Volume 40 [2005–06]

“Dance/Screen: Innovative International Dance Films”

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PREVIEW Dance on film looks flat, distorted, and without nuances, right? Yes and no. In general, dance does not take kindly to the screen. Good enough for documenting or teaching, films simply don’t convey the effervescent presence of a live performance. But in some cases the medium goes beyond simply recording and actually partners with the choreography in a way that can be every bit as exciting as a live performance. As a genre, dance films are fairly new and, often, still don’t get no respect. Charlotte Shoemaker, who curates San Francisco Performances’ "Dance/Screen" series, is doing her best to change that perception. Every May she packs a collection of what she can find internationally into a one-evening program. This year that includes the 60-minute CounterPhrases, by Flemish filmmaker and composer Thierry de Mey, Anna Teresa de Keersmaker’s longtime collaborator. De Keersmaker is one of Europe’s most influential, rigorous, and imaginative choreographers, and CounterPhrases is based on 10 of her dances, each set to a different piece of contemporary music. The program also includes Miranda Pennell’s British homage to Wild West fights, Fisticuff, and Arcus, a short directed by Alla Kogan and Jeff Silva and choreographed by Nicola Hawkins. (Rita Felciano)

DANCE/SCREEN: INNOVATIVE INTERNATIONAL DANCE FILMS Tues/23, 7 p.m.

Yerba Buena Center for the Arts, Screening Room, 701 Mission, SF

$7. (415) 392-2545, www.ybca.org

Turfing the Web

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a&eletters@sfbg.com

ONLINE Recording and computer engineer Damon Todd is perhaps best known as the producer of "Sick Wid It," a song from B-Legit’s Block Movement (Sick Wid It, 2005). Since January, however, with the launch of the social networking site Townturf.com, the young entrepreneur has been hard at work becoming Oakland’s own Tom Anderson. Todd wears many hats in the fledging company, as the site’s cofounder, CFO, chief programmer, administrator, and all-around tech guy, supported by a single silent partner and a staff of four high school interns. Yet membership in the site has already grown to 1,300 on the strength of a two-pronged marketing campaign: a few locally programmed ads on cable stations like BET, E!, and Spike! and a vigorous effort by the interns to get their friends signed up for the free service, which offers the array of features (homepage, e-mail, music and photo uploads, blog) familiar to users of MySpace and other such sites.

"I thought the Bay Area needed its own social network for individuals who fall within the urban demographic," Todd says. "Its social network needs to be a reflection of the actual community for which it exists. The plan is to help people spread awareness about what they’ve got going on here in the Bay Area. With the hyphy movement, there’s a lot of people taking an interest in what’s going on. They can come to Townturf and see what’s happening."

This cultivation of a virtual community rooted in a specific locality may seem at variance with the original "worldwide" associations of the Web. But the Web is worldwide only if you can get on it, and the needs of inner-city users with less-than-optimal access and equipment are seldom considered by site developers. Evoking Oakland hip-hop’s familiar green-street-sign aesthetic in its name and look — the "Town" being synonymous with Oakland — Townturf eschews the latest round of dial-up-crashing flash animation ads in favor of a lo-fi, user-friendly format.

Moreover, in contrast to the April 3 Newsweek cover story on "Web 2.0," which gushed that MySpace and other user contentdriven sites represent "the great migration of everyday experience to the Internet," Townturf acknowledges the primacy of real-life motivations for online activity. Sometimes virtual friends aren’t enough: A collection of acquaintances from all over the world, no matter how many interests you share, doesn’t compare to the best bud who is still willing to go to the show with you because you’re best buds.

Similarly, for musicians using such sites to promote their work, there’s no substitute for a local fan base that’ll turn out to see them perform. In its emphasis on the local — and with plans to include event promotion, ticket sales, and a newsletter — Townturf seeks to combine the real-world practicality of Craigslist with the networking ease of MySpace. SFBG

www.townturf.com

Bitter wounds

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› 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

Girls afraid

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› cheryl@sfbg.com

As far as Lindsay Lohan goes these days, the title of a recent New York Times essay on her vida loca offers a succinct, if not entirely flattering, summation: "Lindsay Lohan: Portrait of the Party Girl as a Young Artist." The freckled former Disneyite has lately been on the verge though whether it’s the verge of a grown-up career breakout or a total Britney Spearsstyle image meltdown seems unclear.

Just My Luck, LiLo’s latest, doesn’t bode well for her aspirations to being a movie star in the Scarlett Johansson mode. Donald Petrie, director of Miss Congeniality and How to Lose a Guy in Ten Days, manages to meet both flicks halfway with Luck, which features a lead character as klutzy as Sandra Bullock’s FBI agent but as Big Apple fabulous as Kate Hudson’s scheming magazine writer. Lohan’s Ashley Albright is the luckiest girl in NYC, which is to say luckiest measured by Sex and the City standards: Cabs screech to the curb the instant they are hailed, elevators are stocked with cute single guys, and Sarah Jessica Parker’s totally chic cocktail dress is accidentally returned with the dry cleaning. Isn’t life frikkin’ delicious?

Naturally, Ashley’s luck and her outlook on her superficial-yet-cutely-shod lifestyle totally changes after she spontaneously kisses, yes, the unluckiest guy in NYC, a sweet schlub named Jake (Chris Pine) with rock ’n’ roll dreams. As you can see, the plot is as thin as one of Lohan’s upper arms; 13 Going on 30 is high art by comparison. By the end (and this is not a spoiler, because there’s no way you wouldn’t see it coming unless you recently arrived from a distant galaxy), the finally fortunate-again Ashley’s moment of truth hinges on whether or not she’ll pass the kiss of luck back to Jake, who needs it more than her, because he’s, like, nice to little kids and stuff.

Fortunately, there’s a movie like Somersault around to dig a little deeper into the confusion that arises when innocence takes a dive. Shot two years ago in Australia but just now being released here, Somersault raked in 13 Australian Film Institute awards (if the AFIs are down under’s Oscar equivalent, that would make Somersault more golden than Titanic). Pretty impressive for a film that seems so effortless; 24-year-old star Abbie Cornish (totally convincing as a 16-year-old, and just cast in Boys Don’t Cry director Kimberly Peirce’s next project) is four years older than Lohan, but her character, Heidi, exudes a far more fresh-scrubbed naïveté.

As angelically fair and danger-prone as Goldilocks, Heidi flees her home in Canberra after she’s discovered making an advance (eagerly reciprocated) on her mother’s mullet-bearing boyfriend. Attracting men isn’t Heidi’s problem; even in a crowded, raucous bar, she practically glows, a quality which no doubt aids her in her fumbling quest to put down new roots. A kindly hotel owner allows her a cheap room, a job as a cashier gets her free meals, and a popular local boy named Joe (Sam Worthington) takes an interest in her.

Rest assured, this ain’t Where the Heart Is. (Recap: Preggers teen Natalie Portman blows into a tiny Oklahoma town and is wholly embraced with homespun heartlandiness.) Heidi is childlike enough to playact in anticipation of her next meeting with Joe, but she’s also sexually precocious to a fault; her judgment is impaired not just by her drinking habits but also by her young age and her desperate need to be loved by anyone who’ll have her. Unfortunately for her, she’s not living in a universe that pinpoints her well-being as its focus (unlike, say, Just My Luck‘s Ashley). Somersault‘s portrayal of real life is harsh, especially for a too-immature-to-be-so-mature girl scraping by completely on her own. Writer-director Cate Shortland deftly conveys the precariousness of Heidi’s situation with restrained symbolism, as when the girl plucks a pair of discarded ski goggles from a junk heap and tries them on allowing her to glimpse an unyielding world, if only for an instant, through rose-colored glasses. SFBG

Just My Luck

Now playing at Bay Area theaters

For showtimes go to www.sfbg.com

www.justmyluckmovie.com

Somersault

Opens Fri/19

Lumiere Theatre

1572 California, SF

For showtimes go to www.sfbg.com

www.magpictures.com

Anatomy lessons

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Bogart never says "Play it again, Sam" in Casablanca, and most noirs don’t feature slinky jazz scores, but the misconceptions persist. In the case of the latter, it’s easy enough to see why: A wailing saxophone doesn’t seem far removed from the femmes fatales and smoky nightclubs that populate film noir. But, alas, many of these movies were made before Hollywood discovered jazz — a development that largely took place in the 1950s. Local noir expert and festival programmer Eddie Muller is well aware of this history but nonetheless indulges us with the Jazz/Noir Film Festival at the Balboa.

While not exactly the kind of rarity Muller’s Noir City Festival prizes, Anatomy of a Murder (playing Fri/19, 9:30 p.m.) is always worth another look, not only for Otto Preminger’s studied direction but also for Duke Ellington’s effective, swinging score. If that’s not enough for you, try this: The Duke actually has a cameo in the film wherein he shares a piano with star Jimmy Stewart — stranger collaborations have happened, but this one’s still a dandy.

Bizarre duets aside, Preminger’s 1959 film remains the ultimate courtroom drama. Stewart plays Paul Biegler, a witty, small-town lawyer charged with defending a stationed soldier (Ben Gazzara) who killed in cold blood after learning his flirty wife (Lee Remick) had been raped — or so he says. A temporary insanity plea is entered, a fuss is made over the word panties, and Biegler trades underhanded law tactics with a whip-smart city prosecutor. What so distinguishes Anatomy of a Murder is Preminger’s unusual knack for keeping the audience at bay; over the course of 160 minutes he never entangles us with a character’s perspective. As filmgoers we are almost always with a character, but Preminger’s objective style means we’re a jury, weighing incomplete information to form our own perspectives. Few filmmakers trust their audiences as much as Preminger; fewer still can pull it off as entertainment. (Max Goldberg)

JAZZ/NOIR FILM FESTIVAL

Fri/19–d>Sun/21

Balboa Theater

3630 Balboa, SF

$10 ($45 festival pass)

(415) 221-8184

See Rep Clock for showtimes

www.sfjazz.org

www.balboamovies.com

PET ROCK

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Saviours

Three guitars plus Yaphet Kotto vets equals a rock-out record release party. Fri/19, 9:30 p.m., Hemlock Tavern, 1131 Polk, SF. $7. (415) 923-0923.

Concretes

Charming pop straight from Sweden. Sat/20, 9 p.m., Great American Music Hall, 859 O’Farrell, SF. Call for time and price. (415) 885-0750.

Fucking Ocean and Fuckwolf

A good fucking time for all? Sat/20, 9 p.m., El Rio, 3158 Mission, SF. $8. (415) 282-3325.

Susana Baca

Luaka Bop’s Peruvian diva draws from memories of her father playing serranitas. Sun/21, 8 p.m., Independent, 628 Divisadero, SF. $25. (415) 771-1421.

Rogers Sisters

No wave meets new wave nostalgia? NYC art-rockers settle down with the best band name in Austin, Texas: I Love You But I’ve Chosen Darkness. Mon/22, 8 p.m., Independent, 628 Divisadero, SF. $12. (415) 771-1421.

Clue to Kalo

The Australian Mush indies team with their down-underish pals Architecture in Helsinki. Tues/23, 8 p.m., Great American Music Hall, 859 O’Farrell, SF. $14. (415) 885-0750.

Toubab Krewe

Hippie drum circle with faux-hawks and mad West African guitar and percussion skills. Tues/23, 9 p.m., Café du Nord, 2170 Market, SF. $8. (415) 861-5016.

Free kitten?

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Kimberly@sfbg.com

SONIC REDUCER Mother’s Day: the primo time to think about reasons why mom rules. So why did I spend it listening to Grandaddy’s new, possibly last album, Just Like the Fambly Cat (V2)? I also lost about four solid hours watching Amon Duul, MC5, and Scott Walker videos on YouTube and thinking back to my adolescent years, when my household chores fell by the wayside and dear ole mum would threaten to spirit away a sackful of our 20 or so semiferal "fambly" cats and kittens and abandon them by some desolate roadside pineapple cannery. Thanks, ma!

Really, Hallmark and the assorted commercial pressures that guilt you into shuffling to the post office with an annual tribute to motherhood bring out the absolute worst namely, inappropriate memories in me. Though that certain special someone never carried out those acts of probable feline-cide, it’s clear not all of us come psychologically, emotionally, and financially equipped to be parents just as many of us were not well kitted out to be pet owners. We try: Glance through the approximately 17,000 cat videos on YouTube John Lennon’s scant 415 refs are no match against the cuddly-wuddly, flea-bitten hordes. The majority are amateurish, dull, full of "aw-isn’t-she/he/it-cute quick get it on the cameraphone" tumescent adoration.

Still, between the anticlimactic "Puppy vs. Cat" snippets, music fans can kill an entire Mother’s Day watching Magma serenade Catholic padres in some strange French B-movie or study a drowsy Velvet Underground supposedly writing "Sunday Morning" ("They all look so fucked up. Heroin is bad for you," comments one viewer) or check out the most viewed music-related vid that day (perhaps related to the new service that started last week allowing users to upload footage directly from a phone or PDA): a blurry, too-loud, obviously cellie-derived clip of Guns n’ Roses blasting out "Welcome to the Jungle" at NYC’s Hammerstein Ballroom on May 12.

How perfect then that I stumble across a few Grandaddy videos on my YouTube travels, including a slightly oogy bit showcasing, as its maker puts it, "a slug on a cucumber listening to Grandaddy." A comment on the lysergic lethargy embedded in the Modesto band’s tunes? Animals, or rather people in animal suits, operate as stand-ins for nature in the group’s shared videos, representing a star-crossed love for the junky delights of an infinitely disposable, shareable information culture, as well as the earthly attractions of the Central Cali natural world. I can totally relate, dudes.

Sluggish Grandaddy fans who can’t break away from waxing their own cucumbers will be pleased to know that Just Like the Fambly Cat is a suitably great, elegiac outro for the disbanding band (so says songwriter Jason Lytle). A pop symphony to that final solution to dissolution and aimlessness: death. If Grandaddy always seem to teeter betwixt stoner listlessness and slacker lack of focus, the threat of imminent nonexistence and looming loss has brought a sense of purpose, opening with a child’s repeated, lisping, "What happened to the fambly cat?" and closing with Lytle’s grandiose finale, "I’ll never return!" The act of recording melts into biography, as Lytle angrily mourns his broken engagement with all the infectious pop trappings ("Jeez Louise") and then gets lost in dusty, hermetic yet elegant reveries reminiscent of such peers as Air ("Oxygen/Auxsend"). There are, as Lytle sings, about "fifty percent less words" here, breaking from pop formulae, but the writing is more than up to providing the mental visuals for Fambly Cat‘s aural invocation of the last, sad days of summer.

Nonetheless, YouTube comes through with some Fambly Cat imagery, as Lytle has come out from behind the animal costume on a lo-fi video for the "single" "Where I’m Anymore." He bicycles down orchard and suburban lanes, bridging Modesto’s agri and aggro environs, as a papier-mâché cat head jumps into the frame for the slow-jamz chorus of lost-pussy meows. This shy number may have emerged after Margot and the Nuclear So and So’s similar catcentric number, but Grandaddy’s easy, sensuous paw tracks promise to stick with you longer, even after Lytle supposedly says good-bye to Modesto, a place tied tightly to another dubbed Grandaddy. After all, Magnet magazine recently reported that Lytle has sold his Modesto house and is moving to Montana, with no plans to perform Fambly Cat songs live ("If we go on tour, somebody’s gonna fucking die"). But perhaps this media-lavished long good-bye isn’t what it seems and Grandaddy fans can dry their tears because it appears Lytle will play those tunes after all, at Amoeba Saturday. Like a cat that always comes back, all may not be lost. SFBG

JASON LYTLE OF GRANDADDY

Sat/20, 6 p.m.

Amoeba Music, 1855 Haight, SF

Free

(415) 831-1200

No way of knowing

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› le_chicken_farmer@yahoo.com

CHEAP EATS I was sick. I couldn’t get out of bed, and I couldn’t sleep either. If I tried to talk on the phone, I sounded like Don Corleone smoking helium. People didn’t know who I was, and after a while I didn’t know who I was either.

Weirdo the Cat remained Weirdo the Cat and tried her best to keep me oriented.

Weeks in the woods are not very conversational for me, anyway. I express myself, cry out to the universe, assert my existence, and endear myself to my neighbors by tapping on steel with an eight-pound sledge hammer. When that gets old, I clack plastic and make a little poem or Cheap Eats happen. Sometimes I talk to myself. Sometimes I laugh out loud, which weirds out Weirdo and makes me feel crazy which, in turn, helps me to know that I’m not.

Now I had no way to know. I couldn’t hammer, clack, or blabber, and nothing was funny. I’m not a sickness reviewer, but laryngitis I find to be every bit as discombobuutf8g, almost, as an inner ear infection. Pretty much, more or less.

Well, I’d asked for it. I hadn’t been sick, really, in two years. Which was long enough to notice, and so I noticed and then started to talk about it.

"I haven’t been sick in two years!" I said. Out loud. To people.

Bad medicine. This is not a matter of juju; it’s mental and physical and automatic: You start bragging, you let your guard down. Bam! No voice, no sleep, no energy, no soup, no NyQuil, no more Jane Austen novels to read, no one to go to the library for you, and nothing to watch on video except The Deer Hunter.

Ever watch The Deer Hunter? Bad medicine. Good movie, bad bad medicine. Now even if I could’ve slept I couldn’t have slept. Me!

But enough about me. Eventually you just get tired of being sick, and you realize that lying around in bed isn’t going to get you better, so you kiss Weirdo the Cat on the lips, drag yourself out to your pickup truck, drive down to Balboa Park, tie on your spikes, strike out twice, ground weakly to second, ground even weaklier to third, take a shower, and go look for a bowl of duck noodle soup.

There you have it. All better. New favorite Vietnamese restaurant: Pho Ha Tien, just down the road, toward the Sunset, on Ocean. Duck noodle soup ($4.95/$5.95). Jalapeños, hot sauce, that other kind of hot sauce, and . . . you can talk again, if you’re me.

"Blah blah blah, blah blah," I said. "Blah blah blah."

There was even someone there to hear me. Yay! My cousin the Choo-Choo Train and his boyfriend, Ding-a-Ling-a-Ling, meaning I can also tell you these things: goi cuon chay ($4.50). Bun bi thit nuong ($6.50). And com ca nuong sa ($6.75).

Got that? That’s cold vegetable spring rolls, which were good, shredded pork and barbecued pork over vermicelli, which was good, and a charbroiled sole filet, over rice, which was also good. Allegedly. I didn’t get any. Choo-Choo eats so fast his plate was clean by the time I’d finished applying all the proper hot sauces, cilantro leaves, bean sprouts, jalapeños, and other medicinal touches to my soup.

And letting Ding-a-Ling-a-Ling taste some before I infected it, which favor he kindly and gentlemanlikely returned by chopsticking some of his pork and pork onto a little plate for my particular pig-partaking pleasure.

"Thank you, sir," I said.

"Thank you, Chicken Farmer," said he.

Meanwhile, the loco locomotive is licking his plate, wondering what’s for dessert.

Anyway, the soup was good, but not as good as my old favorite duck soup because the noodles were overdone, one, and, two, it had too much slimy bamboo in it that could have been ducks. And the ducks that there was didn’t have skin, just bones. A lot of bones. You have to eat with your hands and leave a big pile somewhere on the table.

Other atmospheric touches: general quaintness, funny little 3-D paintings, TV, and my personal favorite: side-by-side, the requisite Buddha shrine and a gratuitous wooden plaque of Mickey and Minnie Mouse saying, Welcome.

You know what I say to that, Mickey, Minnie, now that I have my voice back? I say, "One shot." SFBG

Pho Ha Tien

Wed.–Mon., 10 a.m.–9:30 p.m.

1900 Ocean, SF

(415) 337-2168

Takeout available

Beer and wine

D/MC/V

Quiet

Wheelchair accessible

The fine print

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paulr@sfbg.com

"People will sleep better not knowing how their sausage and politics are made," Otto von Bismarck said and he might have added wine to the list, though one sees the Iron Chancellor as more of a beer man. The production of wine grapes in recent decades has become a festival of chemicals pesticides, fertilizers from which many of us instinctively avert our gaze; we like wine, we want good wine, and when we get good wine, we are not inclined to ask any questions.

Still, there is growing evidence that a paradigm shift is under way, to judge by the public relations emphasis that winemakers around the world are placing on organic and biodynamic grape production and on the broader if slightly hazier theme of sustainability. Whether people will pay a premium for wine that’s produced in environmentally sensitive fashion is still largely an open question, since at the moment eco-friendly wine represents a tiny fraction of the world’s overall wine production. But if people are willing to pay more for organic produce, as seems to be the case, it is likely they will be willing to pay more too for wines produced in an environmentally responsible way providing they can figure out which wines those are.

At the moment, the labeling practices of the wine industry are of little or no use in helping wine buyers figure this out. At a recent forum sponsored by the Sonoma Vintners Association, I found myself examining a bottle of zinfandel I knew for a fact to have been produced at a biodynamic winery but the label breathed not a word of that noble story. One longtime Sonoma winemaker admitted to me that labeling was an issue and that winemakers, even beyond issues of certification, need to do more visually to let buyers know what they’re up to.

Meantime, you label-scanning wine hounds might look for the following (usually in uncomfortably fine print) on bottlings you’re interested in: "CCOF," which indicates compliance of some sort (most likely organic grapes) with the California Organic Foods Act of 1990, and/or "Demeter," which is the certification agency for biodynamic agriculture. I found the latter recently on a bottle of 2003 Côtes du Rhône from Château de Bastet (for more info go to www.organicvintners.com), along with organic certification from Quality Assurance International and Ecocert, another pair of word patterns to look for, in lieu of logos, which for once are actually called for.

Get thee to a naanery

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› paulr@sfbg.com

Polk is a many splendored strasse, with lower lows and higher highs, socioeconomically speaking, than practically any other road in town, with the possible exception of Market Street. Below California, there is still an agreeable crunch of urban grit under your feet, you still see the occasional boy hustler, and the restaurants tend toward the ethnic and cheap but this neighborhood is the western edge of the Tenderloin, after all.

Above Broadway we are in chi-chi-land, cheek to cheek with some of the town’s swellest swells (but what cheeks do I mean?) and gazing upon the menu cards of such redoubts of swankery as La Folie and Le Petit Robert. Is this, then, a bipolar story, a tale of haves and have-nots or -littles, grit and glamour, worlds apart? Have I forgotten the stretch of Polk north of California and south of Broadway, the transition zone? I have not.

It is on this very stretch of street, in fact, that we find Indian Aroma, a nicely middle-class South Asian restaurant in a middle-classy neighborhood in a city whose middle class seems to be disappearing in our drive for third worldstyle stratification of wealth and status: a handful of chubby-cheeked plutocrats and masses of the disenfranchised. The place is far from a dive, with handsomely set tables, a paint scheme of sponged ochres and umbers, a huge round mirror mounted in one wall like a giant’s monocle, a nonperfunctory wine list (including several selections by the glass), and professional table service. On the other hand, it’s not particularly pricey (most main dishes are within a tick or two of $10), it’s easy to glide into, and there is the all-you-can-eat lunch buffet at $8.99, not the cheapest buffet of its kind in town, but pretty reasonable all the same and with better-than-average food.

Indian Aroma is a reincarnation of sorts of Scenic India, which, until it closed three years ago owing to loss of lease, was one of the better Indian restaurants on the Valencia Street corridor and held a strategic location near the corner of 16th Street. The new location can’t match the old for hipster-central cachet, but it does have its charms, mainly of variety: The Civic Center and Tenderloin are within walking distance, as are the hillier, tonier precincts of Nob and Russian Hills and the human parade a block west, along Van Ness.

There is also the stabilizing presence of owner and head chef Tahir Khan, whose Bangladeshi-influenced cooking features spices ground and blended in-house hence the Indian aroma, which wafts onto the street and helps drifting pedestrians distinguish between the restaurant and the Christian Science Reading Room next door halal meats, and for those averse to meat (halal or otherwise), a wide variety of meatless choices.

Khan’s kitchen does a decent job with flesh there is a good lamb curry ($8.95), with cubes of boneless (and reasonably tender) meat in a tomato-based sauce, and a nice, slightly sweet version of shrimp bhuna ($12.95), large prawns sautéed in a stir-fried spice mixture with tomatoes, ginger, and garlic but really, if the only nonvegetarian items on offer were of chicken, you wouldn’t complain. Chicken is possibly the meat most compatible with, even in need of, strong spicing, and the tandoori chicken ($8.95 for a half bird) is marvelous, tangy-tender with an edge of char, while the chicken tikka masala ($10.95) met with the enthusiastic approval of the CTM aficionado, who spent several minutes wiping up the remnant gravy with shreds of cooling naan. Even the plain chicken tikka ($10.95) chunks of boneless, marinated meat cooked on skewers in the tandoor met the highest standards of moistness and tastiness despite an absence of sauce.

The vegetable dishes too are solid, if stolid, citizens. Spinach, the bane of many a childhood but a cherished source of antioxidants for adults, appears in two guises: cooked simply with tomatoes and a curry blend (saag bhaji, $5.95) and with chunks of white cheese instead of tomatoes (saag paneer, $6.95). Mutter paneer includes cubes of the same fresh white cheese but replaces the spinach with peas for a touch of sweetness that nicely smooths the edge of the curry sauce, while chana masala ($5.95) lets chickpeas be chickpeas, with gentle spicing that bolsters rather than competes with the beans’ naturally nutty flavor.

Many of these dishes turn up at the lunch buffet, along with a mild, though dramatically yellow, mulligatawny soup (a close relative of dal, the famous Indian lentil stew) the presence of turmeric was strongly suspected and fabulous pappadum, the wrinkly, crackery disks of flash-fried lentil flour still carrying a slight sheen of oil. Lunch also includes pakora, the fritters of shredded vegetables, though like forensic examiners studying the evidence of an especially baffling murder, we were unable to establish which.

The naan, of course, is splendidly pillowy and warm. At lunch it’s free and abundant so go then if you’re hooked but even at dinner, when you have to pay by the piece, you get a disk the size of a medium pizza for just $1.50. Adherents to a variety-is-the-spice-of-life philosophy might opt instead for the puri ($1.50), a naanlike round of dough that’s puffy, golden, and slightly crisp from a turn in the deep fryer rather than the oven; like its distant relation langos (the fried bread of Hungary), it resembles a pizza crust made of pastry. But enough pillow talk. SFBG

Indian Aroma

Dinner: Sun.–Thurs., 5–10 p.m.; Fri.–Sat., 5–11 p.m.

Lunch: Daily, 11 a.m.–2:30 p.m.

1653 Polk, SF

(415) 771-0426

Beer and wine

AE/DS/MC/V

Comfortable noisewise

Wheelchair accessible

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0

MAY 17-23

ARIES

March 21-April 19

You’ve got a make a certain peace with your reality, Aries. And you should really step on it ’cause your work doesn’t end there, friend. After you come to acceptance, your next task is watch how your fears and emotions do or do not interplay.

TAURUS

April 20-May 20

Taurus, we’re not going to tell you lazy-assed, slow-as-frickin’-molasses people to put the brakes on something after you’ve spent however many years motivating yourself to act. We will suggest that maybe you check your pace. Don’t break out of the gate just to get winded and give up.

GEMINI

May 21-June 21

Those things you see on your path, Gemini, are not welcome stations. They’re not street vendors offering you corn on a stick. They are impediments. Get a clear idea what they are, then take a look at your own boundaries. Progress will happen from being honest about what you can handle.

CANCER

June 22-July 22

This is truly a great time for you to do what Cancers do best: nurture. But we want you to nurture yourself perhaps not your specialty. And, get this, we want you to nurture yourself not only through your feelings of helplessness but also through the exciting feelings of beginning that you’re feeling alongside helplessness.

LEO

July 23-Aug. 22

Leos, you people love to reinvent yourselves. Life gets so stagnant when you’re stuck in the same identity or phase of life for too long. Just look at Madonna, another Leo. Anyhoo, your current reinvention should focus on how to embody new ways of behaving that are more synched up with your lust for self-expression.

VIRGO

Aug. 23-Sept. 22

Your control-freakishness has placed you in an official astrological at-risk category, Virgo. If you don’t take responsibility for what you can realistically handle in a healthy way, then you’re going to be setting off on a path that is not sustainable. We know it makes you sad not to have superhuman abilities, but suck it up.

LIBRA

Sept. 23-Oct. 22

Libra, we’ll be real with you — we can’t make out half of what our notes say for you this week. Our typing sucks. One thing is clear, though: You’ve got to resist getting all wound up in the end result of your efforts. The end result is beyond your control, dude. Banish your fear and anxiety, and take control of your direction.

SCORPIO

Oct. 23-Nov. 21

Scorpio, this is a good time to take a peek at how you take care of yourself. How you do or don’t take care of yourself, take yourself seriously, advocate for yourself. It’s the subtleties of self-care that we’re concerned with. Splurging on a trip to the spa is nice, but are you eating well and refraining from beating yourself up inside?

SAGITTARIUS

Nov. 22-Dec. 21

The time is now for looking around yourself and taking in some new perspectives, Sag. It’s getting pretty stale inside that one-track mind of yours; you need some new ways to view things. You also need to be willing to make some serious personal changes if you’re going to be able to salvage something good out of the crap you’re dealing with.

CAPRICORN

Dec. 22-Jan. 19

Astrological omens point to you having to rely on your feelings about things, Capricorn. And not surface ego-feelings but those deep hunches we call intuition. We know, you people hate intuition. You like things more tangible, more clear-cut. Too bad. Though we see some discomfort, if you get in the right mindset, you might even enjoy it.

AQUARIUS

Jan. 20-Feb. 18

Good thing you’re resilient, Aquarius. Any other sign would be knocked down by now. As for you people well, yeah, you’re sort of knocked down, but you’re getting back up so fast we barely noticed. During this wobbly week, please reach out to your pals for some much-needed perspective and even advice.

PISCES

Feb. 19-March 20

Pisces, you’ve got to love yourself enough to stay with yourself as you stare down your fears. It’ll do no good to maniacally charge your fears with a machete; it will also do no good to put on a tool belt and try to fix them, or to build a moat around your castle to keep them at bay. You’ve got to look the suckers in the eye.

Award-winning writer Michelle Tea and intuitive counselor Jessica Lanyadoo have been fraternizing with fate for the past lucky seven years. Call Lanyadoo for an astrology or tarot reading at (415) 336-8354. Write to Double Team at lovedoubleteam@hotmail.com.

Porn 2.0

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› pornomovies@techsploitation.com

TECHSPLOITATION In downtown San Francisco, if you wander off Fifth Street down a small, twisting alley nestled among the sky-high monuments to money, you’ll find a freshly installed steel door, the glowing numbers affixed to it bearing little relationship to the other addresses on the street. If you’re lucky enough to get past the security cameras and locks, you’ll find yourself at the edge of a huge warehouse space full of stages and sets.

Climb up the stairs that lead away from the "medieval castle" set, and you’re in a huge office space full of computers. People are on the phones, or swapping stories as they return from a trip to the Starbucks around the corner, or gathered in tight huddles around large, flat-screen monitors full of partial layouts. Only the bathrooms offer a hint about what’s really going on here. No ordinary office would stock its toilets with an enormous rack of baby wipes, paper towels, and every feminine hygiene product known to woman. This is Kink.com, home to half a dozen of the Web’s hottest porn sites.

Everyone always asks what porn has done for the Web, but they never ask what the Web has done for porn. A place like this, full of queer hipsters, geeks, and models, would never have existed before 1995. It certainly wouldn’t have looked quite so Ikea.

I’ve come here to visit the set of Fuckingmachines.com, a Web site devoted to images and movies of women having sex with machines. Usually the machine involves some sort of piston and at least one moving part to which a dildo can be attached. The sensibility is perfectly San Francisco: a cross between high-tech fetishism and sexual fetishism. Tomcat, the site’s understated Web master, wears a tie and jeans to the set. With a degree in film and digital media from a large public university, the self-consciously androgynous Tomcat is precisely the sort of hip young professional who is attracted to second-generation Web porn operations like Kink.

Tomcat makes sure the first machine (called "the chopper") is ready to go and picks out a pale blue dildo from a huge, tidy cart that contains laid out with surgical precision an array of silicone cocks in various sizes, a fanned display of condoms, towels, baby wipes, and several lube bottles. Next to it is a pine cabinet full of carefully labeled drawers containing "large dildos" and "small dildos." A tiny table holds some soft drinks packed in ice, as well as a handful of lemon Luna bars.

"Last week we did an alien abduction scene," Tomcat says. "It was great I got to be the alien." Today’s model, a tall brunet with a lascivious smile, named Sateen Phoenix, arrives in a little dress and fuck-me shoes. Like Tomcat, she’s the sort of person who has the education and resources to choose from many careers and has chosen this one because she likes it. "I’m moving to LA to get more work," she says, sipping water. "But I just got into this about six months ago I like having sex in public, so I thought, why not do it here?"

Settling onto the chopper, Sateen poses and reposes, replaying her naughty grin as many times as Tomcat asks. The scene behind the scenes here is all business. PAs discuss the merits of various lubes and dildos; everyone tries to figure out the ideal position for Sateen’s pussy so that everything fits together when the machine starts pumping. Tomcat manages to issue directions in the tone of a nice but task-masterish boss.

"I know it’s awkward with your knees and the handlebars, but go ahead and insert it so that it’s comfortable," the Web master says. "Now just wank a little until you get off."

"I don’t know if I can get off like this," Sateen suggests. "I’m too lubey."

"Get some baby wipes for her to take care of that lube," Tomcat directs the PA.

Eventually, using another machine called "the predator," Sateen starts screaming in a way that marks this whole scene, again, as something that could only happen in the world of Porn 2.0. She’s had a genuine orgasm, the kind of thing you’d almost never see a woman do in porn before the Web took over.

Ten minutes later, still shaking and sweaty, Sateen pulls on a robe and stumbles over to the snack table. She falls into a chair and lets out her breath in a whoosh.

"Hard work, eh?" she sighs, grinning at me. "Having orgasms all day?" SFBG

Annalee Newitz is a surly media nerd who’s never met a machine she didn’t like.

Measuring stick

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› andrea@altsexcolumn.com

Dear Andrea:

It’s easy to find reliable stats on penis size, but is there anything out there on average vaginal width and depth? I know: The vagina isn’t a constant size, it expands with arousal, etc., but the same could be said of penises, and lab-coated experts have managed to measure them. I’ve tried to measure with a dildo, and been surprised to notice that even at my most aroused, I can only get it about five inches in. Is this unusually shallow?

Also, does it make a difference to most men? If a guy’s got a long dick and the woman is (anatomically) shallow, does that substantially decrease the fun? Or is it analogous to the vagina having almost all its nerves in the first third, so that many women don’t care all that much about length? Can you ask around, even if there are no concrete facts?

Love,

Shallow Girl

Dear Girl:

Running your letter here counts as "asking around," doesn’t it? Is anyone interested in marking off a seven- or eight-inch dildo (is there anything a Sharpie cannot do?) and sending me the results? (Do not send me the dildo itself, thanks.) Numbers will be crunched. Maybe I’ll make a chart.

It’s much harder to measure vaginal depth than penile length, and that (along with the fact that fewer women than men actually give a crap about this issue) is the probable explanation for the dearth of info. Not only does the vagina constantly shape-shift, as you noted, but there doesn’t seem to be much of a consensus on what we’d be measuring if we did bother to measure. Many of the sites I checked out, for instance, cite distance to cervix as the measurement of interest, and anyone who’s spent much time up anybody’s hoo-ha ought to know that there’s a little fractal fillip of space like the tail on whatever you’d call a single paisley (a paisle?) extending under and behind the cervix, even when the hoo-ha in question is at rest. At play, when the vagina widens and loosens, and especially as the uterus begins to lift up and out of the way, taking the cervix with it, this space may become capacious enough to stash any number of interesting objects. A fist, say, or one of those bananas an emergency room doctor told me he was always fishing out of college girls who’d hygienically, if ill-advisedly, peeled their fruit before deploying it. So what are we measuring? And how are we determining where, exactly, the vagina begins, let alone ends? Are we including the vulva, some of which are bony while others are plush? And what about position? Have you tried measuring while kneeling, as well as while supine or prone? Rear-entry as well as from the front?

Men generally do enjoy the feeling of being completely engulfed during intercourse, and inconveniently for us but happily for them, the base of the penis is not substantially less sensitive than the front half (although most men do have more feeling in the head, or glans). Most couples, however, can pretty easily achieve that "all the way in" feeling by adjusting positions, propping things on pillows, and so on. If that doesn’t work, a hand, yours or his, can be put to good use here, but you know, I don’t think there’s a thing wrong with you, and why solve a problem you don’t even have?

Love,

Andrea

Dear Andrea:

I think your response to "I Wanna Be Great," the girl whose boyfriend kept (unfavorably) comparing her with his ex, was on point. What I find strange is that women always want to know "how good" they are in comparison to past partners. I always respond that I cannot compare sex partners because each partner means different things to me. I have no desire to know how I compare with past partners. Is there some gene in women that makes them want to know this? I do usually tell them that they are the best and that is why I’m with them (hey, a little white lie for the sake of the relationship can’t be that bad). Why do women want this information?

Love,

Confounded

Dear Con:

I assume your only experience has been with women, so I suppose it’s natural to go looking for the "rate me!" trait on the X chromosome, but let me tell you, you won’t find it there. In my fairly vast experience (answering questions! I’m not talking about the other kind here), it is, if anyone, men who fret the most about performance and worry that a partner’s former partners will somehow outshine them. But I can’t prove it’s mostly guys who annoy in this very particular fashion, and it doesn’t really even matter. The truth is, everybody does it; you just haven’t done it with everybody.

And by the way, your little white lie sounds a bit cheesy and don’t think the girls haven’t noticed. Flatter, but don’t blow smoke. It isn’t nice.

Love,

Andrea

Newsom’s road-closure veto

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EDITORIAL Mayor Gavin Newsom showed a colossal lack of political courage May 15 when he bowed to pressure from a few rich socialites and vetoed a program that would expand one of the city’s most popular and successful recreation programs.

Newsom, apparently changing course at the last minute, rejected a Board of Supervisors plan to close a section of roadway in Golden Gate Park on Saturdays. The six-month trial program would expand on the existing Sunday closure, which brings thousands of walkers, bikers, and roller skaters and yes, fans of the De Young Museum to the park to enjoy a rare car-free urban experience.

As of last week, Newsom insiders were telling us the mayor had decided to sign the legislation. But Dede Wilsey, a wealthy patron of the museum, was pushing hard to block the proposal. On May 9, the San Francisco Chronicle weighed in on the side of the museum, running a misleading editorial accusing the supervisors of defying a vote of the people and giving Newsom more cover for a move that will undermine his national image as an environmentalist.

In his veto letter, Newsom argues that the issue needs further study though that’s exactly what this plan would be: a six-month study period. And, like the Chronicle, he insists that the voters have spoken on this issue as if a pair of confusing ballot measures that were all tied up with the museum and the garage six years ago should be the final word on this issue. He also calls it "divisive" meaning, presumably, that unless Dede Wilsey and the museum crowd like something, the mayor can’t be a leader and take a stand.

The whole thing shouldn’t be difficult. The De Young’s board has argued that closed roads mean smaller crowds, but the museum’s own figures show that’s untrue (see "Dede Wilsey’s Whoppers," 4/19/06). Museum attendance on Sunday, when the roads are closed, is higher than on Saturday, when cars clog the area. (With so many people flocking to that part of the park, it’s no surprise some of them decide to stop by the museum.) Besides, when the museum won permission to build an underground parking garage in the park, garage supporters, including financier Warren Hellman, promised that the added car access would make it possible to close the roads on Saturdays and today, to his credit, he’s arguing in favor of the plan.

In New York City, which is even more congested than San Francisco and has far worse parking problems, a Republican mayor, Michael Bloomberg, has managed to close roads in Central Park not only on Saturdays but also on weekdays.

It’s too late to change Newsom’s mind, but the supervisors can still override the veto. One of the four who voted against the plan will have to switch to get the eighth vote for an override, and the most likely candidate is Bevan Dufty, whose district includes plenty of road-closure enthusiasts and who is up for reelection this fall. Call him (415-554-6968) and don’t let him wriggle out of this one. SFBG

Hunters Point plan: Wait for an audit

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EDITORIAL The redevelopment plan for Hunters Point was heading for almost certain approval at press time, in part for a pretty dumb reason: It exists.

If you ask supporters of the plan, like Redevelopment Agency director Marcia Rosen, about the harsh criticism in some parts of the African American community, she’ll confront you with a very good question: What’s the alternative?

The area is economically depressed, the city and state don’t have much money to pour into it, and redevelopment at least offers the option of federal money and tax-increment bonds that could generate thousands of jobs, create thousands of units of affordable housing, help new businesses get going (and help old ones prosper), and generally improve the lives of a lot of struggling people.

At least, Rosen says, her agency has a tangible proposal. Even if it’s not perfect and no economic development plan ever is it’s something.

And that’s true, but we still have this lingering problem: The San Francisco Redevelopment Agency has never been anything but a disaster for the African American community. Since the 1950s the agency has used its extensive authority to drive black residents out of town, destroy black-owned businesses, eliminate existing affordable housing, and destroy the hearts of black neighborhoods.

And redevelopment has its own expenses according to the Board of Supervisors’ budget analyst, $100 million of the money the agency raises in tax-increment financing will go to overhead and administrative expenses.

Redevelopment is a powerful tool, which is why some progressives still like it. Despite the abuses of the past, they say, it’s possible to use that tool properly. A redevelopment agency can issue bonds backed not by the city but by the projected increase in tax revenue that will come from the economic revitalization of an area. Those bonds don’t require voter approval, provide immediate cash for things like permanently affordable housing, and have no impact on the city’s credit rating.

In the past, almost nobody has paid much attention to where the bond money actually goes and how much of the tax-<\h>increment financing winds up improving the lives of the people in the project area. That’s a serious problem.

Sup. Ross Mirkarimi, who represents the Western Addition a neighborhood that still suffers from the ugly scars of redevelopment argues that before the city launches a new redevelopment project, there ought to be a complete audit of where San Francisco redevelopment money has gone in the past. How much of the tax-<\h>increment money has subsidized the profits of private developers? How much has gone to market-<\h>rate housing? How much has gone to high agency salaries and expenses?

Equally important, how many people of color have been forced from their homes by redevelopment and how many have ever been able to return? How many minority-<\h>owned businesses have been destroyed, and how many created? How many jobs in redevelopment project areas have actually gone to residents of those areas?

How did the failures of the past happen and how can we keep them from happening this time around?

Mirkarimi’s proposal makes sense. This has been a long-term process: The city has been discussing Hunters Point redevelopment for some 10 years now. As long as there’s significant opposition in the community and as long as those q

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› tredmond@sfbg.com

I was sitting peacefully at home, watching the final episode of The West Wing, which my partner describes as "liberal porn," when Steve Westly drew first blood in the governor’s race.

We all knew there’d be some negative ads before this was over, and frankly, all the hand-wringing about the evil of negative campaigning has never really appealed to me: Politicians have been launching vicious, often slanderous attacks on their opponents since the dawn of democracy. But this one made me furious.

The simple story is that Westly borrowing a chapter from the Book of Rove is assailing Phil Angelides for wanting to tax the rich. And he’s doing it in the most misleading, unprincipled, and utterly disgraceful way.

The ad features what seems like a crushing list of new taxes that Angelides wants to impose $10 billion worth, Westly’s hit squad claims. Then it winds up with a smarmy tagline: "With high gas prices, housing and health care costs, can working families afford Phil Angelides’s tax plan?"

Of course, Westly had pledged some time ago not to be the first candidate to attack the other by name, but what the hell: The election’s coming up, the race seems to be narrowing, and this guy will do whatever’s necessary to win.

But more than that, with this ad Westly is promoting the exact mentality that has damaged public education, health care, environmental protection, infrastructure needs, and so much else of what used to be the California dream. Republicans love to hit Democrats on taxes, and we’ll see plenty of that in the fall, no matter who’s the nominee. And for Westly to start the "no new taxes" cry just leaves the Democrats politically crippled.

For the record, Angelides is right: The state needs more tax revenue. And under his proposal, most of it would come not from "working families" who are worried about their gas bills but from people like, well, Steve Westly and Phil Angelides millionaires. His proposed income tax increase only affects households with more than $500,000 in income. Sorry: You’re in that range, you can afford it.

So Mr. Westly: Stop with the antitax lies. This shit makes me sick.

On to the good news.

I get the feeling, from over here in San Francisco, that there’s a real change afoot in East Bay politics. For the past few years, a not-so-loose cadre made up of state senator Don Perata, Mayor Jerry Brown, and Councilmember Ignacio De La Fuente has been consolidating power in Oakland, calling the political shots and giving developers a blank check. Two of the three have real, ahem, ethical issues, and one’s itching to leave town for Sacramento, but so far, nobody’s been able to truly challenge them.

Until Ron Dellums.

Now, I know that Dellums has been out of Oakland for years, that he’s a DC lobbyist, and I’ve heard the rap that he’s long on rhetoric and short on urban policy ideas. But we met him last week, and I can tell you that, at 71, he’s still one of the most energetic and inspirational speakers around, and if he’s elected mayor, he will, by force of personality and national stature, instantly become a center of power that’s distinct from (and will often be in opposition to) the PerataDe La Fuente bloc. SFBG

Cruel and unusual punishment

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OPINION Homelessness was recently put on trial in California. It was found not guilty.

The US Court of Appeals for the Ninth Circuit declared April 14 that the city of Los Angeles can’t arrest those who have no choice but to sleep on its streets. It’s a victory for those of us who believe that homelessness is not a crime, but a symptom of an unjust economic system.

At issue in the LA case was a 37-year-old law prohibiting sitting, lying, and sleeping on the sidewalks. Six homeless folks brought the complaint in 2003 with the aid of the ACLU and the National Lawyers Guild.

In her ruling against the statute, Judge Kim McLane Wardlaw wrote: "Because there is substantial and undisputed evidence that the number of homeless persons in Los Angeles far exceeds the number of available shelter beds at all times," the city is guilty of criminalizing people who engage in "the unavoidable act of sitting, lying, or sleeping at night while being involuntarily homeless." She termed this criminalization "cruel and unusual" punishment, a violation of the Eighth Amendment to the US Constitution.

Her enlightened opinion should guide public policy everywhere, especially here in San Francisco. In our "progressive" city, we have gay weddings at City Hall and an annual S-M street fair, yet our views on the homeless are as 19th century as the rest of the country’s opinions on gay marriage and kinky sex. The majority of voting people here still favor the old-fashioned method of punishing the poor and the homeless. That’s how Care Not Cash and our current antipanhandling measure managed to become law.

According to Religious Witness with the Homeless, in the first 22 months of Mayor Gavin Newsom’s administration, San Francisco police issued 1,860 citations for panhandling and sleeping on the sidewalks, as well as 11,000 "quality of life" tickets. That’s more than were issued under former mayor Willie Brown in a similar time period. How many officers did it take to issue those citations? How much money did it cost the city? What better things could San Francisco have done with the money to actually help those who were cited? How many of the people cited are now in permanent affordable housing with access to services they need to put their lives back together?

Homelessness can’t be eradicated with punitive measures. Addressing homelessness in America doesn’t mean sweeping the poor out of sight of tourists or upscale neighbors. It doesn’t mean taking away the possessions of homeless folks or fining people for sleeping in their cars. It means addressing the basic social inequities that create homelessness, among them low-paying jobs, the immorally high cost of housing, and the prohibitive price of health care.

It means having drug and mental health treatment for those who need it when they need it.

That’s the real message behind Wardlaw’s ruling.<\!s><z5><h110>SFBG<h$><z$>

Tommi Avicolli Mecca

Tommi Avicolli Mecca is a radical, working-class, queer, southern Italian activist, performer, and writer.

Eviction battle continues

0

› sarah@sfbg.com

Back when the tsunami of condo conversions now rolling across San Francisco was but a ripple on the rental pool, local resident William Johnston didn’t know "the ins and outs of the Ellis Act."

"Now I have a Ph.D. in it," jokes Johnston, 70, about the legislation allowing landlords to get out of the rental market, which has been increasingly abused over the past decade by landlords wishing to sell their buildings in a scheme known as tenancy-in-common.

Under the TIC system, tenants share the same mortgage but live in their own unit, which they usually hope to convert to an individually owned condo. And it was a letter proposing a TIC in the 10-unit rent-controlled building where Johnston has lived for 33 years that finally got the feisty septuagenarian to start learning about the Ellis Act in detail.

"That letter scared the crap out of me," says Johnston, who was shocked when a real estate agent claimed that the one-bedroom unit, for which Johnston pays $512 a month, would fetch half a million dollars if it were converted into a condo … if only Johnston could pony up $90,000 for a down payment.

Johnston was relieved when none of his fellow tenants took his landlord’s TIC bait, but they’re all worried the landlord plans to put the building up for sale anyway. So he’s closely following the latest chapter in the Board of Supervisors’ effort to protect renters like him.

On May 9 the board gave an initial 73 approval to a measure that would prevent condo conversions in buildings where seniors, the disabled, the catastrophically ill, or multiple tenants have been evicted.

Three previous board efforts to help tenants have been vetoed by Mayor Gavin Newsom, so Sup. Aaron Peskin heeded input from the Mayor’s Office and amended the measure to move the cutoff date for considering evictions from Jan. 1, 1999, to May 1, 2005.

That change, and the fact that he’d been getting public pressure from renters, apparently won the support of Sup. Bevan Dufty, who had voted to uphold Newsom’s vetoes of the previous renter measures. But with Sup. Ross Mirkarimi forced to abstain because he owns a TIC, the board is still left one vote shy of being able to override a veto.

The date change could affect renters like Debra Hutzer, who is disabled by thyroid problems and whose eviction papers were filed January 2005, forcing her to move on May 13, 2006, from the rent-controlled apartment on Church Street where she’s lived for 19 years to a place where she’s already paying $250 more a month.

"It’s been very disconcerting," says Hutzer of the eviction, which one of her neighbors, Carole Fanning, may now fight. Fanning is also supposed to leave, but she’s now hired an attorney to fight for "a stay of execution" that would allow her to remain in her rent-controlled unit.

"It’s possible, since seniors, disabled, and the catastrophically ill have one year from the date their eviction notice was served, that some may yet be able to convince landlords not to proceed," Peskin board aide David Owen told us.

As for the watering down of Peskin’s original measure, Ted Gullicksen of the San Francisco Tenants Union says the alternative was to put a version backdated to November 2004 on the November ballot a strategy that would have involved taking risks on an initiative that, even if it had passed, wouldn’t have gone into law until January 2007.

"Instead we have a measure that’s acceptable and has passed its first reading, which means tenants should be protected in another week," Gullicksen says. Peskin’s other amendment allows buildings with multiple evictions but not those involving the elderly or disabled to be eligible for condo conversions after 10 years. "This means those buildings get taken off the speculative real estate market," Gullicksen adds. SFBG

Paying for renewal

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› gwschulz@sfbg.com

BayviewHunters Point residents have cause to be concerned about any redevelopment plan that would dramatically alter the face of their neighborhoods, particularly given the displacement and corporate subsidies that have resulted from past redevelopment schemes in San Francisco.

So when housing activist Randy Shaw reported on his Beyondchron.org Web site April 10 that "hundreds of millions of taxpayer dollars" in revenue from the BayviewHunters Point Redevelopment Plan could go toward rebuilding Candlestick Park for the 49ers, his claim created a firestorm. The rumor quickly circulated among community groups and lefty media outlets already fearful of what SF officials had in store for the southeast section of the city.

But Marcia Rosen, executive director of the San Francisco Redevelopment Agency, says Shaw got it wrong: The tax increment financing (TIF) the main source of redevelopment money from BayviewHunters Point was never intended for Candlestick Park. Sup. Sophie Maxwell, whose district includes the project area, also told the Guardian last week that there hasn’t been any talk of subsidizing the stadium project or its surrounding housing.

Nonetheless, Maxwell has spent weeks trying to respond to community concerns about the stadium funding, as well as a host of other concerns raised by a portion of the community that has been galvanized by the redevelopment issue. On April 20 she added an amendment to the plan that explicitly restricts any TIF money from outside the Candlestick Point Special Use District from going anywhere near the stadium.

But that’s unlikely to end the controversy over a plan that Maxwell has been working on for six years and that has been in the pipeline for nearly four decades.

"This plan didn’t just happen out of thin air," Maxwell said at the May 9 Board of Supervisors meeting. "It came from many different plans in the Bayview. It was an accumulation of many outreach efforts. The plan has been thoroughly vetted. The scrutiny and disagreements have only made it stronger."

The legislation before the board for consideration now contains two parts: a 136-acre area that includes the Hunters Point Hill residential neighborhood, and a much larger area, added in the ’90s, that would expand the Redevelopment Agency’s jurisdiction by 1,361 acres.

Inside the enormous widened area is the Candlestick Point Special Use District, which was created by voters in 1997 as part of a narrowly passed legislative package infused with $100 million in bond money for the construction of a new Candlestick stadium and shopping mall. The plan was stalled until last month, when public mutterings about an alternative plan with more housing units began to circulate.

The propositions (there were two in 1997) allocating $100 million for Candlestick are still technically in effect. The money was never spent, and the football club’s ownership has since indicated it may build the project without that bond money in order to focus on housing. A feasibility study is currently under way, and no plans have yet been made public.

According to a report released by the Budget Analyst’s Office in late April, the Redevelopment Agency is expecting to generate almost $300 million in TIF money from new property taxes over the next 45 or so years to pay for the redevelopment plan. Approximately $30 million of the money available for infrastructure improvements and low-income housing would be contingent on business activity inspired by a new stadium, meaning the agency could end up with much less if the stadium area remains in its current state.

TIF money generated inside Candlestick Point can still flow outward, new stadium or not. But Rosen clarified for us that TIF money could also go toward infrastructure improvements associated with the Candlestick project, such as roads, streetlights, green spaces, and housing at least 50 percent of which is required to be affordable to those with low incomes, a far higher rate than citywide requirements. None of this could happen, however, without board approval and considerable public oversight.

"There is the possibility that the board could allocate tax-increment financing to a park or other public space," Rosen said.

Other concerns residents had over the redevelopment plan have cooled somewhat as Maxwell has introduced a series of amendments, including a call for regular management audits during the plan’s implementation and increased public participation in approving "significant land use proposals," an amendment she introduced last week.

But some skeptics have continued to express concern about gentrification of the area and the displacement of its predominantly minority residents.

Shaw, who opposes the plan, told us his greatest concern now is no longer the 49ers but turnout at public meetings.

"The proponents have outnumbered the opponents," he said. "I haven’t seen the kind of turnout we would have expected." SFBG

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(Hip-O/Universal)

PRESS PLAY Extreme emotional response is never quite as simple as stroking an erogenous zone or pressing a few buttons keyed to childhood memory, but like select performances in The Last Waltz, Marvin GayeThe Real Thing in Performance reduced — or rather, elevated — me to tears.

This "first official" Motown-approved DVD anthology of TV performances comes freighted with expectations as large and moss-lined as a certain label head’s ego — and as baroque and biblical as the Gaye story itself (the very stuff of Shakespearean tragedies/Hollywood biopics, with the singer finding musical succor in his father’s church and later death at Marvin Sr.’s hands). Nonetheless, the execution is — mercifully — graceful, with performances drawn from biggies like American Bandstand and lesser-known programs such as Hollywood A Go-Go, intercut with mostly Dinah Shore interviews. Extras include a cappella studio vocal tracks of Gaye hits.

Invaluable is concert footage of Gaye on piano playing off a conga player on "What’s Going On" in 1972 (pulled from Save the Children) and a groovily camp "I Heard It Through the Grapevine" from a 1969 Hollywood show. These excerpts remind you that — yes, you heard right — Gaye was the genuine article (ever the son of a preacher man, he reveals in a talk with the doting Shore that he doesn’t remember writing What’s Going On and thus regards it as "divine"). Radiating an easy sexuality and often distractingly surrounded by wildly frugging go-go girls and later Solid Gold–style strutters, Gaye finds his true, sublime fit with Tammi Terrell, dueting on "Ain’t No Mountain High Enough" in mod street togs at Montreal’s Expo ’67, in one of only two known TV appearances by the pair. The duo manages to project a sheer joy that encapsulates the heartbreaking promise of an era on the precipice. Even the obvious lip-synching — emphasized by the fact that Motown stereo masters replace the mono TV audio — can’t hide Gaye’s heaven-sent powers as a performer, with a riptide of feeling and grace pulling close to the surface of his always handsome, often sleek image. (Kimberly Chun)

‘International Press Institute (IPI)’ and ‘International Freedom of Expression eXchange (IFEX)’

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PRESS RELEASE  http://www.freemedia.at

Vienna, 11 May 2006

IPI Calls on the European Union to raise the issue of press freedom in Latin America and the Caribbean during the EU-LAC Summit in Vienna, Austria

On the occasion of the European Union Latin America and Caribbean (EU-LAC) Summit in Vienna, Austria, the International Press Institute (IPI), the global network of editors, media executives and leading journalists, calls on the European Union (EU) to raise the issue of press freedom and freedom of expression.

In the Americas, at least 11 journalists were killed because of their work in 2005. Three journalists were murdered in Haiti, and two each in Brazil, Colombia and Mexico. Journalists were also killed in Ecuador and Nicaragua.

Throughout the year, investigative journalists in Latin America continued to receive death threats, or were physically attacked by corrupt officials, drug traffickers and other criminals intent on preventing the media from exposing their activities. Several journalists were forced to flee into exile. In addition, journalists had to contend with a barrage of litigation, including criminal defamation lawsuits and excessive punitive damage awards in civil suits.

Media outlets criticised government restrictions on access to public information, often the result of anti-terrorism legislation introduced in response to the terrorist attacks of 11 September 2001. The use of official advertising to punish or reward publications and broadcasters was also condemned as a threat to press freedom. In some countries, the excessive use of force against journalists by the police and army was a cause for concern.

With 23 journalists imprisoned at the end of 2005, Fidel Castro’s Cuba was the world’s second biggest jailer of journalists after China. Those independent journalists not already arrested in the March 2003 government crackdown on political dissidents were systematically monitored, harassed or detained by the state security forces.

Mexico saw an increase in the number of violent attacks against reporters, especially those investigating drug trafficking and official corruption in the northern states bordering the U.S.

The administration of President Hugo Ch?�vez tightened its grip on the press in Venezuela, as the Social Responsibility Law for Radio and Television and amendments to the penal code, expanding the categories of government officials protected by insult provisions, came into effect in 2005.

In the Caribbean, the introduction of restrictive new media legislation, the continued use of civil and criminal defamation laws, and instances of government interference in state-owned media, all encouraged the tendency to self-censor.

Speaking on the press freedom situation in the region, Michael Kudlak, IPI’s press freedom advisor for the Americas and the Caribbean, said, “Increasingly, authorities are attempting to use defamation laws, broadcasting regulations, and other legal measures to stifle critical coverage, posing a serious threat to freedom of opinion and expression in the Caribbean.”

IPI Director Johann Fritz added, “IPI calls on the Austrian Presidency of the European Union and heads of EU member states to address freedom of expression and media freedom in Latin America and the Caribbean during the EU-LAC summit. At a time when journalists suffer harassment and must resort to self-censorship, there is a real need for the EU’s dialogue with many Latin American countries to be informed by greater discussion about press freedom and freedom of expression.”

“IPI urges the governments of the region to uphold everyone’s right to freedom of opinion and expression, including the right ‘to seek, receive and impart information and ideas through any media and regardless of frontiers,’ as outlined in Article 19 of the Universal Declaration of Human Rights,” Fritz said.

IPI, the global network of editors, media executives and leading journalists, is dedicated to the furtherance and safeguarding of press freedom, the protection of freedom of opinion and expression, the promotion of the free flow of news and information, and the improvement of the practices of journalism.

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International Freedom of Expression eXchange (IFEX)

http://www.ifex.org/en/layout/set/print/content/view/full/74356/ 

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Nightmare city

PREVIEW Trench coat alert: The World Horror Convention is oozing all over Van Ness Avenue, unleashing four days of panel discussions (on everything from horror art to horror-themed television shows), readings (outstanding local true-stories zine Morbid Curiosity hosts an open mic), and special guests, including Ring author Koji Suzuki and cult-movie actor Bill Moseley, best known as sadistic Otis Driftwood in The Devil’s Rejects and — yee haw! — Iron Butterfly–loving grandma’s boy Chop Top in Texas Chainsaw Massacre 2.

The event also features a dusk-till-dawn film festival curated by Shannon Lark, host of the Chainsaw Mafia movie nights at the Parkway Theater. (Side note: As part of that series, on May 25 she presents Lucio Fulci’s The Beyond, starring all the eyeball-crunching tarantulas your nightmares care to entertain.) For the convention Lark gathers more than two dozen shorts (Confederate Zombie Massacre sounds like a winner) and nine features, including the gloriously titled Frankenstein vs. the Creature from Blood Cove.

My weakness for anything starring P.J. Soles (Carrie, Halloween, Rock ’n’ Roll High School) drew me to Death by Engagement, writer-director Philip Creager’s slick slasher flick. A woman dumps her fiancé at the altar after realizing she’s about to marry the world’s biggest rageaholic (he’s addicted to rageahol!). He promptly tracks her down and beats her to a pulp — but is soon brought to the edge of death himself by a pair of trigger-happy cops, one of whom discreetly slides the honkin’ diamond ring off the bride’s bloody hand. The cursed bauble then snakes its way though the lives of several young and fabulous LA types, leaving a trail of corpses in its wake.

More of a raunchy comedy than a straight-up horror film (i.e., you’re more likely to be surprised by the sudden appearance of boobs than by any of the plot twists), Death by Engagement is notable for a few reasons: the appearance of the pawn shop from Pulp Fiction (but, alas, not the Gimp); the snarky dialogue, as when a cop refers to two brain-dead victims thusly: "So, we have a whole salad bar here, eh?"; and Soles, who is predictably great in a classic creepy-mom role. (Cheryl Eddy)

WORLD HORROR CONVENTION

Thurs/11–Sun/14

Holiday Inn Golden Gateway

1500 Van Ness, SF

$50–$140

www.whc2006.org

www.thechainsawmafia.com

Double digits

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› a&eletters@sfbg.com

Bernard is a chip off the old block. "You’re just what I wanted," his father, Salter, assures him. Made to order, in fact. Now a grown man, Bernard (Josh Charles) confronts his father (Bill Smitrovich) with an unsettling discovery: He’s the clone of a previously undisclosed original, a replacement for the beautiful child Salter once had but, apparently, lost. At first it’s hard to say how Salter’s story keeps changing. But if each detail Bernard pulls from his reluctant, taciturn father is like another child ripped from the test tube, Salter acknowledges the essential truth of the matter, only insisting that he too was deceived, since he had ordered just a single replacement. The men in the lab coats have been pursuing an agenda of their own. According to the one who spoke to Bernard, there are in fact "a number" of clones like him out there, somewhere. A profoundly disturbed Bernard wonders if they share the same dreams. His father, trying to marshal their defenses, wonders if they can sue. How much is each slice of a person’s uniqueness worth anyway?

So begins renowned British playwright Caryl Churchill’s A Number, her shrewd, tightly drawn 2004 drama now making its West Coast debut at American Conservatory Theater (ACT). In the course of its lean hour-long single act, it takes several turns, as Salter and son confront one another as if for the first time, in halting, half-finished lines and overlapping thoughts. More dramatically still, each begins separately to confront his self-image anew. Indeed, even as two more sons arrive (each played by Charles), the theme of cloning that opens the play so forcefully begins subtly to dissolve in more general lines of inquiry, ultimately more unsettling than the narrow science fiction spinning out an indefinite series of genetic Xeroxes who may or may not share the same penchants and innermost thoughts. One of these lines of investigation has to do with patriarchal authority, you might say, or the tyranny of parental power and the prerogatives and rights of children. The fraught relationship between Salter and his son(s) touches on ground whose ethical and even philosophical contours are rocky at best, as we come to glimpse the darker recesses of Salter’s past and his straightforward desire to start over, to set things right, to bring his life (including, inevitably, his offspring) under control.

Another even more basic theme set in motion here, however, has to do with what makes us happy: how self-knowledge relates to self-image, to our definition of life, and to our definition of the human. It’s as if the traditional fear and fascination associated with the doppelgänger meet their modern equivalent in the laboratory clone, both of them cultural figments with the power to open up the presumably solid ground that underlies notions of our uniqueness as individuals and as a species. But whereas the premodern doppelgänger could suggest a spirit world beyond the material, in a demystified world the clone reduces everything all the more insistently to the material genetic material, to be exact: an interchangeable array of molecular puzzle pieces without spirits or ostensible meaning. The modern bureaucratic nightmare of being reduced to merely "a number" finally roosts in each chromosome. If this is understandably disturbing, however, it’s far from the end of the story. For, as the third son, Michael, suggests, why shouldn’t the revelation Bernard confronts with all its implications about our relation to other living things be a source of comfort or delight?

Churchill’s subtle, interesting, and creepy play has its full complexity partly trammeled, unfortunately, by ACT’s mostly bland production. While things get better over the course of the hour, the opening moments set what feels like the wrong tone. Director Anna D. Shapiro, of Chicago’s legendary Steppenwolf Theatre, takes things at a brisk pace, with her otherwise highly capable actors playing the dialogue too much as if it were David Mamet’s stylized vernacular (which here tends to encourage playing the lines for laughs) instead of a clinical grafting of language more in tune with the play’s fraught tensions, tugging at one another as if in the throes of meiosis. SFBG

A NUMBER

Through May 28

Tues.–Sat., 8 p.m.; Wed., Sat., Sun., 2 p.m. (except Sun/14)

Geary Theater

415 Geary, SF

$12–$46

(415) 749-2228

www.act-sf.org