits, “Wanna know my name, wanna know why I’m on the streets selling beats instead of chasing fame/ Well I’ve always done my own thing, figure people’ll come around on their own term, used to try and push it but I had to live and learn, now I pick and chose when I be concerned.”
“Guerilla Hustlin’” is a rock-solid tune — and it inadvertently captures one of the few ways in which Tourey and Moon view the world differently, as the rhymes tell of struggling to get paid while the production hints at an affection for Baden Powell and isn’t exactly Clear Channel–friendly. When I spoke with Tourey, who patiently answered my questions from her home in New Orleans while her three-year-old and five-month-old played not so patiently in the background, I mentioned that Moon had described his status as an underground producer as “comfortable.” “Obviously, we’re in a situation where we have to sell records, but we’re independent,” Moon said. “We can get away with a hell of a lot more than an artist that’s stuck in a position where their art has to generate revenue for them. We’re in this really comfortable position where we can get away with whatever.”
So does Tourey treasure the same silver lining to not selling too many records that Moon does? “Mmm, no,” Tourey said succinctly. “I love Kevin, but, well, he doesn’t have kids yet. When he starts reproducing, he might feel the burn a little more, like I do. Underground is great in terms of creative control and street credibility and loyal fan bases, but at some point I gotta pay bills. I’m trying to find a middle ground.”
ALL SYSTEMS FLOW
That’s not to say that Tourey has any interest in focusing on cash flow at the expense of mic flow. As a survivor of the cattle calls and series pilots that litter the past of child actors (her father renewed her agent’s contract every year from when she was 5 to 16 — when she shaved her head bald and started winning poetry slams), Tourey shows a marked animosity toward any kind of Hollywood success in her Gumbo rhymes. The rapper — whose recent listening runs from Bilal to Björk — may want to feed her kids, but her rhymes reflect a keen awareness that one day they’ll want more than just the next meal. To quote Tourey in “Total Eclipse,” the most recently written song on the album, “They said I should dumb it down, appeal to my audience, apparently we like our rap with no substance, but then I’m looking out into the crowd, and I’m seeing me, a sea full of honeys quietly thanking me, ’cause we support, and I’m just tryin’ to find a healthy balance, intellect toes the line, introduces a new challenge.”
Despite the distance between their locales, Moon and Tourey come together on Gumbo to serve up an album full of adventurous production and rhymes for the mind, no matter how far that consciousness has to travel. Moon said, “At the end of the day, good food tastes good — wherever you go in the world.” SFBG
VOICE AND MOONSTARR AT SICK AND LOADED
Sat/18, 8 p.m.
Space Gallery
1141 Polk, SF
$10
(415) 377-3325

Grey Gardens: The Original

0

Staunch characters — S-T-A-U-N-C-H. That description applies to Grey Gardens devotees, who’ve found their unwavering dedication and commitment rewarded with a new Albert Maysles movie about the Edith Bouvier Beales. Still, another look at the original 1975 Grey Gardens will probably always be the best way to honor and commune with Big Edie and Little Edie — if ever a classic rewarded repeat viewings, it’s this one. All the Maysles brothers (Albert and the now-deceased David) had to do was bring the film. What they saw was amazing: Little Edie racing toward the camera — that final, perfect gentleman caller — in her best costume for the day; food and animals gathering around Big Edie’s throne room; a deep “sea of green” (Little Edie’s words) on the estate threatening to block out an ocean of blue. At one point Little Edie says she is “pulverized” by new things, but she doesn’t have to say that she’s buried alive by old ones. A single shot late in the movie turns a banister into her prison bars so effectively that Douglas Sirk would be jealous.
In recent years, Capturing the Friedmans and especially Tarnation have ventured into the same family-gone-wild domesticity as Grey Gardens, but neither comes close to matching its direct bravery or complex humanistic profundity. Today, as Drew Barrymore and others come a-calling with rip-off projects, the lesson that film and Broadway actors and producers should’ve learned from the Edies is right there in the lyrics of one of Big Edie’s favorite songs. Don’t throw bouquets at them, let them throw bouquets at you. That’s exactly what Little Edie — dressed in a Jackie O red ensemble (worn backward, of course) — literally did to the audience at the film’s premiere, and it’s what she and her mother metaphorically do to everyone who watches any minute of the movie, which immortalizes their one-of-a-kind offhand wit and poetry. When Little Edie heard that someone wanted to make a movie about her starring Julie Christie, she plunged deep into playing the role of her life — with acute, revelatory self-consciousness — for the Maysles brothers. When will Hollywood learn? (Johnny Ray Huston)

Chaste and chaser

0

› le_chicken_farmer@yahoo.com
CHEAP EATS A picture begins to develop: dating, for the chicken farmer, is turning out to be a sort of exercise in quantum romantics. Things are happening and not happening at the same time.
I’ll start out being totally, over-boilingly in love with a complete stranger, and this gets gradually perfected to a sweet, simmering, and in a couple cases, cuddly friendship — miraculously without me ever getting my tits licked, which is all I really want, really. That and maybe a little something to eat.
Over pomegranate chicken and eggs at Aram’s in Petaluma my date says, “You know, I’m not a nonviolent person.”
It takes everything I have, but I manage not to climb across the table and bite her, toppling everything. Deep breaths help, plus I derive farmerly strength from the suspicion that suddenly cullinizing one’s date, no matter how heartfelt or sexy, would be disrespectful to the chicken, which was amazing.
Over spicy Thai cold-medicine soup at that place on Haight, she wonders with the humble self-awareness of a death-bedded grandmother (and a stuffy nose) whether she might not yet know her own heart.
This week she turns 29.
Coffee and French toast at the Squat and Gobble, and I can still be a witch if I want, no matter that I don’t believe in magic or spells or sorcery or goddesses or witchcraft or even eating children — although I’m not entirely a noncannibalistic person, consent withstanding.
If I understand her correctly, even in prepagan times, even before there was the word witch, there were strong, wise, weird women who lived in shacks in the woods with black cats and wrote restaurant reviews for their local weeklies.
In my shack in my woods we are eating her-made beet gnocchi with me-made fresh bread and salad, drinking wine and talking about lasagna, when she sets down her fork and says, “I’m so happy I could cry.” And she does, and I get to hug and hold her and totally empathize because lasagna makes me emotional too.
But it turns out that wasn’t it for her. It was the first few bars of the Paolo Conti album I’d just put on.
Oh oh oh oh oh, there are so many wonderful new favorite restaurants in the Bay Area, many of which I would love to tell you about, but this is for those who have written or asked or simply wondered what ever happened to that Queer Girl Nancy Drew, my Beloved Revolutionary Sweetheart and Inspirer of Piles and Piles of Poetry who Tartined me over a month or so ago.
Well, the reason I haven’t written about her is because I can’t decide what her name is, not because we haven’t been hanging out. We eat a lot and talk a lot and even smooch and snuggle some, but no, no sex. Not that I would tell you if there was. (But you know I would, because I tell you everything, right?)
Anyway, this isn’t like that, as the saying goes. It’s not about sex, and you’re not going to believe this, but it’s not about food either with her. With her, between me and you, all I really want is to get her on the other side of a Ping-Pong table — since another thing I learned when she first opened her heart to me (curry goat, Penny’s, Berkeley) is that her grandfather is Ping-Pong champion of the Baltic states and that she trained as a kid.
She knows how I feel. I know how she feels. We talk about everything in the world but this. Is her reticence regarding playing Ping-Pong with me based on fear of winning or losing or something else?
In bed she says she’s starstruck and falls asleep with a smile on her lips and my hand in her hair. The moon between the redwood branches outside my window is what I’m looking at, until eventually I get out of bed, tiptoe to my file cabinet, and so so so so slowly open the third drawer, the one labeled THE MEANING OF LIFE. I’m starstruck. I take out my two nice Butterfly Ping-Pong paddles, hold one in each hand, and just hold them, so happy I could cry.
Of their own accord (or maybe it’s a trick of the tears), the two paddles almost seem to be fluttering toward each other, their motion barely perceptible. If I stay to see it happen, I might be up all night, and in any case their eventual connection would be at this rate noiseless, not likely to wake anyone or put anyone to sleep.
Lost in thought and moonlight, thinking witchy not-witchy things like waves and particles, I stare between the butterflies at my file cabinet, one in the morning.
PHILOSOPHY, THEOLOGY, AND ETHICS, says the first drawer. Inside: empty egg cartons.
CEREAL, says the second. Inside: cereal. SFBG

SUNDAY

0

Sun/5

Event

Solidarity with Africa
Create greater support for black-led African groups like the Uhuru movement and African Socialist International on African People’s Solidarity Day at a teach-in and fundraiser featuring discussions and video presentation on the conditions and history of the African diaspora in Congo, Southern Africa, Haiti, Europe, and the United States. (Deborah Giattina)

10 a.m.-5 p.m.
Women’s Bldg.
3583 18th St., SF
Sliding-scale donation
(510) 625-1106, www.apscuhuru.org

Event

Women prisoner news
Celebrate the 10th anniversary of The Fire Inside, a newsletter for female prisoners, with former inmate Theresa Cruz, her daughter Adriana, the Drum Sistah Warriors, Maisha Quint of Poetry for the People, performing arts group Loco Bloco, and special guest Alice Walker at a party sponsored by the California Coalition for Women Prisoners. (Giattina)

2-5 p.m.
African American Art and Culture Complex
762 Fulton, SF
$10-$100, sliding scale
(415) 255-7036, ext. 304, www.womenprisoners.org http://www.womenprisoners.org/

Explosives

0

› le_chicken_farmer@yahoo.com
What am I grateful for?
Bacon. Fried chicken. Butter. Barbecued chicken. Butter. Bacon fat. Eggs … None of which you will find by the way at my new favorite restaurant, Café Gratitude. I went to the one in Berkeley with my old blackberry pickin’ pal and new favorite massage therapist NFC, and even though I couldn’t find no chicken-fried steak on the menu, I have to admit to having had one of the Times of my Life.
Has the chicken farmer lost her mind?
No! My old pal NFC has, because I would have taken her to Chez Panisse or even House of Chicken and Waffles … and she picked this.
“No, no, I’m serious, anywhere you want,” I said. “My treat.” I owed her big-time, see, for fixing me up backwise in an emergency the week before. “Chez Panisse,” I said. “Chicken and Waffles.”
“Café Gratitude,” she said again.
So, OK, I didn’t even know what it was, but namewise it seemed appropriate for the occasion. Conceptwise, you know: “live” organic foods, no meat, no pain and suffering, locally farmed, environmentally friendly, vegan, “prepared with love,” and all that hippie dippy dong dong dicky doo I’m so, so into these days, so long as I get to go home afterward and lop the head off of one of my chickens.
I like dead food too.
Everything on the menu is named an affirmative first-person statement, and the idea I think is to make you say it when you order. Like “I am wonderful,” “I am lovely,” “I am dazzling,” “I am magical,” and all kinds of other flat-out lies. Personally, I am honest, so I scoured the menu for something true to say to our waitressperson, such as “I am all of the above and none of the above and clumsy and stupid and pissed off and oh yeah, my feet stink.”
“I am explosive,” NFC said, but that wasn’t on the menu either. Although … never mind. Well, no, never mind.
Well, I think she was maybe making a prediction, based on all the ingredients in all the stuff we were looking at, like grains and greens and nuts and flax chips. Give you an example: the salad called “I am fulfilled” contains mixed greens, carrots, beets, cucumber, tomato, avocado, sprouts, microgreens (whatever that means), Brazil nut parmesan, and flax crackers ($10).
Actually, that sounds delicious, but I settled on being “elated,” which meant I was eating an enchilada with corn, cilantro, and something else inside and a spicy green salsa on top ($10). This came with a side salad and Bhutanese red rice. All good, right on.
NFC decided to be accepting, which meant she was eating red rice too, only all tossed together with raw free-range organic vegetables, pine nuts, some other kinds of nuts, and some shit-talking mushrooms. All good, right on.
To drink: free-range organic wind-dried water (with a wink to Posh Nosh fans — hi, Chrissy), and we also ordered a couple things from the smoothies and nut milks, but I don’t remember what. But it was all good, right on.
You think I’m kidding but I’m not. I love this stuff! Anyway, I could have been eating sand and sea shells, and so long as I get to eat it sitting cross-legged on a couch with my old friend NFC, talking about her girls and my chickens and, you know, life and shit, with our knees sometimes touching … I’m going to be happy.
I was satisfied. Technically, this was breakfast, since we started eating around 10, but I didn’t have any lunch and wasn’t hungry for dinner until later than usual. Which isn’t to say that I didn’t run right home anyway and knock over one of my chickens. It was a beautiful day that day.
It’s a beautiful day today. I am sad and scared and loving life because I can’t stop making poetry out of it. This one I call “Hopeful Chicken Farmer Poem”:
Suddenly bugs make sense to me and lavender smells like lavender — finally! Who knew that a dried-up leaf would sound that way under a feral cat’s paw? So I planted a blueberry bush next to the blackberry bushes. Next year, if the chickens don’t scratch it all out … SFBG
CAFÉ GRATITUDE
Daily, 10 a.m.–10 p.m.
1730 Shattuck, Berk.
(415) 824-4652
Takeout available
No alcohol
MC/V
Quiet
Wheelchair accessible

TUESDAY

0

Oct. 17

Discussion

Prop. 89 debate

Hear expert panelists discuss the pros and cons of Proposition 89, the campaign reform ballot measure that would allot 0.2 percent of corporate tax funds to state campaigns and also lower contribution limits. (Deborah Giattina)

Noon
Commonwealth Club of California
595 Market, second floor, SF
Free
(415) 597-6700

Film

Running with Scissors

Augusten Burroughs’s autobiographical tome gets a surefooted film adaptation from Nip/Tuck creator Ryan Murphy. As a child little Augusten thinks nothing of being woken in the middle of the night for a command living room poetry performance by his mother, Deirdre (Annette Bening), or being a less-willing witness to the fights between her and the “oppressor” husband (Alec Baldwin). By age 13, Augusten (Joseph Cross) is sorta-kinda orphaned. Dad has bolted, and Mom in her infinitely selfish, manic-depressive wisdom has deposited Augusten whole in the “care” of her shrink. Swinging tonally from comic highs to scarifying (but still comic) lows in tune with its characters, Murphy’s first directorial feature is a tad uneven in its quality. But overall it does a pretty fine job with tricky material, especially within the all-important area of casting. (Dennis Harvey)

In Bay Area theaters

Deconstructing Destruction

0

“The shattering of paradise” is how Kali Yuga director Ellen Sebastian Chang refers to the 2002 bombing in Bali in which 202 people from 22 nations died. A series of attacks in 2005 killed 23 more. A world indeed had crashed, not only for the Balinese people but for the music and dance lovers who have made pilgrimages to that magical isle where art is integrated into the texture of daily life.
Gamelan Sekar Jaya was particularly hard-hit. With both Balinese and American members, the El Cerrito–based music and dance group has had an ongoing, close relationship with Balinese culture. In 2000, during its last tour, the group received a Dharma Kusuma award, Indonesia’s highest artistic recognition, never before given to a foreign company. So Gamelan Sekar Jaya wanted to address the tragedy in artistic terms. Its members also realized, says company director Wayne Vitale, that “what happened in Bali is a worldwide problem.”
The result is Kali Yuga, directed by Sebastian Chang and choreographed by I Wayan Dibia, with music composed by Vitale and Made Arnawa. Two years in the making, the work will receive its world premiere Oct. 14 at Zellerbach Hall. “We want this to be a gift to the Balinese people,” Vitale explains.
Working closely with poet-journalist Goenawan Mohamad, a vocal critic of the Indonesian government, the collaborators found the seed for the 70-minute piece in the Mahabharata: during the Kali Yuga — the age of chaos and destruction — a prince, challenged by his brother, gambles away everything he owns, including his wife. From this story of male testosterone and female humiliation arises a contemporary parable about the gambling we do with Mother Earth.
At a recent rehearsal in a warehouse in West Oakland, one could sense a little of Bali’s community-minded spirit. Kids roamed freely around the periphery of the performance space. One of the dancers had a baby slung over her shoulder; another would periodically step out to gently redirect the energy of a particularly rambunctious little boy. For a sectional rehearsal, Sebastian Chang knelt on the floor, coaxing the required laughs and stories from two six-year-old girls. Minutes earlier, they had exuberantly twirled all over the place; now they focused diligently on the task at hand.
The team has conceived Kali Yuga as a conflict between two parallel universes, one visible, the other not. Even in the piece’s unfinished state, it appeared that the dancers were keeping to the parameters of Balinese drama. The villain — who in the original tale humiliates the woman by attempting to strip her naked — is wonderfully raucous; the heroine is soft and pliant.
However, even traditional forms allow for innovation, as Sebastian Chang knows from experience. A writer as well as a director, she has worked within many genres and often with young people, hip-hop artists and the poets of Youth Speaks among them. In conceiving Kali Yuga, she wondered about the people in that Balinese nightclub. They must have been young. But who were they? What kind of music did they listen to on that fateful night? What were the dance moves that those bombs cut off so fatally?
Rhythmic sophistication, she also knows, is not unique to gamelan music. Rashidi Omari-Byrd is an Oakland-based rap artist and hip-hop dancer with whom Sebastian Chang has worked in the past. He had never heard gamelan music. Nor was he was familiar with Kecak, the percussive chanting originally performed by Balinese male ensembles. But the match was perfect. In Kali Yuga, Omari-Byrd — a tall, lanky performer who towers over everyone in the show — raps Mohamad’s poetry and break-dances to the musicians’ snapping heads and chack-chacking chant. (Rita Felciano)
KALI YUGA
Sat/14, 8 p.m.
Zellerbach Hall
Lower Sproul (near Bancroft and Telegraph), UC Berkeley, Berk.
$20–$32
(510) 642-9988
www.calperfs.berkeley.edu

Carried away

0

› le_chicken_farmer@yahoo.com
CHEAP EATS Over the years I have said goodbye to a lot of cool people in this paper. Haywire went to Maine. Moonpie went to Pittsburgh. Rube Roy went home. E.B. Matt became S.D. Matt. Johnny “Jack” Poetry I packed up and delivered to Idaho with my own two hands and old van and creaking heart. Birdbrain Brad went to Denmark. Satchel Paige the Pitcher, Thailand. Noah, J.C., Jason.
Now this …
Oof, me and Carrie moved here together 16, 17 years ago, after the earthquake. Drove across the country in my ’71 LTD with all our stuff in the backseat and trunk. We were at that time lovers, best friends, and bandmates. Some of that would change, because things do, but whatever the words were, we only got closer and closer and closer.
Tonight I’m cooking for her and Marc, another old relocated pal of mine, who’s here to help move her with him to New York. This will be the first time in our 20-plus years of kindred-spirit-ship that we won’t be living in the same place.
For dinner: one of my chickens!
I was, what, 22 when I met Carrie. Graduate writing program, UNH. In addition to falling immediately in love with her, I became a 10-times better writer on the spot. She’s still my go-to editorial opinion. Got me started playing music, showed me where to put my fingers on a ukulele, crafted the sort of songs that make you have to write them too, started a band with me — my first. So whether it’s songs or sentences, her influence has shone through everything I’ve done ever since.
And now she’s inspiring me in love. I’m serious, you should see her and Marc together. You can’t be jaded or cynical. You just can’t.
So I’m meeting a lot of new people, making new friends, going to parties where I don’t know anyone, smiling and talking a lot, because what can I say? Life is pretty cool.
At a party where I knew almost everyone, we said good-bye to her longtime pad, Belle Manor. Crashed in Joe’s room, woke up too early, crossed paths with Carrie on her way back to bed from the bathroom, hugged her, said I’ll see you tomorrow night, and booked it over to Berkeley to make new friends. This guy Quinn had asked me to have lunch with him and his Cheap Eats fan girlfriend, by way of surprising her for her birthday.
I said what I say now: “Sure!”
They were colorful folks with cool things to say. Beautiful! And the food was all right. I was surprised, actually, because it had been a long time since I’d eaten at Vik’s Chaat Corner. I remembered it being better than this. Which isn’t to say it isn’t my new favorite restaurant, just that I was probably a little overhungover, underslept, and yeah, kind of crunched up inside.
We talked about: dancing, Dickens, the universe, Indiana, growing up weirdos in normal-ass places. We ate: Bhatura cholle, which is a huge puffy mushroom cloud of crispy doughy stuff you break apart with your hands and dip into a delicious garbanzo bean curry. A bunch of other things from the chaat menu, because these folks are vegetarian. And I ordered lamb baida roti to be contrary, but it backfired because it wasn’t very good. It was OK, but all the vegetarian stuff was better, especially bhel puri, which is pretty much rice crispies with onions and cilantro instead of milk and strawberries.
The place got supercrowded while we were sitting there, chatting and chaating. Fortunately, it’s a lot bigger than it used to be. Didn’t the eating area used to be in the same place as the store, tucked away in a corner or something? Well, Vik’s has changed (because things do). People still like it though, and Quinn and Cynthia love it.
She got a little boxful of desserty pastries because it was her birthday. Happy birthday, girl!
Chaat means “to lick,” it says on the menu.
Now I have to hit the kitchen again and see if I can’t make a miracle. I want this tough, too-old hen to be the best thing I ever cooked. I wanted this article to be the best one I ever wrote, but I don’t think that happened either. Edit me, Cares. SFBG
VIK’S CHAAT CORNER
Tues.–Sun., 11 a.m.–6 p.m.
724 Allston Way, Berk.
(510) 644-4432
Takeout available
No alcohol
MC/V
Boisterous
Wheelchair accessible

WEDNESDAY

0

Sept. 27

Event

“Slam Arnold Poetry Competition”

Arnold Schwarzenegger has been shot at, beat up, and humiliated as Conan, Commando, the Terminator, and a kindergarten cop. Most Bay Area residents would agree the governor can handle a little bit of verbal abuse. The San Francisco League of Young Voters is hosting the “Slam Arnold Poetry Competition” at the Balazo Gallery to help boot the actor out of office, register voters, and educate young people about important issues. The event will open a forum for discussion regarding current political concerns. Work by local artists will be on the walls, and 12 popular regional poets will compete for prizes and laughs. Ill-Literacy will perform, along with female MCs Rhapsodistas. (Kellie Ell)

6-11 p.m.
Balazo 18 Art Gallery
2183 Mission, SF
$10-$25, sliding scale
(415) 255-7227
www.balazogallery.org
www.indyvoter.org

Film/Event

SF 360 Home Movie Night: American Blackout

It’s a little too late for you to host an American Blackout screening, but it isn’t too late to attend one at someone else’s house – even though some places have already reached sold-out capacity. This first installment of SF360 Home Movie Night showcases Ian Inaba’s documentary about schemes against black voters, which generated waves of praise at the latest SF International Film Festival. Guerilla News Network member Inaba focuses on the campaigns – including covert ones – waged against Democratic Rep. (and outspoken George W. Bush and 2000 presidential election critic) Cynthia McKinney. (Johnny Ray Huston)

10 p.m. (postscreening after-party)
Tosca
242 Columbus, SF
Free
1-866-456-WEED
www.partylaunch.com/ironweedfilms

Air Americana

0

› a&eletters@sfbg.com
Madonna and her scantily-clad kabbalah practice may have been ousted by the Russian Orthodox Church, but rest assured, oh ye faithful, the Silver Jews are finally coming to San Francisco. The band, often mislabeled as a Pavement side project, actually coalesced before Pavement, though the two backstories share a history of caustic revelation.
David Berman, guitarist-vocalist Stephen Malkmus, and drummer Bob Nastanovich formed the Silver Jews in 1989 while students at the University of Virginia. After graduation, they took the budding project with them to New York. Their music thrived in that city’s frenetic air. The band’s roster has changed continuously, but Berman, a heartbreaking writer and constant innovator, has always been at the helm. It’s his project, his voice.
Berman will be turning 40 in January. Four awe-inspiring full-lengths, a host of smaller projects, and a well-received poetry book (1999’s Actual Air) have placed him firmly in the cultural spotlight, often against his will. Berman is a recluse in some ways, a natural wordsmith — and instantly demanding performer — in others. He’s given the Bay Area numerous poetry readings but never a rock show.
Until now. Berman has been through some tough, emotionally trying shit lately, but he’s back, with the eloquent deadpan that has made him the envy of songwriters, indie philosophes, and music junkies everywhere. Longtime fans may call this unprecedented tour a resurrection, but Berman laughs it off. “I’d always planned to be a middle-aged performer,” he jokes via an e-mail interview. “This year has just been the run-up to the start of my contract with the Missouri River Blues Barge’s Menthol Topaz Casino.”
Waiting for a new Silver Jews album is like waiting for John Darnielle of the Mountain Goats to take the stage: everyone is ready to be shattered and jubilant, lyric by lyric, tune by tune. On 2005’s Tanglewood Numbers, the first Silver Jews effort since 2001’s Tennessee (both Drag City), Berman’s voice sounds deeper than ever, as if it might break at any moment and never come back.
The Tanglewood crew is rather big — 13 folks including Malkmus and Will Oldham — but that’s just how they do it in Nashville, where the record was recorded and mixed. Other Nashville-ized albums by the likes of Cat Power and Oldham these past years have taken some getting used to. Tanglewood hits the heart instantly.
Berman’s vocal duos and duals with his wife, Cassie, who plays a variety of old-timey instruments on Tanglewood, are organic and intensely personal. “Humans have been failing Human Relationships 101 for half a million semesters straight now,” writes Berman. The ability to perform back-and-forth vocal lines is “one of the many things you can do more easily under a band name than as a solo artist,” he notes. “Different souls are in the music.”
On “I’m Getting Back into Getting Back into You,” the Jews sound trapped in a psychedelic small-town roller-skating rink, needing to raise their voices to be saved. But maybe we’re all trapped. “I’ve been working in an airport bar/ It’s like Christmas in a submarine,” Berman croons. An ominous “om” sneaks in at the end of the tune.
Since their first recordings, made on answering machines and Walkmans, Berman and the Jews have been proving that our main roads are really back roads and vice versa. He writes of those early days: “Getting the tape back after a good performance was hell — first the breaking and entering …” Americana, broadly defined, is sustained by such neighborhood trickery. When Lucinda Williams revisits childhood gravel roads or Darnielle sings about hearing the screams of football season, particularly American landscapes reveal what we had always thought were private obsessions. Such artists gain a universal appeal by taking local scenes and spraying themselves all over them. It’s sound graffiti and it feels so good.
Berman’s current plan is deceptively simple: “To keep making these different versions of the master Silver Jews album in the sky.” On Tanglewood, “How Can I Love You If You Won’t Lie Down?” rocks hard but also highlights Berman’s tragicomedy: “Time is a game only children play well/ How can I love you if you won’t lie down?”
The Mezzanine performance will feature Peyton Pinkerton and William Tyler on guitars — Pinkerton played on 1996’s The Natural Bridge, Tyler on 2001’s Bright Flight (both Drag City) — Brian Kotzur on drums, Tony Crow on keyboards, and Cassie Berman on bass. Even the lineup gets Berman going. “Peyton is a descendent of William Henry Harrison…. I’m convinced that many of our country’s best electric guitarists are the far-flung descendents of mediocre 19th-century American presidents.” SFBG
SILVER JEWS
With Monotonix and Continuous Peasant
Sun/10, 8 p.m.
Mezzanine
444 Jessie, SF
$19.99
(415) 625-8880
www.mezzaninesf.com

Late-night luau

0

› le_chicken_farmer@yahoo.com
CHEAP EATS I mean, they were already practically married, but my friends Little Him and Little Her officially said they did in the Presidio last weekend, and there was a decidedly islandish theme to the event.
Hawaii, I mean — so technically I should have been playing the uke instead of steel pan. But I’m not a very technical person.
And this isn’t the society pages.
It’s the food section. You want to know about my week in Idaho, right, being a semiprofessional cook for the first and probably last time ever? Among other whimsical dishes, I invented angeled eggs. Instead of mayonnaise, you use, predictably, barbecued chicken. And instead of paprika, fresh salsa.
There was a barbecued squash stuffed with refried beans, sausage, and olives, and another sausage poked suggestively through cored zucchini slices. A pork feast marinated in unripe green grape juice (thanks, Chrissy), rubbed with fresh herbs and basted in pear barbecue sauce — everything but the pig courtesy of Mr. and Mrs. “Jack” Poetry’s garden.
I love using what nature and hecklers throw at you. Barbecued green tomatoes (because deer kept knocking them off the vines). Barbecued overripe cucumbers …
What else rolled off the grill was, of course, my signature dish, barbecued eggs. Which, so you know, have come a long way since I last wrote about them, last winter, I think. I think I was cooking them then in meat grease and barbecue sauce in a bread pan in the wood stove. Now I pour the beat-up eggs into cored bell peppers with chunks of sausage and/or whatever … toothpick a strip of bacon around the rim of the pepper, skewer the toothpick with a cherry tomato, olive, onion, and/or also whatever. And stand them up on the grill. It’s not quite perfected yet, because they fall and spill and take forever to set; but it’s getting there, and it not only tastes better but looks 10 times prettier than huevos Dancheros did.
I have a term for what I do, cooking-wise: nouveau trash.
There are other words as well. But the important thing is that, like Little League baseball, I had a lot of fun doing it. And I had, in Johnny “Jack,” Eberle “Jack,” and Georgie “Jack” Bundle, an appreciative and enthusiastic audience. They were working hard recording music all day, every day, and if not for the chicken farmer would have eaten nothing but toast and Cheerios for a week.
At the end of which week, I dropped Mr. Bundle off at the Boise airport so he could make it to his grandpa’s 90th birthday party and delivered his car full of gear to Oakland. The “Hawaiian Wedding Song” was already stuck in my head, and this was a week before the wedding.
In case you don’t know it, you can easily imagine: it’s a wedding song! The lyrics are unadulterated cheese, but the melody is spectacularly all-over-the-place. I was going to have to learn it, and I didn’t have anything better to do with my ears between Boise and Oakland, so I looped the recording and sang and whistled and hummed and yodeled and just generally drove myself crazy.
Next day needing something to eat in the Sunset, I thought of Island Café, that new Hawaiian joint where JT’s all-night diner used to be. Taraval and 19th Ave. Thematically, geographically, it just seemed like the thing to do. And I was all alonesome still, and they have a counter. A great one. An even greater one than it used to be, because there’s a big TV now, and women’s golf was on.
Women’s golf goes good with Hawaiian food. Who knew?
Instead of Spam and eggs or barbecued chicken soup, which I didn’t see until too late, I got Loco Moco ($8.65). That’s three hamburger patties, three scoops of rice because I didn’t want the macaroni (because of mayonnaise), some cabbage, and of course gravy. But not enough gravy. I distinctly remember reading the word “smothered” on the menu in reference to gravy, and neither the burgers nor the rice scoops were what I would call smothered. They were dolloped.
But besides that I have nothing bad to say about my new favorite Hawaiian restaurant. The service was good and friendly. Women’s golf. Uke. Surfboard. Good music. Good vibe. Nothing’s more than 10 bucks. A lot of things are a lot less.
And — and this is a big and — they’re open till 2 a.m., and all night Thursday through Saturday. SFBG
ISLAND CAFÉ
Sun.–Wed., 8–2 a.m.; Thurs.–Sat., 24 hours
901 Taraval, SF
(415) 661-3303
Takeout available
Beer and wine
MC/V
Quiet
Wheelchair accessible

Fall TV death match

0

› lynn@sfbg.com
If you think about it, there’s a certain poetry to the dramatic arc of the fall premiere season. As we all know, after fall comes winter, and by December many of these TV shows will be dead, with just a few dried-up blog entries left behind to mark their passing. This painful thought might provoke a zealous couch fan to get carried away — watching every last debut to hit the networks while staying faithful to old favorites from seasons past. And granted, certain shows, like the well-cast Six Degrees, with Campbell Scott, Hope Davis, and Jay Hernandez (premiering Sept. 21 on ABC), or Showtime’s Dexter, starring Michael C. Hall (Six Feet Under) as a serial killer with the best of intentions (premiering in October), deserve at least a shot at some viewers.
But even the Guinness record (69 hours and 48 minutes) proves there are limits to how much TV one human being can watch — though apparently there are no limits to how many dramas based on the premise of 24 can be developed in one season. Choices must be made — between, say, the NBC comedy about a late-night sketch comedy show starring SNL’s Tina Fey and Alec Baldwin and the NBC drama about a late-night sketch comedy show starring Matthew Perry, Amanda Peet, and Bradley Whitford and created and written by Aaron Sorkin (Sports Night, The West Wing). What follows are notes from a highly subjective decision-making process. Show info is subject to change.
Studio 60 on the Sunset Strip vs. 30 Rock Aaron Sorkin’s writing is pretty much why I started watching television again, and I’m still not over Sports Night’s 2000 cancellation. Thus, in the face-off between shows about sketch-comedy shows, his creation, Studio 60, will no doubt reign supreme. Bradley Whitford from The West Wing stars alongside Amanda Peet and Matthew Perry — and while the latter actor certainly wasn’t the least annoying of Friends’ friends, a guest spot on The West Wing proved his Chandler mannerisms haven’t completely devoured him. (Studio 60 on the Sunset Strip: Mon., 10 p.m., NBC; premieres Sept. 18. 30 Rock: Wed., 8:30 p.m., NBC; premieres Oct. 11)
Vanished vs. Veronica Mars Having spent five years watching Gale Harold plug every available male extra in greater Toronto as Queer as Folk’s surly stud Brian Kinney, I’m tempted to get invested in his character’s FBI investigation of a disappeared senator’s daughter. The thing is, even if he does get to play another unapologetic asshole, he will likely have clothes on. So will Kristen Bell in Veronica Mars, but the latter show, about a smart-ass teen private investigator engaged in all kinds of class warfare, was easily the best high school drama since My So-Called Life, while in a vastly different vein. The sleuth is university bound now, and higher education is clearly a death knell for teen dramas, but I’m betting Veronica won’t let her studies get in the way. (Vanished: Mon., 9 p.m., Fox; premiered Aug. 21. Veronica Mars: Tues., 9 p.m., CW; premieres Oct. 3)
The O.C. vs. Dante’s Cove They may seem like an odd couple, but both The O.C. and Dante’s Cove feature melodramatic sexual entanglements, power tripping, drug addiction, and expensive real estate. The O.C. may have a slight advantage in terms of plotlines and thespian talent, but c’mon: Dante’s Cove, part of Here!’s all-queer programming, has real live gay people, a private sex club — and black magic! Also, I get how satisfying it must have been to finally off the waif with suicidal tendencies, but with Marissa in the grave, The O.C. is likely to become so bearable it’s boring. (The O.C.: Thurs., 9 p.m., Fox; premieres Nov. 2. Dante’s Cove: Fri., check for times, Here!; premieres Sept. 1)
One Tree Hill vs. Friday Night Lights The infant love child of UPN and the WB fashioned a glaringly lowest-common-denominator ad campaign whose thought-provoking tagline for One Tree Hill was “Free to be cool.” And yet, I breathed a deep sigh of relief on learning that the show, basically about a small town that loves its basketball and the dramas that ensue, had survived the merger and gained entrance to the freedom-loving land of the CW. Friday Night Lights, based on the movie that’s based on the book, is about a small town that loves its football and the dramas that ensue. A toughie, but I hate football, so for me One Tree has the home court advantage — plus the laser-beam-eyed power-acting of Chad Michael Murray. (One Tree Hill: Wed., 9 p.m., CW; premieres Sept. 27. Friday Night Lights: Tues., 8 p.m., NBC; premieres Oct. 3)
Prison Break vs. Runaway Maybe it all goes back to my deep, abiding love for The Legend of Billie Jean, but dramas about desperate people on the run from the law have a near-endless ability to captivate me. Prison Break has the hot brothers. CW debut Runaway looks to have more of a Running on Empty family dynamic — with New Kids on the Block’s Donnie Wahlberg in the Judd Hirsch role. Both hint vaguely at possible political undertones. Mostly for River Phoenix’s sake, I’m going to go with the latter. (Prison Break: Mon., 8 p.m., Fox; premiered Aug. 21. Runaway: Mon., 9 p.m., CW; premieres Sept. 25)
Jericho vs. Three Moons over Milford Jericho has Skeet Ulrich and a nuclear holocaust on the horizon. Three Moons has, well, three moons — or parts of what used to be one moon — and one or more of them might be heading this way. The end (of the season, that is) will be in sight for the latter sooner, which is good, because how many times a week can a person watch the world teeter on the brink of collapse? (Jericho: Wed., 8 p.m., CBS; premieres Sept. 20. Three Moons over Milford: Sun., 8 p.m., ABC Family; premiered Aug. 6)
Project Runway (reruns) vs. Fashion House The community-minded thing to do, no doubt, would be to support KRON TV’s efforts to add dramatic content to its programming. After all, Fashion House, a six-nights-a-week telenovela-style program about the fashion industry starring Morgan Fairchild and Bo Derek, should just about do the trick. And yet, even after Project Runway’s latest season ends later this fall, I’m probably going to find other uses for those six hours — including renting back episodes of the show that makes it work. (Project Runway: Bravo; your local video store. Fashion House: Mon.–Sat., 10 p.m., KRON; premieres Sept. 5) SFBG

No Pasaran!

0

MEXICO CITY, Aug. 24th — The Congress of the country is ringed by two-meter tall grilled metal barriers soldered together, apparently to thwart a suicide car-bomb attack. Behind this metal wall, 3000 vizored, kevlar-wearing robocops — the Federal Preventative Police (PFP, a police force drawn from the army) — and members of the elite Estado Mayor or presidential military command, form a second line of defense. Armed with tear gas launchers, water cannons, and reportedly light tanks, this Praetorian Guard has been assigned to protect law and order and the institutions of the republic against left-wing mobs that threaten to storm the Legislative Palace – or so the president informs his fellow citizens in repeated messages transmitted on national television.
No, the president’s name is not Pinochet and this military tableau is not being mounted in the usual banana republic or some African satrap. This is Mexico, a paragon of democracy (dixit George Bush), Washington’s third trading partner, and the eighth leading petroleum producer on the planet, seven weeks after the fraud-marred July 2nd presidential election of which, at this writing, no winner has been officially declared. One of the elite military units assigned to seal off congress is indeed titled the July 2nd brigade.

“MEXICO ON A KNIFEBLADE” headlines the British Guardian. The typically short-term-memory-loss U.S. print media seems to have forgotten about the imbroglio just south of its borders. Nonetheless, the phone rings and it’s New York telling me they just got a call from their man on the border and Homeland Security is beefing up its forces around Laredo in anticipation of upheaval further south. The phone rings again and it’s California telling me they just heard on Air America that U.S. Navy patrols were being dispatched to safeguard Mexican oil platforms in the Gulf. The left-wing daily La Jornada runs a citizen-snapped photo of army convoys arriving carrying soldiers disguised as farmers and young toughs. Rumors race through the seven mile-long encampment installed by supporters of leftist presidential challenger Andres Manuel Lopez Obrador (AMLO) three weeks ago, who have tied up big city traffic and enraged the motorist class here, that PFP robocops will attack before dawn. The campers stay up all night huddled around bum fires prepared to defend their tent cities.

The moment reminds many Mexicans of the tense weeks in September and October 1968 when, 12 days before the Olympic Games were to be inaugurated here, President Gustavo Diaz Ordaz ordered the military to massacre striking students in a downtown plaza not far from where AMLO’s people are now camped out. Some 300 were killed in the Plaza of Three Cultures, their bodies incinerated at Military Camp #1 in western Mexico City. The Tlatelolco massacre was a watershed in social conflict here and the similarities are sinister– in fact, Lopez Obrador has taken to comparing outgoing President Vicente Fox with Diaz Ordaz.

Fox will go to congress September 1st to deliver his final State of the Union address; the new legislature will be convened the same day. The country may or may not have a new president by that day. In anticipation of this show-down, on August 14th, newly-elected senators and deputies from the three parties that comprise AMLO’s Coalition for the Good of All attempted to encamp on the sidewalk in front of the legislative palace only to be rousted and clobbered bloody by the President’s robocops.

With 160 representatives, the Coalition forms just a quarter of the 628 members of the new congress, but its members will be a loud minority during Fox’s “Informe.” Since the 1988 presidenciales were stolen from Cuauhtemoc Cardenas, founder of AMLO’s Party of the Democratic Revolution, PRD legislators have routinely interrupted the president during this authoritarian ritual in orchestrated outbursts that have sometimes degenerated into partisan fisticuffs.

The first to challenge the Imperial Presidency was Porfirio Munoz Ledo, a hoary political warhorse, who in 1988 thrust a finger at President Miguel De la Madrid, accusing him of overseeing the theft of the election from Cardenas. Munoz Ledo’s J’Acuse stunned the political class; he was slugged and pummeled by members of De la Madrid’s long-ruling PRI when he tried to escape the chamber. Munoz Ledo now stands at AMLO’s side.

But perhaps the most comical moment in the annals of acting out during the Informe came in 1996 when a brash PRI deputy donned a Babe the Valiant Pig mask and positioned himself directly under the podium from which President Ernesto Zedillo was addressing the state of the nation and wiggled insouciant signs with slogans that said things like ‘EAT THE RICH!” Like Munoz Ledo, Marco Rascon was physically attacked, his mask ripped off like he was a losing wrestler by a corrupt railroad union official — who in turn was hammer locked by a pseudo-leftist senator, Irma “La Tigresa” Serrano, a one-time ranchero singers and, in fact, the former mistress of Gustavo Diaz Ordaz.

This September 1st, if martial law is not declared and the new Congress dissolved before it is even installed, the PRD delegation — which will no doubt be strip-searched by the Estado Mayor for incriminating banners — is sworn to create a monumental ruckus, shredding the tarnished decorum of this once-solemn event forever to protest Fox’s endorsement of electoral larceny. Some solons say they may go naked.

But no matter what kind of uproar develops, one can be secure that it will not be shown on national television, as the cameras of Mexico’s two-headed television monstrosity Televisa and TV Azteca will stay trained on the President as he tries to mouth the stereotypical cliches that is always the stuff and fluff of this otherwise stultifying seance. The images of the chaos on the floor of congress will not be passed along to the Great Unwashed.

NO PASARAN!

There is a reptilian feel to Mexico seven weeks after a discredited Federal Electoral Institute (IFE) cemented Lopez Obrador into a second place coffin by awarding the presidency to right-winger Felipe Calderon by a mere 243,000 votes out of a total 42,000,000 cast. Both Calderon and IFE czar Luis Carlos Ugalde (Calderon was best man at Ugalde’s wedding) make these little beady reptile eyes as they slither across national screens.

Those screens have been the scenes of some of the slimiest and most sordid political intrigue of late. One of the lizard kings who is fleetingly featured on Televisa primetime is an imprisoned Argentinean construction tycoon, Carlos Ahumada, who in 2004 conspired with Fox, Calderon’s PAN, and Televisa to frame AMLO on corruption charges and take him out of the presidential election. El Peje” (for a gar-like fish from the swamps of Lopez Obrador’s native Tabasco) was then leading the pack by 18 points.

Charged by Lopez Obrador, then the mayor of this megalopolis, with defrauding Mexico City out of millions, Ahumada had taken his revenge by filming PRD honchos when they came to his office to pick up boodles of political cash for his lover, Rosario Robles, who aspired to be queen of the PRD. Although the filthy lucre was perfectly legal under Mexico’s milquetoast campaign financing laws, the pick-ups looked awful on national television — AMLO’s former personal secretary was caught stuffing wads of low denomination bills into his suit coat pockets as if he were on Saturday Night Live.

Ahumada subsequently turned the tapes over to the leprous, cigar-chomping leader of Fox’s PAN party in the Senate, Diego Fernandez de Cevallos (“El Jefe Diego”) who in turn had them delivered to a green-haired clown, Brozo, who was then reading the morning news on Televisa. Then the Argentine fled to Cuba in a private plane. Televisa would air the incriminating videos day and night for months.

Apprehended in Veradero after his lover Robles was shadowed to the socialist beachfront, Ahumada spilled the beans to Cuban authorities: Interior Secretary Santiago Creel, who was then AMLO’s lead rival for the presidency, had cooked up the plot with the connivance of reviled former president Carlos Salinas, Lopez Obrador’s most venomous foe, the then attorney general, and Fox himself, to remove AMLO from the race.

The Mexican government did not ask for extradition and Ahumada’s deportation from Cuba was not seen as a friendly gesture. Within a month, diplomatic relations between Mexico and that red paradise were broken off and ambassadors summoned home. The construction tycoon has been imprisoned in Mexico City ever since he was booted out of Cuba, and was last heard from when he had his rogue cop chauffer shoot up the family SUV, a charade both Fox and Televisa tried to pin on AMLO — Ahumada had suggested he was about to release two more incriminating videos. These dubious events took place on June 6th, the day of a crucial presidential debate between AMLO and Calderon.

Then last week, Ahumada abruptly resurfaced — or at least his videotaped confession to Cuban authorities did. Filmed through prison bars, he lays out the plot step by step. Yes, he affirms, the deal was fixed up to cut AMLO’s legs out from under him and advance the fortunes of the right-wing candidate who turned out to be Felipe Calderon and not the bumbling Creel. The conspiracy backfired badly as his supporters rallied around him and Lopez Obrador’s ratings soared.

The origins of the confession tape, leaked to top-rung reporter Carmen Aristegui, was obscure. Had Fidel dispatched it from his sick bed to bolster Lopez Obrador’s claims of victory as the PAN and the snake-eyed Televisa evening anchor Joaquin Lopez Dorriga hissed? The air grew serpentine with theories. There was even one school that speculated Calderon himself had been the source in a scheme to distance himself from Fox (there had always been “mala leche” between them) and Creel, now the leader of the PAN faction in congress.

AMLO advanced a variant of this explanation — the specter of Ahumada had been resuscitated to divert attention from the evidence of generalized fraud the Coalition had submitted to the TRIFE and the panel’s impending verdict that Calderon had won the election.

Perhaps the most nagging question in this snakepit of uncertainty is what happened during the partial recount of less than 10% of the 130,000 ballot boxes ordered by the TRIFE to test the legitimacy of the IFE’s results. Although the recount concluded on August 13th, the judges have released no numbers and are not obligated to do so — their only responsibility is to certify the validity of the election.

Although AMLO’s reps in the counting rooms came up with gobs of evidence — violated ballot boxes, stolen or stuffed ballots, altered tally sheets and other bizarre anomalies — only the left-wing daily La Jornada saw fit to mention them. The silence of the Mexican media and their accomplices in the international press in respect to the Great Fraud is deafening — although they manage to fill their rags with ample attacks on Lopez Obrador for tying up Mexico City traffic.

According to AMLO’s people, 119,000 ballots in the sample recount cannot be substantiated — in about 3500 casillas, 58,000 more votes were cast than the number of voters on the voting list. In nearly 4,000 other casillas, 61,000 ballots allocated to election officials cannot be accounted for. The annulment of the casillas in which these alterations occurred would put Lopez Obrador in striking distance of Calderon and in a better world, would obligate the TRIFE to order a total recount.

But given the cheesy state of the Mexican judiciary this is not apt to happen; one of the judges who will decide the fate of democracy in Mexico is a former client of El Jefe Diego for whom the PANista senator won millions from the Mexico City government in a crooked land deal.

Meanwhile, thousands continue to camp out in a hard rain for a third week on the streets of Mexico City awaiting the court’s decision. They have taken to erecting shrines and altars and are praying for divine intervention. Hundreds pilgrimage out to the shrine of the Virgin of Guadalupe, some crawling on their knees, to ask the Brown Madonna to work her mojo. “God doesn’t belong to the PAN!” they chant as they trudge up the great avenue that leads to the Basilica. “AMLO deserves a miracle” Esther Ortiz, a 70 year-old great grandmother comments to a reporter as she kneels to pray before the gilded altar.

At the Metropolitan Cathedral on one flank of the Zocalo, a young worshipper interrupts Cardinal Norberto Rivera with loas to AMLO and is quickly hustled off the premises by the Prelate’s bouncers. The following Sunday, the Cathedral’s great doors are under heavy surveillance, and churchgoers screened for telltale signs of devotion to Lopez Obrador. Hundreds of AMLO’s supporters mill about in front of the ancient temple shouting “voto por voto” and alleging that Cardinal Rivera is a pederast.

AMLO as demi-god is one motif of this religious pageant being played out at what was once the heart of the Aztec theocracy, the island of Tenochtitlan. The ruins of the twin temples of the fierce Aztec war god Huitzilopochtli and Tlahuac, the god of the rain, is adjacent to the National Palace against which AMLO’s stage is set. Lopez Obrador sleeps each night in a tent close by.

Many hearts were ripped out smoking on these old stones and fed to such hungry gods before the Crusaders showed up bearing the body and blood of Jesus Christ.

AMLO is accused by right-wing “intellectuals” (Enrique Krauze and the gringo apologist George Grayson) of entertaining a Messiah complex. Indeed, he is up there every day on the big screen, his craggy features, salt and pepper hair, raspy voice and defiantly jutted jaw bearing more of a passable resemblance to a younger George C. Scott rather The Crucified One. AMLO’s devotees come every evening at seven, shoehorned between the big tents that fill the Zocalo, rain or shine. Last Monday, I stood with a few thousand diehards in a biblical downpour, thunder and lightening shattering the heavens above. “Llueve y llueve y el pueblo no se mueve” they chanted joyously, “it rains and rains and the people do not move.”

The evolution of these incantations is fascinating. At first, the standard slogan of “Voto Por Voto, Casilla por Casilla!” was automatically invoked whenever Lopez Obrador stepped to the microphone. “You are not alone!” and “Presidente!” had their moment. “Fraude!” is still popular but in these last days, “No Pasaran!” — they shall not pass, the cry of the defenders of Madrid as Franco’s fascist hordes banged on the doors of Madrid, 1936 — has flourished.

In this context, “No Pasaran!” means “we will not let Felipe Calderon pass to the presidency.” AMLO, who holds out little hope that the TRIFE will decide in his favor, devotes more time now to organizing the resistance to the imposition of Calderon upon the Aztec nation. Article 39 of the Mexican constitution, he reminds partisans, grants the people the right to change their government if that government does not represent them. To this end, he is summoning a million delegates up to the Zocalo for a National Democratic Convention on Mexican Independence Day September 16th, a date usually reserved for a major military parade.

Aside from the logistical impossibility of putting a million citizens in this Tiananmen-sized plaza, how this gargantuan political extravaganza is going to be financed is cloudy. Right now, it seems like small children donating their piggy banks is the main mode of fund-raising. Because AMLO’s people distrust the banks, all of which financed Calderon’s vicious TV ad campaign, a giant piggy bank has been raised in the Zocalo to receive the contributions of the faithful.

Dreaming is also a fundraiser. Some 10,000 raised their voices in song this past Sunday as part of a huge chorus assembled under the dome of the Monument to the Revolution to perform a cantata based on the words of Martin Luther King and Mohandas Gandhi. This too is a form of civil resistance, Lopez Obrador commended his followers.

The first National Democratic Convention took place behind rebel lines in the state of Aguascalientes in 1914 at the apogee of the Mexican Revolution when the forces of Francisco Villa and his Army of the North first joined forces with Zapata’s Liberating Army of the Southern Revolution. The second National Democratic Revolution took place 80 years later in 1994, in a clearing in the Lacandon Jungle of Chiapas when the Zapatista Army of National Liberation wedded itself to the civil society in an uprising that rocked Mexico all throughout the ’90s; eclipsed by events, the EZLN and its quixotic spokesperson Subcomandante Marcos have disappeared from the political map in the wake of the fraudulent election.

What this third National Democratic Convention is all about is now being debated in PRD ruling circles and down at the grassroots. Minimally, a plan of organized resistance that will dog Felipe Calderon for the next six years, severely hampering his ability to rule will evolve from this mammoth conclave. The declaration of a government in resistance headed by Andres Manuel Lopez Obrador is one consideration. The National Democratic Convention could also result in the creation of a new party to replace a worn-out PRD now thoroughly infiltrated by cast-offs from the PRI.

The Party of the Democratic Revolution has always functioned best as an opposition party. With notable exceptions (AMLO was one), when the PRD becomes government, it collapses into corruption, internecine bickering, and behaves just as arrogantly as the PAN and the PRI. No Pasaran?

Seven weeks after the July 2nd electoral debacle, Mexico finds itself at a dangerously combustible conjunction (“coyuntura”) in which the tiny white elite here is about to impose its will upon a largely brown and impoverished populous to whom the political parties and process grow more irrelevant each day. “No Pasaran!” the people cry out but to whom and what they are alluding to remains to be defined.
******************************

John Ross’s ZAPATISTAS! Making Another World Possible – Chronicles of Resistance 2000-2006 will be published by Nation Books this October. Ross will travel the Left Coast this fall with both ZAPATISTAS! and a new chapbook of poetry BOMBA! and is still looking for possible venues; send suggestions to johnross@igc.org

Regaining consciousness

0

› a&eletters@sfbg.com
“I want to be a mainstream artist,” says East Oakland rapper and spoken word poet Ise Lyfe, discussing his rejection of the label “conscious rap.” “I’m not trying to be some backpack cat performing in Davis. I want to be …”
The 23-year-old trails off thoughtfully. “I think the only way to do it harder than Jay-Z is to have a real movement, something tangible that will effect change in the world through music. I’d like to be that big but at the same time put a dent in the Earth.”
At first glance, it’s hard to imagine a rapper less like Jay-Z than Ise Lyfe, whose 2004 self-released debut, SpreadtheWord, is devoid of the big pimpin’, cheese-spending exploits that have endeared Jiggaman to millions. But like James Baldwin — who once said he didn’t want to be the best black novelist in America, he wanted to be Henry James — Ise isn’t talking about betraying his identity for success. He’s simply saying he wants to be the best, period. If there’s anything common to all four of these artists, it’s the awareness that in order to be the best you must change the game. With the rerelease of SpreadtheWord, complete with new artwork, a bonus DVD, and a mildly retooled track list, on fledgling independent Hard Knock Records, in addition to his recently concluded nationwide tour with the Coup, Ise Lyfe is hoping to do just that.
Born in 1982, Ise was raised in Brookfield, deep in East Oakland next to the notorious Sobrante Park. “I grew up as a young kid right when the crack epidemic was flourishing and having a real effect on our families,” he says. “My father had been affected by drugs. For me, growing up in a single-parent home was the manifestation of that existing in our community. But I also came up amongst a large level of social justice activity and youth organizing. That influences my music. I think Oakland has a history that unconsciously bleeds into everyone from here.”
The legacy of this history — which includes a spoken word scene at least as old as Gil Scott Heron’s mid-’70s albums for underground label Strata East — endures in Oakland, where Ise first made a name for himself as a teen slam poet. “I would be three years deep into performing spoken word before there was any place I could go and perform hip-hop,” he says. “Hip-hop was all 21-and-up venues, where I was the number one slam poet in the country when I was 19.” Repping the Bay in 2001 at the Youth Speaks National Poetry Slam, Ise would achieve a modicum of fame through appearances on HBO’s Def Poetry Jam.
“When I started recording,” he confesses, “folks didn’t even know I was making a hip-hop record. They thought it was a spoken word record, but I fused both in there.” The success of this fusion of art forms is all the more apparent on the rereleased SpreadtheWord, the continuity of which has been improved by a few judicious edits. Ise’s flow is so dexterous that the moments of purely a cappella poetry enhance rather than disrupt the musical experience. In fact, musicality underscores an important difference between SpreadtheWord and most conscious hip-hop recordings, for most of the beats on even otherwise impressive efforts sound like they were made sometime in 1993. The lack of curiosity about the sound of contemporary hip-hop gives such music a perfunctory air, while the tracks on SpreadtheWord are infinitely fresher even after two years. While it’s not exactly hyphy, a tune like “Reasons” still sounds like a Bay Area slap that would work on a mixtape with other new tunes.
“My fan base is predominantly young people of color,” Ise says, articuutf8g his other major difference from most rappers who fall under the conscious rubric. “I think it’s all good. The music is for everybody. But I’m proud of seeing the music connect with who it’s really written to, directly from, and for. I don’t want to be distant from the community.” In the face of the failure of so many conscious rappers to continue to appeal to their original listeners, it’s hard not to attribute Ise’s own success to his closeness to both his audience and hip-hop.
“It’s important for me to have real community work behind what I say,” he explains, commenting on a busy schedule that includes everything from teaching classes to street sweeping to performing at the Youth UpRising community center on the bill with Keak Da Sneak on Aug. 25.
Moreover, his refusal to place himself in opposition to the hyphy movement despite his very different approach to hip-hop lends him a credibility unavailable to others.
“I consider myself just the other side of hyphy,” he concludes. “I don’t think there’s anything different in what I’m saying than what they’re saying. Those cats is positive — they’re talking about uniting the Bay. I just think it’s important that we set a standard for what’s acceptable. When we calling a 13-year-old girl a ripper, it’s just abusive music. But even in its industrial prepackaged form hip-hop comes from the hood, and I think that going dumb or getting hyphy is revolutionary in principle. I’m-a jump on this car, I’m-a shake these dreads, I’m-a be me. I think that it’s a positive energy.” SFBG
ISE LYFE
Youth UpRising’s “Lyrical Warfare”
with Keak Da Sneak
Fri/25, 4–7 p.m.
8711 MacArthur, Oakl.
(510) 777-9909
Free
www.youthuprising.org

Fun with AOL data

0

› annalee@techsploitation.com
TECHSPLOITATION Last week AOL did another stupid thing, but at least it was in the name of science. The giant Web portal released a data chunk containing three months’ worth of queries to its search engine taken from roughly half a million users. Gathered during the months of March, April, and May, the data shows queries, their date and time, and which Web sites the user ultimately visited. The idea was that this information might be of some use to researchers.
To protect user privacy, AOL replaced the log-in names of searchers with numbers. So you could still see everything that searcher #4356 looked for, but you wouldn’t know who #4356 was, except for one problem: it’s incredibly easy to figure out who people are based on their searches, because they tend to look for themselves, family members, and things in their immediate geographical vicinity. The New York Times did a great story in which reporters examined searches done by user #4417749 and within hours managed to locate their author, a nice old lady in Georgia who now plans to cancel her AOL subscription.
Bloggers and privacy advocates have pointed out that the information AOL released contains more than just the online search patterns of innocent Georgia ladies. It’s unclear what law enforcement might do with the thousands of searches for illegal drugs and pornography. It’s equally unclear what the feds will make of the handful of searches for “Muslim death rituals,” “Muslim brotherhood,” and “Islamic militant web forums.” In a nation where the government is seriously contemputf8g blanket warrants for online surveillance, it’s hard to imagine there aren’t law enforcement types combing this treasure trove of prepackaged personal data. Imagine getting enough dirt on somebody to haul him or her in for questioning just by downloading 400 megabytes of stuff from AOL! That’s like free candy.
After public outcry reached a crescendo, AOL apologized and took the data down. Of course, privacy advocates like the Electronic Privacy Information Center’s Marc Rotenberg and the Electronic Frontier Foundation’s Kurt Opsahl remain pissed off. Why? Because this is the Interweb, folks. Data never dies here. In fact, you can search the records yourself via Dontdelete.com.
Once I visited Don’t Delete, I couldn’t leave. There’s a button you can click to get the search terms from a random user, and every time I hit it, I got another gem. My favorite was user #4206444, obviously a college student trying to cheat quickly on his or her exams in order to get around to the more important things in life. Search phrases like “does social darwinism persist in social welfare policies and in the attitudes of the general public about social welfare” were followed by “free essays on adolescent depression and suicide risks” and “free essays on Charles Dickens Hard Times.” In between these queries were hundreds for “sailor moon pictures,” “pokemon pictures,” “sonic x,” and “selena pictures.”
As blogger Thomas Claburn (www.lot49.com) points out, there’s a kind of poetry to some of the queries. He excerpts a dozen lines from the 8,200 queries made by user #23187425, all of which seem to be a sort of conversation this person was having with the search engine — he or she never actually clicked on any links but just kept querying with plaintive phrases like “i have had trouble,” “i want to change,” and “i know who i am.”
I’m torn. I love having access to this data, both for its touching human qualities and for the kinds of anthropological information it could yield. But as someone who believes strongly in digital privacy, I simply can’t sanction what AOL did. It would be different if I had faith that discovering all those porn searches would somehow inspire people to accept that sexual curiosity is normal. And it would be different if I thought that law enforcement would consider that the people searching for “Islamic militant web forums” might simply be trying to understand the world. But I don’t. This data will be used to “prove” that the Internet is crawling with child pornographers and terrorists.
Someday AOL’s information should be put into the public domain for anthropologists and cultural researchers of the future. That future, however, is probably decades if not a century away. The data is too close to us now — too easily weaponized. Nevertheless, I hold out hope that one day our search queries will illuminate us and provide for another generation a digital outline of our daily desires. SFBG

MONDAY

0

Aug 7

Performance

“Mortified”

Anyone who writes for a daily or weekly publication knows plenty about mortification. So it should be no surprise that newspapers and magazines are lining up to praise “Mortified,” the monthly stage show and shame game devoted to life’s most embarrassing moments. Misguided mash notes and diary stories about first kisses and worst hand jobs – in this show, all are ripped open like scabs on the psyche. Many cities get “Mortified,” but only San Francisco recently hosted a Bad Teen Poetry Slam. (Johnny Ray Huston)

8 p.m. (doors open at 7)
Make-Out Room
3225 22nd St, SF
$10-$12
(415) 647-2888
www.getmortified.com

Music

Editors

Get out your red pens and rock-out boots for this much-touted Brit band. Nice, down-to-earth blokes – look to the Noise, the Guardian’s music blog, soon for an interview conducted the last time the band was in town. (Kimberly Chun)

With Cold War Kids
9 p.m.
Fillmore
1805 Geary, SF
$17.50
(415) 346-6000

Burritos of the gods

0

› a&eletters@sfbg.com
SFBG So what inspires you?
MICHAEL SHOWALTER You do, you inspire me.
I think about you in the morning. I doodle little pictures of your face and think about you making me a burrito. Sometimes I doodle little pictures of you making me a burrito.
OK, so maybe that isn’t exactly how it goes. Although Showalter is a doodle enthusiast, he is only mildly turned on by baby-size burritos. Being the narcissistic Bay Area dweller that I am, I immediately ask Showalter, who’s on the phone from his home in New York City, about San Francisco.
“I like San Francisco. I like beat poetry. I like gay people…. I don’t like gay beat poets.”
So he doesn’t read Ginsberg?
“My favorite books are Everybody Poops and the Odyssey. They are actually very similar.”
Showalter is a smart guy. He’s one of those smart guys who scared the hell out of his parents by going into comedy. His dad, a Yale-educated French lit professor, and his mom, a literary critic, worried that their little brainiac (680 math, 620 verbal) was going down the wrong path. “It’s not like this is something you go to grad school for,” he says.
I remind him that his buddy Eugene Mirman did design his own comedy major and that he could have done the same.
“I would have designed a doodling major. My thesis would be on doodles.”
Instead, Showalter took the smart-guy route and studied semiotics at Brown. This is the mind fuck of all possible majors. Most people who spend their formative years steeped in the philosophy of language become literary theorists or filmmakers. People who spend this much time reading Umberto Eco and Roland Barthes take a long time to recover.
Showalter used sketch comedy as a catalyst for his recuperation. This might explain why his entire body of work is (a) fanatically devoured, quoted, and forever adored by viewers or (b) dismissed as ridiculous and forgotten promptly.
Personally, I can’t take anyone who didn’t like The State seriously, but Showalter takes it in stride. “I think people that don’t like it might not get it,” he says. “It’s metahumor — a lot of people aren’t into metahumor. A friend once told me that it is better to have nine people think your work is number one than a hundred think your work is number nine.”
After the Showalter- and David Wain–penned Wet Hot American Summer was released in 2001, some critics gave the boys a very hard time for the scene that involved someone slipping on a banana peel. “The joke was that we made a banana peel joke,” explains Showalter.
Still, one has to wonder, how the hell do these guys come up with this stuff? How does the absurdist sketch comedy show Stella get so far out there? Do Michael Ian Black, Wain, and Showalter just sit around a table bouncing ideas off each other?
“Yeah, exactly like that,” says Showalter. “It is that cliché situation with guys sitting in a room with a Nerf basketball. Only we don’t put it into the net. Ever.” All three members of Stella contribute equally to the creative process — “If we all think it’s funny, then it’s funny,” Showalter observes.
Last year’s film The Baxter marked a departure from sketch comedy. As the writer, director, and star of the romantic comedy, Showalter admits it wasn’t all tweed and roses on the set. “There were problems between the director and the star,” he says. “We just didn’t get along. I found it difficult to deal with myself.”
After his experience writing the film, Showalter joined the faculty of the Peoples Improv Theater. He currently teaches a course on writing comedic screenplays. Yeah, he’s a real teacher. He has a syllabus but doesn’t use textbooks. Instead, he shows movies to illustrate his points. “I show bad comedies like Annie Hall and good comedies like Porky’s.”
Showalter plans to continue teaching, possibly adding a sketch comedy class to his schedule. As far as acting goes, he says, “I’m working on a reality show for a major television network. That’s all I can say.”
The tour is also on his mind. Although stand-up is a pretty new thing for Showalter, he doesn’t worry much about people not laughing: “Pretty much everyone who comes to see me already thinks I’m funny, so I don’t really get heckled.”
Good thing. A heckler at a Showalter show would probably throw canned vegetables on stage. The Blue Collar Comedy tour made a movie. The Comedians of Comedy tour made a TV special. The idea of Showalter, Mirman, and Leo Allen traipsing up and down the West Coast in a van makes me nervous.
Will there be groupies? Drugs? Booze? “It will be like that part with the red snapper in the Led Zeppelin biography Hammer of the Gods,” he deadpans. “Very Zeppelin-esque. I have already said too much. Let’s just say it has a lot to do with sushi.”
Sure, Showalter gives a good interview, but I don’t think I’d let him near me with a fish. SFBG
MICHAEL SHOWALTER WITH EUGENE MIRMAN AND LEO ALLEN
Tues/25, 9 p.m.
Independent
628 Divisadero, SF
$15
(415) 771-1421
www.independentsf.com

Pan stanzas

0

› le_chicken_farmer@yahoo.com
CHEAP EATS After three or four days of sleeping under stars, swimming in rivers, and staring into the fire, I have nothing in me but poetry — so don’t bother looking for any restaurants in this restaurant review.
Here’s one I caught while my brother and friends were fishing for fish. Let’s call it “Water Bug Poem.”
On the American River, in it, up to my gut, watching water bugs. Who said that corn and cows were beautiful to the extent that they were what they were? Water bugs disprove you, existing more fully in their river bottom shadows, perfect circle feet on slapstick-figure bodies, skitting over rocks, mud, rocks. Every now and then a dead one floats by and what’s the difference, under water? I don’t care where, I’ll say it again, in bubbles: You’re beautiful. I have a big straw hat and sunscreen, stand alone, shriveled and shivering, no longer feeling my big white feet beneath me. You know how it is? When all you can do to be warm is piss yourself.
That’s a poem, even though it might not look like one and has urine in it. Come to think of it, damn me, there was a psychiatrist on this camping trip with us, and I forgot to ask her why a chicken farmer in his or her forties would still be fascinated by scatology. Of course she was pretty much stoned the whole time almost, I think, so I don’t know how professional an opinion it would have been.
One e-mailer wonders if I secretly hate my readers. I don’t think so, but I’m willing to wonder anything in the world or even sometimes just outside of it. So…
No, I really don’t think so. Or if I do secretly hate my readers, I secretly love them too, so the two you would think would cancel each other out, right, rather than make me shit on their heads every week in July, year after year? My own uneducated guess, dear reader, is that if there is any secret hatred behind all this, it’s not about you. It’s between me and me — and I promise to try to work that out in therapy next week. Because your point is well-taken: “Life is hard enough on a bad day without getting besieged with the contents of [my] intestines.”
Another possibility is that “shit happens,” and maybe I personally have managed to make my peace with that fact. But that doesn’t mean I have to rub it in everyone else’s face. I could very easily flush, light a match, open a window, exit stage left in a cloud of shame and sheepishness, and find something more universally entertaining to be proud about in print.
Like pee! Just kidding. Farts? Farts are funny to everyone, right? And they always were and always will be? Right? Can we compromise and have a Toot-Toot Pride Month?
I’m still kidding. Sorry. And I do have another poem to tell you. Call it, um, “Someone in the Kitchen,” because someone’s been in mine. Can you tell?
I succeeded in not thinking about you sometimes, actually, in the mountains. Then, winding home on the nearly no-lane road, I started seeing blackberries. Already itchy and pinched, I pulled over and started picking, easily overflowing a tin bowl and cup before it hit me: Dude, you have my pie pan. I want it back.
That there is a true-story poem, and I ate all those blackberries before I got out to the main road, for the record. It’s that black teeth time of year again for me, hooray! Almost drove off the road several times, smiling at myself in the rearview mirror, for kicks. It would have been a very scenic death at least.
Well, once you get to 80 West, you have to drive past Ikeda’s twice, once just outside of Auburn and then again just inside of Davis. I made it past the first but could not resist the second, partly because I needed gas and to pee real bad anyway.
Take the Mace Boulevard exit. And never mind all the produce and other stuff. I think the Auburn one even has burgers. But the important thing about Ikeda’s, if you don’t already know, is the pie. They make the best homemade pies that weren’t made by anyone you know (because someone has his or her pie pan, ahem).
I found a day-old mini peach one for half price ($3.00). It’s like 6 inches across by 2 1/2 inches deep, which is a lot of wonderfulness for, say, two people, or one person twice, if you’re me.
But it’s not a restaurant. SFBG
IKEDA’S
Daily, 9 a.m.–7 p.m.
26295 Mace Blvd., Davis
(530) 750-3379
Takeout only
MC/V
Quiet

Light after darkness

0

› johnny@sfbg.com

Cracked walls, peeling plaster, empty light sockets, patterns of wallpaper, and scraps of old headlines devoid of human activity, the shots within poet, novelist, critic, painter, and occasional filmmaker Weldon Kees’s only solo directorial effort, Hotel Apex (1952), convey what biographer James Reidel deemed a fascination with “the pathos of objects.” It’s little wonder Jenni Olson feels a certain kinship with Kees: Her recent ode to San Francisco loneliness, 2005’s The Joy of Life, also mines emotion from urban spaces some might consider empty or left behind. “He’s very quirky about the banal and the mundane, and kind of poetic and melancholy,” notes Olson, when asked about a bond. “He’s a role model.”

Because The Joy of Life‘s soundtrack features Kees’s “The Coastline Rag,” Olson’s exploration of landscape and longing might seem like a direct tribute to Kees’s film work after all, Olson’s film deals partly with the Golden Gate Bridge and suicide, and Kees was fatally drawn to the landmark. That isn’t the case, though: It turns out Olson only recently learned of Hotel Apex‘s existence, in the process of putting together a film program devoted to Kees, with some help from Reidel.

Such a project couldn’t have been simple. A too-easy source like IMDb.com is definitely not the place to go to learn about Kees’s links with film, as the site only credits his contributions as a composer to The Joy of Life and James Broughton’s Adventures of Jimmy, an oft-hilarious short with ultra-fey narration by Broughton that resonates with the real-life sexual ambiguity of both its director and (perhaps a bit less) its music contributor.

In fact, Kees was involved in more than a handful of short films. Unsettling when one digs beneath its ordinary surface, the Gregory Bateson collaboration Hand-Mouth Coordination (1952) resembles a home movie of a mom and child that includes footage of the father figure who actually turns out to be Kees at work behind a Bolex. If the scenario seems a bit like the filmed experiments that distort the protagonist of Michael Powell’s 1960 Peeping Tom as a child, the comparison isn’t completely off base. “The film is meant to be a depiction of a schizopregenic a cold mother who doesn’t properly bond with her kid,” Olson explains while describing one of a few projects partly derived from Kees’s links to the local Langley Porter Psychiatric Clinic. “Kees was very particular about the idea that the filmmaker should be visible, in a way that 50 years ago was new. He was influenced by Helen Levitt.”

An acknowledgement, however unconventional, of the filmmaker’s role something troublesomely absent from Eric Steel’s controversial, not-yet-released Golden Gate Bridge suicide documentary The Bridge is something that unites Kees’s and Olson’s movie projects. Kees’s physical presence within a 1955 film by William Heick, also called The Bridge, is the more subtle and historically engaged riddle about life, death, and the Golden Gate Bridge at the core of Olson’s program, which she’s put together in conjunction with San Francisco Cinematheque and the Poetry Center. In The Bridge, Heick and Kees draw upon Hart Crane’s poem of the same name: Although the structure itself is no longer the Brooklyn but rather the Golden Gate span, Crane’s words become an elegy not just for himself but for fellow poet Kees as well.

Beyond the films he was involved in, Kees’s ties to film history are rich ones. Briefly a movie critic at Time, he was close to James Agee, and as Reidel’s bio notes in passing, no less a talent than friend and fellow painter-critic Manny Farber praised Hotel Apex‘s unorthodox camera work for its “crawl” down a steam pipe “at the pace of a half-dead bug.” (Kees also rubbed shoulders and butted heads with Clement Greenberg, Mary McCarthy, Kenneth Rexroth, William Carlos Williams, and others.) Pauline Kael often cursed herself for not recognizing self-destructive signs in her friend, as she was one of the last people to see Kees with any regularity in the last year of his life. For those who know little about Kees’s ties with Kael, or the role moviegoing plays in one of his most effective and contemporary poems, Olson’s program might bring a surprise or two. SFBG

KEES KINO: THE FILM WORK OF WELDON KEES

Sun/11, 7:30 p.m.

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.sfcinematheque.org

www.butch.org

Bitter wounds

0

› a&eletters@sfbg.com

Youthful innocence and stupidity can generally be relied on in making soldiers and war; those lacking such qualities may have to be beaten and intimidated into service. The process inspires some vivid imagery in French playwright Fabrice Melquiot’s The Devil on All Sides (Le Diable en Partage), a poetical mix of fantasy and harsh reality set amid the 199295 Bosnian war. Here the consummate soldier is, in one instance, literally the deconstructed man: reduced piece by piece, beginning with his eyes. But then, as the play unfolds, staying together as individuals, lovers, families, or neighbors becomes the supreme psychic and physical challenge in a state of war.

The central characters, Lorko (Rod Hipskind) and Elma (Nora el Samahy), are lovers separated by the conflict. Lorko a Serbian Christian who courts and marries Elma, a Bosnian Muslim, before the war finds himself viciously pressed into the militia when battle erupts. Despite his initial acquiescence in rabid nationalism and ethnic hatred, he soon abandons the front lines. Moving westward across Europe, he remains haunted by Elma and the family he’s left behind, who show up in his waking dreams. "No one is sleeping in this world," he notes echoing the poet for whom he was named (indeed, the play as a whole draws significantly on the imagery in Federico Garc??a Lorca’s "City That Does Not Sleep").

Meanwhile, Elma remains with her disintegrating in-laws in their disintegrating home, in a disintegrating country, her presence strongly associated with the garden she tends and the singing she loves. Being both family and Muslim, she acts as both buffer from and incitement to the rage and madness unleashed by the war around the dinner table: Lorko’s mother (Deb??rah Eliezer) knitting feverishly to plug the holes in the walls, sweet younger brother Jovan (Brian Livingston) succumbing to sadism, friend Alexander (Ryan O’Donnell) another enthusiastic soldier gradually whittled away, Lorko’s gentle, mentally unraveling father (Michael Sommers) occupied with writing down all the details of life "as it was."

The US premiere of Devil, a recent popular and critical sensation in France, is an impressive achievement for foolsFURY (in association with Alliance Française), beginning with artistic director Ben Yalom’s lively, eloquent translation and imaginative staging (the latter marred only by some action set too low at the front of the stage). The cast, led by strong performances from el Samahy and Hipskind, gracefully embodies the shifting tones in Melquiot’s darkly humorous, grim, fanciful, and melancholic poetry. Its tangled field of beauty and horror meanwhile is admirably reflected in scenic designer Dan Stratton’s battlefield home, Christopher Studley’s moon-bathed, spectral lighting, and the contrasts between sounds and silences in Patrick Kaliski’s excellent aural landscape of music and mayhem (original score by Dan Cantrell). Here, Lorko’s crumbling family home sits amid a concrete and steel graveyard where still a rebel flower may bloom.

Schönberg

"Strip away the phony tinsel of Hollywood and you will find the real tinsel underneath," Oscar Levant once famously quipped. He certainly had the personality and career to understand the truth in that line, or the real tinsel underneath it. But as John Fisher’s new play shows, Hollywood in the 1940s did have a surface to scratch witness the otherwise unlikely encounter between Levant and Arnold Schönberg, the latter a part of Los Angeles’s community of German Jewish émigré artists and intellectuals on the run from Hitler.

Fisher, who skillfully plays the title role as well as directs, sets this real-life encounter between the formidable modernist composer and the Broadway-Hollywood composer-actor-pianist and mordant wit (played with coolly neurotic panache by Matthew Martin) against a present-day story of rattled sexual identities. As the play gets under way, a frustrated history professor named John (Matt Weimer), in a state of midlife crisis, breaks off his long-term relationship with his lover, Chris (Michael Vega), to start an affair with his best friend, Ash (Stefanie Goldstein), breaking up her long-term relationship to Jane (Maryssa Wanlass) in the process.

The resulting "emancipation of dissonance" brings forward a number of themes, as these overlapping attempts at reordering spark, chafe, and fly apart again in a state of ghostly proximity to one another. The scenes between the hip but nervous, pill-popping Oscar (a dedicated hypochondriac and phobic) and the imposing but dryly humorous Schönberg are especially riveting, serving, among many other things, to measure the tension between the incessant commodification of culture and some notion of pure art. The John and Ash affair, while well acted, seems less developed. Even given a certain fuzziness, however, it’s a completely worthwhile evening, suggesting that the fault lines running beneath Los Angeles are many and varied. As Levant once wrote, in a line that could speak for his culture, "I am, as I’ve told everyone, deeply superficial." SFBG

THE DEVIL ON ALL SIDES

Through May 27

Thurs.–<\d>Sat., 8 p.m.; Sun., 7 p.m.

Traveling Jewish Theatre

470 Florida, SF

$12–<\d>$30 (Thurs., pay what you can)

(866) 468-3879

www.foolsfury.org

SCHÖNBERG

Through May 20

Wed.–<\d>Sat., 8 p.m.; Sun., 3 p.m.

Theatre Rhinoceros

2926 16th St., SF

$15–<\d>$25

(415) 861-5079

www.therhino.org

Last call?

0

› news@sfbg.com

Concerns about public drinking in North Beach and stifled public debate are conspiring to cripple a pair of popular outdoor festivals, possibly creating a troubling precedent for other events at the start of San Francisco’s festival and street fair season.

"We’ll have to cancel this year’s festival," Robbie Kowal, who runs the North Beach Jazz Festival, said of the possibility of not getting his alcohol permit. "Seventy-five percent of our funding comes from the sale of alcohol."

The Recreation and Park Commission’s Operations Committee is set to review the jazz festival’s permit May 3, and if sentiments among the three mayor-appointed commissioners haven’t changed, they might not allow Kowal and his partners, John Miles and Alistair Monroe, to set up bars and serve drinks to local jazz fans in Washington Square Park, as they’ve been doing without challenge for the past 12 years.

"We’ve never even had a hearing to get a permit before," Kowal said. "We’ve had no arrests and no [California Department of Alcoholic Beverage Control] violations. We’re being punished when we haven’t done anything wrong. We’re caught up in this whole North Beach Festival situation."

Kowal was referring to a dispute involving the neighborhood’s other popular street fair, the North Beach Festival, a 52-year street fair that had its permission to sell alcohol in the park yanked this year. The festival is hosted by the North Beach Chamber of Commerce, whose director, Marsha Garland, is a political adversary of the area’s supervisor, Board of Supervisors president Aaron Peskin.

The problem started when parks general manager Yomi Agunbiade determined that a long-standing ban on alcohol in city parks should also apply during festivals. Two out of three members of the Rec and Park Commission’s Operations Committee agreed with that ruling during an April 5 meeting, and it became official policy.

Then, as the North Beach Festival permit went to the full commission for approval April 20, the words "permission to serve beer and wine" disappeared from the agenda item. Those words had appeared on an earlier version of the agenda, allowing the commission to grant what Garland had received with every permit for the last 20 years. The agenda change meant the commission couldn’t even discuss the alcohol issue, let allow issue a permit that allowed it.

Commissioner Jim Lazarus questioned a representative of the City Attorney’s Office about it and was told that the full commission couldn’t hear the policy if the general manager and Operations Committee were in agreement.

"I was taken aback by the fact that the full request of the applicant to serve beer and wine was not on the calendar," Lazarus told us. "I’ve been on the commission for three and a half years, and I’ve never seen that happen before for this kind of issue."

This story is still unfolding, but observers are openly wondering whether this is an isolated case of political sabotage or whether this battle over beer could hurt the summer festival season.

Wine and beer sales have always played a critical role in the financial viability of many of the city’s summer festivals. In a city that’s never been afraid of a liberal pour, many are beginning to wonder if the good times are over, and if so, why?

"The Rec and Park meeting was so disheartening, and if it’s used as a precedent in any way, it will harm other events. If the oldest street fair in this city can be chipped away at like that, who’s next?" said Lindsey Jones, executive director of SF Pride, the largest LGBT festival in the country.

Some North Beach residents think this Rec and Park procedural shell game is punishment for Garland and her organization’s opposition to Peskin, whom they blame for the change.

"Aaron Peskin would like to take Marsha Garland’s livelihood away," said Richard Hanlin, a landlord and 30-year resident of North Beach who filed a complaint over the incident with the Ethics Commission.

"They want to railroad Marsha," said Lynn Jefferson, president of the civic group North Beach Neighbors. "They want to see her out of business. If she doesn’t have those alcohol sales, she’ll personally go bankrupt."

At the heart of the Garland-Peskin beef is a 2003 battle over a lot at 701 Lombard St. known as "the Triangle," which the owner wanted to develop but which the Telegraph Hill Dwellers wanted for a park after they found a deed restriction indicating it should be considered for open space. Peskin agreed with the group he once led and had the city seize the land by eminent domain, drawing the wrath of Garland and others who saw it as an abuse of government power.

Peskin told the Guardian that it’s true he doesn’t care for Garland, but that he did nothing improper to influence the commission’s decision or agenda. However, he added that he’s made no secret of his opposition to fencing off much of the park to create a beer garden and that he’s made that point to Rec and Park every year since the festival’s beer garden started taking over the park in 2003.

“Just let the people use Washington Square Park. It’s the commons of North Beach,” Peskin said. “The park should be open to people of all ages 365 days a year. That’s just how I feel.”

Yet Peskin said that neither the North Beach Jazz Festival, which doesn’t segregate people by age, nor festivals that use less neighborhood-centered parks, like the Civic Center and Golden Gate Park, should be held to the same standard. In fact, he plans to speak out in favor of the jazz festival’s right to sell alcohol during the May 3 meeting.

Access became the buzzword this year, in response to last year’s decision by the San Francisco Police Department to gate two-thirds of the park off as a beer garden, effectively prohibiting many underage festivalgoers from actually entering a large part of the park. The section near the playground remained ungated, but many families were disillusioned by the penning of the party.

Enter the North Beach Merchants Association, a two-year-old rival of the Chamber of Commerce with stated concerns about booze. President Anthony Gantner learned that the park code banned alcohol from being served in any of the parks listed in Section 4.10, which includes Washington Square as well as nearly every other greenway in the city, unless by permission of the Recreation and Park Commission, which should only be granted as long as it "does not interfere with the public’s use and enjoyment of the park."

Gantner and Peskin both argue that the beer garden does interfere with the right of those under 21 to use the park. "The Chamber is basically doing a fair, and that’s it," Gantner said. "A lot of its members are bars, and they run a very large fair with beer gardens that result in incidents on the streets for merchants."

Though Garland contends that the festival is an economic stimulator, resulting in an 80 percent increase in sales for local businesses, Gantner claims that a number of businesses don’t benefit from the increased foot traffic. He associates alcohol with the congruent crime issues that crop up when the clubs let out on Broadway, and thinks that selling beer and wine in the park only accelerates problems in the streets after the festival ends at 6 p.m.

Gantner has the ear of local police, who are understaffed by 20 percent and looking for any way to lower costs by deploying fewer cops. "It used to be we could police these events with full staff and overtime, but now we’re trying to police them with less resources, and the events themselves are growing," Central Station Capt. James Dudley said.

He’s also concerned about the party after the party. The police average five alcohol-related arrests on a typical Friday night in North Beach, most after the bars close. But those numbers don’t change much during festival weekend, leading many to question the logic behind banning sales of alcohol in the park. Besides, if sales were banned, many festivalgoers would simply sneak it in. Even one police officer, who didn’t want to be named, told us, "If I went to sit in that park to listen to music and couldn’t buy beer, I’d probably try pretty hard to sneak some in."

At the April 20 Rec and Park meeting, Garland presented alternative solutions and site plans for selling beer and wine, which represents $66,000 worth of income the festival can’t afford to lose. Beyond her openness to negotiations, Rec and Park heard overwhelming support for the festival in the form of petitions and comments from 30 neighbors and business owners who spoke during the general public comment portion of the meeting.

Father John Malloy of the Saints Peter and Paul Church, which is adjacent to the park, spoke in support of Garland’s request. "I think I have the most weddings and the most funerals in the city," he said. "I’m praying that we don’t have a funeral for the North Beach Festival. If anyone should be against alcohol, it should be the priest of a church."

So who are the teetotalers? Testimony included 10 complaints from members of the Telegraph Hill Dwellers, Friends of Washington Square, and the North Beach Merchants Association, as well as Gantner and neighborhood activist Mark Bruno, who came down from Peskin’s office, where he was watching the hearing, to testify.

Commissioner Megan Levitan said, "If anyone knows me, they know I like my wine," before going on to explain that she was born in North Beach and even used to serve beer at O’Reilly’s Beer and Oyster Festival. However, she said, she’s a mother now, and parks are important to her.

"It does change a park when alcohol is there," she said. "I do not believe we should serve alcohol in the park."

Will that still be her stance May 3 when the North Beach Jazz Festival requests its permit? The jazz fest has never had beer gardens, and the organizers don’t want them. Instead, they set up minibars throughout the park, which remains ungated, allowing complete access for all ages.

Although there is hired security and local police on hand, by and large people are responsible for themselves. The organizers say it’s just like going to a restaurant for a meal and a drink, except in this case it’s outside, with a stage and free live music.

Though Kowal remains optimistic, he’s rallying as much support as possible, even turning the May 3 meeting into an event itself on his Web site (www.sunsettickets.com). His partners, Monroe and Miles, were concerned enough to swing by City Hall to see Peskin, who agreed to testify and help the Jazz Festival retain the right to sell booze.

"The first person to write a check to start this festival was Mayor Willie Brown," Kowal said. "Peskin has always been a big supporter of the festival, which is why we think it will all work out."

The festival is a labor of love for the three organizers, who barely break even to put the event on; after expenses are covered, any additional profit from the sale of alcohol is donated to Conservation Value, a nonprofit organization that aids consumers in making smart purchases.

"We were the first fair to use Washington Square Park," Monroe, the founding father of the jazz festival, said. "We’re standing up for the right to access the park. It’s not about ‘he said, she said’ or who did what to whom. It’s about hearing free live music."

So now comes the moment when we find out whether this is about alcohol, parks, or simply politics, and whether future street fairs could feel the pinch of renewed temperance. If the jazz festival gets to sell booze, Garland’s supporters argue, that will represent a bias against the North Beach Festival.

The commission will hear Garland’s appeal at the end of May, just two weeks before the festival begins. With contracts already signed and schedules set, the stakes are high. Owing to lack of funds, Garland has already canceled the poetry, street chalk art, and family circus components of the fair. She did receive an e-mail from Levitan promising a personal donation to put toward the street chalk art competition. Even so, she’s preparing for a funeral.

And if alcohol is prohibited at the jazz festival, it could send out a ripple of concern among street fair promoters and lovers around the city. To be a part of the decision, stop by the meeting and have a say. SFBG

PS This weekend’s How Weird Street Faire, on May 7, centered at Howard and 12th Streets, will have beer gardens in addition to seven stages of music and performances. But organizers warn that it could be the last festival because the SFPD is now demanding $14,000, a 275 percent increase from the police fees organizers paid last year.

operations committee hearing

May 3, 2 p.m.

City Hall, Room 416

1 Dr. Carlton B. Goodlett Place, SF

(415) 831-2750

www.sfgov.org

San Francisco International Film Festival: Week two

0

WED/26

*Art School Confidential (Terry Zwigoff, USA, 2005). Pulpy with a deep noirish cast, this second collabo between Ghost World director Terry Zwigoff and cartoonist Daniel Clowes jumps off the artist’s scathingly on-target Eightball strip of the same name, taking aim at misbegotten would-be genius Jerome (Max Minghella), on campus with a serial killer on the loose, and painting Clowes’s comic exposé even blacker. Jerome’s hilarious and progressively unsettling trajectory through the art school con is studded with such delicious characters as condescending, failed-artist instructor John Malkovich, haughty art history teacher Anjelica Huston, wiseacre friend Joel David Moore, and graduate burnout/washout "guru" Jim Broadbent. 6:30 p.m., Kabuki (Kimberly Chun)

*The Wild Blue Yonder (Werner Herzog, Germany/England/France, 2005). Herzog’s latest dispatch from the reaches of inner and outer space orbits around found footage from NASA, mesmerizing underwater-camera work by Bay Area Grizzly Man player Henry Kaiser, and supposed space oddity Brad Dourif, furrowing his brow with all his might and telling tales of aquatic constellations elsewhere and environmental devastation on his adopted planet Earth. This elegiac, doomsaying and at times pixieish riff on Herzogian themes of hell- and heaven-bent exploration, vision quests, survival, and a certain rootlessness finds the auteur delving further into his Grizzly technique of piecing together a compelling narrative from whatever he can find in his cupboard. 7:30 p.m., Castro (as part of "An Evening with Werner Herzog") (Chun)

THURS/27

See You in Space (J??zsef Pacskovsky, Hungary, 2005). Hungarian writer-director Pacskovsky’s latest is another whimsical contraption of crisscrossing multiple story lines that sigh and shrug over the human condition. An astronaut stuck in orbit grows desperate as (back on Earth) his wife leaves him for a suave magician; a macrobiologist stalks, woos, and wins a virginal African refugee; a young hairdresser edges toward romance with an elderly client; a criminal psychologist finds herself attracted to a jailed murder suspect. Sprawling cross the globe, these alternately sardonic, fantastical, and silly threads are united by a sense that obsessive love is as unavoidable as it is inevitably disappointing. 4 p.m., Kabuki. Also Tues/2, 8:45 p.m., and May 4, 5:45 p.m., Kabuki (Dennis Harvey)

*The Shutka Book of Records (Aleksandar Manic, Czech Republic, 2005). A Roma town in Macedonia stuffed with self-proclaimed champions is the setting for this weirdly joyful film, which is far too bizarre to be anything but a doc. Here’s some of what you’ll see: the "most powerful dervish in the world"; Mondo Caneish interludes (one word: circumcisions!); a woman known as "The Terminator" whose stock-in-trade is exorcising evil genies; break-dancers and boxers; exceedingly competitive Turkish music fanatics; and a young butcher named Elvis. My head was about to explode after I saw this film … but in a good way. 1:45 p.m., Kabuki. Also Sun/30, 12:45 p.m., Kabuki (Cheryl Eddy)

The Sun (Alexander Sokurov, Russia/Italy/France/Switzerland, 2005). Third in a planned quartet of features about figureheads of 20th-century totalitarianism earlier ones focused on Hitler and Lenin; the fourth is yet to be announced this latest by Sokurov (Mother and Son, Russian Ark) focuses on Emperor Hirohito (Issey Ogata) at World War II’s end. The first half is as claustrophobic and tedious as the emperor’s underground bunker. Things get more interesting when he emerges to meet with the occupying forces’ General MacArthur (Robert Dawson) and sheds his age-old status as a living god a move that lets the Japanese people off the hook while allowing a bookish, mild-mannered monarch to finally live like a human being. This is a fascinating situation as well as a key historic and cultural moment. But The Sun is heavy going; seldom has a subject generated so little of Sokurov’s trademark metaphysical poetry, despite some striking moments. 9:15 p.m., Kabuki. Also Sat/29, 3:15 p.m., Kabuki; and May 3, 7 p.m., PFA (Harvey)

FRI/28

Executive Koala (Minoru Kawasaki, Japan, 2005). It all starts so promisingly: An overworked koala, who is a celebrated executive in a pickle company, spends his time away from the office in bed with his doting human girlfriend. When she turns up dead, the cops come after him, causing our marsupial hero to question his assumed gentleness and his past. But this ridiculous Japanese comedy fails to build upon its initial setup; once the novelty of a guy in a koala suit wears off, so does the enjoyment. 10:30 p.m., Kabuki. Also Tues/2, 4:15 p.m., Kabuki (Jonathan L. Knapp)

SAT/29

*The Descent (Neil Marshall, England, 2005). What’s worse than being trapped underground? How about being trapped underground with creepy cave dwellers creepy, hungry cave dwellers? And maybe, just maybe, losing your mind at the same time? Believe the hype: British import The Descent is the scariest movie since The Blair Witch Project, thanks to a killer premise, flawless pacing and casting, and Dog Soldiers writer-director Neil Marshall’s unconcealed love for the horror genre. 11:30 p.m., Kabuki. Also Mon/1, 4 p.m., Kabuki (Eddy)

*Jonestown: The Life and Death of Peoples Temple (Stanley Nelson, USA, 2006). Nearly 30 years after the deaths of more than 900 people in the Guyanese jungle, Nelson’s deeply affecting documentary replays Jim Jones’s final, twisted address: "We didn’t commit suicide we committed an act of revolutionary suicide protesting the conditions of an inhumane world." That speech sets in motion what the doc tabs "the largest mass ‘suicide’ in modern history." Using a remarkable cache of vintage footage, as well as candid interviews with Peoples Temple survivors, relatives, and other eyewitnesses, Nelson examines the massacre with a journalist’s eye. Why the tragedy happened may never be explained, but seldom before has the how of Jonestown been so clearly delineated. 6:15 p.m., Kabuki. Also Sun/30, 7 p.m., Intersection for the Arts; Mon/1, 7 p.m., PFA; and Tues/2, 4:30 p.m., Kabuki (Eddy)

*Wide Awake (Alan Berliner, USA, 2005). Documentary filmmaker Berliner (Nobody’s Business, The Sweetest Sound) takes his celebrated self-scrutiny to dizzying heights in this portrait of the artist as an insomniac. The subject is specific, but it’s readily apparent how sleeplessness touches Berliner’s life and work. As his trademark virtuosic montage editing flashes by (like many heralded avant-garde filmmakers before him, Berliner meticulously constructs scenes and meaning from the detritus of film history), we realize the extent to which artistry can be tied to neurosis a message unusual in its candor and transparency. 5:45 p.m., PFA. Also Sun/30, 4:15 p.m., Aquarius; and Tues/2, 9:30 p.m., Kabuki (Max Goldberg)

SUN/30

Half Nelson (Ryan Fleck, USA, 2005). Dan Dunne (Ryan Gosling) is both an inspiring, idealistic teacher of history and a long-suffering addict of crack and cocaine in this challenging character study. Aside from a laughable reliance on stroking his scruff to convey existential angst, Gosling is largely up to the task of playing the bipolar lead, but the swaying narration of his character’s downward spiral feels shapeless. Still, the scenes in which Dan and a knowing student (Shareeka Epps) guardedly discuss immobility, race, and life in Brooklyn avoid the histrionics that mar typical teacher films, making Half Nelson a powerful, if overly ambitious first feature for writer-director Fleck and writer-producer Anna Boden. 6:15 p.m., Kabuki. Also Tues/2, 9 p.m., Kabuki (Goldberg)

TUES/2

*Backstage (Emmanuelle Bercot, France, 2005). Emmanuelle Seigner convincingly plays and sings as sexily imperious Euro-pop goddess Lauren in this headlong remix of All about Eve, Persona, and the psycho-stalker genre. She commands hysterical worship from her fans, few being more hysterical than suburban teenager Lucie (Isild Le Besco). Improbably, the latter manages to insinuate herself into the spoiled, neurotic, rather awful pop princess’s inner circle as new confidante, servant, and toy. But if Lauren is a mess, Lucie might well turn out to be the much sicker puppy. Nasty fun, smartly directed. 7 p.m., Kabuki (also with Zoom! party at Roe, 9:30 p.m.) (Harvey) SFBG

After the Revolution

0

› a&eletters@sfbg.com

If you have any interest in seeing Philippe Garrel’s latest feature on the big screen, its three San Francisco International Film Festival screenings may be your only chance. While Regular Lovers is a major film by an important director associated with the French new wave, it’s hard to fathom a distributor gambling on a three-hour foray into French history with more emphasis on philosophy than on plot. In its reconsideration of the chaos that was 1968, the film is, in part, a response to Bernardo Bertolucci’s The Dreamers; there was a time when European art cinema mattered enough for this kind of exchange to turn heads, but such is not the case in today’s film culture.

If that seems too gloomy an opening, it should be said that Garrel’s disillusioned movie is all about things coming to an end. Whereas Bertolucci’s last film builds to epochal May ’68, Regular Lovers opens with fighting in the streets. Our protagonist, a young poet-radical named François (played by Louis Garrel, who also starred in The Dreamers and just happens to be Garrel’s son), skirts through the Latin Quarter as unorganized bands of freedom fighters overturn cars and toss Molotov cocktails. Garrel has said that this ghostly hour-long sequence attempts to re-create the documentary footage he himself shot during 1968, and, indeed, the perspective is almost journalistic in its distance. In one long shot, a man and woman embrace in the corner of the frame while cars burn a few meters away. If he had filmed the same scene, Bertolucci would have stylistically emphasized the kissing because, for him, this was a time when sex and politics were inextricably linked. Garrel’s vision is colder but makes more sense with 40 years of hindsight. For him, the romance and sexual liberation come after the revolution, or, more precisely, these elements (along with other distractions like opium and music) shift the revolution’s focus away from the political and toward the personal

And so it is that François falls in love with Lilie (Clotilde Hesme), a pensive girl-with-bangs who is a sculptor and goes to all the right parties. Young François trades his idealistic politics and poetry for romance and an increasingly nihilistic take on bohemianism, moving from the action of the Latin Quarter to the inertia of opium dens and artists’ lofts. By the film’s end, the events of May ’68 seem like more of a head trip (at one point François wonders whether it’s possible to "make the revolution for the working class despite the working class") than a true revolution.

Throughout Regular Lovers, there’s an obvious tension in the way Garrel uses ’60s-era new wave conventions (handheld camera, location shooting, etc.) to undercut that same decade’s mythos. But careful, the Paris of this film isn’t that of Breathless. Gone are the exhilarated long shots of boulevards and canals; Garrel pictures the city as a series of shadowy, bare interiors and geometric exteriors — more along the lines of Fritz Lang’s nightmarish visions of Berlin than, say, Cléo from 5 to 7.

Now that we’re seeing the return of the repressed in French culture and cinema (France’s postcolonial legacy haunts Michael Haneke’s Caché as well as at least three films playing at this year’s SFIFF: The Betrayal, I Saw Ben Barka Get Killed, and October 17, 1961), the entropy of Garrel’s narrative arc seems that much more dark and, as Paris burns once again, tragic. Although overlong and sometimes didactic, Regular Lovers reveals a filmmaker impressively responsive to change. SFBG

REGULAR LOVERS

(Philippe Garrel, France, 2005)

Fri/21, 8:45 p.m., Kabuki

Sun/23, 12:45 p.m., Kabuki

April 29, 8:15 p.m., Pacific Film Archive