Volume 42 [2007–08]

Tell it like it is

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ISBN REAL Samuel R. Delany is best known as a science fiction writer. And it’s a good bet that once people see the documentary The Polymath, or The Life and Opinions of Samuel R. Delany, Gentleman — screening this week at the San Francisco International LGBT Film Festival — Delany will be equally well known as a prolific tea-room queer (50,000 and counting), a lifestyle that has informed much of his fiction. By all rights, either of these enthusiasms should provide the best inroad to Delany’s work. But I’m not so sure that’s true.

What I’ve read of Delany’s science fiction is ambitious, path-clearing, and fearless in its treatment of sex and race. It also tends to let ideas outperform style. Some selections of his work tighten the gap more successfully than others. Triton (Bantam, 1976), sometimes published as Trouble on Triton, is simultaneously much more effective and much less ambitious a work of art than its megahit predecessor Dhalgren (1975), a book of commendable narrative and sociological experimentation that still feels, page by page, overdetermined and overly dependent on dialogue for orientation.

When Delany writes about sex beyond the speculative landscape, he has no less a tendency to dote on ideas, often leaving the reader bloated with enlightenment and blue-balled by the promise of a tight story. His "pornotopic" novel Mad Man (Voyant, 2002) is in many ways a beautiful rumination on the staggered evolution of social tolerance, the ways in which our complex alliances and prejudices can work at cross-purposes. While it’s also admirably brutal on the average reader’s gag reflex, it’s still probably best to select a few boutique items — like maybe the scat play and interspecies fellatio — and save the cavernous foreskin tubes of smegma for another novel. Similarly, while Dark Reflections (Running Press, 2007) is equal to Christopher Isherwood’s 1964 A Single Man at exposing the animal humility of an aging literary life, it relinquishes its eerie sad hush to a bulbous interlude of bathroom-sex protocol.

Really, Delany is too forgiving of his enthusiasms — be they technological, sexual, or literary — to exclude what thoughts they might inspire, to avoid treating fiction as specimen capture. Some of the most impressive bits of Mad Man are simple lists of autonomous thoughts discovered in the notebook of a deceased philosopher. But the beauty of the lists make them no less transparent an opportunity for Delany to do some housecleaning. And while he was able to parlay his mania for inclusion into the artistic success of Phallos (2004), a great little faux-academic novel about an erotic text of mysterious provenance, writing about writing seems an awfully limiting way of solving the problem.

Unless you do it up right, in nonfiction. Though they are not by and large what have earned him his notoriety, works of criticism, memoir, and pedagogy shine brightest on Delany’s mantle. His elegy to the egalitarian sex culture of pre-Giuliani Times Square, Times Square Red, Times Square Blue (NYU Press, 1999), is deservedly well known. Though not as prominent, About Writing (Wesleyan, 2005) is a fantastic collection of essays, letters, and interviews on writing as a craft. Equally worthy is Silent Interviews (Wesleyan, 1994), a collection of souped-up interviews that deftly handle many of the concepts he has tried, with mixed results, to illuminate in his fiction. One particularly memorable piece in the collection is "Toto, We’re Back!", a 20-page crucifixion of some insidiously parochial questions posed by a couple of poor professors who thought they were being obsequious. Not only is it a brilliant demonstration of intellectual sadism, it’s also an intriguing examination of the nature of genre as well a solid beginner’s guide to the notables of science fiction. Though he is but one such notable, there are few better places to start.

THE POLYMATH, OR THE LIFE AND OPINIONS OF SAMUEL R. DELANY, GENTLEMAN

Fri/20, 8 p.m., $9–$10

Roxie Film Center

3117 16th St., SF

(415) 703-8655

www.frameline.org

What’s a “Mater”?

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1. Unholy howler monkey!

2. The first murder victim delivers hilarious faux-archaeologist lines. She resembles Christopher Guest stalwart Catherine O’ Hara.

3. The dark circles under Asia Argento’s eyes and the scour-rough warm wool of her voice. She’s a star.

4. This time, Dario Argento’s trademark homicidal attack on a character’s eyes is a steel version of the nyuk nyuk nyuk treatment that Moe used to give Curly.

5. Daria Nicolodi’s character looks like a video game avatar. Plus, her appearance and her role create an entire other story that surrounds the story onscreen: one in which Asia, her child by Dario, saves the world from occult apocalypse (but dutifully showers before her daddy’s camera and dives into a putrescent soup of corpses first).

6. Best baby-killing scene since Andy Warhol’s Bad (1977).

7. Asia has to fend off Eurotrashy new wave cackling witches, Japanese Goth cackling witches, and International Male–model cackling witches — all of which love public transit.

8. Instead of a Helena Marcos–like Suspiria crone, the lead villain is an underdressed nymphet. Someone I saw the movie with deemed her "Boob Lady."

9. It delivers more gruesome guts and gore than every mechanical Hollywood horror remake of the past 10 years put together. If you walk into the theater in a state of frustration, you will leave it in a state of blood-sated jubilation.

10. It’s the third part of the Three Mothers trilogy, fool!

MOTHER OF TEARS

Opens Fri/20 at Bay Area theaters

www.motheroftearsthemovie.com

Have another Soju

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Drinking with Hong Sang-soo is an intense experience. Supremely awkward conversations transpire over tables littered with empty soju bottles. The primary topic is sex — and the details quickly get personal. It’s exactly like a scene from one of his films. Or so it seemed during a group dinner honoring Hong at last year’s San Francisco International Asian American Film Festival. Drinks vanished. Secrets were told. And all present tried to forget about it by the next day.

Scenes of clumsy inebriation are the essence of Hong’s cinema, and 2006’s Woman on the Beach is no exception. Over the course of seven movies (excluding the new Night and Day), Hong has repeatedly examined the complicated romantic entanglements of heterosexual Koreans. His scenes often take place in restaurants or domestic parlors, as people sit, drink, talk, and ultimately either seduce or reject each other during extremely long takes. Reportedly, Hong gets his actors drunk before shooting these scenes.

Invariably, Hong’s films focus on a male protagonist trying to bed a woman. These men are always artists; frequently they are film directors. In these respects, Woman on the Beach is quintessential Hong. It also revives his focus on troubled Seoul-dwellers who leave the city for peace of mind. But there’s an essential shift in emphasis: the woman in the story ends up as complex a creation as the men. A female musician pursued by a film director and his set designer, she’s no virgin stripped bare by her bachelors.

Woman on the Beach isn’t as formally rigorous as Hong’s previous films, and it spells out matters that might have been implicit in an earlier work. But this should only matter to hardcore Hong-heads. The biting observations remain, and they’ve never been funnier.

The woman at the center of Woman on the Beach says she "[doesn’t] respect Korean men too much." Hong’s male characters are indeed selfish, unreliable drunks. But they’re bastards with charm.

WOMAN ON THE BEACH

Opens Fri/20 at Sundance Kabuki Cinemas

www.sffs.org

Sour sixteen

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› a&eletters@sfbg.com

Tom Kalin’s 1992 Swoon was a signature feature from the New Queer Cinema movement. Its dramatization of the 1920s Leopold and Loeb case seemed arresting for both its crisp black-and-white photography and flagrant disregard for still-prevalent sentiments that gay screen imagery need always be case-pleadingly positive. Here was talented Kalin, making his first feature about two notorious Chicago thrill-killers — privileged young gay lovers who murdered a 14-year-old boy they vaguely knew simply to fulfill their self-identification as Nietzschean supermen. However, their perfect crime was detected quickly, to public revulsion that no doubt cast a long, dark shadow over gay-rights struggles for decades afterward.

Swoon was striking but superficial — a cool-looking, attitudinal performance piece riding on gallery aesthetics, fashionable moral ambiguity, and Kalin’s professed admiration for the real-life protagonists as anarchic revolutionist souls. (To which I say: bullshit.) It certainly got him enough attention to leg-up a career. Yet he’s only now finished a second feature.

Two feature films in 16 years provide thin grounds for trend-spotting. Still, it’s hard to ignore that Savage Grace is another true-crime dramatization involving murder and decadence within the social elite, one that replaces Swoon‘s amoral Jazz Age gay Chicagoan youths with postwar transatlantic jet-setters. Kalin has a Dominick Dunne–like nose for bloodlust among the powerful and privileged. It led him to the 1972 murder of socialite Barbara Daly Baekeland by her son Antony, an act that subsequently exposed years of incest, adultery, substance abuse, questionable parenting, and rampant craziness — all within the glittering A-list milieux befitting beneficiaries of the Bakelite Plastics fortune

The 1985 book Savage Grace used interviews, letters, and diary entries to tell the gruesome story in first-person pastiche. Redirecting that saga toward conventional dramatic narrative, Kalin and scenarist Howard A. Rodman can’t replicate that tome’s multiplicity of voices, nor do they try — after all, the toxic mixture of lurid acts and privileged environs inevitably compels interest. But just as Swoon displayed a detached appreciation of — rather than deep insight into — its glamorously bent protagonists, Savage Grace exhibits an infatuation with the glitterati who turn out scandalous freakazoids minus any palpable sense of what went wrong.

"Everything that happened, happened because of love," says grown-up Antony (Eddie Redmayne) in voiceover. But love isn’t the precise term one would apply to life with his high-end transient family: codependency, manipulation, and massive narcissism are more apt. Raised poor but pathologically ambitious, ex-model Barbara (Julianne Moore) snagged old money — at least by US standards — when she snagged Brooks Baekeland (Stephen Dillane).

Their union already had degenerated into relentless social climbing and mutual cheating — along with the occasional hatefuck — by the time little Antony arrives. Prone to smother-motherdom and jags of irresponsible neglect, Barbara raises him to become a filigreed rich-hippie Eurail dandy. He gains a male lover, then a girlfriend poached by Dad, then becomes involved in a three-way with Mom and her suave older beard (Hugh Dancy). Meanwhile, scenes shift from Manhattan to Catalonia to Paris to London. A boy could go crazy from so much disorienting change — though you might not realize from this film that the true-life Antony had exhibited signs of schizophrenia at an early age.

Also missing from Savage Grace are such telling real details as the Baekelands’ refusal to allow Antony therapy, or Antony’s prior knife-wielding threats toward Mom, or her failed attempts to make him heterosexual by hiring dates for him. These elements might have enriched a movie that comes off as entirely outside-in. Kalin’s visual attention to lifestyle particulars doesn’t deepen these characters. It merely accessorizes them.

Moore may be incapable of a bad performance, yet this seemingly ideal role elicits one of her thinnest characterizations. She’s duly alluring and grasping, and unpredictably profane when she’s raging. But Kalin and Rodman haven’t given this monster mother any substance. Considered by many to be the story’s true villain, Dillane’s neglectful Brooks makes a too-vague impression. However, the reliable Dancy is excellent as a dedicated follower of fashion, and Redmayne’s nervous eyes convey the ratcheting instability of a boy-man who instinctively knows his worldview is tragically wrong.

Sixteen years haven’t made much difference for Kalin. Even in color, his shallow vision of imploding personalities feels like tabloid artsploitation. Other New Queer Cinema mavericks have gone on to make films that challenge artistic, thematic, and commercial assumptions. In comparison, Savage Grace is oddly conservative. *

SAVAGE GRACE

Opens June 27 at Bay Area theaters

www.ifcfilms.com

Frameline 32: The Horror, the horror

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Will queers ever get the horror movie they deserve? Granted, with the recent coast-to-coast ratifications of same-sex marriage, LGBT folk have more pressing issues than debates over genre cinema on their mind. Besides, that intransitive verb — deserve — provides an extra soupçon of tastelessness to an already loaded question: wasn’t the golden age of the celluloid closet defined by giving onscreen queers "what they deserved," doling out silent suicides and grisly homicides as the price of representation? And aren’t we faced with enough real-life horrors? Homophobia and AIDS are still killers on the loose. So why appeal for terror?

To put it simply, there is pleasure in being scared. And to put it more complicatedly, there can be empowerment in that pleasure. Two of New Queer Cinema’s most lauded films — Todd Haynes’ Poison (1991), and its "Horror" section in particular, and Tom Kalin’s Swoon (1992) — critically queered horror’s generic conventions and Hollywood’s coded positioning of gay men as monstrous. A few years later, queer critic Paul Burston and feminist critic Amy Taubin separately penned defenses of Cruising (1980) — arguably the first gay slasher film — and Basic Instinct (1992), based on then-contrarian grounds of personal enjoyment.

Since then we have entered a post-Scream world where everyone knows horror’s hanky codes. Rewiring them for LGBT audiences doesn’t always yield a film the caliber of Poison, just as enjoying "bad" images of gays and lesbians doesn’t necessitate a printed confession. While casual homophobia is still permitted in mainstream releases such as Hostel, the price of representation, at least for most of the handful of horror films that tour the LGBT festival circuit, seems to be mediocrity. I know I wasn’t the only one woefully disappointed with the West Hollywood bloodbath HellBent (2004). And let’s not even get into Scab (2005).

Luckily for all the rainbow-colored Fangoria fans still bloodthirsty after catching local director Flynn Witmeyer’s Imp of Satan earlier this year at Another Hole in the Head, late June is bearing an unexpected slasher crop of queer horror films. It includes Dead Channels’ one-off presentation of Sean Abley’s Socket (2007) and some scary fare at Frameline’s SF International LGBT Film Festival. (Full disclosure: I was on the staff of last year’s festival.)

A sexy sci-fi tinged thriller whose ideas are sometimes brighter than its execution, Socket puts a queer twist on Cronenberg-ian body horror. After surviving a freak electrocution, Dr. Bill Matthews (butch thing Derek Long) strikes up a relationship with his hunky caretaker, hospital intern Craig Murphy (Matthew Montgomery), and sparks literally begin to fly. Craig reveals that he is a fellow survivor and introduces Bill to a covert group of energy junkies who juice up together via a portable generator. Talk about a circuit party! Now insatiable, Bill surgically enhances his and Craig’s socket fetish — and adds an extra jolt to their sex life — but his increasingly manic behavior leads to the kind of shock he never could have anticipated.

It is perhaps too easy to read Bill’s degenerative energy dependency as an allegory for meth addiction, and the film certainly invites such comparisons. More interesting is Socket‘s rewiring of gay sex, with Bill and Craig’s retractable, fang-like wrist plugs and dorsal wrist sockets multiplying the permutations of top and bottom as orienting poles of identity and desire. It’s something I wish the film spent more time on.

Abley also produced and has a supporting role in Jaymes Thompson’s The Gay Bed and Breakfast of Terror, one of three horror features screening at this year’s Frameline fest. What Socket has in brains, the sophomoric and arch Bed makes up for in buckets of blood. A Showtime original series’ worth of gay and lesbian stereotypes roll up to the remote Sahara Salvation Inn, only to find out too late that the B ‘n’ B is a front for the Bible-thumping proprietresses to do "God’s work." There is a certain glee in watching the asshole Mr. Leather or naive lesbian folksinger characters get violently disposed of — if only because they’re so obnoxious — but Thompson’s film wheezes through its final 20 minutes with all the faux-hilarity and dull-edged political commentary of a Mad TV sketch.

Dan Gildark’s ambitious Cthulhu more successfully mobilizes horror’s ability to reflect the zeitgeist back at us as something uncanny and unsettling. Screen adaptations of H.P. Lovecraft’s writings usually don’t work out well (perhaps because of "the inability of the human mind to correlate all its contents," as the author wrote at the opening of 1926’s Call of Cthulhu), but Gildark is smart enough to stop short of showing the full-tentacled monty. Instead, he cultivates an atmosphere of mounting dread and unstoppable evil that is extremely faithful to Lovecraft’s bitter misanthropy — and applicable to the last dark days of the Bush régime. Did I mention Tori Spelling appears as a Dagon-worshipping baby mama?

Another Frameline fest brings another hot mess of a Bruce LaBruce movie, Otto; or Up With Dead People! This one can be summed up in three words: gay zombie sex. Really, the gash-fucking scene is both the film’s highlight and LaBruce’s lasting contribution to porn and horror. There’s a loose story here about the titular incredibly strange gay twink who stopped living and became a heartbroken zombie (and the ridiculous goth auteur who makes him an underground film star), but as with all LaBruce films, that narrative thread mainly stitches together a series of amateurish sex scenes. Still, I would take LaBruce’s messiest effort over another Hellbent any day.

Coda: it’s worth pointing out that some of the most radical LGBT reinterpretations of horror in recent memory have occurred off screen. Kevin Killian’s Argento Series (2001) and Daphne Gottlieb’s Final Girl (2003) both energize horror cinema to create a queer poetics of loss. Killian finds a way of writing about the AIDS crisis through Dario Argento’s bloody and supernatural gialli, while Gottlieb ventriloquizes a dozen slasher film heroines who got away — along with a Greek chorus of academics — to reframe "what it feels like for a girl" as a matter of posttraumatic survival. Read them and be frightened, and inspired.

CTHULHU

Sat/21, 11:15 p.m., Castro

THE GAY BED & BREAKFAST OF TERROR

Fri/20 11:45 p.m., Castro

OTTO; OR UP WITH DEAD PEOPLE

June 27, 11 p.m., Castro

SOCKET

Wed/18, 7 and 9:15 p.m., $5

Hypnodrome Theatre

575 10th St., SF

www.deadchannels.com

Frameline 32: Sex changes

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TAKE ONE In Iranian director Tanaz Eshagian’s Be Like Others, fear hovers over a whole nation, leading to schizophrenic behavior. By concentrating on three different individuals before and after they went through sexual reassignment operations in Iran, Eshagian reveals an incredibly sad and asphyxiating society — one where homosexuality is banned and punishable by death but changing one’s sex is legal.

No matter how progressive the act of changing one’s sex might sound, Be Like Others proves that it has conservative and oppressive connotations in Iran. Most of the people considering surgery in Eshagian’s film do so because they feel that it’s their only alternative to a gay male or lesbian identity that involves disrespect, harassment, and the possibility of a horrible death. Yet instead of finding acceptance post-operation, many are even more alienated.

The reason for this insanity, as explained by one official: being gay or a cross-dresser allegedly disrupts the “social order.” In other words, gender-bending blurs the distinctions between the sexes, making Iranian social role-assignment — largely determined by sex — a confusing task.

Mind-boggling and utterly scary, Be Like Others is a great comment on people’s obsessive need to label and compartmentalize, and a statement about our disgusting fear of anything that lacks clear delineation. At first, Eshagian’s documentary might make you feel lucky to live in a country where measures against homosexuality are not as extreme. But as it sinks in, it will make you question how far removed the situation in Iran really is from that in the United States. (Maria Komodore)

TAKE TWO At first the Iranian laws that make Tanaz Eshagian’s movie necessary seem not just cruel, but absurdly and arbitrarily so. How could homosexuality be illegal and punishable by death, while the government not only sanctions sexual-reassignment surgery but acts as its facilitator?

In Be Like Others, the answer comes from Cleric Kariminiya, a so-called Theological Expert on Transexuality, during an information session for prospective patients and their families. While Islamic law explicitly forbids homosexuality, he explains, there is no such explicit restriction on changing one’s gender.

In other words, the binary sexual politics of Iranian authority are undermined by the existence of queer citizens, whose mannerisms or predilections suggest a continuum. Eshagian’s powerful film follows a few citizens who, too visibly close to the middle of that continuum, are forced to decide between the suffering and danger of their current lot and an abrupt surgical introduction into social legitimacy.

The decision-making process these individuals face is extremely difficult viewing. Those people who successfully transition often have no other option but sex work to survive. Suicide is rampant.

Eshagian’s project is exceptional because it leaves the viewer enlighteningly confused about Iranian attitudes toward gender and law. The most fascinating character in the film is a transgender woman dedicated to the care of patients in transition. She is supportive, devoted to her patients’ well-being, and fully entrenched in the traditional Iranian views of men and women. (Jason Shamai)

BE LIKE OTHERS

Mon/23, 7 p.m., Victoria

Frameline 32: Anti-pity party

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Films about people dealing with serious diseases are often hard to watch and frequently difficult to criticize. They make for rough viewing because of the empathy a viewer has for the suffering subject. Perhaps due to this same sense of compassion, admitting that such movies are cheesy — as they sometimes are — is sort of taboo.

Feminist and experimental filmmaker Barbara Hammer bypasses such niceties and constraints with A Horse Is Not a Metaphor. The title of Hammer’s movie might have ties to Susan Sontag’s writings on illness, but it also connects to the dreamlike imagery of horses that she mixes with footage of her stay in a hospital. Structurally, A Horse Is Not a Metaphor‘s chapters correspond to the stages of ovarian cancer treatment. Hammer reinforces all these elements with the magnificently strange music of Meredith Monk to create a very personal retelling of her experience. Her movie is a highly relatable testimony of feelings that rage from sheer darkness to happiness and hope.

Horse‘s visceral quality makes it a different and almost cathartic response to the subject of disease. Each ingredient conveys a desire to connect with the physical and emotional world on a basic sensory level. In doing so, Hammer and her movie relinquish pity and fear.

A HORSE IS NOT A METAPHOR

June 27, 7 p.m.

Roxie

Frameline 32:That’s us

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› johnny@sfbg.com

Wild Combination: A Portrait of Arthur Russell is like an audiovisual kiss from Russell to those who loved him, and to a greater audience who has yet to discover him. That’s the highest praise I can think of for Matt Wolf’s movie about the composer and musician, who died of AIDS in 1992. Clearly enamored with Russell’s wonderful and unique world of echoing sound, Wolf breaks free from the all-too-familiar generic commercial tropes of music documentaries to try a little tenderness. The gesture of affection is more than fitting: though Russell wasn’t a pop sentimentalist, he was capable of writing entire songs (such as "A Little Lost" and "Lucky Cloud" from the 1994 album Another Thought) about equally entire days spent thinking about his lips pressing against those of his beloved. As he sang, "Kissing I go overboard."

That beloved is Russell’s boyfriend Tom Lee, whose generous intimacy while being interviewed is one of the qualities that makes Wild Combination special. Though the Talking Heads are mentioned more than once as Wolf’s movie follows Russell’s idiosyncratic paths through the creative spots of downtown ’80s New York, the film’s chorus of commentators never falls into the kind of talking-heads detachment one associates with documentaries. There is a rare, moving intimacy to the camera’s rapport with Lee and with Russell’s Iowan parents, Chuck and Emily. That rapport only builds in the emotionally powerful final moments, yielding a story about love and family that, through sheer openhearted understatement, is a revelation. Think of it as a nonfiction answer to Brokeback Mountain: more shattering, nuanced, and hopeful because it is based in a commitment to creative life rather than manufactured myth.

"I’m watching out of my ear," Russell’s voice declares, with characteristic quiet softness, as Wild Combination first flickers onto the screen. This synesthetic intuitiveness seems to guide the film as it simultaneously travels his life story and communes with his spirit. The cinematography of Jody Lee Lipes passes like wind through the corn fields of Russell’s youth and the New York piers of his adult life, both of which provided lyrical inspiration. By simply tapping into Russell’s relaxed and meditative creativity (at least when Russell was working solo), Wolf makes the film’s charm and depth seem so easy. But subtly potent structural corollaries emerge, as when Chuck Russell’s remembrance of a physical fight with his gentle yet maddening son is mirrored — same words, but a recollection of a different situation — by musician and friend Ernie Brooks.

Wild Combination is the first feature film by the 25-year-old Wolf, whose Web site (www.mattwolf.info) is a treasure trove of gay sensibility and whose early short films suggested an affinity for this kind of project. Wolf has already made a short fictive documentary about the late artist-writer David Wojnarowicz, a contemporary of Russell’s — in a Guardian article on Russell (see "Prince Arthur, 03/04/04), I compare the two — who followed similar paths. That 2003 film, Smalltown Boys, possesses the acutely critical parodic imagination of early Todd Haynes movies, a rare characteristic. But Wolf has since graduated from Haynes’ academic tendencies. He’s soulfully true to Russell, whose idiosyncratic gifts and personality led him to butt heads with avant-garde heartlessness and dance through underground discos. While alive, Arthur Russell never found a creative home outside of himself and those he loved. But in Wild Combination, Wolf proves those homes are more than enough. *

WILD COMBINATION: A PORTRAIT OF ARTHUR RUSSELL

Sat/21, 9:45 p.m.

Roxie

FRAMELINE

The 32nd San Francisco International LGBT Film Festival runs June 19–29 at the Castro Theatre, 429 Castro, SF; Roxie Film Center, 3117 16th St., SF; Victoria Theatre, 2961 16th St., SF; and Rialto Cinemas Elmwood, 2966 College, Berk. Tickets (most shows $10) are available at www.frameline.org.

Pixel Vision blog: Johnny Ray Huston interviews Matt Wolf. Plus: an Arthur Russell discography and short Frameline reviews

Olema Inn

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› paulr@sfbg.com

If Marin County is a state of mind, would it be catty to describe that state of mind as schizophrenic? Despite a compact geography, Marin shows the world a surprising number of faces; there’s Mount Tam, Muir Woods, Black Sands Beach with its sporty naked people, the writhing population centers in the southeast (my least favorite quarter), and — my most favorite — the rolling, wooded, gently farmed county to the west.

West Marin is an enchanted realm, a genteel Arcadian dream. The city is just 20 miles distant, but one does not feel it. For those of us who’ve had occasion to live in one of the metropolises of the East, whose sprawl can take several hours to escape, this swift vanishing of urbis is an abiding miracle. Humanity’s self-absorbed throbbing subsides, and there is peace across a landscape luminously painted by Thaddeus Welch more than a century ago. The two-lane roads, uncluttered with traffic, wend through tidy little villages and country junctions often punctuated by sharp church steeples, past neatly kept fields, pastures, and orchards. And at the end of one of those roads lies the Olema Inn, an oasis of civilization and civility.

The Olema Inn has been a fine restaurant for nearly a decade, but its deeply atmospheric building is far older, with roots extending back well into the 19th century. When you step onto the Victorian veranda, you have a momentary vision of Mark Twain standing there, gazing out, maybe waiting for a stagecoach or looking for a spittoon — and then you see the "Marin Organic" sign and, for better or worse, you’re right back in the early 21st century.

Inside, the building has been buffed to a soft shine. The lobby, with its inviting bar, has the look of an Edwardian salon — plump, comfy chairs amid lots of rich wood — while the dining rooms beyond are a gracious blend of mullioned, multi-light windows, antique pine floors, fresh white walls, and garden views. While Twain lingers on the porch, twirling his moustache, you have been seated in an Edith Wharton novel, where the linens are always well-starched.

The "Marin Organic" sign tells us that the restaurant is a serious food destination: the kitchen participates in the west county’s responsible-agriculture culture while committing itself to do right by the high-quality ingredients thereby produced. The ethic seems almost indistinguishable to me from that of Chez Panisse, and the results are comparably impressive.

Since western Marin is a locus of oystering — Tomales Bay is the home of Hog Island oyster farm, as well as an unknown number of great white sharks — the Olema Inn’s menu offers this bivalve in a variety of guises. You can get eight sizable oysters on the half-shell for $18; they can be cooked or raw (or some of each), with a wide choice of toppings, including tomato and basil, bacon and fennel, and a classic mignonette made with sauvignon blanc. Excellent and memorable, every one — and I would not describe myself as an oyster-lover.

Soup probably doesn’t get enough credit as a vehicle for chefly expression, but at the Olema Inn, it isn’t for lack of effort or ingenuity. A bowl of wild nettle soup ($10) could easily have been mistaken for green paint ready to be splashed on a military rig, except for the large fried oyster, flecked with breading, in the middle. Only slightly less intense a green was a chilled soup of puréed asparagus ($10), poured around a set of large shelled prawns and dotted with slivers of kumquat.

Sand dabs, a local maritime treasure, are known to be bony, and it might be that their reputation suffers because of this, but they make a fabulous fish and chips ($14). We couldn’t find a single splinter of bone, and the tubular strips of flesh were juicy within their golden crust — a hint that the fish had not been frozen. The chips were limper than what one would consider ideal, but they had been fried in duck fat, which more than made up in flavor what had not been achieved in crispness.

The flavor of duck also pleasantly pervaded a steak hash ($18): cubes of potato and beef, dottings of fresh fava beans, and coarse flaps of onion and fennel root adrift in a ducky broth into which a poached duck egg slowly leaked its yolk. The steak had been billed as the star ingredient, but the dish would have been fine without any meat at all — or maybe just some duck confit? Hash is a well-known recycling center for leftovers, but leftover duck confit often finds its way into salads, not hashes. And sometimes there isn’t any leftover confit at all.

Although bread pudding is another locus for leftovers, Olema Inn’s vanilla version ($9) didn’t seem at all fatigued — more like a fresh morning bun, envelopingly soft and warm. Our server was particularly enthusiastic about the chamomile crème brûlée ($9). It did turn out to be almost obscenely creamy — a true custard — beneath its cap of caramelized sugar, though I strained to detect any hint of chamomile in the flavor. The sour love-bite of lemon, on the other hand, was plainly discernable in the profiteroles ($9); they were filled with lemon-cookie ice cream and were assembled from fresh, house-made pastry, to judge by their exquisite tenderness. Wharton no doubt would have approved. As for Twain: he had vanished into the unseasonable mist, and the veranda was clear when we left. *

OLEMA INN

Lunch: Sat.–Sun., noon–4 p.m. Dinner: daily, 5–9 p.m.

Sir Francis Drake Blvd. at Highway 1, Olema

(415) 663-9559

www.theolemainn.com

AE/DISC/MC/V

Beer and wine

Not noisy

Wheelchair accessible

Sweet and spicy

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› le_chicken_farmer@yahoo.com

CHEAP EATS I dreamed I was pouring hot sauce on my ice cream, and the thought I was thinking along with the action, in the dream, was: So, it has come to this. Hot sauce on every single thing, even ice cream. Is this my nature, then? To go around setting sweetness on fire?

Don’t you love it when the dream interprets the dream for you? And then all you have to do in the morning is make your coffee and sit outside in the sunshine, watching your chickens scratch for gold. You are free to think about other things. Or to go about your business, which in my case is Breakfast, Lunch, and Dinner, with 10-minute breaks in between for going bafroom, talking on the phone, reading, writing, and plucking.

My most angelic friend kinda wants to be a stripper. We talked on the phone for a long time last night. While we were talking, my mom called on the other phone, 2 a.m. her time, and sang a scary old church song to my answering machine. Poor thing. I wouldn’t be surprised if it stops working, on principle, and I have to buy a new one.

"Make me a channel of your peace," my mother sang, after the beep. "Where there is hatred, let me bring your love. Where there is something, something something something." Her phone went bad, but as I recall the last line didn’t rhyme anyway.

If only my mom had electricity, I would buy her an answering machine and retaliate. I would call it at 2 a.m. my time (which is 5 a.m. there), and sing to it, to her, my latest sensitive singer-songwriter hymn about how I like it up the ass.

"Make me a channel of your piece" …

Oh, hi, St. Francis. I didn’t see you there. You’re my favorite saint, you know, even though if you were alive today you would probably be a member of PETA. And your songs don’t rhyme. But I think a city I love might have named itself after you, and I know I did, only I spelled it with an e. You are my middle name, but I don’t consider myself exactly Catholic, you see.

So the other person I talked to for hours yesterday was Johnny "Jack" Poetry. I can call him that again (instead of Johnny "Jack" Journalism) because he quit the paper and put his poems on the Internet. His wife, Mrs. "Jack" Poetry, one of my dearest, oldest, belovedest friends in her own right (I call her Mrs. "Jack" Poetry out of respect, ’cause she’s sort of a recovering feminist), recently became a Catholic. Now, I have only ever known lapsed Catholics, and occasionally, as in the case of much of my family, unlapsed ones. People who were born Catholic and stayed that way. Mrs. "J." P. is the first person I know to become one, by choice! And for this I love her madly.

So she was away at mass, the Mrs., then she came home from mass, while Johnny "Jack" and me were still on the phone, discussing secular matters such as poetry and pork rinds, and — lo and behold — she had a couple of nuns in tow!

My point being that this is exactly why I have two phones now. Because I live for moments like this. It’s right up there with the time the feds knocked on my mom’s door while we were talking, to account for her whereabouts because Bill Clinton was coming to town, make me a channel of your peace. Or the time the cops came and she dropped the phone, left me dangling, and swore at them until they left. Or arrested her, I forget.

Johnny "Jack" tele-described to me the vision of his sweet wife with a couple of elderly nuns, one wearing a Winnie-the-Pooh baseball cap over her habit, sallying into the wilderness on the world side of his window, hot day, Indian Valley, Idaho, tromping blessed and holy through the weeds, where the ticks are.

My new favorite restaurant is Khana Khazana. Spicy, good, Indian food in Emeryville. The service is very friendly and welcoming. Indeed, it stayed open just for us, even though we showed up five minutes after closing. Points for that, and for hot that means HOT. Portions could have been bigger, for the price. Or I can try and find more work. Either way. *

KHANA KHAZANA

4336 San Pablo, Emeryville

(510) 547-0992

Daily, 11 a.m.–9 p.m.

Beer & wine

MC/V

No free lunch

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› andrea@altsexcolumn.com

Dear Readers:

Have you ever read Geek Love (Random House, 1983) by Katherine Dunn? It’s a love it/hate it kind of thing that was very popular among a certain segment (now called "hipsters," I guess) and it begins, unforgettably, "When your mama was the geek, my dreamlets … " Don’t ask me why, but I’m having an apparently irresistible urge to call you, the readers, "my dreamlets" today. So:

My Dreamlets:

This is not good news, but neither is it as dismal as it might first appear. Have you heard the latest about human papillomavirus (warts) and throat cancer? Did it disappear with unseemly haste from such headlines as it made, or am I just overly sensitive to the way news that interests us (for some value of "us") never seems to get as much play as news that interests them?

It ought to come as no surprise that HPV can cause throat cancers if you use your throat receptively for sex, same as it does with cervixes and anuses (did you know that "What is the plural of anus?" is quite a popular topic of Webular discussion?). But it’s only been in the past few years that researchers have established a clear link. What’s even newer is the epidemiology: who is getting it and how. What we now know is that there has been an upsurge in throat cancers (6,000 cases a year and an annual increase of up to 10 percent in men younger than 60), and that most of the cases in these younger patients can be ascribed to HPV. Cancers caused by HPV can hang around for decades before making themselves known, and these recent cases are thought to have been incubating since as far back as the late 1960s and ’70s. What else were people doing in the late ’60s and ’70s? What year did Deep Throat come out, again?

I have been known to roll my eyes at the idea that the boomers invented sex as we know it. "There are only so many possible combinations of body parts," I’ll say. "Do you really think nobody thought to put that in their mouths until sometime after World War II?" It’s actually true, though — as far as we can tell from what research we have — that oral sex became madly more common some time, yes, after World War II. Before that it was obviously well-known (and popularly blamed on the French), but it really wasn’t ubiquitous, as it is now. And those who did indulge probably did so with far fewer partners. Especially during that one brief shining moment between the dawn of the sexual revolution and the appearance first of herpes and then of course, AIDS, people really did put that in their mouths a whole lot more than they had previously. It seemed like a good idea at the time.

So OK, now what? Well, we have to admit that oral sex, especially on men, is not necessarily safe sex. And while this is not the first time that the blow job’s sacred status as the Safe Hot Thing has been challenged, it is probably the most serious. Not only does HIV really not pass readily through oral sex, it is itself quite rare. HPV is as common as dirt.

So — panic? I think not yet. These new cancers are nowhere near as common as you’d expect if HPV infections just automatically turned into cancers 30 years after your sluttiest year at college. It’s estimated that at least 50 percent of Americans have been infected at some point. The CDC itself uses that "at some point" to mean that many — indeed probably most — people infected at some point simply clear it from their systems at some other point. These people will not get cancer, and only a small percentage of the remaining, non-clearing cases will.

Meanwhile, you know that vaccine some people are agitating against giving to little girls — just in case the admission that one day they will be sexually active ends up making that day come sooner than they’d like? It doesn’t only work on little girls. That’s just the suggested target group right now, for a number of purely sociological reasons. It was extensively tested on young women and the maker, Merck, hopes to begin testing in males this year. If it works for men too, there’s no reason we can’t begin to eradicate the entire class: HPV-caused cancers of the throat, cervix, penis, anus, and other mucus-membraney places where people have been putting things.

Not that this is great news for people who have been infected, not cleared the infection, and could go on to develop cancer. We have no routine test yet. The pretty-good news seems to be that throat cancers caused by HPV are more curable than their non-HPV counterparts. And my advice, my dreamlets? Well, I really hate to say this, or even think it, but it may be time to start thinking about condoms, at least if we’re planning to become raging blow-job queens anytime in the near future. I know! I’m sorry!

Love,

Andrea


Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

Andrea is also teaching two classes: "You’ve Really Got Your Hands Full" — a realistic look at having twins — at Birthways in Berkeley, and "Is There Sex After Motherhood?" at Day One Center in San Francisco and other venues.

Three Internet myths that won’t die

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› annalee@techsploitation.com

TECHSPLOITATION Since I started writing this column in 1999, I’ve seen a thousand Internet businesses rise and die. I’ve watched the Web go from a medium you access via dial-up to the medium you carry around with you on your mobile. Still, there are three myths about the Internet that refuse to kick the bucket. Let’s hope the micro-generation that comes after the Web 2.0 weenies finally puts these misleading ideas to rest.

Myth: The Internet is free.

This is my favorite Internet myth because it has literally never been true. In the very early days of the Net, the only people who went online were university students or military researchers — students got accounts via the price of tuition; the military personnel got them as part of their jobs. Once the Internet was opened to the public, people could only access it by paying fees to their Internet service providers. And let’s not even get into the facts that you have to buy a computer or pay for time on one.

I think this myth got started because pundits wanted to compare the price of publishing or mailing something on the Internet to the price of doing so using paper or the United States Postal Service. Putting a Web site on the Net is "free" only if you pretend you don’t have to pay your ISP and a Web hosting service to do it. No doubt it is cheaper than printing and distributing a magazine to thousands of people, but it’s not free. Same goes for e-mail. Sure it’s "free" to send an e-mail, but you’re still paying your ISP for Internet access to send that letter.

The poisonous part of this myth is that it sets up the false idea that the Internet removes all barriers to free expression. The Internet removes some barriers, but it erects others. You can get a few free minutes online in your local public library, maybe, and set up a Web site using a free service (if the library’s filtering software allows that). But will you be able to catch anyone’s attention if you publish under those constraints?

Myth: The Internet knows no boundaries.

Despite the Great Firewall of China, an elaborate system of Internet filters that prevent Chinese citizens from accessing Web sites not approved by the government, many people still believe the Internet is a glorious international space that can bring the whole world together. When the government of a country like Pakistan can choose to block YouTube — which it has and does — it’s impossible to say the Internet has no boundaries.

The Internet does have boundaries, and they are often drawn along national lines. Of course, closed cultures are not the only source of these boundaries. Many people living in African and South American nations have little access to the Internet, mostly due to poverty. As long as we continue to behave as if the Internet is completely international, we forget that putting something online does not make it available to the whole world. And we also forget that communications technology alone cannot undo centuries of mistrust between various regions of the world.

Myth: The Internet is full of danger.

Perhaps because the previous two myths are so powerful, many people have come to believe that the Internet is a dangerous place — sort of like the "bad" part of a city, where you’re likely to get mugged or hassled late at night. The so-called dangers of the Internet were highlighted in two recent media frenzies: the MySpace child-predator bust, in which Wired reporter Kevin Poulsen discovered that a registered sex offender was actively befriending and trolling MySpace for kids; and the harassment of Web pundit Kathy Sierra by a group of people who posted cruelly Photoshopped pictures of her, called for her death, and posted her home address.

Despite the genuine scariness represented by both these incidents, I would submit they are no less scary than what one could encounter offline in real life. In general, the Internet is a far safer place for kids and vulnerable people than almost anywhere else. As long as you don’t hand out your address to strangers, you’ve got a cushion of anonymity and protection online that you’ll never have in the real world. It’s no surprise that our myths of the Internet overestimate both its ability to bring the world together and to destroy us individually. 2

Annalee Newitz (annalee@techsploitation.com) is a surly media nerd who is biased in favor of facts.

Another shelter down

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› amanda@sfbg.com

Inside the front door of the Marian Residence for Women, a small handmade sign by a former resident advises newcomers, "Don’t compare this place to any others."

But I’ve stayed in the city-funded homeless shelters, and after a night at Marian, it’s hard not to rave about the differences. I’m given an actual bed to sleep on, with freshly laundered sheets, blankets, and a pillow. The bathrooms and showers are clean, and I’m offered every toiletry I could possibly need — as well as pajamas. Dinner is a wholesome meal of turkey, potatoes, and steamed greens — not the mystery meat on Wonder bread I received at the city’s MSC South shelter.

And unlike the tension I’ve witnessed at other shelters, the atmosphere inside Marian is close to pacific. After dinner, the 29 other women shower, read, rest on their beds, work on their laptops, or talk quietly while sitting at small tables in the common area. After my mandatory shower, I sit with an employee who explains the rules — be respectful of others, no drinking or drugs, and don’t forget to do my chore, which is assisting with dinner service. As long as I’m home by 7 p.m., I can have my bed as long as I need it.

That is, she clarifies, until the end of August — when they’re closing the shelter. For good.

Marian is a casualty of a plan by St. Anthony Foundation to cut $3 million from the foundation’s operating budget. In addition to closing the $1.2 million Marian facility, which houses 30 women in the emergency shelter and 27 in a transitional program, St. Anthony also will shutter its 315-acre organic dairy farm in Petaluma, currently used as a rehabilitation program for homeless addicts. Its Senior Outreach and Social Services [SOSS] is also losing staff and office space as it consolidates with the Social Work Center.

Five of the foundation’s 11 programs face cuts, the result of a two-year sustainability study that St. Anthony’s executive director, Father John Hardin, said will keep the charity out of a fiscal tailspin.

"We’re not in a financial crisis," he told the Guardian. "The reason we’re doing this is so we won’t be in a financial crisis."

He said the closures reflect the organization’s desire to get back to basics.

But, as one of the 40 soon-to-be-laid-off employees said, "They’ve said they want to refocus on basic services, but I see shelter as a basic service."

St. Anthony receives no city money for the work it does, but the closures are occurring in what’s already a war zone of budget cuts for social services in San Francisco. The loss of any of St. Anthony’s programs affects the city as a whole.

"Are we concerned? Yes," said Dave Knego of Curry Senior Services, which frequently refers seniors the group can’t help to St. Anthony’s SOSS program. "Unfortunately, we already have a waiting list, and the city’s cutting our funding back by 10 percent."

The closure of Marian is yet another sign of the slow erosion of shelter space in San Francisco. Since July 2004, 364 shelter spots have disappeared. By the end of August, Marian’s 57 beds and Ella Hill Hutch’s 100 mats will be gone as well. "You can’t afford to lose 57 beds, especially in a place where women are being treated like human beings," said Western Regional Advocacy Project’s Paul Boden, who’s worked with homeless services in the city since the 1980s. "What I thought was really ironic was there wasn’t any attempt to build a community effort to discuss how to save this facility. These beds are an incredibly important community resource."

Some of the women who live in the transitional program at Marian wanted to rally and save the shelter. "First and foremost was to try to save Marian Residence for Women," said Leticia Hernandez, a two-year resident of the transitional program who still hasn’t lined up a place to go when the shelter closes. "Even if we couldn’t save it, we thought it was still worth a try because any money that would come would go back to them." The women drafted a letter asking for help, which they’d hoped management would distribute to the press and public.

The foundation, Hernandez said, had a "thanks, but no thanks" response.

Hardin told us that St. Anthony’s wasn’t facing a financial crisis, so "we’re not going to get up and cry wolf. We want to go back to some of the basics. We’re turning people away from the clinic," he pointed out.

He agreed that shelter was a basic service, but said, "We can’t do it all."

The foundation wouldn’t detail its intentions for the building once it’s vacated Aug. 31, beyond affirming that it would be rented. "That’s going to be an income generator," said foundation spokesperson Francis Aviani. "We are hoping to get a social service agency to use the space in the way it’s designed for, helping folks."

Multiple St. Anthony employees said they were told the facility would be used for medical respite — beds set aside for people who aren’t in critical condition, but are too ill or fragile to mingle with the general population and have nowhere else to go — and a St. Anthony board member confirmed that was the only plan presented to the board.

Marc Trotz, director of the San Francisco Department of Public Health’s Housing and Urban Health division, which oversees its $2.5 million, 60-bed medical respite program currently housed in two facilities, told us the city is looking for a new respite site. He confirmed that the Marian building is a facility the agency has seriously considered. "We’re not looking to push one program out in favor of another or anything like that." But, he said, "It’s a potential site that would work well."

While St. Anthony is cutting $3 million in programs, foundation staffers have been working for several years on a $22 million capital campaign for a new administrative building at 150 Golden Gate Ave. The building will replace a facility at 121 Golden Gate, where offices, the clinic, an employment center, and a dining room are currently housed. The popular dining room — which serves 2,600 meals a day — will ultimately move back to 121 Golden Gate after the building is razed and rebuilt to meet modern earthquake safety standards. The project is part of another $20 million campaign that includes a partnership with Mercy Housing to build affordable rentals on the upper floors.

St. Anthony staffers say the types of donors who will contribute to a new building are very different from those who will fund ongoing programs.

Meanwhile, food costs in the dining room have increased 18 percent in the last three months, and St. Anthony staffers expect another 25 percent increase during the coming quarter. At the same time, other free food programs in the city have closed, which means St. Anthony is seeing new faces in the dining room.

Aviani confirmed that donations have increased 8 percent to 10 percent, but the group receives very few "unrestricted" funds. Most of the money is earmarked for the dining room. In a way, she said, "that’s the community deciding what they want."

A third of the organization’s $19.7 million budget comes from bequests — a form of donation that has waxed and waned in recent years. According to Aviani, the foundation has yet to receive a single bequest this year.

The group has increased grants and deployed new fundraising methods, but she said that "The amount of grants out there for shelters and women’s programs are few and far between." She acknowledged that shelters are needed, and said St. Anthony has been "pretty outspoken about that."

The foundation has kept a tight lid on talk about the closures. None of the employees contacted by the Guardian would speak on the record — for fear, they said, of losing their severance packages.

Aviani said severance packages — which include pay and personal job coaching — are not on the line. "We asked them not to create a gossip chain, to stay focused on their work, and when people have questions, direct them to me. We didn’t say they couldn’t talk to anyone at all. That wasn’t the message at all."

Whether or not the gag order was intentional, it has had an effect and created suspicion about the foundation’s true intentions.

Even the city deferred to the organization when questioned about the potential plan to rent the Marian building and use it as a medical respite facility. "We’re not going to talk about that," said DPH spokesperson Eileen Shields. "We’re going to let St. Anthony talk about that at this point because it’s St. Anthony’s call."

On Feb. 14, Newsom — who has said shelters don’t solve homelessness — announced he would like to redesign the city’s shelters and called on the community to come up with suggestions. One of his specific suggestions was to create more medical respite centers.

In May, the Local Homeless Coordinating Board, which is chaired by Hardin, released a report outlining a number of detailed suggestions for improving city-funded shelters and services. It specifically stated that shelter beds shouldn’t be sacrificed to make room for respite.

The Mayor’s Office has yet to formally respond to the report, but at the June 2 LHCB meeting, Kayhan said there were a few things he felt confident the mayor would endorse.

"We heard loud and clear: more senior beds," Kayhan said. "And I’ll add to that women’s beds." He said that respite care would be "moving and co-locating with another location. We think that could free up space at one of the shelters." And, he added, that space could be allocated to women or seniors.

Which makes it sound like more beds for women and seniors are in the works — but considering the elimination of Marian and a shelter at Ella Hill Hutch Community Center, the city is still looking at a net loss of places for the homeless to sleep at night.

Board member Laura Guzman, who runs the Mission Neighborhood Resource Center, said she heard Hardin announce the Marian closure at a May 5 meeting. "He said it was a very difficult decision. I believe he said we’re going to try to open some medical respite beds," Guzman said. "All along we’ve said we don’t want to replace shelter with medical respite beds, but that’s exactly what’s happening."

Shuttering Marian is just one more loss in an environment of dwindling resources for women. Buster’s Place, the only 24-hour drop-in center for men and women, closed in March, and was replaced by a smaller facility that only allows men.

Five of the city’s other shelters have sections for women, but one of them is slated to close as well and none can offer a women-only safe space like Marian. A Woman’s Place is the only other all-female facility, and its 15 mats on the floor are always full. "With Marian closing, there’s going to be more of a demand on the total system," said Janet Goy, executive director of Community Awareness and Training Services, which runs A Woman’s Place. "It’s a loss, no question."

Emily Murase of the Commission on the Status of Women said it’s difficult to accurately count homeless women because women tend to take more measures than men to stay off the streets, though they may not necessarily be safely housed. Women are more prone to couch-surf, stay in abusive relationships, or settle for some other kind of compromised situation.

Murase’s group now funds a special women-only program at Glide Memorial Church, whose director, Willa Seldon, said, "We’re certainly seeing an increase in volume of women in the city to our programs. In October, we were seeing 11 in our support groups. That increased to 18 by March. It could definitely be related to Buster’s Place closing."

Hardin acknowledged the need for women’s shelters but said the city ought to take on the burden. "Maybe closing the Marian is a tipping point," he said. "As I said in front of the Board of Supervisors, it’s the government’s responsibility to provide the safety net. We’re the hands beneath the safety net."

Sandy Van Dusen has been living in the transitional program for a year and a half since her husband was murdered. She’s been told that she is about to get a studio apartment. She’s visibly excited about the move, and grateful to the foundation. But, she says, she’s still been crying every day since she heard Marian is closing. "They saved my life," she says, crying a little now. "They’re doing what they told me to never do — throw in the towel."

*

To surcharge, without love

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OPINION With the first linen pants of 2008, this city commenced collecting employer contributions to the Healthy San Francisco universal health care program. Employers that don’t provide insurance now must pay the city for the public health care their employees use anyway. A number of restaurants have added "Healthy San Francisco" surcharges of 2 to 4 percent to diners’ tabs. These surcharges are at best sour grapes and at worst a diabolical plan to thwart democracy.

Present spite notwithstanding, I spend all my discretionary income on dining. My economic stimulus check stimulated some duck confit and tarte tatin. I’d trade a kidney for dinner at Coi. My disaster preparedness kit includes a Zagat Guide. The stokers of my culinary flame deserve to be treated well. Our restaurant scene should attract the best, the brightest, the most ingenuously-tattooed epicureans. The people of San Francisco deigned to achieve this noble goal by providing a higher minimum wage, paid sick leave, and now universal health care. Oh, the decadence! We’re drifting dangerously close to becoming a civilized society, which could get us invaded. Don’t be surprised when Blackwater goes hunting for Tom Ammiano in a spider-hole.

Some disgruntled restaurants have decided to assess a surcharge rather than raise prices. But all prices fluctuate. When the cost of electricity or halibut goes up, menu prices rise. Regulation affects cost. We knew that when we passed the laws. A surcharge instead of a menu price increase is restaurant owners’ way of saying that workers are less valuable than halibut.

Let them have health care. I enjoy clogging my own arteries so much more when the people feeding me get their cholesterol checked.

Owners claim their profit margin can’t absorb higher labor costs, hence the price hike. Restaurants have high failure rates and run a tight margin.

But raising prices wouldn’t be Armageddon for fine dining in Baghdad by the Bay. Heck, it’s not even Shock and Awe. Maybe I’d notice if Bar Tartine raised prices by 4 percent. Maybe I’d be annoyed. But if my $60 meal became $62, I wouldn’t head to a taqueria. The amount surchargers would have to jack prices before surchargees stay home is quite high. Most of us eating at Bar Tartine can suck it up like so many amuses bouches.

San Francisco Chronicle critic Michael Bauer is wont to blame every restaurant closure on our labor largesse. But restaurants fail for any number of reasons. Could be labor costs, or it could be that Bauer panned them, or that their concept, food, and location were bad, or that the manager was on coke.

Some restaurateurs can’t abide the people of San Francisco reguutf8g them. But that’s life in a democracy. The same people excusing the surcharge as mere kindly consciousness-raising are currently appealing the Healthy San Francisco law. In fact, the Golden Gate Restaurant Association opposes any improvement in labor standards. The folks there hope that diners, our fury stoked by surcharges, will finally rebel against our labor-loving local legislators, stop imposing our so-called values on restaurants, and demand to be served by disease-ridden, malnourished indigent waiters as God and Milton Friedman intended.

Instead of an irascible surcharge, menus could note: "Our food is organic, local, and sustainable. And the cook gets his asthma treated." People who care will be happy, and people who don’t will blithely resume checking the NASDAQ on their iPhones.

So quit grousing. Enjoy the short ribs. See your doctor. Everybody wins. *

Nato Green is a San Francisco-based comedian who has meddled with the primal forces of nature and must atone.

Environmental shake up

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› news@sfbg.com

GREEN CITY Nothing mobilizes community action like a natural disaster. When the big one hits San Francisco, everyone from the city’s Neighborhood Emergency Response Teams to informal groups of resourceful and community-minded individuals will fly into action to tend the wounded, free the trapped, feed the hungry, and rebuild the community.

When the situation calls for it, San Franciscans have demonstrated over and over again a remarkable capacity for selfless and almost superhuman action, from the earthquakes of 1906 and 1989 to last year’s outpouring of support for the cleanup effort after last year’s big oil tanker spill in the bay.

So why aren’t we bringing that same resolve and community resourcefulness to global problems like climate change, rapid depletion of natural resources, persistent poverty and warfare, declining biological diversity, and the myriad threats to public health? That’s the question being posed at a groundbreaking grassroots event this weekend in Golden Gate Park.

The Big ONE Convergence 2008, scheduled June 21 and 22 from 9 a.m. to 7 p.m., is sponsored by The Big ONE movement, which formed in the wake of San Francisco’s World Environment Day in 2005. The group was inspired by the idea of "the big one," or a massive earthquake, because the goal of the movement is to affect everyone in much the same way that a natural disaster of that size would.

"We emphasized the tectonic idea because tectonic shifts are big," said Sudeep Rao, an event organizer. "We need to make big changes. It can’t just be about light bulbs and shorter showers. We can’t think that’s all we need to know."

Members of The Big ONE have been meeting on a monthly basis and discussing sustainability ideas since 2006. Their home base is a Web site called www.beautifulcommunities.org that is organized into various "neighborhoods." The groups examine issues such as health, housing, social justice, economic justice, energy, and sustainability.

The Big ONE movement is just one part of Beautiful Communities, and this weekend’s convergence includes a massive potluck in between learning how to do everything from building a solar oven to teaming up with a local organic farmer to deliver fresh food to schools.

Event co-chair Tori Jacobs said there are more than 7,500 nonprofits in the San Francisco Bay Area, 3,800 of which deal with sustainability issues. One goal of the convergence is to bring these groups together so they can collaborate.

"So much work is being duplicated, and our efforts need to be collaborated," she said. "The only way to do that is to get to know each other and to dialogue about how we can help each other."

Jacobs said there will be hundreds of nonprofits at the convergence and the intention is to have them all meet, coordinate, and move forward together. There will be break-out sessions from 5 to 6:30 p.m. both days, allowing the general public to meet and brainstorm ideas about community on Saturday, and giving representatives of the nonprofits a chance to meet with one another on Sunday.

"The one thing [The Big ONE participants] said is, ‘Let’s make this event the starting point,’<0x2009>" Jacobs said.

To act on the ideas generated at the convergence, the Peaceful World Foundation has agreed to let participants use its headquarters in San Francisco as a weekly meeting place to hold revolving town hall meetings and gatherings. Rao said the event is about bringing like-minded people together.

"We’ve lost that sense of collective empathy and urgency about what needs to be done," Rao said. "We are inspired, and we want to help others be inspired. We believe in Dr. Martin Luther King’s assertion that the tranquilizing drug of gradualism is unacceptable."

Rao said relying on the commercial and governmental systems to solve pressing global problems through science and technology is a leap of faith that the people shouldn’t be willing to make.

"They do have a large role solving our problems," Rae said, but without collective and individual efforts to bring about change, leverage skills, and pressure governments, the will to take big steps just won’t be there. That requires a convergence like The BIG One.

"Everyone I have spoken with has resonated on that aspect," he said. "They say, ‘Yeah, I want to go and meet individuals face-to-face and build that trust.’<0x2009>" *

Editor’s Notes

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› tredmond@sfbg.com

Ask any elected Democrat in San Francisco about the governor’s budget, and you’ll get an instant answer: it’s awful. It’s brutal. It sucks. Education, housing, the environment … everything we care about is being gutted because the governor and the Republicans in Sacramento won’t raise taxes.

Which is absolutely correct.

Now ask those same Democrats what they think about Mayor Gavin Newsom’s budget. In too many cases, the answer’s a little slower, and a little softer. Gee, it’s too bad that the economy, and Washington and Sacramento and all of these other forces out of our control leave us no choice but to tighten our belts and do things that none of us really wants to do. Gee, Gavin doesn’t like cutting either, but he has to balance the books. Gee, it’s certainly not the mayor’s fault.

Which is absolutely wrong.

The governor of California is not the only chief executive who can look for revenue solutions to a budget shortfall. The mayor of San Francisco can do that too. In fact, Newsom wouldn’t have to look far: Supervisor Aaron Peskin has introduced two measures that together could bring in a minimum of $30 million per year and, in good years, $80 million or more. That’s about a quarter of the budget deficit, enough to save a whole lot of city services, city jobs, and city resources for the needy.

Both tax measures are aimed at the wealthier end of the spectrum. One would raise the transfer tax on real estate sales of more than $2 million. Few first-time homebuyers would see any impact at all, and the ones who do … well, if you can afford a $2 million house, you can pay a reasonable transfer tax. The biggest revenue would come from major downtown commercial property sales: when the Bank of America Building is sold for $1 billion, none of the investors are paupers and the corporations, real estate investment trusts, and financiers involved have all done quite well under the George W. Bush administration’s tax cuts. This is, for the most part, a tax on the rich.

The second measure would eliminate a loophole in the business tax law that allows some partnerships, like law firms, to avoid payroll taxes. See, if you’re a partner in a firm and you earn "profits" in the form of a partnership payout as opposed to a "salary," then the money you make doesn’t get taxed by the city. Most of these outfits are big firms that can afford to pay the city’s business tax. It’s only fair: companies that don’t operate on the partnership model have to pay taxes, and so should everyone else.

The two measures need a vote of the people, and passing any tax is hard. It would help immensely if the mayor endorsed these progressive taxes — and I guarantee that if a Democratic legislator in Sacramento introduced a statewide tax bill hitting the exact same group of people for the exact same amount of money, Newsom and all his Democratic allies would support it (and if the governor vetoed the bill, those same Democrats would denounce him).

The measures would take effect in the middle of the next budget year, and the income could make Newsom’s river of red ink a good bit smaller. He could, in theory, endorse the measures, work for them, and include the revenue in his proposed budget. But so far Peskin hasn’t heard a word from Newsom’s office on this. Neither have I.

Gavin? Hello? *

Avoiding a Lennar meltdown

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EDITORIAL Millions of dollars in campaign money kept Lennar Corp.’s plans for southeast San Francisco alive. But the financial news isn’t looking good for the giant homebuilder — and the San Francisco supervisors ought to be worried.

Last week, Sup. Chris Daly released a document he obtained from the Redevelopment Agency showing that the city had quietly sought a $25 million grant from the state Department of Housing and Community Development to cover a projected loss in Lennar’s Hunters Point Shipyard project.

The problem: increased construction costs, trouble in the financial markets, and unforeseen environmental issues have eaten up all the money that Lennar and the city had made available for infrastructure improvements on the site. That means the roads, water and sewer pipes, and other basic stuff that project will need to go forward are no longer adequately funded. Without an influx of state money, the city argued, the whole shipyard project would either be "drastically reduced in scope" or put on hold for another two or three years.

"Without the requested $25,021,079 Infill grant allocation, our infrastructure project faces a serious risk of being mothballed," city officials wrote. As Sarah Phelan reported at sfbg.com, the state rejected the application last week.

The shipyard project is the first piece of Lennar’s grand-scale Bayview Hunters Point redevelopment — and it’s already in serious financial trouble. The same issues that are causing problems at the shipyard will be in play when Lennar starts work on the 10,000 new housing units now approved for the Bayview–Hunters Point redevelopment area. Construction costs will be even higher in a year or two. The end of the mortgage crisis is not yet in sight. As Daly told us, the shortfall in the first part of the project "casts a very large shadow on the mixed-use development envisioned under the conceptual framework on Proposition G."

Then on June 8, a Lennar subsidiary that’s working on redeveloping the Mare Island Naval Shipyard property filed for Chapter 11 bankruptcy. That project is now in limbo as the development consortium — facing economic pressure and unable to get the necessary financing — seeks protection from creditors. Combined with the fact that Lennar’s bond ratings continue to tumble (Lennar debt was downgraded again June 10), San Francisco officials ought to be asking the obvious question: can this Miami-based developer actually pull off this project? Or is it possible that after all of the political debate over the Lennar plan, the lack of adequate affordable housing, the future of the 49ers, the toxic contamination of the site, and everything else, the entire massive project could collapse because Lennar doesn’t have the financial ability to finish it?

This, of course, is one of the inherent problems with the traditional redevelopment model. The city essentially will be giving a huge piece of public land to a single private company that will then be responsible for building an entire new neighborhood with homes, offices, stores, and parks. In theory the developer will make enough money to stay afloat until construction is finished — and the property taxes in the area will increase enough to fund necessary infrastructure (schools, roads, bus lines, water and sewer service, and other public amenities). But if the developer goes broke, the city is left hanging.

That’s what’s happening in Vallejo, where a city that already has serious financial problems is facing the possibility that environmental cleanup at Mare Island will grind to a halt, and that a $6 million municipal service fund — paid for in part by Lennar — could suffer.

The prospects for San Francisco could be far worse. Suppose the city goes ahead and transfers public land to Lennar — which then goes into bankruptcy. Would that city land be treated as a private asset and given over to whatever creditor or vulture fund picks up Lennar’s ghost?

Fred Blackwell, the director of the Redevelopment Agency, won’t return our phone calls, but the supervisors need to hold a hearing on this and force him and Lennar to provide some answers. The board needs an independent audit of Lennar’s finances, either by Budget Analyst Harvey Rose or an outside consultant. And until the city knows for sure that the developer can actually handle this project, the entire redevelopment process for Bayview–Hunters Point needs to be put on hold. *

A heart once nourished

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› gwschulz@sfbg.com

Community court, every second Thursday at 10 a.m. Narcotics Anonymous on Wednesday. Apprenticeships for construction workers, Monday, bright and early.

The ancient letter board just inside the entrance of the Ella Hill Hutch Community Center tells much of the story of this neighborhood institution. Since 1981 it’s been a crucial hub for the Western Addition, a mostly level stretch of terrain west of downtown that rivals the Mission District and Bayview–Hunters Point as the source of the most despair from senseless gun violence.

For decades Ella Hill was a safe haven, a place where kids and seniors felt comfortable, where people could learn and teach and talk and work together, a little oasis in the world of urban hurt.

A placard affixed to one wall of the entryway honors Thurgood Marshall, the nation’s first African American US Supreme Court justice. In a small office nearby, a tutor assists a young girl with the multiplication table. Elsewhere, a list of rules forbids profanity, play-fighting, and put-downs.

There’s also a poster of Ella Hill Hutch, the first black woman elected to San Francisco’s Board of Supervisors, where she served from 1978-81.

But in 2006, a man was murdered during daylight hours in the center’s gymnasium before dozens of witnesses. That slaying was one of at least five brutal incidents that took place in the shadow of Ella Hill between 2006 and 2007; three more murders occurred within blocks. Many remain open cases today.

And now the center is having serious problems — troubles that reflect those of the city’s African American population, which has been plagued by violence and socioeconomic changes that are closing opportunities and forcing longtime residents out the city.

Several census tracts in the neighborhood that at one time contained between 3,000 and 6,000 black residents are down to 1,000 or far less, according to a San Francisco State University study commissioned by the city last year. The report showed that between 1995 and 2000 San Francisco lost more of its black population than 18 other major US cities.

Ironically, the city is now preparing to close the final dark chapter on 50 years of federally subsidized redevelopment in the Western Addition. But the displacement that the bulldozers set off half a century ago continues today, unabated.

That exodus has compounded structural problems at the center just when its remaining clients need it most. The nonprofit late last year underwent an organizational shake up and brief takeover by the Mayor’s Office to save it from imminent financial collapse. The center’s executive director of two years, George Smith III, was fired with little public explanation last year, and a permanent head was named only recently.

As with many aspects of this troubled community, it was unaddressed violence that fed the fire. Simply subsisting in the heart of a violent neighborhood was strain enough for Ella Hill. But suffering an attack from within seemed too much to bear for an institution some call "San Francisco’s Black City Hall."

The 2006 killing took one man’s life, but Ella Hill itself — still facing an uncertain financial future — felt the searing rounds too. Now some wonder if the nonprofit can survive the very violence and poverty it was created to help end in a neighborhood that’s changing forever.

In Ella Hill’s noisy gymnasium at the building’s east end, two teams of middle schoolers practice basketball.

"My job is to be in the best position to box him out for a rebound," their coach says as they crowd around the free throw line.

The kids are radiant and attentive now. But from this same basketball court on April 27, 2006, the Western Addition briefly edged ahead of the rest of the city in extreme bloodshed.

Donte White, 22, was working part-time at the center. As he supervised a basketball game, two unidentified males entered Ella Hill. One brandished a firearm and shot White at least eight times in the face, neck, and chest as several kids looked on in utter horror. Among them was White’s young daughter.

Police arrested 25-year-old Esau Ferdinand for the attack five months after White’s murder. But within two weeks prosecutors decided they could no longer hold him and declined to press charges when a key witness disappeared on the eve of grand jury proceedings.

Even with other witnesses filling the gym, police gathered few additional leads, an all-too-common story in a neighborhood where residents often prefer to avoid both law enforcement and vengeful criminal suspects.

The center installed cameras and an alarm. A buzzer was placed on the front door. But the new security measures cut against Ella Hill’s image as a demilitarized zone, and the center remains shaken by White’s murder. Some parents began barring their children from going there.

"Can you imagine something like that, someone coming into a rec center in the middle of the day with a firearm and shooting and killing a guy?" asks Deven Richardson, who resigned from Ella Hill’s board in 2007 to focus on his real estate business. "That really set us back big time in terms of morale. It really was a dark moment for the center."

Sup. Ross Mirkarimi, whose district includes Ella Hill, says that after he took office in 2004, he learned that the police weren’t stationed at the center during prime hours and had never created a strategy for attaching themselves to the center the way they had at other safe-haven institutions in the city, like schools. He told us he’s had to "really work" to get the nearby Northern Station more integrated into Ella Hill.

"Before the murder of Donte White, there had also been a series of incidences inside Ella Hill Hutch," Mirkarimi said over drinks at a Hayes Valley bar. "Nothing that resulted in anybody getting killed, but certainly enough indicators that really should have been taken more seriously by the mayor."

In June 2006, shortly after White’s shooting, the San Francisco Police Commission and the Board of Supervisors held a tense public meeting at the center. Residents, enraged over the wave of violence that summer in the Western Addition, shouted down public officials, including Chief Heather Fong, who was forced to cut short a presentation on the city’s crime rate.

That same month, the supervisors put a measure on the ballot to allocate $30 million over three years for violence-prevention efforts like ex-offender services and witness relocation. But Mayor Gavin Newsom, following a policy of fortifying law enforcement over community-based alternatives, opposed the measure because it excluded the police department. Prop. A, designed to finance groups like Ella Hill with connections to the neighborhood that the police will never have, lost by less than a single percentage point.

Meanwhile, four homicides in the neighborhood that year joined frequent anarchic shootouts in the Western Addition, including many that never made headlines because no one was killed. The fatalities led to promises by City Hall that the area would be saturated with improved security, including additional security cameras that have mostly proved useless in helping the police solve violent crimes.

On June 3, 2006, 19-year-old Antoine Green was standing on McAllister Street near Ella Hill early in the morning when he was shot to death in the head and back. On Aug. 16, 38-year-old Johnny Jackson’s chest was filled with bullets as he sat in the front seat of a Honda Passport on Turk Street not far behind Ella Hill. A woman next to him in the car suffered a critical gunshot wound to the head.

Two more killings occurred further east at Larch Way, a popular location for murder in the neighborhood.

Burnett "Booski" Raven, a 32-year-old alleged member of the Eddy Rock street gang, was found bleeding at 618 Larch Way early Oct. 7, his body laying halfway in the street and containing at least 10 gunshot wounds. On July 22, police found 23-year-old John Brown, another purported Eddy Rock member, wedged under a Chevy pickup truck, dead from up to seven gunshots.

Brown had reportedly survived two prior shootings, but the Western Addition’s cultural condemnation of "snitching" to police has so infected the neighborhood that he allegedly told police not to bother investigating either of the attacks.

Loïc Wacquant, a sociology professor at the University of California, Berkeley, says neighborhoods like the Western Addition that once contained stable black institutions — schools, churches, and community centers that glued residents together — have been overwhelmed by the rise of a white-collar, service-based economy, the decline of unions, and the withdrawal of meaningful social safety nets.

Cities have responded to the resulting marginalization with more police officers, more courts, and more prisons. But the failure of those institutions to cure rising violence "serves as the justification for [their] continued expansion," Wacquant quoted Michel Foucault, the famous late UC Berkeley sociologist, in the academic journal Thesis Eleven earlier this year.

The roots of the Western Addition’s tragedy go back to the early post-World War II era. In 1949, Congress enacted laws giving cities extraordinary powers to clear out land defined as "blighted." In San Francisco, that meant neighborhoods where low income people of color lived.

The Western Addition was devastated. Huge blocks of houses were bulldozed. Clubs, stores, restaurants — the heart of the black neighborhood — were wiped out. Many residents were forced out of the neighborhood and sometimes the city forever; others lost their property and their livelihoods (see "A half-century of lies," 3/21/2007).

By the 1970s, neighborhood activists were hoping that at the very least the Redevelopment Agency would pay for a recreation facility for kids. But city officials wouldn’t put up the money, recalls the Rev. Arnold Townsend, a longtime political fixture in the city and associate pastor of the Rhema Word Christian Fellowship.

Townsend said activist Mary Rogers — whom he calls "the greatest champion kids ever had in this community" and a famous critic of redevelopment — gave up on City Hall and went to Washington DC, where she sat in at a meeting that happened to include Patricia Harris, Secretary of the Department of Housing and Urban Development under President Jimmy Carter. Rogers, joined by a group of colleagues from San Francisco, bumped into Harris afterward.

"[Harris] shook Mary’s hand like politicians do, and Mary wouldn’t let her hand go until she had a meeting," Townsend said. "They were having a tug-of-war over her hand."

Rogers’ determination paid off, and enough political channels opened up that money for the center became available. Then-Mayor Dianne Feinstein cut the ribbon for the $2.3 million Ella Hill Hutch Community Center four months after the supervisor’s death, complete with outdoor seating for seniors, a gymnasium, tennis courts, and child-care facilities.

A young counselor named Leonard "Lefty" Gordon who worked at the Booker T. Washington Community Service Center, one of the city’s oldest black institutions — it was founded in 1919 on Presidio Avenue, where it remains today — was named executive director of Ella Hill three years later and led the center to wide acclaim for 17 years.

A recreation coordinator at Ella Hill started a reading program for young athletes after discovering that a local high school football star wasn’t aware he’d been named the city’s player of the year: the teenaged boy couldn’t read the newspaper to find out. Other programs for tutoring and job training targeting young and old residents were likewise started under Gordon.

Many of the people we interviewed recalled the "kitchen cabinet" meetings convened by Lefty Gordon at Ella Hill as among their fondest memories. Everyone from the "gangbangers to police" attended Gordon’s meetings, Townsend said, and made them a repository of complaints about what was happening in the neighborhood.

Alphonso Pines, a former Ella Hill board member and organizer for the Unite Here! Local 2 union, eagerly showed up at the meetings for months after attending 1995’s Million Man March in Washington.

"I hate to see brothers die, regardless of whether it’s at Ella Hill," Pines said of Donte White’s 2006 killing. "But that was personal for me, because that was the place where I had sat on the board for years. That was real shocking."

Lefty’s son, Greg Gordon, said that his legendary father — who died of a heart attack in May of 2000 — worked so hard for the center that he allowed his own health to deteriorate.

Most beneficiaries of Ella Hill’s social services now live in the southeast section of the 94115 ZIP code, roughly bordered by McAllister and Geary streets to the south and north, and Divisadero and Laguna streets to the west and east.

The majority of Ella Hill’s approximately $1.4 million annual budget comes from government sources, either through grants or nonprofit contracts.

Newsom, through his community development and housing offices, has given $860,000 over the past three years to Ella Hill to help job-ready applicants obtain construction work and other general employment in the neighborhood. The center launched its JOBZ program in 2006, targeting formerly incarcerated young adults and others with a "hard-to-employ" status.

Caseworkers must convince some participants to leave gangs, deal with outstanding warrants, pay back child support, expunge criminal records, or eliminate new offenses, all of which can exacerbate a desire to give up. Sometimes the center has to buy people alarm clocks.

"None of these other programs that are being funded in this community want to deal with the kinds of kids or people who come to Ella Hill…. [It] is the last stop for everybody," said London Breed, head of the African American Art and Culture Complex on Fulton Street and a Western Addition native. "That’s where people go who have no place else to go, which is why it’s so important."

Most nonprofits working for the city must regularly report their operational costs or show how program funds are being spent on graduation ceremonies and trips to university campuses. The required forms are mind-numbingly bureaucratic and reveal little about what a place like Ella Hill might face on a practical level each day. But last year, former executive director George Smith betrayed a crack in Ella Hill’s veneer.

"Once again violence has impacted the community with three incidents in close proximity to the complex this month alone," he wrote to the San Francisco Department of Children, Youth and Their Families, which supports the center with college preparation grants. "One of the victims was a young man scheduled to graduate from high school in June."

On May 25, 2007, 19-year-old Jamar Lake was leaving a store on Laguna and Eddy streets, northeast of Ella Hill, when a teen suspect opened fire on him. Paramedics were so worried about security in the neighborhood that they fled before attempting resuscitation, according to a report from the San Francisco Medical Examiner. Lake died at General Hospital that day.

Weeks later, a manic 12-hour long feud erupted between several gunmen on McAllister Street. Seven people were wounded during two daytime shootings that took place in the Friendship Village Apartments, across the street from Ella Hill.

Then in July, a suspect randomly and fatally stabbed 54-year-old Kenneth Taylor in the neck as he sat on a park bench near sundown at Turk and Fillmore streets, within easy view of the SFPD’s Northern Station. Police didn’t respond until Taylor stumbled to the sidewalk and collapsed; a witness had to flag down a patrol car.

Following the Lake shooting, the mayor and police department promised, as they had the year before, that foot patrols would be increased in the 193-unit Plaza East Housing Development and other public housing projects in the Western Addition.

But the city’s most visible response has bypassed Ella Hill — which has some street credibility — altogether. Instead, City Attorney Dennis Herrera went to court to get injunctions against street gangs in June 2007.

Herrera’s initial filing came days after the wild shootout on McAllister Street, but the timing was coincidental. The city attorney also had been preparing injunctions against gangs in the Mission and Bayview-Hunter’s Point for months. For the Western Addition, the city attorney noted a "recent rise in violent crimes perpetrated by the defendants," and asked that the members of three gangs be banned from associating with one another inside two "safety zones" marked along the contours of their respective territories, a 14-square-block area that straddles Fillmore Street and rests just north of Ella Hill.

"The conditions within the two safety zones have become particularly intolerable in 2007 as the deadly rivalry between the Uptown alliance and defendant Eddy Rock has intensified," Herrera’s office told the court. "In 2007 alone, this rivalry is the suspected cause of at least three homicides and numerous shootings within the two safety zones."

Some critics viewed barring people from congregating with one another a civil rights violation. And worse, they feared it would merely shove more African Americans and Latinos out of the Western Addition, which would benefit the city’s wealthiest white residents.

"All of this stuff about gang injunctions is a bunch of malarkey," said Franzo King, archbishop of the Saint John Coltrane African Orthodox Church on Fillmore Street. "You don’t really have gangs here…. [In San Francisco] they’re a big club."

Herrera nonetheless convinced a Superior Court judge to issue the injunctions after filing 1,200 pages of evidence arguing that the three "clubs," which include only about 65 people named by the city, are endless public nuisances and force organizations like Ella Hill to battle with them for the affections of Western Addition youth.

Police admit that the injunctions since last year have, in fact, led people to simply leave the neighborhood. Still, they insist the injunctions have reduced trouble in the Western Addition. The Knock Out Posse, for instance, is evaporating, they say.

Paris Moffett, a 30-year-old alleged Eddy Rock leader, told the Guardian in a separate story on the gang injunctions last November that he and others were organizing to quell violence in the neighborhood and would do so in defiance of the gang injunctions (see "Defying the injunction," 11/28/07).

But on the day that story ran, Moffett hampered his new cause when, according to a March 27 federal indictment, police arrested him in Novato for possessing a large quantity of crack and MDMA, as well as a Colt .45 semiautomatic.

After Lefty Gordon died, the center went through a couple of directors in relatively short order. Robert Hector, a second-in-command to Lefty Gordon, helmed the center briefly; he was replaced with George Smith III, who left in 2007.

Meanwhile, problems at Ella Hill grew.

"The seniors just stopped their participation," Anita Grier, a former Ella Hill board member who first ran for the San Francisco City College Board of Trustees in 1998 at Gordon’s encouragement, told us. "Things were never excellent, but they just got much worse once [Gordon] was no longer director."

The center, a standalone nonprofit, had long struggled financially in part because it relied so much on contracts and grants from the city rather than pursuing funds from private donors. Mirkarimi says Ella Hill’s structure is unlike any other community center in the city. Many other centers are directly maintained by the San Francisco Recreation and Park Department.

Contract revenue from one Ella Hill program, such as providing emergency shelter to the homeless, was often diverted to keep another on life support or to simply cover the center’s utility bills.

By early 2007, the center faced a financial catastrophe. Donald Frazier joined Ella Hill’s board as president in January 2007 and embarked on a reform effort to turn the center around. He commissioned what came to be a blistering audit that revealed the nonprofit owed over $200,000 in state and federal payroll taxes. As a result, the center faced $63,000 more in penalties and accrued interest.

Mirkarimi blames community leaders in his district for refusing to acknowledge a crisis at the center and for not turning to City Hall for help when Ella Hill appeared to be slowly rotting from the inside out.

The mayor’s staff, he adds, wanted to believe Ella Hill was working on its own and should’ve continued to do so because, despite its financial reliance on the city, it was technically an independent nonprofit. In reality, Mirkarimi said, "They were afraid to piss off black people, is what it comes down to. They were afraid to tell it like it is — that things weren’t working."

Sending delinquent invoices to the city, failing to institute reasonable accounting standards, and falling far behind on its payroll taxes all threatened the government contracts and grants that kept San Francisco’s Black City Hall afloat. By extension, the audit concluded, that meant Western Addition residents who relied on Ella Hill were "victimized" by the center’s improper use of its limited resources.

Aside from the audit, which Ella Hill instigated itself, there’s no indication in the records of agencies funding the center that any problems were occurring, which implies the city wasn’t paying attention.

"As far as I’m concerned," Mirkarimi said, "we had a renegade institution, and the only reason it wasn’t renegade in an illegal sense was because the lease allowed them to have a parallel governance structure. But it was renegade in the sense that the city neglected to supervise properly."

In November 2007, just after residents hijacked a chaotic board meeting with an extended public comment period, Frazier told the directors in closed session that the Redevelopment Agency was planning to restrict future funding for the center due to its management problems.

One month later, the mayor dispatched an aide, Dwayne Jones, along with redevelopment agency director Fred Blackwell, to a meeting at Ella Hill with an ultimatum. Jones told the assembled that new interim appointees would be taking over the center’s bank books, recreating its bylaws, and electing a new board and executive director. The old board would essentially be dissolved. According to observers at the meeting, Jones told them that if they resisted the plan, funds received by Ella Hill from various city agencies would be jeopardized, as would its low-cost lease of city property.

Two defiant board members viewed the move as a "hostile takeover" of a private nonprofit organization by the mayor and voted against it, but the rest of the board agreed to the restructuring. Mirkarimi says there was simply no alternative.

"Right now it needs to be shrunk to what it can do really well, instead of doing what they had to do in the last five years, an incremental sloppy way of programming," he said.

The interim board in April named a former Ella Hill employee and Park and Rec administrator, Howard Smith — unrelated to George Smith — to be the center’s new executive director. But after all the changes Ella Hill made to fix its leadership problems, there are no assurances the city won’t leave Ella Hill without the money it needs to keep the doors open next year.

It’s noon on a recent Friday and Ella Hill’s new executive director is scrambling to keep things together. An employee wants him to glance at a form. Another man wants to come in and play basketball. Smith has a board meeting minutes from now, but he’s scheduled an interview with the Guardian at the same time.

Smith’s a well-built man dressed in a pressed suit, polished shoes, and a sharply-knotted tie. He’d mostly avoided our calls for weeks. Word spread in the neighborhood that the Guardian was planning some sort of hit piece on Ella Hill.

But it won’t be a newspaper that capsizes the center.

A significant portion of the center’s funding will be threatened over the next year. The redevelopment agency is scheduled to end its 45-year reign in the Western Addition by then, a blessing of sorts since so many people in the neighborhood feel it’s done nothing but upend the lives of black residents. But the end of the agency means that redevelopment funds for Ella Hill’s job placement programs, about $400,000 annually, will disappear.

In addition, about $300,000 more a year will dry up since the San Francisco Human Services Agency hasn’t renewed an emergency homeless shelter contract with the center. Mirkarimi believes the mayor, too, will try to stop providing Ella Hill with funding through his community development office next year.

If Newsom does back away, Mirkarimi warns, there will be "a very loud showdown."

"What I’m worried about is that the Newsom administration is basically cutting and running on this, and I’m not going to allow that to happen, at least not without a fight," he said.

The alternative is for Rec and Park to take over managing Ella Hill’s facilities with DCYF continuing to fund youth programs there while the Redevelopment Agency commits community benefits dollars from a legacy fund to the center — the least it can do after a half-century of transforming the neighborhood, locals be damned.

An interagency council made up of the center’s primary funders could collectively watchdog its performance, Mirkarimi says. Once Ella Hill’s leaders prove that the center has fully returned to its original mission, it can consider expanding to serve other populations in the neighborhood, or even seek a plan to detach further from the city.

The mayor’s spokesperson, Nathan Ballard, did not respond to an e-mail containing detailed questions, and his aide, Dwayne Jones, did not return several phone calls. But Smith said during a later lunch interview at the Fillmore Café that he agrees with Mirkarimi’s idea.

"There are so many programs out there that say they’re doing something on paper, but they’re really not doing it," Smith said. "They’re running ghost programs. So what I’ve been saying at Ella Hill since I got there is, ‘We will do exactly what we said we were going to do.’<0x2009>"

In the meantime, Smith is determined to prove that Ella Hill’s history has only just begun. The mural of Lefty Gordon outside the center received a fresh coat of paint recently, and the color pops. The sidewalk is being repaved and new handrails installed. The walls inside are clear of the aging posters and letter board that hung there a few months ago.

Before heading off to his board meeting, Smith teasingly asks an adolescent boy meandering in the center’s entryway for 75 cents. The boy’s always hitting him up for pocket change.

"I don’t got any," the boy responds.

"You don’t have any," Smith corrects.

Smith suddenly realizes what time it is.

"Hey, why isn’t this guy in school?" he wonders aloud.

At that moment, only the Ella Hill Hutch Community Center was asking the question. *

A vote for public power in November

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EDITORIAL Working with environmentalist cover, Mayor Gavin Newsom and Pacific Gas and Electric Co. have moved aggressively to derail a move that would have given the city control over some local power generation. Instead, the mayor is now pushing to keep Mirant Corp. running the one electricity plant that still operates within city limits.

The politics of the deal are complicated, but the driving force is clear: PG&E didn’t want the city moving even a small step toward public power, and as usual, the big utility is getting its way.

The power plant deal proves exactly why Supervisors Ross Mirkarimi and Aaron Peskin should move forward with a November charter amendment for public power.

As Amanda Witherell reports, the San Francisco Public Utilities Commission has been trying for years now to win approval for three city-owned combustion turbines that would generate electric power at a plant at the foot of Potrero Hill. The idea: the turbines, also known as "peakers," would generate enough power during peak-use periods to convince the state to shut down the dirtier Mirant Plant.

Many environmentalists opposed the proposal, saying that the city shouldn’t be building any new fossil-fuel plants. That’s a legitimate argument. But California’s Independent System Operator (Cal-ISO), the agency that controls the electric grid, insisted that renewable energy alone wouldn’t provide enough reliable power for San Francisco, and said the only way to shut down Mirant was to put in the peakers.

PG&E has been trying for months to derail the peakers — not, of course, out of any concern for the environment, but because the city would own the power plants. At first Newsom stuck by his PUC — but after seven PG&E lobbyists came into his office and gave him the facts of life (see "PG&E offers Newsom a blank check" at sfbg.com), he backed down. And now, after meeting with the CEOs of PG&E and Mirant, Newsom is pushing the worst possible alternative: he wants to retrofit the Mirant plant and let the private company operate its own peakers.

Same fossil fuel plants in the Bayview. Same type of air pollution. And the facility would be owned by a private company.

The supervisors need to reject this proposal with extreme prejudice — and the environmentalists who fought the city peakers ought to be just as loud in their opposition to Mirant’s retrofit.

The good news is that this ridiculous Newsom–PG&E deal ought to put the focus at City Hall back on public power, because that’s the only way to create a really green power profile in San Francisco.

Matthew Wald, who has coved energy policy for decades, wrote an interesting piece in the New York Times June 8 discussing why no private company wants to invest money in technology that would reduce carbon emissions from power plants. "Cutting carbon dioxide emissions is a fine idea, and a lot of companies would be proud to do it," Wald wrote. "But they would prefer to be second, if not third or fourth."

That’s because no private utility wants to take the risks and try something new that another company could then copy. In economic terms, carbon reduction is a public good — it’s something that benefits everyone, and nobody has the exclusive right to make money off of it. Private companies have been notoriously bad at investing in public goods.

But that’s not how public power agencies work. A San Francisco power agency would have every motivation to develop and use technology that saves consumers money or protects the environment. There’s no issue of profits to protect; in fact, one of the mandates of a city agency should be reducing carbon emissions and promoting renewable energy.

We have always been sympathetic to the concerns that the city-owned peakers would emit greenhouse gases. But if the city owned the plants, the city could shut them down anytime, whenever enough renewables were available. Mirant won’t shut down anything that is bringing in cash.

Mirkarimi and Peskin are working on the details of a public power measure, but the outlines ought to be clear: it should mandate that the SFPUC create and implement a plan to put the city in the retail power business, in compliance with the letter and spirit of the Raker Act — and get rid of PG&E and Mirant. The supervisors should put that on the November ballot.

13 and life

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HORROR CLASSIC The scene: Camp Crystal Lake, 1958. The song: "Michael, Row the Boat Ashore." As a full moon looms overhead, someone sinister enough to get their own POV shot creeps into a cabin where two fresh-faced counselors are groping each other with wanton glee. "We weren’t doin’ anything!" the boy protests. Too late, sucka! With a scream, a freeze-frame, and a title card that zooms forward so fast it apparently shatters the camera lens, Sean S. Cunningham’s Friday the 13th begins. Already, two key facts have been established: summer camps are inherently hotspots of evil, and the series’ signature sound effect (all together, now: "Ki-ki-ki, ma-ma-ma!") is a sure sign that whoever’s onscreen is about to meet a gruesome end, courtesy of effects make-up god Tom Savini.

Back in Crystal Lake, circa "present day" — a time of feathered hair and Dorothy Hamill hair and side-ponytailed hair — a young woman soon to be employed at the reopened camp bums a ride from a friendly townsperson. But not before the appearance of my favorite Friday character, Ralph the bicycle-riding town drunk. "You goin’ to Camp Blood, ain’t ya?" he slurs. "You’ll never come back again! It’s got a death curse!" As we’ll soon see, this is the third truth taught by the Friday the 13th series: the town drunk is always right! Before long, the assembled counselors (including a very young Kevin Bacon, awww) start expiring with all the glorious gore a killer named Voorhees can supply. Other highlights: dope-sniffing cops, errant snakes, more Ralph ("I’m a messenger of God — you’re doomed if you stay here!"), a heated game of strip Monopoly, archery-range fun, a clothes-soaking rainstorm, and a conveniently-timed power outage.

Friday the 13th, made for far less than a mil, came out in 1980; it was modeled after 1978’s Halloween and met with such success that numerous slasher flicks followed — including several that picked up on Halloween and Friday‘s special-occasion theme: Happy Birthday to Me, My Bloody Valentine, Graduation Day, and the original Prom Night all dropped before 1981 was over, with many more to come (including 1993’s Leprechaun). And that’s without even mentioning all 11 Friday sequels. With the best ending (and dénouement) of any slasher film before or since, Friday the 13th features a strong performance from final girl Adrienne King and a menacing turn from Betsy Palmer. That fisherman’s sweater? Far more iconically terrifying a garment than any hockey mask could hope to be.

Oh, and about that Friday the 13th remake, due out in 2009 and helmed by Marcus Nispel, who’s already on notice for sullying The Texas Chainsaw Massacre? Let’s hope it’s doomed. (Cheryl Eddy)

FRIDAY THE 13TH

Fri/13–Sat/14, midnight, $8.50–$10.50

Clay Theater

2261 Fillmore, SF

(415) 346-1124, www.landmarkafterdark.com>.

Facing the music

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Mini video-enhanced chamber operas seem to be the flavor of the month, at least in a certain stretch of the Mission District. Only three weeks ago, Bay Area composer Erling Wold’s solo opera Mordake began its world premiere run at Shotwell Studios (as part of the San Francisco International Arts Festival) with inimitable tenor John Duykers in the part of the titular medical mystery and suicide — a pampered Victorian gentleman with the seemingly sentient face of his sisterly "evil twin" pasted to the back of his head. Beautifully constructed throughout (beginning with Wold’s prerecorded but generally enthralling minimalist score and Dukyers’ expansively human turn as "the man who ate his family"), Mordake availed itself of an exquisite and all-encompassing video design that cunningly developed the opera’s themes while allowing traditional lighting, costumes, and sets to be kept to a select minimum.

Meanwhile, a few blocks away at the Lab on 16th Street, composer-librettist Lisa Scola Prosek’s Trap Door followed suit with a one-hour chamber work on the plight of a US soldier in Iraq accused of killing an unarmed civilian. Billed as a "video opera," Trap Door is in fact performed live by a cast of seven and another six musicians (including composer Prosek at the piano) but unfolds against a wall-projection (designed by filmmaker-videographer Jacob Kalousek) whose purpose is to open up and to some degree comment on action otherwise constrained by a physically tight, nontraditional stage with minimal scenic components.

Like Wold, Prosek is a gifted local composer happy to work at or near the Bay Area’s new-theater fringes, and is well versed in its multimedia possibilities. Her last chamber opera, Belfagor, based on Machiavelli’s satirical comedy and set to an Italian libretto, also incorporated an elaborate video-based design scheme as part of its impressive debut at the Thick House. But the results in Trap Door prove far less successful this time around.

Only part of the problem has to do with the multimedia dimension: missing Kalousek’s synched video contains some arresting images and evocatively incongruous backdrops (such as the negative image of a revolving Ferris wheel overlapping one particularly dramatic scene), but others feel either less inspired or arbitrary, simultaneously being difficult to read or fully take in against the multiple surfaces at the back of the stage.

Beyond these individual elements, it’s the underlying theme that proves problematic. Based on a dream of the composer’s, Trap Door uses music as both vehicle and metaphor for exploring the moral agency of a hapless soldier, Private Able (Clifton Romig), who is presented with an impossible situation in which his simple human wants and patriotic dreams run up hard against the chaos, hypocrisy, corporate double-dealing, and native outrage that dwell at the bloody forefront of American empire. As promising as that may sound, it seems to have been too complex an idea to adequately develop here, at least not without falling back on overly compressed musical motifs and a kind of stiff dramatic shorthand that skirts mere caricature.

Director Jim Cave’s solid staging ensures that the many swift scene changes come over gracefully. But the condensed action means that even the main character and his Iraqi counterpart — the taxi driver Omar (tenor Mark Hernandez) — have little dramatic depth, while characters like Jane the Journalist (soprano Bianca Showalter) can only come across as cartoons. The more choice aspects remain, unsurprisingly, the musical ones. Romig’s smooth, rich bass meshes nicely with a set of agreeable voices, including several fairly strong duets with sopranos Maria Mikheyenko and Eliza O’Malley. But in general, even the music feels too cramped and underdeveloped, like a series of tantalizing abstracts for some larger vision.

TRAP DOOR

Thurs/12–Sat/14, 8 p.m., $15–$20 sliding scale

Lab

2948 16th St., SF

(415) 864-8855, www.thelab.org

Mo’ Jello

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› kimberly@sfbg.com

SONIC REDUCER What do you give a 50-year-old punk icon who has everything? A silver-studded dog collar? A reason to believe — or rebel? Peace of mind?

"Boy, I can’t think of much," Jello Biafra, né Eric Boucher, says with a chuckle at the question of what to gift him for his 50th birthday June 17. "I’m already such a pack rat, the last thing I need is more stuff. The main vice is vinyl, but I archive a lot of stuff. I’m a librarian’s kid."

Instead, the ex–Dead Kennedys vocalist, in characteristically against-the-grain fashion, will gift celebrants at his birthday-bash-to-end-all-bashes, the two-day "Biafra Five-O" at Great American Music Hall, with turns alongside the Melvins and a newly assembled band, the Axis of Merry Evildoers, which includes Victims Family’s Ralph Spight on guitar, Faith No More’s Billy Gould on bass, and Sharkbait’s Jon Weiss on drums. Oh yeah, and each punk-rock fire-/party-starter will receive a poster, or if it arrives in time, a 7-inch of Biafra and members of Zen Guerilla covering Rev. Horton Heat’s "Speed Demon" and Frankie Laine’s "Jezebel."

So what gives with the very public celebration of three decades of punky monkey-wrenching? "I saw the Stooges on Iggy’s 60th last year, and that was a great show," Biafra tells me while snacking in his San Francisco digs. "I got carried away with the moment and promised myself, if he’s that good at 60, I better be a tenth as good at 50 and get something together."

Expect Biafra’s new group to be part of a continuum: one that began with Dead Kennedys and has manifested in collaborations with the Melvins, DOA, No Means No, Al Jourgensen, Mojo Nixon, and others. "The hope is you’re still going to get a pretty sharp set of teeth," he promises. And speaking of DK, the man who would be SF’s mayor ("It was done as a prank") — and who was nominated as the Green Party’s 2000 presidential bid, right on the coattails of Ralph Nader ("It kind of got dumped in my lap") — is also recognizing the 30th anniversary of the Dead Kennedys, which played its first show in July 1978 opening for the Offs, DV-8, and Negative Trend, despite an extremely acrimonious lawsuit between the vocalist and his bandmates that led a jury to award control of the catalog to the rest of the group.

Despite intimations of a reunion on the part of the remaining Dead Kennedys, the bitterness of the conflict still rankles, with Biafra confessing with a wry chuckle, "I’ve had battles with suicidal depression — especially after that ugly Dead Kennedys lawsuit." Further, he says, "I really resent all the times they played these so-called reunion shows advertised as reunions, and there’s my picture in the ad. I think we have a new genre of punk, and it’s called fraudcore!"

Nonetheless, he hasn’t completely ruled out a reconciliation: "Sure, if those guys were ever willing to undo every last bit of damage they’ve done, I’d consider going back on stage with them. But so far they’ve been way too greedy and way too cowardly to even consider it."

So leave it to the Melvins to convince Biafra to tackle a few DK songs in honor of his birthday. The once SF-based band — in a near-original lineup including Mike Dillard — also will attack early hardcore tunes culled from a 1984 demo sent to Biafra. It turns out those pack-rat tendencies, coupled with Biafra’s abiding love of music, led him to hold onto that ancient tape, which the Melvins lost long ago. "It’s a good thing I saved these things," Biafra says. "They’d forgotten those songs existed." *

BIAFRA FIVE-O

With Jello Biafra and the Melvins, Biafra and the Axis of Merry Evildoers, the Melvins, and (Mon/16) Drunk Injuns and Los Olvidados, and (Tues/17) Triclops! and Akimbo

Mon/16–Tues/17, 8 p.m., $22-$40

Great American Music Hall

859 O’Farrell, SF

www.gamh.com

COUNTRY TEASIN’ WITH NEIL HAMBURGER

Moanin’ and groanin’ has never been so hammily hilarious. Comedian Neil Hamburger has a brand new hat — namely, a sorry-ass Stetson — to go along with his new bag: the recently released Neil Hamburger Sings Country Winners (Drag City). Teaming with longtime Bay Area–ite Dave Gleason on guitar, Amoeba Music co-honcho Joe Goldmark on pedal steel, and Todd Rundgren cohort Prairie Prince on drums, Hamburger, a.k.a. onetime Bay stalwart Gregg Turkington, plans to stir misery-loving odes to classic backwoods grimness ("Please Ask That Clown to Stop Crying") into his archetypal miasma of whining/joke-telling during his present tour. So why turn to C&W, which currently seems to consist of "songs about shopping," rather than tears, beer, and chicken dinners? "A lot of rock ‘n’ roll is just people screaming," groans Hamburger from Los Angeles, far from the SF storage locker he claims to have once dwelt in. "You hear enough of that in San Francisco on the streets. With those big, bushy beards and screaming — what’s the difference between a contingent of homeless guys carrying signs and the Doobie Brothers?"

June 11, 9 p.m., $13–<\d>$15. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.gamh.com

IT’S TIME FOR TIMES NEW VIKING

They may be pegged as part of the so-called shitgaze underground — thanks to their pals in Psychedelic Horseshit who coined the term — but Columbus, Ohio, trio Times New Viking are as grounded as a trio of Midwestern ex-art-schoolers can be. Keyboardist Beth Murphy met guitarist Jared Phillips and drummer Adam Elliott while attending Columbus College of Art and Design, and the three found that their education came in handy when it came to playing together nicely — and noisily, particularly on their new Matador album, Rip It Off. "When you’re in art school you’re always forced to critique your work and think about everything you’re doing," Murphy, 26, explains from her hometown. "That got, like, really annoying to have to validate every mark you made. But now I think it’s kind of like ingrained in us, so we can’t help but think about every aspect of what we do." Their creative approach to music-making? "One of the first rules we set up was 300 percent creative control," she says. "We all have 100 percent say in everything, and we don’t ever tell each other what to do."

With Hank IV, Psychedelic Horseshit, and Fabulous Diamonds. Fri/13, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

New foragers

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Jack Carneal is trying to locate a Malian musician to secure the release of a much-cycled bootleg on his microlabel, Yaala Yaala Records. Fueled by exuberance and somewhat chastened by controversy, Carneal is worrying over Yaala Yaala No. 4 more than he did the first three releases: a dubbed set of howling electric kamelen music by Pekos and Yoro Diallo; a popular bootleg recording of griot Daouda Dembele; and an audio collage of Carneal’s minidisc field recordings from his yearlong stay in Bougouni, Mali. Yaala Yaala No. 5 recently materialized in the form of a magisterial compilation of traditional hunter’s music by vocalist Yoro Sidibe, but the old bootleg is taking more time. "I heard it decades ago, and it just really stuck with me," Carneal reflects over the phone from his Baltimore, Md., home. "I didn’t even know it was from Mali until I lived there and I saw the musician’s name…. It was mastered and everything, and I’m still trying to find the musician to get him some money. In the past this wouldn’t have stopped me. I just would have done it."

No one contends that the music on the initial Yaala Yaala CDs isn’t dazzling. The rough sonic textures of cassette dubbing and crowd noise only thicken their cinematic quality, especially with the skip-and-start rhythms of Pekos and Yoro Diallo’s rumbling blues. But a number of critics — most notably Clive Bell of The Wire were incredulous about the packages’ lack of annotative liner notes and Carneal’s rush-delivery approach. (Unable to recompense for bootlegs, Carneal established a fund called the Yaala Yaala Rural Musicians’ Collective for whatever scant profits the discs might produce.)

It’s evident talking to Carneal — an English professor at Towson University and former drummer of Anomoanon and Palace Music — that profit motive isn’t part of the Yaala Yaala equation. But past exploitations cast a long shadow. Labels like Yaala Yaala, which is distributed by Drag City, and Sublime Frequencies don’t play by the outmoded rules of so-called world music production, eschewing both academic empiricism and the major labels’ reductive tendency to isolate bankable masters. Meanwhile, kids in Mali listen to dubbed tapes of Led Zeppelin and Jay-Z.

For the new Yoro Sidibe release, Carneal went through the proper contracting but was ultimately foiled by a corrupt producer. "We did everything above-board and legally, and the musician still got ripped off," he laments. Cullen Strawn’s liner notes explain that the donso music Sidibe powers through — long, call-and-response narrations designed to praise and bully hunters into action — is an especially ancient form, but it’s easy to appreciate why the vocalist is popular in the Bougouni marketplaces, beyond the music’s traditional context. Sidibe sounds intensely poised throughout the CD’s three cascading chants, periodically popping into a rapid-fire oratory that crowds out even his accompanist’s confirming hum. The dense ngoni (six-stringed spike harp) flurries capping each verse are perfect examples of the visceral highs Carneal relishes in Malian music.

"I recognize the danger in bringing this music back from Mali and having it reflect my very limited interpretation of an experience," he tells me. "I really want the listener to be able to listen to the music and derive something of their own that was not affected by my subjective take on things." Good taste certainly doesn’t mitigate responsibility, but listeners can only hope that music distribution might continue to be the province of committed amateurs, the sort of imprints like Yaala Yaala, Sublime Frequencies, and Dust-to-Digital that value the unclassifiable and throw the spigot open in accordance with the Mississippi Records motto, "Always — Love before Gold." (Max Goldberg)

www.myspace.com/yaalayaalarecords

Scramble for Africa 3.0

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Africa is not a monolith. Africa is not even Africa: the outsider bastardization kicked off in earnest when the Roman misnomer of a finite North African region was allowed to stand for the entire continent. However, for the West’s millennial hipsters currently emuutf8g such early adopters of 30 years ago — the oft-cited David Byrne and Brian Eno/Talking Heads, Paul Simon, Peter Gabriel, and the Police — the space formerly known as the Dark Continent has come to resemble the Golden Corral.

Vampire Weekend and other indie participants in the sonic Scramble for Africa 3.0 obviously see midcentury and postcolonial African pop culture as a cheap date, a provider of organic rock mystery where one can queue for heaping sides of hi-life, soukous, mbaqanga, mbalax, juju, rai, township jive, and Ténéré desert blues. La Présence Africaine is renewing rock ‘n’ roll — again. Striving ahead of the pale pack of black Yankee rockers is retired Nuer boy soldier Emmanuel Jal, justly a current press darling for his fine new second release, Warchild (Sonic 360).

Yet the acclaim for Jal has not outstripped the simultaneous giddiness and hand-wringing of a music press delighted by indie’s abrupt romance with African styles — hot on the heels of a new generation’s overlapping yen for English folk and Balkan gypsy sounds — but vaguely concerned about white exploitation of same, wagging fingers concerning musical "miscegenation." Race mixing yielded my family, cultural exchange has been the way of the world since antiquity, and as a critic whose mission involves exposing audiences to new sounds, I would never deny peoples’ enjoyment of genres seemingly beyond their ken. However, as Jal bitingly reminds us on Warchild‘s unabashed "Vagina," the rape of Africa — that blood-soaked project most essential to modernity — has gone down long enough.

Vampire Weekend, “A-Punk”

The problem with indie’s Karen Blixen close-up is that the transference of African mystery is going one-way — as usual. Vampire Weekend (XL) has sold 27,000 and counting and debuted on Billboard at no. 17, whereas, according to writer Robert Christgau in the New York Times, Sterns’ recent anthology encompassing the career of Congolese soukous master Tabu Ley Rochereau, The Voice of Lightness, has sold barely 9,000 copies.

Meanwhile, indie’s gone natives — including Mahjongg, the Dirty Projectors, Rafter, Yeasayer, and, from across the pond, Foals (Oxford), Courteeners (Manchester), and Suburban Kids with Biblical Names (Sweden) — seem to consider themselves smugly above postcolonial guilt (per DP’s Dave Longstreth) and the 1980s-vintage political correctness that plagued Simon and his apartheid-chic Graceland (Warner Bros., 1986). Vampire Weekend is good enough indie entertainment when you find Björk’s favorite Congolese likembé ensemble Konono No. 1 too repetitive and prefer songs about summertime splendor in the grass. But when Vampire Weekend’s unapologetically preppy white/white-ethnic musicians dub their music "Upper West Side Soweto" and seemingly aspire to come on like Brazzaville Beach Boyz — without any consciousness of such late 20th-century African titans or tyrants as Patrice Lumumba and Mobutu Sese Seko, respectively — it rankles this daughter of third world coalition builders raised in the ’70s and ’80s postcolonial era. Further, when Mahjongg’s Hunter Husar can tell Rhapsody’s Play blog that "to steal musically from another culture is to do a service to humanity," and "we don’t care about Africa any more than any other place," my everything-but-the-burden radar rings sharply.

Certainly there is energy around Africa on the independent music scene: black string band revivalists like Ebony Hillbillies have made the crossing back to West Africa in deep study of old-timey and country’s African ancestry. Funky Africa reissues are all the rage among crate-diggers: think Lagos Chop Up (Honest Jon’s, 2005), etc. And that Western-Kenyan summit Extra Golden was purposely omitted from the above indie roll call, for this multiracial quartet and their latest recording Hera Ma Nono (Thrill Jockey) suggest a way out of the cultural cul-de-sac their trendier fellows are already trapped in.

Further, the tug-of-war between disenfranchised folk of African descent who desired preservation of their mysteries and the white folks who possessed inchoate love for same has raged throughout modern times. As my friend Wendy Fonarow, author of Empire of Dirt: The Aesthetics and Rituals of British Indie Music (Wesleyan, 2006), recently told the UK Guardian: "There are interesting theories as to why rock ‘n’ roll happened when it did. There’s evidence to suggest Christianity, which exists as a missionising religion, had run out of ‘exotic others’ to missionise after the fall of colonialism. Therefore it was in their interests to get adolescents to act like heathens, so they had a supply of unconverted people to convert. So what we did was produce a heathen in our own midst to act out all the same things we’d accused other societies of doing."

Extra Golden promo for “Hera Ma Nono”

By Fonarow’s reckoning it would seem what Longstreth and company are up to is a necessary will to neotribalism, their recorded work a reversal of the detrimental European separation of mind and body. I would counter that these groups’ appropriation of African sounds is a means to the end of escaping the internally imposed authenticity rules of indie rock, a refutation of the linear trip between Greg Ginn and Kurt Cobain when their monoculture reduced them to the last of their race. Then again, options are at the heart of white privilege, as is the agency to cherry-pick from the non-Western bounty. It remains utterly disappointing that millennial musicians can quote Africana without making reference to kwassa kwassa‘s source in the Congo, where millions people have died, young boys mercilessly conscripted and countless women raped as tool of war, while their own blessings of Ivy League degrees and the lack of a draft amid a resurgence of American imperialism permit them a guilt-free stance toward postcolonial upheaval and their gentrification of longtime black neighborhoods. Vampire Weekend’s Brooklynites apparently see no irony in their song "Walcott": "Hyannisport is a ghetto / … Lobster’s claw is sharp as knives / Evil feasts on human lives."

Evil definitely feasts on human lives in the Congo, but evildoers are also harvesting bones in New York City, where the 50 bullets martyring Sean Bell’s body are currently being reduced to mere accident. These white African prodigals don’t and will never suffer the psychic angst of being black and oppressed. Vampire Weekend can always go home again, but we’ve got no home.

EXTRA GOLDEN

June 22, 7 p.m., $15

Rickshaw Stop

155 Fell, SF

www.rickshawstopcom