Volume 43 Number 30

SFIFF: Oaktown fugue

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The stillness inhabiting Bay Area director Frazer Bradshaw’s Everything Strange and New is broken periodically by the sounds of familial battle and the bemused, unemotive back-and-forth of a trio of men perplexed by the circumstances they have drifted into. The most dramatic intrusion, though, is instrumental, an occasional frenzied jigging of horns and strings that seems to signal the internal noise experienced by one of these uneasy men, a carpenter and family man named Wayne (Jerry McDaniel), who is trudging through his middle years in a state of unhappy wonder.

Shot in Oakland, the film uses a series of portrait-like scenes of house exteriors to convey the static emptiness in Wayne’s life, which he describes in voiceover monologues, his voice rising and falling just outside the boundaries of monotone. The contrast between these still lifes and the recurring shock of the soundtrack is almost painfully discordant, though the landscape intruded on is far from idyllic. When the camera moves inside one of the houses, the one where Wayne coexists with his wife, Renée (Beth Lisick), and their two sons, it’s filled with signs of residence but seems as empty and still and dead as the outside world, as if the family has just retreated from some personal apocalypse. Later the camera trails through a gutted Victorian as Wayne and Renée are heard quarreling, then processing as modeled by some couples’ counselor in their past — more emptiness and a sense of unending minor tragedy. Wayne presents a marriage sapped by financial exigencies such as the now-familiar house worth less than their debt.

These signs of trouble are plain enough, but emotionally expressive. Occasionally Bradshaw leans a little heavily on the symbolic, as when we see Wayne as he envisions himself, in the getup of a clown, and when the film runs backward through a trafficked street scene. More problematic, though, is the awkward shift in direction and shape that occurs when the resident stillness is interrupted by something more sharply horrific than the characters’ day-to-day suffering.

EVERYTHING STRANGE AND NEW

Sun/26, 8:45 p.m.; Tues/28, 4:15 p.m.; May 2, 6:30 p.m., Sundance Kabuki

SFIFF: Unhappily ever after

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a&eletters@sfbg.com

We’re living in topsy-turvy, fairy tale times: the mighty have fallen, and the once-marginalized have risen. We’re painting the White House black, while Wall Street high-fliers are hitting the skids and the once-mocked scientists who cried "global warming" are embraced by Main and K streets. A hardscrabble era calls for equally toughened-up tales that provide moral instruction and plunge into the heart of the narrative’s contradictions. Do, er, grittily realistic flicks like Dante Lam’s ADD-paced HK cop thriller Beast Stalker (2008), which skirt the periphery of lost-innocent yarns, count? The filmmaker’s empathy for his monstrously disfigured villain is unparalleled in both the Brothers Grimm and Charles Perrault.

The former receives a clever tweak with Pil-Sung Yim’s Hansel and Gretel (2007), in which the youthful inmates take over the gingerbread-house asylum. Unwilling to face the fact he’s about to become a father, half-grown man-boy Eun-Soo (Jeong-myeong Cheon) flips his car on a lonely stretch of forest freeway where he’s found by a sweet little girl, Soojeong (Yeong-Nam Jang). She wordlessly leads him to a charming cottage deep in the woods, the House of Happy Children, occupied by the girl, her siblings Manbok (Eun Won-jae) and Jung-soon (Ji-hee Jin), and their unsettlingly cheery parents. The witchery here is embedded in the power of a child’s imagination rather than cannibalism, and it finds a new purpose here: preying on adults with a monstrous, unquenchable will to be loved. The culturally specific shocker crouching in this otherwise gentle shiver-thon fertile with rabbit iconography: a finale of children pleading, cajoling, and whining at the camera directly, which goes on many beats longer than expected. Asian parents and wannabe Octomoms might just want to slice open their wrists and offer themselves to the screen to halt the onslaught.

Catherine Breillat’s Bluebeard studies the original tale with a more dispassionate, though no less entertaining, eye. She runs it through a postmodernist’s prism by coolly drawing from period artwork, utilizing an archly detached acting style and distancing devices like recycled footage, and framing it all as an imminently malleable yet still dangerous narrative retold by a pair of somewhat-modern-day sisters. A miniature, girlish version of The Last Mistress (2007) star Asia Argento, as feistily portrayed by Lola Creton, Marie-Catherine is less frightened of her hulking, erudite, and exhausted Bluebeard (Dominique Thomas) than fascinated by his alien world, his exoticism, and her own fearlessness. More surprising is how we comfortable grow with the deepening romance between the murderous lord and his child bride. In tackling the most pointed fairy tale about violence against women and in the process foregrounding the horror and glory of womanly will, Breillat continues to build on her now less naked, yet no less resonant feminist oeuvre, one that tests the tangled, hazardous constructs of female desire.

BLUEBEARD

Fri/24, 7:15; Sat/25, 9:30; April 29, 4:15 p.m., Sundance Kabuki

HANSEL AND GRETEL

Fri/24, 11:15 p.m.; Mon/27, 3:15 p.m., Sundance Kabuki

April 30, 7 p.m., Roxie

Throbbing Gristle vs. Machine Sex

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P>Though San Francisco might be eternally hampered by the stereotyped perception of a hippie wonderland replete with flowery hair, free love, and fluffy puppies, in reality, SF has long been as much a haven for radical dystopians as it is for their wistfully upbeat foils. From robot circuses to urban exploration to electric sheep, San Franciscans have a demonstrated predilection for the bionic, the blighted, and the bizarre. Add in a penchant for situational absurdism and a fervent appreciation for electronic music predating the Summer of Love, and it becomes clear why San Francisco was ground zero for the first wave of North American industrial noise music, and the city with the strongest connection to its European progenitors — Throbbing Gristle.

Throbbing Gristle is, in every sense of the word, the seminal industrial band, whose confrontational performance tactics, nihilistic lyrics, and audio sampling techniques foreshadowed acts as divergent as Skinny Puppy, Negativland, and 2 Live Crew, despite their repeated assertions that they were not really meant to be a band at all. "Assuming that we had no basic interest in making records, no basic interest in music per se, it’s pretty weird to think we’ve released something like ten albums … that have had an effect on the popular music scene forever." So declared Throbbing Gristle’s Genesis P-Orridge in the Industrial Culture Handbook, first published in 1983. Beginning their Bay Area association in 1976 through correspondence with Oakland-based shock artist Monte Cazazza — who traveled to England to assist with their nascent Industrial Records project and coined their company slogan: "industrial music for industrial people" — Throbbing Gristle’s aural extremism was also painstakingly documented by local champion of the underground V. Vale, first through fifth issue of the publication of RE/Search, and then through Industrial Culture Handbook.

It wasn’t just the Dada-esque, cut-up compositions of Throbbing Gristle and Bay Area-based industrial noise peers like Boyd Rice and Z’ev that gained an early foothold in the collective consciousness of the SF underground. Survival Research Laboratories, founded in 1978 by Mark Pauline, gave mecha-fetishism a physical expression — with installations of and performances by a bevy of robotic entities, often decorated with animal carcasses for ultimate shock value. SRL’s first public event, Machine Sex, featuring dead pigeons on a conveyor belt trundling toward a rotating blade, debuted on St. Patrick’s Day 30years ago. Not long after, Vale introduced Pauline to Monte Cazazza, who became one of SRL’s early collaborators — and the bridge between the musical and mechanical arms of industrial culture.

Industrial music, permanently positioned outside the mainstream by design, has long struggled for recognition in the U.S. But early industrial’s lasting influence on the Bay Area arts is readily apparent in the confrontational panhandling robots of the Omnicircus, the large-scale mechanical sculptures of the Flaming Lotus Girls, the electro-noise/"weirdcore" performances of the Katabatik Collective, the flesh-eating fantasia of industrial music club MEAT, and even in the Mad Max-ian flamethrowing antics and electronica oases found at Burning Man and live looping sensations such as Kid Beyond and Loop!Station. Considered in that vein, you could say a little bit of Throbbing Gristle resides in us all. Chew on it.

A THROBBING GRISTLE AFTERPARTY

With DJs D-SYN, pink noise, R.M.S.

Thurs/23–Sun/26, 11 p.m.-2 a.m., free

Space Gallery

1141 Polk, SF

www.mobilization.com

Fun under seige

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news@sfbg.com

As San Francisco’s party season gets underway — a time when just about every weekend includes street fairs and festivals, venerable celebrations like Bay to Breakers, quirky cultural events such a flash mobs, promoter-created club nights, and underground parties designed to raise funds for Burning Man camps and other endeavors — police and other party-poopers keep finding new ways to crack down on the fun.

The latest: potentially fatal price gouging of the How Weird Street Faire, a series of bizarre police raids on underground clubs, and state alcohol officials threatening to yank local club licenses.

For years, the Guardian has been warning that NIMBY neighbors, intolerant enforcers, and indifferent city officials were threatening the vibrant social events that make San Francisco such a fun and unique city (see “Death of fun,” 5/23/06, “Death of fun, the sequel,” 4/25/07, and regular recent posts on the SFBG Politics blog).

Lately the situation has gotten so bad that even the conservative San Francisco Examiner has written about the problem (“Squeezing the fun out of festivals,” 4/13/09) and followed it up with an editorial calling for city officials to address the issue and ensure that the cultural events can keep happening.

Overwhelming public opposition to recently proposed restrictions on the May 17 Bay to Breakers and April 12 Bring Your Own Big Wheel events led City Hall to pressure the San Francisco Police Department into reversing promises of a crackdown, although many events are being threatened.

The How Weird Street Faire is scheduled for May 10, although organizers say they can’t come up with the nearly $10,000 the San Francisco Police Department is demanding by May 1. Organizer Brad Olsen sought help from City Hall (Sup. Ross Mirkarimi and senior mayoral aide Mike Farrah — who helped save BYOBW — have both tried to intervene, so far to no avail) and unearthed city codes that seem to cap police fees for events like How Weird at $5,494, but the cops haven’t budged.

“Although we appreciate your position, it would be unwise for the SFPD to risk public money by not collecting the required fees prior to the event. If the event is the only way your group is able to pay for police services, we are all betting that the event will be as successful as you hope,” SFPD Lt. Nicole Greely wrote to How Weird promoters on April 13, suggesting that organizers take out a loan to pay the escautf8g protection money demanded by SFPD.

But Olsen said his grassroots group, which barely breaks even on the event, has never in its 10-year history been required to pay in advance and told us that entrance donations at the event are the only real source of revenue for the popular dance party.

Meanwhile the Guardian has heard multiple reports of undercover cops infiltrating underground parties in SoMa in the early morning hours of April 11 and 12, followed up by groups of more than a dozen uniformed officers storming in and roughly making arrests for resisting arrest, illegal alcohol sales, and drug possession.

“All of a sudden an undercover cop just tackled someone on the dance floor,” 27-year-old San Francisco resident Ryan Parkhurst told us, describing the scene at one party. “Then at that point, more than 10 officers came upstairs … I asked an officer, ‘What’s going on?’ and he said, ‘Arrest this guy.'”

Parkhurst said four cops then jumped on him, roughed him up, and arrested him. “Another guy was beat up worse than I was, with severe bruises and scratches all over his face.”

Parkhurst said he was charged with being drunk in public, resisting arrest, and assaulting an officer, but when he went to court on April 13, he was told all charges had been dropped.

SFPD spokesperson Sgt. Lyn Tomioka spent several days trying to gather information on the raids, but had little to offer by Guardian press time. “I can’t give you the answers you’re looking for based on what the computer is telling me,” she said. The District Attorney’s Office also did not respond by press time.

The attention that the California Department of Alcoholic Beverage Control (ABC) is paying to licensed venues seems to have ratcheted up lately as well. DNA Lounge, a nightlife haunt for freaks of all stripes, was cited by ABC in February for operating “a disorderly house injurious to the public welfare and morals” after undercover agents for the department witnessed brief instances of nudity and simulated intercourse during the DNA’s popular regular queer parties Cream and Escandalo.

These instances occurred during go-go and stage routines, mostly involving flashing buttocks and a wet T-shirt contest. In a statement on the DNA Lounge Web site , www.dnalounge.com, DNA owner Jamie Zawinski contends that ABC is retaliating against his club for appealing the department’s decision not to grant DNA a conversion of its license from a Type 48 (21-and-over bar) to a Type 47 (all-ages venue that serves food). During the appeal process, a settlement was reached, and the DNA successfully converted its license.

“As a direct result of our having filed an appeal, ABC began sending undercover agents into the club during our gay and lesbian promotions looking for dirt,” Zawinski writes, drawing attention to the specific targeting of DNA’s queer nights, a particular that inflamed the gay community when a story about it was published in the Bay Area Reporter.

It is the specific requirement that all-ages venues collect 50 percent or more of their revenue from food sales that has gotten several other San Francisco clubs in trouble with ABC. The state requires that venues possessing a Type 47 (“bona fide eating place”) license, a requirement for most all-ages clubs, earn just as much revenue from food sales as liquor sales. That’s particularly daunting for businesses that have traditionally made most of their money at the bar.

“There is grave concern and fear,” San Francisco Entertainment Commissioner Terrence Alan told the Guardian, “that the recent conflicting and oftentimes underground regulations [of ABC] could undermine the great and ongoing work of the Entertainment Commission and Sup. Ross Mirkarimi’s proposed cultural legislation.”

Alan was referring to the “Promoting and Sustaining Music and Culture in San Francisco” charter amendment sponsored by Mirkarimi that would “produce a master plan and vision that promotes a sustainable environment for music, culture, and entertainment throughout the city.”

It appears the law enforcement types are doing everything possible to make sure Mirkarimi’s vision never becomes reality.

SFIFF: In the realms of the real

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a&eletters@sfbg.com

Michael Moore may have paved the way for documentary gold, but the most structurally adventurous, ethically demanding nonfictions still reside on the festival block, where they frequently outshine their fictional counterparts for formal rigor and breadth of imagination. If the 2009 SFIFF field doesn’t have a marquee attraction like Standard Operating Procedure, all the better — a year later, I still haven’t lost the bad taste of Errol Morris’s hi-def moral confusion.

A corrective to Standard‘s self-serving auteurism might be gleaned from Avi Mograbi’s Z32. In this case the troubling testimony belongs to an Israeli soldier who participated in a senseless revenge killing of Palestinian innocents, but Mograbi handcrafts the layers of remorse that elude Morris’s smug "interrotron." We never see the ex-soldier’s face, though the digital application of masks produces an uncanny effect in tune with the film’s sliding scale of memory and performance, responsibility and displacement. Mograbi’s willingness to bring the war home (much of the film is set in his living room) is unusual for an investigative reporter, but then most investigative reporters do not narrate their mediating role in song.

Cameroonian-French filmmaker Jean-Marie Téno’s documentary Sacred Places seems more conventional in its blend of interview and ethnographic reflections, but the calm manner in which ideas flow from these encounters makes for a first-rate essay-film. Set in a poor district of Ouagadougou, the capital of Burkina Faso, Sacred Places centers on two eloquent men: Jules Cesar Bamouni, a djembe maker who makes some of the same linkages between film and the traditional storytelling forms that first incited griot-auteurs like Ousmane Sembène; and Nanema Boubacar, a hopeful entrepreneur who runs a neighborhood film club. The scenes in which Boubacar rifles through DVD deliveries offer an overlapping portrait of community-oriented cinephilia ("When there are spots on the DVD, it’s not good for the film fans") and the vicissitudes of distribution (even in Burkina Faso, African titles are harder to procure than a Jackie Chan vehicle). Sacred Places is light enough on its feet to pass itself as a slice of life, but Téno’s quiet approach constitutes a major revaluation of the aims of African cinema.

Another illuminating interviewer, Heddy Honigmann, returns with Oblivion, her first film set in Lima since 1994’s mobile portrait Metal and Melancholy. There’s also a double-shot of alternative histories from Lee Anne Schmidt (California Company Town) and Travis Wilkerson (Proving Ground), who are both associated with CalArts, an institutional hotbed for hybridized docs. Wilkerson’s An Injury to One (2003) remains one of the great American political films; his live performance of military footage promises more shots from the avant-garde of documentary. Also on SFIFF’s doc-centric slate: 2009 Persistence of Vision winner Lourdes Portillo, art-historical conspiracy theories courtesy of Peter Greenway (Rembrandt J’Accuse), and reality-bending fictions like John Cassavetes’ still-potent unraveling of the domestic melodrama, A Woman Under the Influence (1974).

SACRED PLACES

Fri/24, 8:40 p.m., PFA

Sun/25, 5 p.m.; April 29, 3:30 p.m., Sundance Kabuki

Z32

May 3, 9:15 p.m.; May 5, 8:30 p.m., Sundance Kabuki

May 4, 8:30 p.m., PFA

SFIFF: 52 pick-up

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cheryl@sfbg.com

In early April, a long-range rocket blasted off from deepest, darkest North Korea; according to a Reuters.com news report, the communist country claimed that its satellite was "launched into orbit and [is now] circling the Earth transmitting revolutionary songs." Um, yeah. Most folks say the rocket failed — and that its real purpose was to test North Korea’s dropping-warheads-on-our-enemies capabilities. Recent rumors of ill health aside, North Korea’s Kim Jong-il appeared shortly after the incident to mark his re-election as the chairman of the Democratic People’s Republic of Korea’s National Defense Commission.

As scary as it is to imagine the pompadored, isolationist "Great Leader" with his mitts on nukes, to focus on North Korea’s threat to the outside world takes away from the atrocities committed within its borders, against its own citizens. As NC Heikin’s quietly terrifying Kimjongilia reveals, the dictator’s country is a cruel, brutal place. The doc features interviews with North Korean refugees whose tales of escape are as harrowing as their recollections of life back home — a place where simply listening to music from a capitalist country or dropping a newspaper with a photograph of Kim on the floor were infractions that could mean imprisonment for three generations of a single family. Starvation, torture, and constant fear factor into nearly every story; families are separated, and even those who escape struggle, such as a woman whose "freedom" in China translated into years of sex slavery. For these people, WMDs are the least of their concerns.

Peering beyond what’s obvious is a theme at the 52nd San Francisco International Film Festival, with a slate that’s particularly doc-heavy. For every gesture that’s a little debatable (you can spin that Francis Ford Coppola directing award however you want, but Apocalypse Now came out in 1979, and 2007’s Youth Without Youth sucked), there are many that deserves high praise: groundbreaking local documentarian Lourdes Portillo receiving the Golden Gate Persistence of Vision Award, for example. Read on for the Guardian‘s coverage of this year’s fest, and keep watching the skies.

KIMJONGILIA

May 3, 3:30 p.m.; May 6, 3:15 p.m., Sundance Kabuki

May 4, 6:30 p.m., PFA


THE 52ND SAN FRANCISCO INTERNATIONAL FILM FESTIVAL runs April 23–May 7. Main venues are the Sundance Kabuki, 1881 Post, SF; Castro, 429 Castro, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Clay, 2261 Fillmore, SF. Satellite venues are Premier Theater, Letterman Digital Arts Center, Bldg. B, One Letterman Drive, Presidio, SF; and Roxie, 3117 16th St, SF. Tickets (most shows $12.50; special programs vary) and additional information at www.sffs.org.

More: Reviews, interviews, and more SFIFF 52 coverage on the Pixel Vision blog as the festival unfolds.

Uncivil unions

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steve@sfbg.com

Who really cares about an appointment to the Golden Gate Bridge, Highway and Transportation District Board of Directors? There isn’t a delicate balance of power on the board or any major initiative at stake in this fairly obscure district. San Francisco certainly has more pressing issues and concerns.

Yet the Board of Supervisors’ April 14 vote to reject Larry Mazzola Jr. and select Dave Snyder for that board says more about San Francisco’s political dynamics, the state of the American labor movement, the psychological impact of the recession, how the city will grow, and the possibilities and pitfalls facing the board’s new progressive majority than any in recent memory.

It was a vote that meant nothing and everything at the same time, a complex and telling story of brinksmanship in which both sides of the progressive movement arguably lost. And it was a vote that came at a time when they need each other more than ever.

"It was a win for the Newsom-oriented elements of labor," Sup. Chris Daly, who helped spark the conflict, told the Guardian.

The bloc of six progressive supervisors who shot down Mazzola — who helps run the powerful plumbers union and was the San Francisco Labor Council’s unwavering choice for an appointment that has traditionally been labor’s seat on the bridge board — is the same bloc the unions helped elected last year. It is also the same bloc that has been fighting the hardest to minimize budget-related layoffs.

The vote says a tremendous amount about the crucial alliance between progressives and labor, how that delicate partnership formed, and what the future holds.

PLUMBERS VS. PROGRESSIVES


The Mazzola name carries a lot of weight in San Francisco labor circles. The Web site for the United Association of Journeymen and Apprentices of the Plumbing and Pipefitting Industry Local 38 (UA 38) features a photo of U.S. Secretary of Labor Hilda Solis standing between Larry Mazzola Sr. and Larry Mazzola Jr., the father and son team that runs the union.

But the Mazzolas and their union are also controversial. As the Guardian has reported ("Plumbers gone wild," 2/1/06), the union owns a large share of the Konocti Harbor Resort (which a lawsuit by the Department of Labor said was a misuse of the union’s pension funds) and owns the Civic Center Hotel, which tenants and city officials say has been willfully neglected by a union suspected of wanting to bulldoze and develop the site. The plumbers and other members of the building trades have also fought with progressives over development issues and generally back moderate-to-conservative candidates.

Sup. Chris Daly and several progressive groups locked horns with the union over the hotel a few years ago, and Mazzola Sr. responded by opposing Daly’s 2006 reelection campaign, targeting him with nasty mailers and donating office space to Daly’s opponent, Rob Black. Yet more progressive unions like Service Employees International Union Local 1021, which represents city employees, convinced the Labor Council to back Daly and union support helped Daly win.

So when Mazzola Jr. came before Daly’s Rules Committee last month, the supervisor unloaded on him, and Mazzola gave as good as he got, telling Daly he didn’t want his support and defiantly telling the committee he didn’t know much about the bridge district, or its issues, but he expected the job anyway. Those on all sides of the issue agree it was a disaster.

"He was just patently unqualified for the position," Daly told the Guardian. Mazzola tells us his experience with labor contracts would be an asset for the position, but he admits the committee meeting didn’t go well. "I was caught off-guard and put in a defensive mode that altered my planned presentation," Mazzola told us.

Whatever the case, Sup. David Campos joined Daly in keeping the Mazzola nomination stuck in committee while the progressive supervisors privately asked labor leaders to offer another choice. "We said, ‘Give us anyone else as long as they can intelligently talk about transportation issues and the bridge district," Daly said.

But labor dug in. "It seemed as though the board was trying to dictate to labor what labor should do," Michael Theriault, who heads the San Francisco Building and Construction Trade Council. And the other unions decided to back the trades, for a number of complicated reasons.

"The reason we supported Larry Mazzola is because this was important to the plumbers union," said Mike Casey, president of the Labor Council and head of Unite Here (which includes the Union of Needletrades, Industrial and Textile Employees and the Hotel Employees and Restaurant Employees International Union). "To the extent we can support the trades, we want to."

So when the four most conservative members of the Board of Supervisors used a parliamentary trick to call the Mazzola nomination up to the full board on April 14, the stage was set for the standoff.

THE STATE OF LABOR


Labor is truly a house divided, despite its universal interest in minimizing recession-related layoffs and taking advantage of a new Congress and White House that is generally supportive of labor’s holy grail: the Employee Free Choice Act, which would make it far easier to form unions.

The April 25 founding convention of National Union of Healthcare Workers (NUHW) in San Francisco caps a years-long battle between Sal Rosselli’s United Healthcare Workers (UHW) and their SEIU masters (see "Union showdown," 1/28/09). Rosselli and many others say SEIU under Andy Stern has become undemocratic and has climbed in bed with corporate America, while SEIU says getting bigger has made the union better able to advocate for workers. Both accuse the other of being power-hungry and not fighting fair.

"Inside SEIU, we’ve been struggling for four years basically on a difference of ideology and vision of what the labor movement is," Rosselli told us. David Regan, who SEIU named as a UHW trustee after ousting Rosselli, told us the union divisions have been overstated by the media. "Everyone is together in pushing the Employee Free Choice Act," he said, glossing over the fact that the legislation is in trouble and recently lost the support of U.S. Sen. Dianne Feinstein.

Nationally, SEIU has been at war with all of the most progressive unions. The union recently made peace with the California Nurses Association after a particularly nasty struggle that involves many of the same dynamics as SEIU vs. NUHW, including accusations by CNA that SEIU was a barrier to achieving single-payer healthcare and was illegally meddling in its internal affairs.

SEIU is also accused of breaking up Unite Here, which fought the most high-profile labor battle here since Newsom became mayor in its contract fight with the big hotel chains. Last month, a large faction from the old Unite affiliated with SEIU, whose officials say they were just helping out after the end of what all knew was a bad marriage. "This is an example of a merger that didn’t take," SEIU spokesperson Michelle Ringuette told us. But the building trades have backed Unite Here in its fight against Sterns’ SEIU. As Casey told us, "We’re in a major fight over our right to exist. There’s no other way to characterize it."

Yet in San Francisco, SEIU plays a different role. Local 1021 is the advocate for the little guy, representing front-line city workers who deliver social and public health services. It is the union facing the deepest layoffs in the coming city budget fight and is still negotiating contract givebacks with the Mayor’s Office. The union’s biggest allies in City Hall are the exact same six supervisors who voted against Mazzola.

So why this standoff? SEIU, Unite Here, and other progressive unions share the Labor Council with the building trades, which are traditionally more conservative and friendly with downtown and, these days, starting to really get desperate for work. "We have thousands of guys on the verge of losing their homes and families," Theriault said. "We are desperate."

That was one reason the San Francisco Labor Council last year cut a deal with Lennar Corporation to back Proposition G, which lets Lennar develop more than 10,000 homes in the southeast sector of the city. Daly, who wanted firmer guarantees of more affordable housing, was livid over the deal and has been at odds with the council ever since. But Daly said labor’s undercutting of progressives goes back even further and includes the early reelection endorsement Rosselli’s UHW gave Newsom in 2007, which helped keep big-name local progressives out of the race.

Tenants groups, affordable housing advocates, and alternative transportation supporters form the backbone of progressive politics, but on development projects, they often clash with the trade unionists who just want work. And labor expects support from the progressive supervisors. As Mazzola pointed out, "It was labor that got most of those guys elected."

But labor has its own fights on the horizon. SEIU fears deep city job cuts if the Mayor’s Office can’t be persuaded to start supporting new revenue measures. NUHW is getting challenged by SEIU for every member the try to sign up. And Unite Here’s hotel contracts start expiring in six months, reopening its battle with downtown hotel managers.

"We’re going to be in a real war with some of those employers," Casey said. Yet he said its actually good time for the otherwise distracting fights with SEIU over how nice to play with big corporations. "I embrace this fight because I think this is exactly the struggle we need to have in the labor movement."

But the Mazzola fight was one that neither side relished.

TO THE BRINK


The Board of Supervisors chambers was filled with union members flying their colors on April 14, but the progressive supervisors were just as unified, voting 6-5 to reject Mazzola. All that was left was the political posturing, the decision of what to do next, and the fallout.

"I am disappointed and surprised by the board’s action," Sup. Sean Elsbernd (who voted for Mazzola and publicly called it "a sin" to deny him) told us, refusing to confirm the private joy over the outcome that many sources say he has expressed. "What shocked me is a majority of the board turned their back on labor."

Daly admits that the standoff hurt progressives. "I’m not sure who came up with it, but it’s certainly true that the Sean Elsbernds of the world were able to take full advantage of the situation to drive a wedge between unions and progressives," Daly said.

Yet Daly noted how ridiculous is was for Sups. Elsbernd and Michela Alioto-Pier to be publicly professing such fealty to labor while opposing revenue measures that would minimize layoffs. "At the same time the plumbers were attacking me, I was sponsoring paid sick days," Daly said. "It’s the six members of the board that are the most pro-labor who voted against Larry Mazzola."

Politically, Elsbernd says the progressives misplaced their hand. "I think the easy middle ground for them was to reject Mazzola and send it back to committee," Elsbernd said. Others echoed that point. Instead, supervisors appointed Synder, a widely acclaimed transportation expert who created the modern San Francisco Bicycle Coalition then started Transportation for a Livable City (now Livable City) before becoming the first transportation policy director for the San Francisco Planning and Urban Research Association (SPUR).

"I don’t like how that went down, and I’m not happy with the inability of the board and labor to come to an agreement," Snyder told us. "I was stuck in the middle. I wish they had sent someone the board could have agreed to."

After the vote, Snyder went back to the SPUR office and resigned. SPUR director Gabriel Metcalf admits that labor leaders lobbied him to pressure Snyder to withdraw his name, and that he asked Snyder to do so. But Metcalf said he didn’t want to lose Snyder, whose vast knowledge of transportation issues as been a real asset to SPUR. "It was his choice and not my preference."

"This issue is not why I left SPUR, but it was the precipitating event," said Snyder, whose progressive values have occasionally differed from SPUR’s stands. "My sense of social justice has more to do with class issues than I was able to pursue at SPUR."

In fact, the clashes between progressives and developers (who are often backed by the trade unions) often revolve around how much affordable housing and community benefits will be required with each project approval. Snyder said the defining question is, "How do we accommodate development in San Francisco and maintain progressive values in a capitalist economy?"

He didn’t answer that question, but it is one the building trades also understand. Theriault said he supports holding developers to high standards, even when progressives have block certain projects to get them. "I’m okay with that as long as I see the endgame," Theriault said.

He expects the progressive board to listen to labor more than Daly or Democratic Party chair Aaron Peskin, who Theriault said helped shore up the progressive opposition to Mazzola (which Peskin denies). "With the exception of Daly, the relationships are reparable. But they have to show some independence from Daly and Peskin," Theriault said. "The real fear for me is what comes next."

Theriault was referring to things like new historic preservation standards that supervisors will soon consider, as well as the string of big development projects coming forward this year. And for progressives, they hope their efforts to save city jobs will be followed by labor support for progressive candidates for the Board of Supervisors (such as Debra Walker and Rafael Mandelman) in next year’s election.

"The one thing I know about labor is, we’ve been screwed by politicians on the left and the right," Casey said. "Are we angry about this and disappointed? Yes. But does that mean the alliance between labor and progressives is dead? No. We’re going to work through this stuff, talk, take deep breaths, and move forward."

NUHW’s founding convention takes place April 25 from 10 a.m. to 5 p.m. at Everett Middle School, 450 Church St., San Francisco.

First Person Magazine benefit party featuring Gudrun Gut

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PREVIEW Now two years old, I Put A Record On (Monika Enterprise, 2007) is a record worth lingering over. In addition to being the first solo release from Berlin-based musical gadabout Gudrun Gut, it’s remarkable for how unhurried Gut was in getting around to it: she’s been appearing on recordings and taking part in bands, including a very early incarnation of industrial pioneers Einstürzende Neubauten, for more than 25 years. Her intervening projects give her the aura of a post-punk Zelig: the all-female punk band Malaria! formed in 1981, toured with the Birthday Party, put out records on Belgian boutique label Les Disques du Crepuscule, and performed with Nina Hagen at Studio 54. That the group’s "Kaltes Klares Wasser" would later be covered by Chicks on Speed was a foregone conclusion.

The synthy Matador followed Malaria!’s collapse, but Gut’s ear eventually led her, like any good punk, to techno. With typical great timing too: Berlin had just undergone a techno surge, spearheaded by local duo and label Basic Channel. Abandoning the constraints of playing in a rock-derived idiom in favor of more uncharted territory, Gut also had the good fortune to run across Thomas Fehlmann, a producer with post-punk roots who had recently collaborated with Alex Paterson’s downtempo pace-setters the Orb. The two founded Ocean Club, producing a weekly genre-stomping radio show as well as parties that paired up the likes of experimental techno producer Thomas Brinkmann and splay-shirted southern gothic aficionado Nick Cave.

None of this is new information, yet all of it is useful in figuring out how something like I Put A Record On came to be. It’s beguiling, though free of big emotions — a left-field album that functions as an homage to the hypnotic state that arrives when you’re sucked into your favorite records. The best indication of its intentions is provided by the sole cover, of Smog’s "Rock Bottom Riser." Gut’s multitracked delivery, over a pistoning and downtrodden bass drum, is affectless enough to make Bill Callahan’s stoic delivery on the original seem fraught. But by the end, she’s wracked by giggles, as flecks of color appear like dried spittle around the monochrome production’s edges. Gut is not an innovator: both she and Callahan are committed to the old, inexhaustible pleasure of listening, regardless of genre. And this is exactly what allows them to give back to their respective genres, if we care to name them, some missing essence.

FIRST PERSON MAGAZINE BENEFIT PARTY FEATURING GUDRUN GUT with Thomas Fehlmann, Grecco Guggenheit, and Nate Boyce. Fri/24, 10 p.m., $10-$15. Mezzanine, 444 Jessie, SF. (415) 625-8880. www.firstpersonmag.com/events.htm

NorCal nuggets

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a&eletters@sfbg.com

SONIC REDUCER Now playing: Locals Only II (see part one here). You can’t stop it from happening, even if you crumble to the ground like Keanu, fire your pistol in the air, and scream, "Nooo!" NorCal bands gotta make some noise, Bay-bies.

Hey, what gives? The Fresh and Onlys promised to release their self-titled Castle Face debut in May, yet last week I spied the CD, prominently displayed, twinkling brightly on an Amoeba Music endcap. Could it be an inside job, being that Fresh and Onlys Tim Cohen and Shayde Sartin have passed through the store’s payroll? Whatev, Kev, be happy it’s there, polishing off rough gems like "Endless Love": "Why don’t we live forever /inside this little mirror /so that your eyes and my nose /and your ears and my mouth /and your chin and my beard /they all fit together? / Na-na-na-na-na-na-na!"

Just as you turn to dismiss "Endless Love" as another joke song — albeit one tuned to a staticky channel of surf and ’60s-style garage rock by way of Flying Nun novitiates and Jonathan Richman’s post-punk pop naifs — the group unleashes a mini-nugget of "A Man Needs a Maid" wisdom: "Don’t you know you gotta give yourself / to get somebody else." Happily tucked into an echo chamber of passion-first rock ‘n’ roll, and armed against the apocalypse with a here-to-help sincerity that could stand the test of time ("The Mind Is Happy." "Feelings in My Heart"), the Fresh and Onlys pull off the seemingly impossible: discovering a clunky sweetness and lo-fi grace in a very singular rock primitivo.

"Snap back like a bungee chord — Lord!" Watch yourself, Raw Deluxe. The Bay Area group’s flow is as satisfyingly smooth and substantive as classic Del tha Funkee Homosapien times three on "Can You Spend It," off its new Raw Communication (Reel Deal). MCs Lexxx Luthor and Mic Blake of Alphabet Soup and Soulati of Felonious are unstoppable and at the top of a mix that showcases the sheer delight of word-slingers riding the exact same wavelength. There’s nothing particularly uncooked about the smokily intoxicating old-school jazz-funk gumbo on Raw Deluxe’s third long-player: keyboardist Matt Fleming, saxophonist Tony Jurado, bassist Christ Arenas, and drummer Chris Spano are on point on "Something to Build Upon" — a celebration of the band’s actual music-making process — which would chart in a better world and provide the foundation for a more maximalist hip-hop.

On the post-rock-cum-math side of the spectrum is the far-too-scarce From Monuments to Masses, now SF-NYC bicoastal and back with a new mostly instrumental full-length, On Little Known Frequencies (Dim Mak), possibly the most powerful recording yet by Francis Choung, Matthew Solberg, and Sergio Robledo-Maderazo. Mars Volta and Minus the Bear — MTB keyboardist Matt Bayles coproduced, engineered, and mixed the disc — are obvious referents. though neither band finds its voice via fragments of sampled dialogue like FMTM does, as if tapping directly into the culture’s transmissions. Almost monochromatic in its clear-eyed devotion to alt-rock propulsion, FMTM’s music has the closed-circle urgency and internal fury of a sonic dialectic. Are these frequencies to be plumbed with increased frequency?

THE FRESH AND ONLYS

Thurs/23, 10 p.m., $5

Knockout

3223 Mission, SF

www.theknockoutsf.com

RAW DELUXE

Fri/24, 10 p.m., $10

Club Six

60 Sixth St., SF

www.clubsix1.com

————
UPCOMING:

FLIPPER

The punk legends are turning over a new leaf in honor of their new 4 Men With Beards vinyl reissues, including 1982’s Generic Flipper. The battle continues with Flipper’s new Love/Fight albums on May 19. Fri/24, 6 p.m., free. Amoeba, 2455 Telegraph, Berkeley. www.amoeba.com. Also Sat/25, 9 pm $10. El Rio, 3158 Mission, SF. www.elriosf.com

AUTOLUX

The L.A. combo veers toward the dark, detuned, and deliciously distorted, judging from the music released from its long-awaited, forthcoming second disc, Transit Transit. With Odawas and Mini Mansions. Sat/25, 9 p.m., $18. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

THE GROUCH AND ELIGH

Is three the magic number for the West Coast indie MCs? Check for lofty concepts on the new Say G&E (Legendary). With Exile and DJ Day and Afro Classics. Sat/25, 9 p.m., $18. Slim’s, 333 11th St., SF. www.slims-sf.com. Also Mon/27, 6 p.m., free. Amoeba, 1855 Haight, SF. www.amoeba.com

Grass Widow

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PREVIEW Grass Widow’s harmonious post-punk tension is fostered below SF street level, in a former meat locker containing, among other things, a very charming quilt with the band’s name patched into it. In anticipation of an impending record release, I met there with bass player Hannah Lew and drummer Lillian Maring (guitarist and trumpet player Raven Mahon was overseas), who, although living far apart — Maring is on the East Coast at present — were clearly very happy to be together.

"It’s not like there are any dispensable characters," explains Lew. After the dissolution of Shitstorm, Lew’s former band with Mahon, the two started playing together in 2007 with Maring, who was in the city for the summer from Washington state. Though Maring went back up north for a bit, she says she quickly returned and the trio "got really serious" — serious enough to tour the U.S. the following summer after cranking out a wonderful demo CD-R/ cassette that makes up most of their upcoming self-titled 12-inch on the local Make a Mess label.

Grass Widow artfully molds anxiety, love, and sturdy musicianship into a mesmerizing shape — a sound in which haunted beauty is tempered alternately by pain and, as Lew puts it, "the cathartic experience of playing the song itself." The group’s three-part harmonies are intricate, with an incidental, spoken quality. Imagine a darker shade of the Raincoats, with minimal, vocal harmony-centric arrangements — really terrific stuff.

A seven-inch EP is projected for summer release through Cape Shok, and Grass Widow has been making short films, some of which will be screened at the record release show. "So much of it is about survival and friendship that we’re not gonna quit," Maring said. "It’s a reason to live."

GRASS WIDOW With Ty Segall. Thurs/23, 8 p.m., $5. Artists’ Television Access, 992 Valencia, SF. (415) 864-3890. www.atasite.org>.

Bruno’s Pizzeria Cucina

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paulr@sfbg.com

What do pizza and jazz have in common? Why, two z’s, of course — the pair of identical twins that also appears in such exciting words as nozzle, nizzle, pizzle, pazzo, and cazzo. Put these all together and shout them from the rooftops and you’ll have quite a riff, if not quite a jazz riff. For music, play ZZ Top. Then run from the obscenity police.

Other than that, pizza and jazz go together like … well, they don’t actually go together. There is no connection I know of. Nonetheless, our drastically refurbished jazz district, along Fillmore south of Geary, now has a creditable pizzeria to go along with the fancier places across the street, Yoshi’s and 1300 Fillmore. The pizzeria is called Bruno’s and, in a most un-Italian development, is unrelated to the Mission District old-timer of the same name. Old Bruno’s has had enough facelifts to rival Phyllis Diller. New Bruno’s, on the other hand, is new — with freshly painted reddish-brown walls, nicely upholstered booths, a gleaming bar against a far wall, a showy kitchen, and jazz memorabilia everywhere, the walls laden with portraits and plaques.

In Europe, jazz has long appealed to the French more than the Italians, but Bruno’s, despite these musical festoonings, is Italian to its core, right down to the patrone, Claudius Oliveira (owner of several other Italian restaurants in northern California, many in the East Bay) who circulates through the dining room, shaking hands and checking, and the service staff with their winsome accents. The cultural flavor is very much that of Little Italy, and part of its beguiling spell is to intensify the experience of the food.

Pizzerias aren’t generally known for their grace notes, but Bruno’s offers several. To begin, there’s the basket of marvelous garlic bread, which is not only flavorful but of a brioche-like tenderness and plumpness. Tasty bread so often exacts a steep price in crustiness and toughness, but not this stuff. Even if you couldn’t eat it, you’d be happy enough just feeling it with your fingers. But you will eat it, and then they bring you more, along with an amuse-bouche — a little ramekin of roasted red pepper soup, say, with a broad hint of cayenne kick. One is typically afforded this type of treatment only when ordering seven-course tasting menus at much starchier places.

Given the slight sports-bar aura, it isn’t surprising to find that the list of appetizers includes buffalo wings ("Texas style"), along with a parade of goodies from the deep fryer, among them calamari and zucchini sticks. But a better choice might be the drunken prawns ($10.95), spiked with tequila.

There is both an Aloha and a Hawaii 5.0 pizza, both with pineapple. Fruit (tomatoes excepted) does not belong on pizza, but pepperoni does, sausage does, salami too, and you’ll get all that and more with the signature Bruno’s special ($14.99 for a 14-incher), along with bell peppers, onions, mushroom slices, and a sprightly tomato sauce.

Most noticeable is the crust, which bucks the current trend toward thinness and crispiness: It’s big, puffy, and bready in true old-school California style. Although I prefer thinner crusts for a variety of reasons — a thin crust doesn’t distract from the toppings but does provide a discreet, pleasurable crackle — there is a case to be made for the more billowy kind. Such a crust does make any pizza look bigger and so, perhaps, enhances one’s perception of value, no small matter in shrinking times.

A nice bonus: if you show up in a ZipCar, you get 10 percent off. And ZipCar has only one Z!

BRUNO’S PIZZERIA CUCINA

Sun.–Thurs., 11 a.m.–midnight

Fri.–Sat., 11–2 a.m.

1375 Fillmore, SF

(415) 563-6300

www.sfbrunos.com

Full bar

AE/DS/MV/V

Noisy

Wheelchair accessible

Film Festival 52

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Innovative docs, fractured fairy tales, Disney ditties, dinosaurs, and at least one scene-stealing camel highlight the Fest’s fifty-second year. Our critics take a peek at some of the more buzz-worthy entries below.

THE 52ND SAN FRANCISCO INTERNATIONAL FILM FESTIVAL runs April 23–May 7. Main venues are the Sundance Kabuki, 1881 Post, SF; Castro, 429 Castro, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Clay, 2261 Fillmore, SF. Satellite venues are Premier Theater, Letterman Digital Arts Center, Bldg. B, One Letterman Drive, Presidio, SF; and Roxie, 3117 16th St, SF. Tickets (most shows $12.50; special programs vary) and additional information at www.sffs.org.

>>52 pick-up
SFIFF rides again, with a quietly terrifying North Korea doc
By Cheryl Eddy

>>In the realms of the real
Sacred Places and Z32 — SFIFF’s unconventional docs
By Max Goldberg

>>Unhappily ever after
The film fest’s fractured, freaky, and feminist fantasies
By Kimberly Chun

>>Oaktown fugue
Everything Strange and New: stillness interrupted
Lynn Rapoport

>>Tune Boom
SFIFF’s catchy ditties and dino-riffs
By Dennis Harvey

>>Shots in the dark
Our short, sharp takes on other SFIFF flicks