Volume 46 [2011–12]

Tradition

2

virginia@sfbg.com

APPETITE Despite its Future Bars group provenance, Tradition is not Bourbon and Branch part two. Although I continue to bring visitors and locals who’ve never been to the still-magical, speakeasy-like B and B, Tradition is a more relaxed entrant in the Future line-up, which also includes Wilson and Wilson, Rickhouse, Swig, and Local Edition.

I’ve been to Tradition multiple times since its June opening. Part of me misses the divey fun (and cheesy movie nights — Top Gun! Tony Scott, RIP) of the former Mr. Lew’s Win-Win Bar and Grand Sazerac Emporium. The location is unrecognizable from those days. Yet I’m a fan of the dramatically altered, high-ceilinged space with numerous areas to enjoy a drink: small upstairs bar overlooking the action (dedicated to house blends and barrel-aged spirits), giant, rectangular center bar where you can sit or stand, in a cozy back nook reminiscent of an English pub, or in one of eight “snugs,” which are essentially booths (reserve ahead). Each booth varies in size, seating two to eight, themed along with a visually striking artistic menu: New Orleans, Prohibition, Tiki, American dive bar, English, Irish, Scottish, and Grand Hotel. Themes are established with vintage ads, signs, and barware in each booth.

Impressively, owner Brian Sheehy and beverage director Ian Scalzo created an extensive house-blended and barrel-aged spirits program. They are storing and experimenting with countless barrels, grouped by spirits from gin to whiskey. Options imaginatively run the gamut, while menu tasting notes appeal to spirits geeks or help narrow down options served neat or on the rocks. One could sip Four Roses bourbon finished in Pinot Noir wine casks or Four Roses Single Barrel in apple brandy casks. Russell’s Rye in a Green Chartreuse cask thoroughly intrigued me though I didn’t get as much herbal emphasis as I was hoping for from the Chartreuse.

My beloved Redbreast 12-year Irish Whiskey (cask strength) is poured from a barrel washed with Guinness. Flor de Cana rum is finished in a sweet vermouth barrel, an “Autumn Blend” of bourbon and apple brandy in an Arabica coffee cask, Auchentoshan 12-year Scotch in a puer tea cask — combinations are fascinating. I have not seen the likes of this in any city… yet. There are likely to be many imitators forthcoming.

Each themed cocktail menu also includes a couple beers in keeping with categories from English to Irish, all of it generally unfussy. With so many cocktails and barrel-aged spirits, some fare better than others. Pitchers and volcano bowls are ideal for groups, although those craving more intricate sips might steer clear, as these either get watered down quickly or aren’t as nuanced as individual drinks.

After sampling more than 30 drinks in my visits, my barrel favorite is Espolon Reposado tequila finished in an arabica coffee cask. Coffee and tequila impart a chocolate-orange spirit with notes of cedar, slate, citrus — a fascinating tipple. On the cocktail side, I’m most smitten with Kona Kope ($9) in the exotic-Tiki category. Diplomatico Reserva Exclusiva and barrel-aged spiced rums intermingle with coffee syrup, a touch of coconut cream, and barrel-aged Angostura for a lively bit of elegance, bracing with coffee and whispers of the tropics.

Multiple Sazerac variations on the New Orleans or Speakeasy menus haven’t quite gripped me. I prefer the chicory coffee sour from the former (do you see a coffee theme developing?) or a classic Hanky Panky from the latter. On the Scottish menu, Hebrides Flip ($9) is a savory finish for those who like flips (i.e. whole egg): Black Bottle scotch, Dry Sack sherry, gomme syrup, whole egg, and a little Cynar for bitter roundness.

At Bourbon and Branch, patrons of the otherwise enchanting Library Bar in the back are limited to an abbreviated cocktail list (a downside, in my book), compared to a full menu in the front room. Similarly, walk-ins to the left side of the bar at Tradition are also offered a limited list, while those seated at the right or in snugs get the full book of options. It’s therefore a good idea to make reservations — although I haven’t had trouble securing a seat on weeknights without one.

Tradition adds to the excellent little cocktail district developing near Union Square, which includes Jasper’s Corner Tap, Bourbon and Branch, Wilson and Wilson, and Rye), and provides a convenient Tenderloin meet-up spot with a little something for everyone, from cocktail geek to British pub fan. despite many gems, it doesn’t serve the most exquisite cocktails in town — but its unique barrel program and relaxed vibe certainly make it a downtown destination.

TRADITION

441 Jones, SF.

(415) 474-2284

www.tradbar.com

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

 

Dishing the dirt

0

le.chicken.farmer@gmail.com

CHEAP EATS I didn’t do justice to Curry Boyzz, my new favorite restaurant, in last week’s review; I realize that. I completely and utterly neglected to mention who I ate there with!

Well, Hedgehog.

Moving right along …

Wait, there was someone else at our table, I feel certain. But Hedgehog, who is the half of our family that remembers things, is at work. She is also the half of our family that works.

With headphones on! So I am going to have to figure this out for myself, think think think … It was somebody skinny, I’m thinking, and so probably a vegetarian. Super skinny. With dreadlocks, and wearing a kind of cardboard hat or scarf, or something. With a price tag on it.

Doh! It wasn’t a vegetarian so much as a mop. Our spanking new, microfiber, swivel-headed dust mop that we’d just picked up at Cliff’s Hardware. I remember now: we wedged the handle through a chair back and its green dreadlocked head kind of watched over our meal, kind of hungrily. In fact, while Hedgehog used the bathroom, it spoke to me.

“That Tikka Masala looked pretty good,” it said.

“Yeah, well,” I said.

And in other news, I did a thing I haven’t done since the ’90s: I ate three Mission burritos in a week, and — funny thing — this was the week we were chicken-sitting in Alameda. When we are stationed in the Mission, Hedgehog and me, and our mop, we don’t eat burritos.

But we were going to watch that movie in Dolores Park with some buds, so we went to Cancun first. And we were going to a baseball game in Oakland, but I was in SF for some reason, and stopped at El Toro on my way to BART.

And Papalote, on a different day, but now I’m mad at them. Hardly any meat on my carne asada burrito: for shame, considering its relative expensiveness! And it was rolled all wrong, so that, cross-sectionally, one side of the burrito was just pretty much rice, and the other side had a few fairly tasteless beans and occasional chunks of meat. Pfft.

Lucky for them, they’re still my favorite taqueria, the orange salsa’s so goddamn good. I’ll just never eat there again, is all.

Hedgehog’s idea is to buy jars of Papalote’s overpriced orange salsa to take home and put on Cancun burritos.

So you see? You see why I love that lesbian? Even though she’s gluten free and dairy free, and made me eat at Radish for lunch today just because they had gluten free po-boys.

But at least she eats meat. Unlike some mops that I know.

So it shouldn’t surprise longtime readers of this column that her new favorite restaurant, like mine (after all these years), is Cancun. Specifically, the one on Mission and 19th, where I gained 20-some pounds in my thirties.

But it’s a 20-year tradition of mine not to review Cancun. To dwell on it, but never to actually review it. Therefore, I give you my other new favorite restaurant, Radish, the thing that finally happened across the street from the Lexington Club. Where I don’t drink, ’cause I’m too old.

But on our way to Cancun, we have to walk past one or the other, and lately it’s been Radish, so’s Hedgehog can look at their menu. We tried to eat there on a weekend but the line was too long.

Today (a weekday), I got the fried oyster po-boy, and it reminded me of Papalote’s carne asada burrito in that there were only about four or five oysters in it. And they weren’t very well battered. They just kind of crumbled.

But the bread was good! It was slathered with what they call “Cajun dirt.” I’d hoped that this would be the same thing Cajuns call “dirty rice,” which is chopped up giblets and liver and stuff, but no. It was reminiscent of muffuletta spread, which is more Italian than Cajun: chopped olives, onions, and lemon.

Good. But the best thing about Radish, as far as we could make out, was the homemade root chips: potato, taro, and yuca — yum!

RADISH

Mon-Tue 5-10pm; Wed-Thu 10am-10pm; Fri 10am-11pm; Sat 9am-11pm; Sun 9am-5pm

3465 19th St., SF.

(415) 834-5441

www.radishsf.com

MC,V

Beer & wine

 

Styles for miles

0

arts@sfbg.com

FALL ARTS Most folks going to dance performances have a sense of how they want to spend their time and dollars. For some, a show must be conceptually edgy. For others, it’s got to be ballet. Still others want choreography that resonates with socio-political implications — or they only want to see choreography grounded in indigenous traditions. I’m more of an omnivore: show me a piece, no matter its style, in which the forces at work arise from some internal necessity and play off each other convincingly, and I’m in.

The next three months are bursting with dance offerings. In downtown San Francisco, many are free. Zaccho Dance Theatre reprises its hauntingly poetic Sailing Away (Sept. 13-16, Powell and Market, SF; www.zaccho.org); it pays tribute to the exodus of a remarkable group of African Americans. In only three years, the Central Market Arts Festival (Sept. 28-Oct. 21, various locations, SF; www.centralmarketarts.org) has exploded into a major event with dozens of performances that have probably contributed just as much to the area’s revitalization as those high-rent dot coms. Not to be missed is the world premiere of Jo Kreiter and Flyaway Productions’ Niagara Falling (Sept. 26-29, Seventh St. and Market, SF; www.flyawayproductions.com), projected and danced on an exterior wall of the Renoir Hotel. And how about the easy-riding Trolley Dances (Oct. 20-21, various locations, SF; www.epiphanydance.org) that offer unexpected site-specific encounters?

If you are willing to take another look at what may be already familiar, and your budget allows it, the Mariinsky Ballet and Orchestra (Oct. 10-14, Zellerbach Hall, Berk; www.calperformances.org) brings Swan Lake to Berkeley. It may be the most popular ballet in the world, and it is also one of the greats. Another old-timer, the 40-year-old Mummenschanz (Nov. 23-23, Zellerbach Hall, Berk; www.calperformances.org), can’t be beat for its skill, magic, and gentle humor. Take a kid. If your taste oscillates between new and old, check out Na Lei Hulu I Ka Wekiu (Oct. 20-28, Palace of Fine Arts, SF; www.naleihulu.org); its mix of traditional and new-style hula — which this year includes hip-hop — will be time and money well spent.

Keith Hennessy, probably the Bay Area’s most radical theatrical thinker, moves his pulverizing Turbulence (a dance about the economy) from COUNTERPulse to Yerba Buena Center for the Arts (Sept. 27-29, YBCA Forum, SF; www.ybca.org). There you will be invited to participate in the concept’s actualization.

Ticket-buying decision time kicks into high gear in October, with the season’s most intense concentration of big-time artists both local and visiting. Making its Bay Area premiere with the full-evening After Light (Oct. 13-14, YBCA, SF; www.performances.org) will be another of San Francisco Performances’ finds, Britain’s Russell Maliphant Company. The work, set on three performers to Erik Satie’s Gnossiennes, is inspired by dance genius Vaslav Nijinsky’s photographs, choreography, and drawings. Margaret Jenkins Dance Company (Oct. 18-21, Kanbar Hall, Jewish Community Center of San Francisco, SF; www.mjdc.org) presents a first look at Times Bones, for which the choreographer excavated ideas in her rep to re-examine for new content.

Alonzo King LINES Ballet‘s collaboration with musicians and lighting designer Axel Morgenthaler are well known. Increasingly, King seems to be searching also for innovative scenic collaborators to contextualize his mythic choreography. A preview last spring of the as yet un-named premiere (Oct. 19-28, YBCA, SF; www.linesballet.org), at the very least, promised that Jim Campbell’s set of hundreds of LED globes will create its own rhythmic motion.

African and African American voices will be heard at YBCA as part of its commitment to showcasing contemporary dance from that continent. Voices of Strength (Oct. 19-20, YBCA, SF; www.ybca.org) is a quartet of four African women — among them Mozambique’s well-known Maria Helena Pinto — who will show one work each. New YBCA Program Director Marc Bamuthi Joseph concocted “Clas/sick Hip Hop” (Nov.30-Dec.1, YBCA, SF; www.ybca.org) for which he matches a violinist with five radically different hip-hop artists, including the legendary Rennie Harris, who 20 years ago pioneered the art’s theatrical potential.

Others I will try not to miss: smart dance with RAWDance‘s Burn In/Fall Out, (Nov. 2-4, ODC Theater, SF; www.rawdance.org); Deborah Slater’s in progress collaboration with dancer-vet Private Freeman, Private Live (Nov. 2-3, CounterPULSE, SF; www.deborahslater.org); and Sebastian Grubb‘s Workout (Dec. 14-15, CounterPULSE, SF; www.counterpulse.org). At the Garage (Garage, SF; www.715bryant.org), it will be Human Creature Dance Theatre for Halloween (Oct. 31), neo-Finnish punkkiCo (Nov. 16-17), and contemporary Congolese, now SF-based dancer Byb Chanel-Bibene (Dec. 5-6). Perhaps I’ll also return to the Garage for Burlesque Basquiat, Dorian Faust‘s birthday tribute to the late painter (Dec. 21-22).

Howdy, strangers

0

arts@sfbg.com

FALL ARTS Gemma Paintin and James Stenhouse were obsessed with Americana long before the two Bristol-based performance makers (known collectively as Action Hero) ever set their cowboy boots in the United States. In fact, they’d performed their site-specific first piece, a barroom exploration of the Western (called simply A Western) for years before lobbing it into the belly of the beast, where it appeared as part of Austin, Texas’ Fusebox Festival in 2010.

“We were shitting it,” remembers Paintin, in a British phrase meaning mighty fretful. But the crowd loved it; Paintin calls it their best audience ever. She and Stenhouse have worked together since 2005 on pieces that engage the audience as co-conspirators as well as subjects in their own right. A good example is their piece, Watch Me Fall, which had the audience cheering on a series of ridiculous, slightly risky stunts from either side of a long runway, a work that Paintin explains was inspired by the duo’s interest in motorcycle daredevil Evel Knievel.

>>VIEW OUR FULL FALL ART 2012 PREVIEW

A diminutive woman with bright blond bangs, Paintin spoke last week at a sidewalk table outside BrainWash Café, fresh from a rehearsal at CounterPULSE, where she and James were in the fifth day of leading a collaborative performance workshop with a selected group of Bay Area–based American artists (Laura Arrington, Andrea Hart, Xandra Ibarra, Richie Israel, Elizabeth McSurdy, Mica Sigourney, and Ernesto Sopprani).

Stenhouse was not able to join the conversation — rehearsal had run long and he was following its willy-nilly course to a local karaoke bar, where he and the rest of the group were planning to take turns singing Tammy Wynette’s “Stand by Your Man.” A couple of days earlier, the group had gone tailgating at a pre-season NFL game in Oakland. Such are the trails, happy or otherwise, down which the adventurer in Americana must travel. (You can follow some of the research results thus far — in a process McSurdy calls “aesthetically polyamorous” — in the group’s blog posts at www.counterpulse.org.)

The workshop sets out to investigate American cultural mythologies using the concept of the stranger or outsider as starting point. Hosted by CounterPULSE with leadership from program director Julie Phelps, the program is part of a major cultural exchange project by CounterPULSE’s collaborator on Stranger in a Strange land, the arts-based University of Chichester in the South of England.

“All the work of the Department of Performing Arts is about making radical new work, and we have a reputation for working with exciting and challenging artists, hence our connection to Action Hero,” explained Ben Francombe, head of the department, by email. “The University of Chichester has instigated this overall project as a way to explore different interdisciplinary working methods,” he continues, “which involve the idea of exchange.” Francombe adds that the University is keen to continue having a presence in the Bay Area.

“It’s been really fun actually,” enthuses Paintin, clearly pleased with how experienced and open-minded her American counterparts have proven with collaboration. “We’re trying to just be about the process.”

STRANGER IN A STRANGE LAND

Mon/27, 8 p.m., $10-$20

CounterPULSE

1310 Mission, SF

www.counterpulse.org

 

TAKE ANOTHER BOW, LAZARUS

The fall theater season includes several worthy returns (in addition to shiny new premieres) worth keeping in déjà view:

Chinglish The new comedy about East-West miscommunication from David Henry Hwang (M. Butterfly) has already been to Hong Kong but rebounds to the West Coast courtesy of Berkeley Rep. Aug. 24–Oct. 7; www.berkeleyrep.org

San Francisco Fringe Festival It’s a phoenix, really, rising each September like a sassy, gangling, 41–headed bird of play. Sept. 5–16; www.sffringe.org

Invasion! Crowded Fire delivers its own politically pointed comedy of miscommunication and cultural misconceptions in its West Coast premiere of Jonas Hassen Khemiri’s 2011 Obie-winner. Sept. 6–29; crowdedfire.dreamhosters.com

Geezer and The Real Americans The Hoyle boys — veteran clown and physical actor Geoff Hoyle and bounding son Dan, a theater sensation in his own right — return to the Marsh for re-runs of their respective, wildly popular solo shows. The Real Americans: Sept. 7–29; Geezer: Oct. 6–Nov. 18; www.themarsh.org

The Normal Heart Larry Kramer’s 1985 play returns (in the new Broadway revival directed by George C. Wolfe) at a time when the history of the AIDS crisis has become endangered by a vague “normalizing” narrative of American progress, or what Sara Schulman aptly calls “the gentrification of the mind.” Here’s an opportunity to remember lots of things, not least those who died and fought, a great play, a vital movement, a continuing health emergency, and the importance of mass resistance. Sept. 13–Oct. 7, www.act-sf.org

Roughin’ It 2: Theater. Oysters. Campfire. Booze. Again. Fresh from sold-out success with Duck Lake, PianoFight heads back up to Point Reyes for a second season of woozy waddling, shucking and jiving along the shore of Tamales Bay, featuring everything in the subtitle including brand new short plays harvested from a bed of delicious local playwrights. Sept. 15 and 22; www.pianofight.com

Assassins Shotgun Players mount the Sondheim musical about presidential recalls made and attempted from John Wilkes Booth onward, an election-year favorite directed by Susannah Martin. Sept. 26–Oct. 28; www.shotgunplayers.org

Rhinoceros Paris-based Theatre de la Ville’s production of the Ionesco play — a modernist classic on individual resistance to tyrannical conformity — is a remounting of the company’s acclaimed 2004 production, making its first US tour. Sept. 27–28, www.calperformances.org

Acid Test: The Many Incarnations of Ram Dass “Be Here Now” all over again in Lynne Kaufman’s new play — not so much a theatrical return as a serious flashback — starring the exceptional Warren David Keith as the titular giant of 1960s counterculture, a Harvard prof turned LSD advocate and spiritual teacher. Oct. 4–Nov. 24, www.themarsh.org  

Einstein on the Beach Composer Philip Glass and director Robert Wilson reinvented the opera in 1976 as an enthrallingly weird-ass piece of avant-garde spectacle and the world has not been the same since. This remounting —overseen by the original team of Glass, Wilson, and choreographer Lucinda Childs — marks the first performances of the five-hour formalist extravaganza in 20 years. The international tour takes its highly anticipated Bay Area bow courtesy of co-commissioner Cal Performances. Oct. 26–28, www.calperformances.org

Talk about chaos

2

steve@sfbg.com

FALL ARTS Is this the last Burning Man? After 26 years of resiliently expanding on the vast canvas of Nevada’s Black Rock Desert, and reaching what is arguably the pinnacle of its popularity and artistic innovation, the answer is: Probably not.

But there have been more portents of doom than ever this year, culminating last week when the event’s organizer — San Francisco-based Black Rock City LLC — issued a dire warning about new efforts by Pershing County officials to impose steep fee increases and regulation of behavior (including possibly banning minors) at this annual orgy of free expression.

After a Nevada judge concerned with burner morals and values recently worked with the county’s Board of Commissioners to void its agreement with BRC and place Burning Man under its new Festival Ordinance, BRC sued the county, claiming it “imposed new, unnecessary, unlawful, and potentially ruinous fees on BRC, threatening BRC’s ability to conduct Burning Man 2013 and going forward.”

The suit won’t affect this year’s event, which officially begins Aug. 26 and which was already being heavily battered by other forces, particularly Mother Nature of late. Art and setup crews on the playa, which is extra dusty after a record-dry winter, are telling horror stories of sustained 60-mph winds, day-long whiteouts, freak storms, and temperature extremes.

That could be one reason why a glut of Burning Man tickets went on the market in recent weeks, with many desperate sellers accepting less than face value and knocking the bottom out of the market for any ticket scalpers still hoping to cash in on record early demand for Burning Man tickets.

BRC started the year under a torrent of criticism for a new ticket lottery system that left most veterans without them. The organization gradually took several countermeasures, including canceling a secondary ticket sale and selling those 10,000 tickets directly through established camps and collectives, organizing an aftermarket ticket exchange and taking anti-scalper actions, successfully petitioning the Bureau of Land Management to increase the population cap to 60,900 (last year, the event peaked at below 54,000), and releasing a few thousand extra tickets at the very end. And that big year unfolded against the nearly forgotten backdrop of BRC’s internal work developing the new nonprofit Burning Man Project to take over the event from the LLC in a few years.

Each action prompted its own backlash — from both burners and anti-burners concerned about the skyrocketing population to myriad complaints about BRC policies and direction — and set of warnings of impending doom.

When I asked event founder Larry Harvey on the phone about this crazy year, he agreed, “It’s been full of alarm and incident.”

The incident that most alarms Harvey now is the sudden turn that Pershing County has taken, tripling this year’s Burning Man fees to $450,000 and potentially jacking them above $1 million in coming years, reportedly to fund more policing of risqué behaviors that Judge Richard Wagner has publicly objected to.

BRC’s lawsuit claims the judge and county officials used “a collusive state lawsuit as to which BRC was not a party” to regulate the event “not out of a neutral and objective concern for public safety issues, but because of their opposition to what they consider to be the content and culture of Burning Man, in violation of the First Amendment.”

“We’re doing this because we felt we had no recourse,” Harvey told me, although he expressed far less concern about other perceived existential threats to Burning Man. “I would like to take some modest credit for solving the scalper problem,” Harvey said. He claimed validation in the current easy availability of tickets at face value and minimized the role of departing veterans, discouraged visitors from afar, and those scared by dust storm stories.

“Last year was remarkably good weather, and it was unlikely we would see that again,” Harvey said fatalistically. But Burning Man is meant to be difficult and unpredictable. After all, he said, “We’re talking about chaos here.”

Guardian City Editor Steven T. Jones is the author of The Tribes of Burning Man: How an Experimental City in the Desert is Shaping the New American Counterculture.

Cheeseburger wolfpack

0

caitlin@sfbg.com

FALL ARTS In a workshop far north, in the wilds of Portland, a man creates wooden monsters. But they’re gorgeous, these beasts: vertigo-inducing whorls of eyes and mouths and thousands of pin feathers. So entrancing are the works of artist A.J. Fosik that you want to trip and fall into the maw of one of his riotously colorful works, preferably while on whatever drug their maker was partaking in when he laboriously cobbled them together. (perhaps also while listening to Mastodon.) Fosik will bring the wolfpack south to Guerrero Gallery for a show beginning Nov. 10.

SFBG: I’ve read that your sculptures are meant to ape religious icons and the zealotry that surrounds them — is that true of this latest series?

A.J. Fosik: It is true. If religious people would stop being such colossal dickheads I would have a lot more time on my hands to pursue hobbies.

SFBG: High-falutin’ theories of faith aside, do your beasties have names, personalities?

AJF: They are characters in an archetypal sense, not in a my name is Dave sense. They are manifestations of the apparently inescapable human need to put a face to the unknowable in some sort of attempt at easing our existential angst. Ideally, I would like them to serve as inspiration to move past that way of thinking and embrace the unknowable. Sometimes [they have names], mostly they are named after the ideals of a humanity better than ours.

SFBG: Where do they live?

AJF: The same place all deities do, in your head.

http://www.youtube.com/watch?v=_in6MbARF4s

SFBG: They’re so attention-grabbing — during the creation process, how do you relate to them? Do you have conversations?

AJF: I breathe life into them through their nostrils. Each piece receives a command written on parchment and rolled up, which is then placed in their mouths and compels them to obey.

SFBG: How long does a standard piece take you to make?

AJF: It takes a few splinters per hand and a couple of thousand pin nails.

SFBG: If you could engineer your beasts to perform a mechanical function, what would it be? You can say “eat people.”

AJF: I would like them to be able to take a precision slice from the part of the brain of every thick-skulled mouth breather that is responsible for holding onto the idea of faith as a virtue. Either by tooth or by claw they could slowly replace the justifications of so much hatred and replace them with the urgency of this life. Or they could regurgitate cheeseburgers to order.

SFBG: Your work is incredibly detailed. Why so elaborate?

AJF: If I stop working then I have to drink. When I start drinking, out come the wolves. It’s a safety measure. Also, DMT.

SFBG: Does anyone out there have a wall of Fosik pieces, like a psychedelic version of one of those wild imperialist British hunters?

AJF: If it does exist then I am insulted that my invitation has failed to materialize. If you’re reading this I can bring booze and firearms on short notice.

SFBG: Describe where you’d most like to see one of your works installed.

AJF: That’s sort of an odd thing at the moment. It really doesn’t seem to matter as much where the physical piece ends up, its real life is on Tumblrs and blogs or wherever else. If they don’t have teeth there they haven’t really lived.

A.J. FOSIK

Nov 10-Dec 8

Guerrero Gallery

2700 19th St., SF

(415) 400-5168

www.guerrerogallery.com

Drug peace

0

HERBWISE Author Doug Fine’s last book, Farewell My Subaru, is about the year he moved to a secluded New Mexico farm and attempted to live without petroleum. He’s just as creative about advocating against the War on Drugs as is his against fossil fuel dependency — for his new book Too High To Fail: Cannabis and the New Green Economic Revolution Fine spent a cannabis season living in a Mendocino grow town. He’s been getting love from his recent appearance on Conan, but we caught up with him via email for some real talk while he was en route from his home, a.k.a. the Funky Butte Ranch, “hurtling toward live events in Colorado in an ’87 RV.” He’ll be in town this week doing readings, so read up here and bring him questions to his Booksmith reading on Wed/22 and his event for cannabis patients at Harborside Health Center on Fri/24. 

SFBG: What are you adding to the discussion on cannabis legalization with Too High To Fail?

Doug Fine: I relocated to Mendocino County, and for 10 months covered the county’s successful efforts to permit sustainable cannabis farmers. I followed one flower named Lucille — for reasons that have to do with the neighbor of a farmer I followed — from farm to liver cancer battler. 

Mendocino’s “zip-tie” [cannabis farm permit] program was so successful in 2011 that it was about to be emulated in several other counties in the Emerald Triangle. With 100 tax-paying American small farmers coming above ground to declare themselves legitimate, the county raised $600,000 and saved seven deputy sheriff positions. The practitioners of a profession that generates 80 percent of the county’s revenue could now be part of society. Then, just before harvest, the DEA raided the most prominent zip-tie farmer, and the US Attorney threatened the county Board of Supervisors with arrest if they didn’t effectively cancel the program. Which they did. 

SFBG: Would you say you have a different writing style than others who have tackled the War on Drugs?

DF: It’s kind of comedic investigative journalism. Since I don’t only want to preach to the converted on any issue, I think the humor draws people in as they see I’m a regular guy, a dad, an American, and not some kind of radical pushing an agenda. I try to laugh my way to the truth. 

SFBG: In your opinion, why isn’t cannabis legal today?

DF: Pat Robertson wants to end the Drug War, my cowboy hat-wearing senior ladies at the post office in my New Mexico canyon want to end it. Everyone’s ready except Congress. Even a DEA spokesman said when I asked why the zip-tied farmer was raided, “If you don’t like the Controlled Substances Act ask Congress to change it.” And it’s up to us as voters to do just that: get cannabis out of the CSA and allow states to regulate it like alcohol. It’s win-win: a $30 billion infusion into the economy annually that will cripple the cartels. 

SFBG: Do you smoke weed?

DF: I have used it. I think it’s a good plant. My general take on it is a spiritual one. The Bible isn’t vague on this. It’s in Genesis, not bured way back in Numbers. Chapter 1, Verse 29 says: “You shall have all the plants and seed-bearing herbs to use.” Not “unless one day Richard Nixon decides he doesn’t like one of them.”

SFBG: I hear you live with goats?

DF: Yep, I generally see as many goats on a given day as I do humans. I meditate with my goats and live on their yogurt, cheese, and, most importantly, their honey-cardamom ice cream.

 

DOUG FINE

Wed/22 7:30pm, free

The Booksmith

1644 Haight, SF

www.thebooksmith.com


Fri/24 2-5pm, free, medical marijuana patients only

Harborside Health Center

1840 Embarcadero, Oakl.

www.harborsidehealthcenter.com

Fools in love

0

>>Check out our complete FALL ARTS PREVIEW 2012

emilysavage@sfbg.com

FALL ARTS “You’re at the right place,” Tim Cohen mutters, holding a large laundry sack swaddled like a burrito to his chest as he walks up to the tri-level white Victorian on McAllister Street in San Francisco’s Western Addition. A prolific singer-songwriter with morose pop vocals and a gruff exterior, Cohen is preparing to once again tour with his band, the Fresh and Onlys. And Cohen is flying out to the East Coast earlier than the others so he can play a few shows in his other incarnation, Magic Trick.

After dropping off his laundry sack upstairs in the top tower of the Victorian, Cohen climbs down the steps and stands against a railing on the front stoop with the band’s newest member, pony-tailed drummer Kyle Gibson, who really isn’t all that new. Gibson’s first show with Cohen, bassist Shayde Sartin, and skinny, pompadoured guitarist Wymond Miles, was at Noise Pop on Feb. 26, 2009. Before he came along, the band dilly-dallied around with a bunch of different drummers for around eight months, says Cohen.

The cohesive four-piece hit the ground running, creating psychedelically swirled darkly moving garage and psych-pop in home recording studios, and releasing records and EPs at a dizzying speed, touring nearly nonstop through the past three years.

Now signed to Mexican Summer, the Fresh and Onlys have slowed down a bit, spending the end of last year recording 2012’s Long Slow Dance (which sees release Sept. 4), their fourth long-player and first since 2010’s noisier Play It Strange. This fall they’ll again pick up the pace, and tour the West Coast, East Coast, and Europe through early next year.

“I feel like this is the record we all wanted to make, we’ve been wanting to make this record for a long time,” says Miles, who slinks up last to Cohen’s stoop on this unseasonably warm summer day in SF. If not for the occasional cool breeze, the day would be downright hot. I ask him to expand and he laughs and says, “Take it, Tim.”

“We were all a lot more patient with the process,” says Cohen. “It was like, it’s already been this long, let’s do it right. Let’s get the sounds right, let’s get the takes right, let’s get the feelings and the moods right.”

Moods come up frequently in both the stoop conversation and the record itself. The dark poetic drawl is inherent within Cohen, that Morrissey-Robert Smith pain paired to jangly pop. Album opener “20 Days and 20 Nights” has a classic hook, but matched to Cohen’s words, it’s actually quite sad. “Something so heavy/in my mind/I think I want to try and get it out/So I cry/and I cry.”

Many of Cohen’s lyrics come lifted from his dreams, so naturally he keeps a notebook by his bed in the tower. “When I write something down, I’ll look at it a few days later and be like, ‘wow, that’s kind of strange,’ and I’ll usually turn that into something.”

He feels he may be subconsciously influenced by the absurdist and surrealist fiction he reads, by authors such as Kafka, and conversely, classic radio pop. On jangly “No Regard,” he opens with “ever wonder why fools fall in love?”

“I don’t know how aware Tim was of Frankie Lymon when he wrote it,” says Sartin. “Not only is it a classic lyric, it’s a classic sentiment in pop culture in general. Whenever you hear that song, Frankie Lymon still lives, even though he died a miserable death.”

After a hot pause of silent remembrance, Sartin continues, “So I think sometimes those things pop up in Tim’s lyrics. They get mangled by the time they get to the pen and paper in Tim’s hand or onto the record for that matter.”

“That’s exactly right,” Cohen says. “What I intend to do with lyrics is make them clear cut with a twist. Put sad lyrics over happy music, or happy lyrics over sad music, just to create a juxtaposition of moods that’s a more compelling listen.”

Gibson pops up, “Morrisseying. I made Morrissey a verb. That’s what he would do, he’s one of the best at that. So really macabre and dark over this like, jangle.”

While Cohen is the frontperson and lead lyricist, he doesn’t always get his way. He’s quick to bring up the example of “Foolish Person,” a dreamy ’80s-esque pop song — which dissolves into battling psychedelic guitarwork — that made it on Long Slow Dance after at least three different iterations. “Some people in the band really wanted to see it through, to see it to completion. I wasn’t totally into the idea, but I’m sort of glad we did it,” he says with a sniff. “At least, I never have to record it again.”

Gibson laughs, slipping on his sunglasses.

The band has had their share of rough spots, especially during grueling tours, but they’ve learned to communicate. “We wouldn’t have lasted this long if we couldn’t reign that toxicity in, and direct it elsewhere,” Cohen says.

The keys to the Fresh and Onlys’ success, both personally and musically, include their diverse sonic backgrounds, and relative age. Unlike youngster bands, the four musicians were already established, and had played in previous bands (including Black Fiction, and Kelley Stoltz’s band), when they came together all hovering around the age of 30.

Each blasted a different kind of noise from their childhood stereo. Cohen listened exclusively to hip-hop in Virginia (“I just listened to the way people put their words together. I would never really go off the beat — I never really have, I’m not really capable of this shambolic, careless approach to words and vocals.”). Miles came from an array of guitar schools of thought in Denver, Colo., listening to the Cure, goth, punk, and hardcore. Sartin came from the Florida punk scene, but also loves country, and his bass-playing is rooted in soul music. From DC, Gibson listened to punk and Dischord bands, which justifies his muscular drumming.

“In a fearless way, we welcome each others music genealogy into the fold,” Cohen says.

The band also thrives thanks to its San Francisco location. “I can call up any of my friends and say ‘let’s go play music.’ And if they don’t want to do it, someone else will,” says Sartin, adding “We also have a ton of inspiration from other people who live here, other bands, other artists.” He mentions former Girls drummer Garret Goddard, and Gio Betteo from Young Prisms, along with perhaps the most prolific musician in San Francisco, aside from Cohen, Thee Oh Sees’ John Dwyer (formerly of Pink and Brown and Coachwhips).

“You can have a conversation with John Dwyer and go fucking write three songs, just off the energy absorbed from him barking at you,” says Sartin.

All four musicians on the stoop shake their heads in agreement.

FRESH AND ONLYS

With Terry Malts, DJ Britt Govea

Sept. 8, 9pm, $15

Independent

628 Divisadero, SF (415) 771-1421

www.theindependentsf.com

 

Full circle

52

steve@sfbg.com

When Mayor Ed Lee suspended Sheriff Ross Mirkarimi in March, he publicly took the position that it was an act of official misconduct when Mirkarimi grabbed his wife’s arm during a Dec. 31 argument, subsequently pleaded guilty to false imprisonment, and was placed on probation for three years.

Lee and his allies said that under those conditions, Mirkarimi could no longer effectively function as the city’s top elected law enforcement officer and that his actions clearly violated the City Charter’s ban on "conduct that falls below the standard of decency, good faith and right action impliedly required of all public officers."

The City Attorney’s Office, through deputies Peter Keith and Sherri Kaiser, has maintained that position throughout the investigation and Ethics Commission proceedings over the last five months. On August 16, on a 4-1 vote, the commission agreed and recommend the Board of Supervisors find its former colleague guilty of official misconduct, which would almost certainly result in his removal from office.

But that simple set of facts and interpretations belies the ugly spectacle that Lee and the City Attorney’s Office actually decided to create — at great cost to taxpayers, Mirkarimi’s reputation, and the public’s faith in the proceedings — over the last five months.

Instead of sticking by their initial position, Lee and his attorneys decided to pile on a long list of other official misconduct charges: dissuading witnesses to his crime, impeding a police investigation, abusing his authority in several ways, engaging in a pattern of abuse of women, refusing to cooperate with a city investigation, lying to officers in a scheme to keep a gun, and other charges.

Almost all of those accusations were included in the original written charges that Lee filed on March 21 — before the city had actually begun its investigation to learn whether there was any evidence to support them. Keith and Kaiser continued to make all those accusations right up until the end.

When the Ethics Commission finally deliberated on August 16, going through each of the main factual allegations against Mirkarimi, one by one, it unanimously agreed that there wasn’t enough evidence to support any of those other charges, even using the "preponderance of evidence" standard that is lower than the "beyond reasonable doubt" standard used in criminal cases.

So in the end, the case against Mirkarimi ended at the same place where it began: with the question of whether pleading guilty to a misdemeanor act of domestic violence warrants the removal of an elected official. But the implications and repercussions of what has transpired over these last five months could be felt for many years, in ways that it’s impossible to predict today.

WHAT IS OFFICIAL MISCONDUCT?


With very few legal precedents to guide them, the commissioners spent most of the nine-hour hearing on Aug. 16 wrestling with how to interpret the city’s untested new official misconduct language, how directly the wrongful behavior must relate to the office, and whether broadly interpreting those two issues gives too much power to the mayor.

Underlying that discussion is the question of whether the statute and the city’s interpretation of it will eventually be struck down as unconstitutionally vague by the courts, which Mirkarimi will likely turn to if the board removes him from office. But the commission pointedly refused to enter that debate, with Commissioner Jamienne Studley saying, "I don’t think determining constitutionality is what I signed on for as a commissioner."

Chair Benedict Hur, the sole dissenter in recommending a finding of official misconduct, expressed far more concern about the precedent they were setting than with the fate of Mirkarimi, whose actions he strongly condemned as "clearly wrongful and unlawful."

"There has to be a direct relationship of the behavior to the office held," Hur said. "If we don’t find a nexus, we are opening this provision up to abuse down the road."

Commissioner Paul Renne led the charge in interpreting misconduct in the broadest possible way, arguing it didn’t even have to be related to his official duties. "There’s nothing in that clause that says the misconduct has to relate to the office," Renne said.

But Hur called that a "dangerous precedent," saying he has "grave concerns" about how such a broad interpretation could be applied in the future. "I have a lot of concerns about where you draw the line if you don’t relate it to official duties," he said.

For example, could members of the Board of Supervisors be removed after getting arrested at demonstrations — as has happened many times before in connections with labor and other disputes — or even for using colorful language with constituents or colleagues that might violate a future mayor’s "standard of decency?"

Mirkarimi attorney Shepherd Kopp said there’s a good reason why recall is the preferred means of removing an elected officials accused of wrongdoing, calling the charter "an imperfect document" that can’t cover all circumstances — indeed, it doesn’t allow for the removal of mayors, even those who commit serious crimes — noting that "this is a rarely brought proceeding and it can have the effect of contravening the will of the electorate."

"These proceedings," Kopp said, "are far too susceptible to the vagaries of politics."

THE PILE-ON


Lee’s decision to overcharge Mirkarimi could be a costly one. The City Attorney’s Office won’t release expenses associated with ongoing legal actions like this one, but most indications are that it will run into the millions of dollars, perhaps many millions depending on how Mirkarimi fares in the courts if he is removed and challenges the city’s actions.

According to the City Attorney’s Office, the official misconduct proceedings against former Sup. Ed Jew in 2007 cost the city $381,505 in legal fees, but that was a relatively short and simple proceeding, with just one Ethics Commission hearing and couple of state court appearances before the case was settled.

By contrast, the case against Mirkarimi has already entailed five months of detailed exchanges between the two sides’ attorneys, covering a wide array of legal issues, and months-long investigations of matters only tangentially related to the core charge. The city has paid out money for expert witness. Mayor Lee cast a wide net to catch the fish that he had already hooked before setting out to sea.

Even if the Jew case had played out to completion, it would likely have cost just a fraction of what Mirkarimi’s will, for a simple reason: Mayor Lee acted quickly and brought a broad array of charges before investigating them. Then-Mayor Gavin Newsom investigated whether Jew really lived in the city and then brought just that narrow charge.

The simple residency question was enough to warrant Jew’s removal, and Newsom didn’t even need to get into the far more serious corruption charges related to Jew being caught with $80,000 in marked bills as part of an FBI extortion sting, for which Jew is still serving a five-year term in federal prison.

Lee has refused to justify his decision to pile on the charges and introduce defamatory declarations unsupported by direct evidence, such as the long declaration of key witness Ivory Madison, most of which was stricken from the record after Commissioner Paul Renne called it "clearly hearsay, clearly having the intention of poisoning the well" and said "a first-year lawyer should know that much of it is inadmissible and it should not have been given to us."

Even though Keith apologized to Renne and the commission, Lee and his lawyers continued to defend much of that declaration and use it as the basis for many of their most incredible accusations.

"You received a great deal of evidence, most of it from the mayor and most of it unchallenged," Keith said in his closing statement, glossing over the multitude of challenges and the fact that most evidence doesn’t support the city’s charges.

Mayoral Press Secretary Christine Falvey wouldn’t address a list of Guardian questions about overcharging the case and continuing to rely on discredited evidence. Instead, the Mayor’s Office stands by this Aug. 16 prepared statement: "I am pleased that the members of the Ethics Commission, following a careful review of the evidence, and in the face of a sustained campaign to distract and misdirect them from the facts, agreed with me that Ross Mirkarimi’s actions constitute official misconduct and fall below the ethical conduct we expect of the sheriff."

City Attorney’s Office spokesperson Matt Dorsey said his office also stands by the process: "We respect Ethics Commissioners’ differing opinions about the remaining counts. But nothing about the commission’s conclusions would cause us to pursue these charges of official misconduct differently if we had to do it over again."

But Mirkarimi’s team says it is Lee who has repeatedly sought to distract and misdirect the public, whether through unsubstantiated claims in his charging documents or Lee’s public statements that Mirkarimi "beats his wife" and other comments that blow a single arm-grab out of proportion.

"What the commission has effectively done is agreed with us that’s the only issue," Mirkarimi attorney David Waggoner told reporters after the hearing, noting that he had offered to stipulate to those facts from the beginning and avoid a prosecution that his closing brief deemed "a dog and pony show." Mirkarimi also told reporters that "the piling on of these charges has weighted us down" and complicated his defense. He added, "I leave this process concerned that the will of the voters is being undermined."

THE PRICE OF OVERKILL


Perhaps it was understandable for the city to use over-the-top tactics on Mirkarimi, who has certainly been weakened by proceedings that generated reams of fodder to be used against him in future elections if he survives the board’s removal vote. But the tactic also seems to have hardened the stance of Mirkarimi’s supporters and fed their conviction that this was a politically motivated prosecution and misuse of public resources.

During more than three hours of public testimony on Aug. 16, with each speaker strictly limited to less than two minutes each, speakers overwhelmingly favored Mirkarimi and condemned the city case as overkill.

"Some of the things done in this case, and the levels this has gone to, is outrageous," said Brenda Barros, who works in the city’s public health clinic and said these resources could be better applied to help the "seriously abused women" she works with. Barros called the city’s case "a political witch hunt."

"I think Mayor Lee has overstepped his boundaries and I think you should find that as well," said Pedro Fernandez, a private investigator and former San Francisco Police officer.

David Elliott Lewis, a member of the city’s Mental Health Board, noted that the Sheriff’s Department has no civilian oversight, making the role of an elected sheriff who is progressive and independent of the city’s good-old-boy police culture all the more important. "Those who claim otherwise are really politically motivated," he said.

One issue left unresolved by the Ethics Commission is whether Mirkarimi should be removed even though the case against him was substantially whittled down. In fact, several commissioners indicated during the hearing that they thought the findings and punishment were separate issues.

"Do you agree that it is a two-step process we have to deal with?" Renne asked Keith, referring to the official misconduct finding and whether Lee abused his discretion by removing Mirkarimi.

"There is a determination of, are the consequences appropriate to the wrongful action," Keith replied.

But later, when attorney Scott Emblidge — who is volunteering his legal services to both the Ethics Commission and Board of Supervisors on this case — offered his interpretation that the charter language requires removal of officials found to have committed official misconduct, the commission accepted that and opted not to consider recommending a lesser punishment to the Board of Supervisors.

Mirkarimi’s team objected to the commission’s rewriting of new charges based on its evidentiary findings, and things got so confusing by the end that the commission decided to meet one more time in early September to finalize its recommendation.

So the case probably won’t get to the board until mid-September. Nine votes are required to remove Mirkarimi and the charter requires the board act within 30 days, meaning that final vote will be just a few weeks before the Nov. 6 election, timing that will only increase perceptions that politics will largely determine its outcome.

Farmville, for real

11

yael@sfbg.com

In the next few months, San Francisco will lose some of its most beloved urban farms.

The City Hall victory garden is now reduced to dirt. The grants that kept afloat Quesada Gardens Initiative, which creates community gardens in Bayview, were temporary and are now drying up. Kezar Gardens, funded by the Haight Asbury Neighborhood Council recycling center, is facing eviction by the city.

Time is up for Hayes Valley Farm, on the old freeway ramp, where developers are now ready to build condos.

St. Paulus Lutheran Church has also announced that it wants to sell the land that the Free Farm uses at Eddy and Gough.

“There’s the old joke about developers,” said Antonio Roman-Alcalá, co-founder of Alemany Farm and the San Francisco Urban Agriculture Alliance. “God must be a developer, because they always seem to get their way.”

At the same time, new urban agriculture projects have sprung up across San Francisco. Legislation authored by Sup. David Chiu will create a city Urban Agriculture Program, with the goal of coordinating efforts throughout the city.

So is the movement to grow food in the city progressing? It’s a tricky question that gets down to one of the oldest conflicts in San Francisco: The best use of scarce, expensive land.

THE VALUE OF FARMING

The San Francisco Planning and Urban Research Association lauds the value of community gardens. An April 2012 SPUR report notes that urban agriculture connects people “to the broader food system, offers open space and recreation, provides hands-on education, presents new and untested business opportunities, and builds community.”

According to the report, the city had “nearly 100 gardens and farms on both public and private land (not including school gardens),” two dozen of which started in the past four years.

But that’s nowhere near enough for the demand. “The last time waiting lists were surveyed, there were over 550 people waiting,” Eli Zigas, Food Systems and Urban Agriculture Program Manager at SPUR, told us. “That likely underrepresents demand because some people who are interested haven’t put their name down.”

Changes in zoning last year, and the recent ordinance to create the Urban Agriculture Program, show a measure of city support for urban farming and gardening.

“We have one of the most permissive zoning codes for urban agriculture that I know of in the country,” said Zigas.

One zoning change from 2011 makes it explicit that community gardens and farms less than one acre in size are welcome anywhere in the city, and that projects on larger plots of land are allowed in certain non-residential districts.

More recent legislation is meant to streamline the process of starting to grow food in the city. Applying to use empty public land for a garden can be an arduous process, and every public agency has a different approach. The hoops to jump through for land owned by the Police Department, for example, are entirely different than what the Public Utilities Commission requires. A new Urban Agriculture Program would coordinate efforts.

“The idea is to create a new program that will serve as the main point of entry. Whether it will be managed by existing agency or nonprofit is to be determined,” said Zigas.

If the timeline laid out in the ordinance is followed, the plan will be implemented by Jan.1, 2014.

By then, if all goes according to plan, no San Franciscan looking to garden will wait more than a year for access to a community garden plot.

NO NEW LAND

Roman-Alcalá said that efforts to clear the way for urban agriculture are much less controversial than for affordable housing and other tenets of anti-gentrification. But for all the good the latest legislation does, it doesn’t secure a single square foot of land for urban agriculture.

“If you look at the language, there’s nowhere in it that mandates or prioritizes urban agriculture on any site,” said Roman-Alcalá. “The closest thing is a call for an audit of city owned rooftops. That’s the closest it comes to changing land use.”

And it won’t be easy. “No matter how much support there is for urban agriculture, in the end, developers and their ability to make money is going to be prioritized,'” he said. “The only way to really challenge that right now is cultural. Social change is not an event but a process.”

Janelle Fitzpatrick, a member of the Hayes Valley Farm Resource Council and a neighborhood resident who has been volunteering at the farm since it started, is committed to that process.

“Hayes Valley Farm proves that when the city, developers, and communities come together, urban agriculture projects can be successful,” Fitzpatrick said. She and dozens of other volunteers created the farm, which is now lush with food crops, flowers, and trees. The farm has a bee colony, a seed library, and a green house. It offers yoga and urban permaculture classes.

Hayes Valley Farm started on land that used to be ramps to the Central Freeway before that section was damaged in the Loma Prieta earthquake. The land under the freeway was toxic, but volunteers spent six months layering mulch and cardboard and planting fava beans to create soil. It took less than a year to create a productive farm on a lot that had been vacant and overgrown for nearly two decades.

“We’re producing food, we’re producing community, we’re producing education,” said Zoey Kroll, another volunteer and resource council member.

When they vacate their land in the winter, many Hayes Valley Farm team members will already be knee deep in new urban agriculture projects. These include Bloom Justice, a flower farm in the Lower Haight that Kroll says will teach job skills like forestry and landscaping. The farm has also built a relationship with Hunters Point Family, working together to offer organic gardening and produce at Double Rock Community Garden at the Alice Griffith Housing Development and Adam Rogers Community Garden.

As for the loss of the current site, Kroll says, “It’s an exercise in detachment.” Change in landscapes and ownership is part of urban life, she said — “We’re a city of renters.”

We’re also a city of very limited land. “Securing permanent public land for urban agriculture would be challenging,” said Kevin Bayuk, an instructor at the Urban Permaculture Institute. “And securing long-term tenure on anything significant, an acre or more of land in San Francisco, if it were on private land, would be cost prohibitive.”

Of the city’s three largest farms, only Alemany Farm seems secure in its future. The farm is on Recreation and Parks Department land, and has been working with the department since 2005 to create a somewhat autonomous governance structure.

Community gardens on Rec-Park land are subject to a 60-page rulebook, and according to Roman-Alcalá, Alemany Farm’s operations were restricted by the rules.

Last week, the group’s plan to be reclassified as a farm instead of a garden was approved, eliminating some of the rules and creating an advisory council of community stakeholders that will exert decision making power over the farm, although Rec-Park still has ultimate authority.

“Now it’s more secure,” said Roman-Alcalá. “We’ve finally reached this point where the city acknowledges it as a food production site.”

“I think the urban agriculture movement is still growing and burgeoning in the grassroots sense,” said Bayuk. “And I think some of the grassroots growth is reflected in the policy and code changes. “I’m optimistic for the idea of people putting land into productive use to meet human needs and be a benefit of all life.”

This article has been corrected to reflect information about the location and ownership of the Free Farm.

Healthy transitions

1

yael@sfbg.com

When the Human Rights Campaign, the national LGBT rights group, released its latest scorecard, rating companies by their support for LGBT issues, the healthcare giant Kaiser scored 100 percent. In June, the company’s float in the San Francisco Pride Parade was packed with happy employees.

But as the float passed through the streets, it was met by a group of protesters. Pride at Work complained, loudly, that Kaiser — for all its efforts to work with the community — excludes transgender care from its standard policies.

“We said, let’s push Kaiser,” said Sasha Wright, an organizer with Pride at Work. “They say they’re good for the community. Let’s show them that the queer community demands this.”

It was a perfect sign of the city’s struggle with trans health care. In many ways, San Francisco is exemplary — this is a long ways from Chattanooga, Texas, where state legislator Richard Floyd tried to pass a law instituting steep fines for people who can’t prove their genders match the designated genders of public bathrooms.

And with Healthy San Francisco officials’ recent decision to cover transgender and care, it’s likely this city is leading the nation in trans health.

But that’s a limited distinction — because trans people everywhere, even here, still face sometimes daunting obstacles in getting access even to basic care. And the struggle to change that is becoming a high-profile (and increasingly successful) political fight.

TRANSITIONS AND COSMETIC SURGERY

Kaiser’s insurance plans are typical of the industry. In its 2012-2013 “Traditional Plan,” Kaiser lists “transgender surgeries” among the services excluded from coverage, along with massage therapy and cosmetic surgery.

And Kaiser’s not alone.

Medicare, the federal health plan for low-income people, specifically excludes transgender health care. MediCal, the state version, is required to cover trans care — but will often deny individual applications. And many of the doctors and surgeons who accept MediCal (and many don’t) are unfamiliar with transition-related care.

Then there’s plain old discrimination. A troubling number of people report being denied healthcare — not just healthcare related to their gender identity — because the doctor they saw didn’t want to treat a transgender person.

The State of Transgender California, a 2008 survey by the Transgender Law Center, found that 30 percent of transgender people in California reported that they have “postponed care for illness or preventative care due to disrespect and discrimination from doctors or other healthcare providers. Over 40 percent did so because of economic barriers.”

The study also found that 35 percent of respondents “recount having to teach their doctor or care provider about transgender people in order to get appropriate care.”

To make things worse, American health insurance is overwhelmingly employer-based — and unemployment among trans people is epidemic. A 2011 study from the National Center for Transgender Equality found that trans unemployment was double the national rate and that 47 percent of trans people surveyed had been fired or overlooked for a job.

The World Professional Association for Transgender Health (WPATH) sets the international standard for transgender health care. WPATH states that, for many transgender people, “sex reassignment surgery is effective and medically necessary.” Hormone therapy, voice and communication therapy, as well as non-discriminatory primary and preventative care are also necessary.

But with high rates of poverty and discrimination among transgender people, affording these medically necessary procedures can be nearly impossible. Even in San Francisco, where some politicians and powerful organizations advocate tirelessly for transgender rights, many people are forced to go outside the system altogether to take care of themselves.

“We see transgender folks either not being able to make a transition, or having to spend a lot of money,” said Wright. “I don’t know if you’ve ever been to a top surgery party, but they’re common in San Francisco.”

Mia Tu Mutch, a member of San Francisco’s Youth City Services Committee who advocates for LGBTQ rights inside and outside City Hall, recently started a group that supports and raises funds for people who are transitioning.

“Me and my partner have been shocked at trans incompetency in San Francisco,” said Tu Mutch. “We’ve had several really bad instances of doctors refusing to treat us when they found out that we were trans. There’s still education needed.”

Tu Mutch said that, even though she is covered by a high-quality, trans-inclusive insurance plan, she has spent at least $10,000 out of pocket on transition related expenses.

“People are usually told, ‘get a good job, save all your money,'” she said. “But I’ve been spending 80 percent of my money on transgender related care for the past couple of years. I don’t think the whole ‘pull yourself up by your bootstraps’ thing works.”

HOPE ON THE HORIZON

But the situation is starting to change. In fact, trans organizers say that the medical, insurance and political establishments — particularly in California — are beginning to realize how backward the system is and are open to dramatic changes.

“It is an exciting time,” said Dr. Dawn Harbatkin, executive director or San Francisco’s Lyon Martin Health Center, which offers free and low-cost service to trans people “I didn’t think I would see this during my career.”

Nikki “Tita Aida” Calma, program supervisor at Trans: Thrive, echoed that sentiment. Said Calma, “I’m glad to see this in my lifetime.”

Thanks to groups like Pride at Work and the Transgender Law Center (TLC), city workers in San Francisco and Berkeley are now covered by the trans-inclusive version of Kaiser’s plan. The TLC, along with Lyon Martin and Equality California, came together to form Project Health in 2010, which convinced Healthy San Francisco to drop its transgender exclusions.

Tu Mutch has also worked this year to start FEATHER, or Fundraising Everywhere for All Transitions: a Health Empowerment Revolution.

Meanwhile, lawmakers in Sacramento, and even nationally, are also chipping away at the transgender discrimination that plagues the healthcare system.

Harbatkin told us that there isn’t a specific set of services that make up transgender health care.

“Really good transgender medicine means that you are providing good primary care, that you’re treating a patient as a whole person and taking care of all of their health care needs,” she said.

Lyon Martin provides preventative care like pap smears, breast exams, and prostate exams, treatment for chronic issues like hypertension and diabetes, as well as transition-related care—services that assist transgender people in transitioning to a body that reflects their gender identity.

“The bigger part of providing good medicine is about being culturally competent, culturally sensitive,” Harbatkin said. “Knowing how to address people respectfully and with their appropriate name and pronoun. Knowing about their legal name versus preferred name, or gender markers in terms of billing issues.”

One obstacle transgender patients face is doctors who are unfamiliar with transition-related healthcare, such as hormone therapy and surgeries. But often, trans people are denied care that doctors know well and would perform on cisgender patients, simply because of their gender identity.

Then there’s the challenge low-income people face in finding doctors who accept MediCal.

Harbatkin cited the example of an orchiectomy — surgical removal of the testicles, a procedure done by urologists. Finding a urologist who takes MediCal is fairly routine.

“But finding a surgeon who would do a vaginoplasty who accepts MediCal, that is more challenging,” she said.

And some urologists might perform an orchiectomy for someone with testicular cancer — but refuse to do so for someone who is transitioning from male to female.

That type of discrimination has caught the attention of Assemblymember Tom Ammiano, and his office has been working for several years to change it.

Ammiano aide Wendy Hill has been focusing on eliminating transgender health barriers in California for years. Thanks in part to her efforts, the California Department of Insurance now interprets existing gender equity legislation to include transgender people.

“They’ve clarified a set of recommendations and essentially code sections that spell out that for the purpose of transgender, this law requires gender equity,” Hill said. “If you cover pap smears, you have to cover them for everybody. If you cover breast reconstruction or hysterectomy, you have to cover it for everybody, regardless of gender.”

Now Ammiano’s office is taking on the Department of Managed Health Care and has been documenting cases of discrimination.

“When a citizen calls the Department of Managed Health Care, their helpline, they tag the call so that they know what’s going on,” Hill explains.

“They just tagged the calls based on discrimination. But we got them to tag the calls based on gender discrimination, and then even more specifically, discrimination against transgender people.”

The sort of problem she sees: “A person goes in to be treated for what could potentially be pneumonia, but the physician is having trouble seeing this person because their papers say they’re male but they are trying to see a gynecologist.”

Hill said some of her most interesting moments have been outreach meetings with community members and local businesses.

“I’ve gone in to talk with folks and said, how many of you know someone who’s transgender?” Hill recalls. “And in Sacramento, not that many people raise their hands. And then I say, how many of you identity as transgender? And the transgender people raise their hands. A lot of people don’t know that they already knew transgender people.”

Ammiano, who created Healthy San Francisco, said he was thrilled about the program dropping its transgender exclusions. “This has been in the works for a while,” he said. “We always fully intended to make sure that everyone who needed it was covered.”

Nationally, he said, “I think it’s an uphill battle around eradicating the transphobia and getting services provided without any hassle, but there’s light at the end of the tunnel.”

SUPPORTIVE NETWORK

San Francisco offers plenty of support. Lyon Martin is part of a network of organizations providing health-related services to transgender people.

Trans: Thrive, a project of API, serves as a drop-in center for transgender people, including many who show up there as one of their first stops after coming to San Francisco to escape discrimination and danger in their hometowns. Trans: Thrive provides counseling, computer labs, food, activities, and an all-important clothing closet to cut the extensive costs of a whole new wardrobe that better reflects a person’s gender identity.

Lyon Martin is “a federally qualified health center, so we take MediCal, MediCare, and many commercial insurances and Healthy San Francisco,” said Harbatkin. “And for patients who are uninsured, they are put on a sliding scale based on income and family size. And we continue to see people whether they can afford it or not.”

That means even people with little or no income can access transition-related surgery at Lyon Martin. This can be essential for people who otherwise would rely on MediCal.

The situation will actually be improved with the changes to Healthy San Francisco, as people who access healthcare through the program will have more options for surgeons and specialists.

In the 2008 State of Transgender California report, the TLC made a series of recommendations — and to the surprise of even the TLC staff, many have been adopted.

For example, the Affordable Care Act bars discrimination against people with pre-existing conditions — a term used to deny coverage to trans people. Most medical schools still don’t teach transgender healthcare, but on a local scale, Lyon Martin is working to train healthcare professionals and students to provide quality, culturally appropriate care to transgender patients with a residency program.

But one of the key recommendations — “Enact federal and state legislation prohibiting transgender- and gender-specific exclusions that limit access to comprehensive, quality care in public and private insurance plans” — is still a ways off.

As far as state legislation goes, said Hill, “Assemblymember Ammiano is definitely there. But the Legislature is not there yet. We don’t have enough support for that, to get a bill down to the governor.”

Kristina Wertz, director of Policy and Programs at the TLC, says that significant progress has been made on the recommendations that the 2008 report included.

“We’re really getting there,” said Wertz. “Things have changed. The world of transgender healthcare is very different than it was five. years ago.

“Right now there’s a lot of advocacy to build on the good laws that we already have and make sure they’re effectively implemented.”

Why?

44

steve@sfbg.com

Just a couple years ago, it seemed like the golden age of marijuana in San Francisco, the birthplace of the movement to legalize medical pot and a national leader in creating an effective regulatory framework to govern an industry that had become a legitimate, respected member of the business community.

More than two dozen patient cooperatives jumped through a variety of bureaucratic hoops to become licensed dispensaries, most of them opening storefront businesses that were often the most attractive, clean, and secure retail outlets on their blocks, sometimes in gritty stretches of SoMa, the Tenderloin, or the Mission.

“Pretty much everyone involved agrees that San Francisco’s system for distributing marijuana to those with a doctor’s recommendation for it is working well: the patients, growers, dispensary operators, doctors, politicians, police, and regulators with the planning and public health departments,” I wrote in “Marijuana goes mainstream” (1/28/10).

Since then, San Francisco’s medical marijuana industry has only become more established and professional, complying with new city regulations (such as changing how edibles are packaged to avoid tempting children), paying taxes and fees — and making very few waves. According to city officials, there have been almost no complaints from anyone about the dispensaries — and in San Francisco, people complain about everything.

But in the last six months, the full force of the federal government has brought the hammer down hard on this budding business sector, forcing the closure of eight brick-and-mortar dispensaries and instilling paranoia and insecurity in those that remain.

In just the past few weeks, two of the city’s oldest and most respected dispensaries –- HopeNet and the Vapor Room -– were forced to close their doors.

There’s been little rhyme or reason to which clubs get those dreaded letters warning operators and landlords to shut it down or be subject to asset forfeiture and prison time — and the officials involved have refused to explain their actions, except with moralistic anti-drug statements or unsupported accusations.

“These are people who played by the rules and paid their taxes, and now they’re being punished for it,” said Assembly member Tom Ammiano, a leader in creating a state regulatory framework to govern the distribution of medical marijuana, which California voters legalized in 1996. “This is pure thuggery. They are ignoring due process out of blind prejudice and ambition.”

Ammiano met with Melinda Haag, the US Attorney for the Northern District of California, who has coordinated the local crackdown from her 11th floor office in the Federal Building near City Hall, shortly after she announced her intentions to go after medical marijuana. He said she was like a throwback to a less enlightened era.

“In talking to Haag, not only is she a bit of a bully, but she’s totally uneducated about the issue,” Ammiano told us. When she told him that her office has received many complaints about the dispensaries, he asked to see them -– even making a formal Freedom of Information Act document request –- but she has yet to produce them. “Her duplicity is very moralistic, it’s like going back 100 years.”

Neither Haag nor anyone from the White House or Justice Department would grant an interview to the Guardian to discuss the reasons for and implications of the crackdown, or to answer the list of written questions her office asked us to submit. Instead, Haag gave the Guardian this statement and refused to respond to our follow-up questions:

“Although all marijuana stores are illegal under federal law, I decided to use our limited resources to address those that are in close proximity to schools, parks and playgrounds and operations so large that they constitute marijuana superstores. I hope that those who believe marijuana stores should be left to operate without restriction can step back for a moment and understand that not everyone shares their point of view, and that my office has received many phone calls, letters and emails from people who are deeply troubled by the tremendous growth of the marijuana industry in California and its influence on their communities.”

But in San Francisco, where more than 80 percent of residents consistently support medical marijuana in polls and at the ballot box, most people don’t share Haag’s point of view. And city officials contest many of her claims, from saying the dispensaries are “left to operate without restriction” to her implication that they promote crime or endanger children to the haphazard way she has targeted dispensaries to the characterization that many people are “deeply troubled by the tremendous growth of the marijuana industry.”

In fact, to talk to city officials, virtually nothing Haag says is true.

“We’re not getting nuisance complaints [about the dispensaries],” Dr. Rajiv Bhatia, the city’s medical director who oversees regulation of the dispensaries by the Department of Public Health, told the Guardian. “We’ve had very few complaints over the years and good cooperation with the storefront part of the regulations.”

Almost across the board, city officials and club operators praise one another and the cooperative relationship they’ve established over the last four years. Some of San Francisco’s biggest dispensaries have somehow avoided Haag’s wrath, but their once-open operators are now afraid to speak publicly, warily checking the mailbox each day. A thriving industry eager to pay its taxes and submit to regulation is being driven back underground, with all the uncertainty and hazards that creates.

“The question everyone is asking: Why here, why now, why these businesses? Nobody knows the answer,” Bhatia said. “We’re left to speculate and guess about motives.”

MULTI-AGENCY ATTACK

The federal crackdown has been stunning in both its speed and breadth, with various federal agencies coordinating their attacks. The IRS is auditing the biggest clubs and denying write-offs for routine business expenses, the DEA is threatening asset forfeiture efforts, and Haag and the DOJ are threatening prison time and court injunctions.

Underlying all of that is President Barack Obama, who pledged not to use federal resources to go after those in compliance with state law in the 17 states where medical marijuana is legal. Then, last year, Attorney General Eric Holder suddenly announced a new policy: “It will not be a priority to use federal resources to prosecute patients with serious illnesses or their caregivers who are complying with state laws on medical marijuana, but we will not tolerate drug traffickers who hide behind claims of compliance with state law to mask activities that are clearly illegal.”

When we sought an explanation and clarification from the White House Communications Office about why well-established medical marijuana collectives carefully operating under California law were suddenly deemed “drug traffickers” that wouldn’t be tolerated, they refused to answer and referred us to a statement Obama made to Rolling Stone magazine.

“What I specifically said was that we were not going to prioritize prosecutions of persons who are using medical marijuana. I never made a commitment that somehow we were going to give carte blanche to large-scale producers and operators of marijuana -— and the reason is, because it’s against federal law. I can’t nullify congressional law,” Obama told the magazine.

That simplistic explanation – which conveniently ignores how people are supposed to get this medicine – has infuriated local growers and patients. It’s particularly galling for those who supported Obama and took him at his word in the last election, and who don’t understand why he is suddenly escalating the federal war on drugs, ignoring local laws and values, and re-criminalizing their communities.

FUNERAL PROCESSION

Hundreds of medical marijuana supporters gathered on Aug. 1 for a New Orleans-style funeral procession at the Lower Haight intersection near where Vapor Room had operated -– without incident and with praise as a model business from three successive district supervisors –- from 2004 until the previous day.

The mood was festive and defiant on that sunny afternoon, where advocates from both sides of the bay gathered to express solidarity with the closed clubs and resolve to battle through the recent setbacks.

“I’m feeling the fight,” Steve DeAngelo, star of the reality television show Weed Wars and head of Oakland’s Harborside Health Center, which received Haag’s shut-down-or-else letter last month, told the Guardian. “I don’t think we can allow taking a few hits to break our spirit….We started this struggle to win it and we’re not going to stop until we do.”

Local politicians and business leaders also came to offer their support.

“As president of the Lower Haight Merchants Association, I’m upset that Vapor Room had to shut down,” Thea Selby, who is also running for the District 5 supervisorial seat, told us. “The Vapor Room did a lot of good for this neighborhood and was a great business.”

Marchers, most clad in black, carried “Cannabis is Medicine: Let States Regulate” and other signs -– as well as a makeshift coffin and massive puppet depicting a scowling Haag -– and danced down the middle of the street as Brass Mafia horns belted out lively jazz tunes. By the time the procession reached Haag’s office at the Federal Building, a chill fog had darkened the skies and the mood.

DeAngelo took the bullhorn first and called out Obama directly: “Either you were lying, sir, or your employees are out of step with your policies.” Steph Sherer, executive director of the DC-based Americans for Safe Access, told the crowd, “We need to tell Obama to lose Haag or lose California.”

Ammiano and the other mostly Democratic Party politicians who spoke tried to avoid putting Obama directly into the crosshairs of the angry activists, although he did say those executing this crackdown “are harming Obama’s chances of winning.” He also urged activists to put the pressure on politicians in Sacramento and Washington DC: “We need to be a voice in reshaping what’s happened in these last few months.”

Ammiano said the crackdown “empowers the cartels and the people who use violence,” contrasting that with San Francisco’s civilized approach to regulating marijuana.

“We in San Francisco have been a model for how to regulate this industry and we have been successful. We are not going to let the federal government interfere with our rights in this city,” Sup. David Campos told the crowd.

Cathy Smith, the founder of HopeNet, who was still reeling from watching her club gutted and shuttered the day before, also sounded an angry and defiant tone, urging supporters to make their voices heard by Haag and others.

“Everybody that’s here needs to go up to this evil woman’s office tomorrow and tell them what we think,” Smith said.

The general feeling was that if the feds can target model clubs like HopeNet and Vapor Room –- which had deep community roots and generous compassionate care programs for low-income patients -– then all clubs are in danger.

“I’m very upset that we’re losing two great medical marijuana dispensaries where patients could medicate on site,” said David Goldman, a local ASA activist and member of the city’s Medical Cannabis Task Force, noting how important that is for patients who live in apartments that ban smoking.

HopeNet and Vapor Room were some of the only dispensaries in town where smoking was allowed on site, because they were more than 1,000 feet from schools, playgrounds, or day care facilities, the city’s standard. Bhatia said that’s a very strict standard in a city as dense as San Francisco, which is why only four clubs ever met it.

Yet the feds saw things differently, ostensibly targeting HopeNet because a small private school opened two blocks away last year, and the Vapor Room because the feds didn’t use the city’s standard of being more than 1,000 feet from the playground at Duboce Park, instead deciding the dispensary was a community menace because it was a little under 1,000 feet from that dog-friendly park’s nearest patch of grass.

LAST DAYS

Vapor Room founder Martin Olive was a bundle of complicated emotions on the club’s last day in business (it will still operates as delivery-only, just like HopeNet, Medithrive, and a few other shuttered clubs have done). Initially, he didn’t want to talk to us: “I’m trying to keep a lower profile because it’s scary out there now.”

But he slowly opened up and tried to describe the feeling of watching his proudest accomplishment so rapidly undone by the one-two punch of a letter from the merchant services company cutting off credit card access (just like every dispensary in the city, returning pot sales to a cash-only status) followed days later by Haag’s shut-down letter.

“It’s complicated emotions that I’m feeling -– let down, confused. At the end of the day, I don’t understand why this is happening,” Olive said. “It’s a community tragedy, it really is.”

Vapor Room was a welcoming gathering place for its members and a supporter of a variety of community events and causes.

“I’ve always treated this as if it were just a nice coffee house. I’m not an outlaw,” Olive said. “I almost forgot I was breaking federal law. It was so normal, so legitimate.”

In fact, some club owners say their establishments helped clean up rough streets. “We took care of the entire block. Before us, it was all dealers, so there’s a safety issue,” HopeNet’s Smith told me as the once-welcoming club on 9th Street near Howard was reduced to bare walls.

Patients were also feeling the pain, including a 48-year-old ex-con who said he was paroled two years ago after serving 25 years in prison for attempted murder. “I have anger issues, big time. The only thing that keeps me calm and quiet and not blowing up is medical marijuana,” he told us, seething, before praising HopeNet’s “homelike environment” and supportive community. “It’s important to sit and relax in an environment that is comfortable and safe. All this is doing is pushing us into the streets.”

DRIVEN UNDERGROUND

Before going through his latest official misconduct battles and fighting to return to his job as the elected sheriff, Ross Mirkarimi was the District 5 supervisor who sponsored the creation of the city’s medical marijuana regulatory system, the product of a long and arduous legislative process.

“We developed the system out of stark necessity because neither local government nor state government gave a roadmap to the dispensaries,” Mirkarimi said. “Prop. 215 legalized medical marijuana, but there were no rules around it.”

After an intensely collaborative process that lasted more than a year, the city in 2005 adopted a process for licensing dispensaries that balanced the needs of this nascent industry with concerns by police, patients, disability rights activists, neighborhood groups, and health officials. Mirkarimi said that maybe it’s time for city officials to consider an idea he floated a few years ago of having the city itself directly distribute medical marijuana through General Hospital.

“I still think that’s a good idea, particularly if the feds are going to force medical marijuana dispensaries back into the dark ages.” For all his praise of the city’s dispensaries, Dr. Bhatia will admit that the industry still needed better oversight -– dealing with issues such as standards for growing and transporting cannabis, fiscal transparency, and potency and dosage standards –- but the federal crackdown has scuttled his efforts to expand the city’s regulatory system.

“This DEA action stops us from making progress on the regulation of clubs that we need to make,” Bhatia said. “There are lots of issues, but we had just finished getting the clubs into their housing.” Now the industry is being driven back underground.

Ironically, Haag and other federal officials have accused dispensary operators of profiteering, which they’ll certainly be more free to do now that local officials have lost their leverage to begin regulating the finances of the supposedly nonprofit patient collectives that officially operate each dispensary.

“That was one of the areas that we never developed the tools or capacity to look at,” said Bhatia, who proposed more transparent record-keeping by dispensaries last year, only to have the operators express concern about how the feds might use that information, which turned out to be an understandable fear.

The cost of the death penalty

4

OPINION As a retired police officer, I believe deeply in safety and justice. As a father and a person who has devoted more than 30 years to working with young people, I know what our kids need to become positive members of our communities. I’ve seen the positive changes that come from resources, attention and education. I’ve seen it as a precinct service officer in East Harlem, New York, as a police officer and lieutenant in the Oakland Unified School District.

I can no longer stand by while we tell young people that we care about them while simultaneously undermining their future and safety with poor use of our resources. I can’t stay silent as we talk about tough times and budget cuts, but spend billions on death row inmates who will actually die in prison of illness or old age instead of execution. It’s not right, and it’s not effective.

California’s death penalty is suffocating our resources. A June 2011 study by former death-penalty prosecutor and federal judge Arthur L. Alarcón and law professor Paula Mitchell found that California has spent $4 billion dollars on the death penalty since 1978 and that death-penalty trials are 20 times more expensive than trials seeking a sentence of life in prison without the possibility of parole.

That money is wasted, because the system is so dysfunctional that those death row inmates actually end up serving the equivalent of life without the possibility of parole anyway. California is on track to spend $1 billion dollars in the next five years on the death penalty — all of this while risking the execution of an innocent person.

These irresponsible budget choices are undermining the safety of California families. Despite a horrific unsolved murder rate of 46 percent, we fire homicide investigators and take police off the streets. Even though a shocking 56 percent of reported rapes go unsolved, rape kits all over the state remain untested on shelves because of lack of funding. Budget cuts for crime labs and police mean evidence that can help find and convict criminals is sitting on a shelf while we waste millions on a death row that is broken beyond repair.

We also undermine crime prevention by firing teachers and taking away violence intervention programs — two things I know for sure keep kids out of a life of crime.

Proposition 34 will help us put our priorities into action by replacing the death penalty with life in prison without the possibility of parole. That will save California $130 million dollars a year. Prop. 34 would redirect a portion of those savings for three years to solve open murder and rape cases. By solving more cases and bringing more criminals to justice, we can keep our families and communities safer and hold these people accountable for what they have done.

Murderers deserve tough punishment. But I can tell you from my career as a police officer — lifetime incarceration in prison with no chance of parole is real punishment.

There is no fixing the death penalty, but Prop. 34 will help us fix the funding for our priorities. That is justice that works for young people, and for all of us.

Steve Fajardo is a former police officer.

 

The parking fee’s too low

18

EDITORIAL The San Francisco Municipal Transportation Agency is reviewing its policy on neighborhood parking, which is a positive step: The current system has been in place for more than 30 years and has become an unwieldy mess. But the agency needs to do more than just aggregate districts and set uniform rules; it needs to adjust the concept of preferential parking, meters, and prices to reflect the reality that San Francisco can’t afford (and shouldn’t promote) free parking.

Since 1976, the city has issued permits allowing residents of certain neighborhoods to park for as long as 72 hours on streets that otherwise offer only two-hour parking. The idea was to keep out-of-town commuters from parking near, say, a BART line and leaving their cars all day. The zones also protect neighborhood privileges near busy shopping districts and employment centers.

The zones are designated only when a majority of property owners request it. The fees for the permits are set at $104 a year.

The Examiner reported Aug. 13 that the system is in line for “a major overhaul.” And the first thing the MTA needs to do is look at the price.

Renting a garage in most city neighborhoods runs close to $300 a month. Paid parking in even outlying areas can be as much as $10 a day. A Muni fast pass costs $74 a month.

But the neighborhood parking permits in effect give a piece of the city’s streets — public property — to some residents for $8.60 a month, or about 28 cents a day. At a time when Muni can’t afford to keep its buses rolling, that’s ridiculous.

Easy, cheap on-street parking encourages more residents to buy cars, which is in direct contrast to official city policy. It’s true that the permits also allow people to leave their cars behind and take transit to work — but the cost is so low that the rest of the city’s residents, particularly the lower-income people who pay for Muni rides, are subsidizing car owners.

If the MTA could double the annual fee, it would bring in an additional $6.5 million a year, which could be dedicated to improving Muni. And at $208 a year, the permits would still be an phenomenal bargain. Car owners have been saving money for years (at great cost to the state) from the Schwarzenegger-era reduction in the Vehicle License Fee; paying some of that money back to the city wouldn’t exactly be a brutal hardship.

It’s not easy — the state mandates that local fees be set at the cost of administering the program. But if nothing else, the MTA ought to ask Sacramento for an exemption — and look for creative ways to link subsidized parking to supporting Muni. (Maybe the parking zones get all-day meters that residents can pay for in advance. Maybe create a parking benefit district. There are so many ways around this.)

The MTA screwed up badly the last time it tried to change neighborhood parking rules (in that case, meters), and any new rules will require extensive community outreach. But everyone needs to understand that free on-street parking in a crowded city with far too many cars is not some god-given right. The neighborhood parking program has a lot of benefits and we agree that it helps discourage car commuters from clogging residential streets. But the people who benefit from it ought to pay a fair fee.

 

Lens flair

3

arts@sfbg.com

VISUAL ART Cindy Sherman is nearly always described as a groundbreaking postmodern photographer and pioneer. The mostly excellent, just-the-hits traveling retrospective currently visiting the San Francisco Museum of Modern Art is carefully curated to justify that praise. All the high points of Sherman’s prolific career are here, and her virtuosic scrambling of photographic conventions and assumptions are shown in high relief. As an act of institutional pedagogy, it’s certainly effective if not exactly revelatory.

Luckily for us, in pairing her retrospective with the “Stage Presence: Theatricality in Art and Media” group show across the hall, SFMOMA makes interesting work of recasting Sherman as primarily a performance artist who utilizes photography as a tool. “Stage Presence” curator Rudolf Frieling’s scruffy show fashions a strong lens through which to see Sherman’s work from new angles, and if you bounce from one show to the other you’ll see undercurrents drawn out by that context.

>>Drag artists re-enact Cindy Sherman portraits: view our “Tastes of Cindy” photo essay

The retrospective leads off with “Untitled Film Stills,” Sherman’s breakout 1980 series of 69 images, presented together in the show’s first gallery. These black and white photos, staged and composed to resemble European film promotion stills, show Sherman in costume and makeup inhabiting dozens of distinct, recognizable tropes and types. These are not self portraits, and understanding that point is a kind of prerequisite for digging beneath Sherman’s body of work. Although she appears in every image, Sherman is an actor playing a role. Or more precisely, she’s performing the act of recreating herself and slipping between multiple roles.

Completed when Sherman was 26, “Untitled Film Stills” sets out the major themes she would follow for the next 30-plus years: fascination with media and film, deliberate manipulation of photographic conventions, ability to stitch together and swap out identities like costumes, a flair for storytelling, and a complicated allegiance with the characters she invents.

And about those pictures. As both photographer and model for her images, Sherman appropriates, tweaks, and ultimately tries to outrun established photographic idioms. At the heart of these single-frame performances, Sherman couches the act of slipping into character within familiar conventions of portrait work — series formats include publicity stills (“Untitled Film Stills”); centerfolds (her 1981 work commissioned for and then scrapped by Artforum magazine); classical portrait painting (over represented, frankly, in this show); headshots (here, from 2000); and large-scale society portraits (from 2008). By turns creepy, gaudy, lurid, ugly, garish, and exhilarating, her photographs put up a testy fight to keep you from instantly or casually objectifying the woman or man — usually woman — in the image.

While each tableau is meant to show a persona, it’s also meant to keep you at distance. Her facial expressions throughout are steely, usually blank-ish, and they project thin personalities that reveal only slivers of the people behind them. Across series she repeats the same narrative beat in her work, namely a moment of resistance in her characters to being fully captured on film. She’s rubber and you’re glue. Your gaze bounces off her and sticks to you.

Still, don’t be fooled by what may seem to be sarcasm — she is emphatic and earnest about the complications of photography’s lies, and by extension about the sum of ways we can possibly present ourselves to each other. One of the main reasons art historians love Sherman’s work is that she injects complicated arguments into the trajectory of identity and liberation theory. In her work, you see traces of an adaptable, slippery identity that represents itself only by wearing and exchanging costumes and masks. The self in Sherman’s work is an actor that acts, and never leaves the stage. It’s not that mastery of appearances allows for the actual presentation of the real, it’s that appearances are the only thing there is. There is no presentation of the real, only the constructed reality of the presentation.

Viewed together with “Stage Presence,” Sherman’s work fills in for performance artists you might find oddly absent across the hall. She stands in for both Mike Kelley and Paul McCarthy, as well as Bruce Nauman. All the same concerns that those artists (yes, male) are known for — forces played out in the body by abjection, failed desire, absurdity, and the grotesque — abound in her work. In this context it’s hard not to see both commentary on and participation with those artists in her clowns, fashion, and grotesque series. This angle is made most explicit by her work of the last dozen or so years. Less referential to film, her headshots and society portraits since the late 1990s include more plausible, abject characters whose constructed lives and identities are in various states of decay.

For another day or two, Sherman’s photographs can be seen in contrast with the exuberant Jean Paul Gaultier retrospective at the De Young Museum (closing August 19). In some ways Sherman is the yang to Gaultier’s yin, both addressing the slippery nature of identity and the performance of norms through the clothes and apparatuses of presentation. Highly recommended.

CINDY SHERMAN

Through Oct. 8, $11-$18

San Francisco Museum of Modern Art

151 Third St., SF

www.sfmoma.org

 

Off the walls

3

arts@sfbg.com

VISUAL ART As the Cindy Sherman retrospective draws huge crowds to the San Francisco Museum of Modern Art’s fourth floor, visitors will find it the gateway drug par excellence for a neighboring show just a few steps away. Taking in Sherman’s frozen drag — in which visual art harnesses performance as both subject and tactic — is already to broach the invigorating dialogue underway in “Stage Presence: Theatricality in Art and Media.”

>>Drag artists re-enact Cindy Sherman portraits: view our “Tastes of Cindy” photo essay

The eclectic group show, curated by SFMOMA’s Rudolf Frieling, gathers choice pieces from the museum’s collection, plus some vital loans, to consider the increasing role of theatricality as theme and strategy in contemporary art since the 1980s.

It further includes a “live art” component courtesy of the museum’s curator of public programs, Frank Smigiel — a weekly performance series that continues through Labor Day weekend in a commissioned space adjacent to the gallery, a lush little jewel box of a theater-cinema designed by Bay Area artist Tucker Nichols. This week’s performance piece is a highly anticipated appearance by Los Angeles-based troupe My Barbarian: Broke People’s Baroque Peoples’ Theater, a raucous, multi-layered work that figures the American financial system as a garishly absurd spectacle of waste. (In addition to this site-specific series, a performance finale takes place October 4 in the museum’s atrium: Rashaad Newsome’s Shade Compositions, a choreographed choral work for 20 women of color.)

Whether live or otherwise, the bridging of the visual and performing arts in “Stage Presence” encompasses a truly wide range of work. Highlights include some fascinating projected pieces on view in one or another of the floor’s darkened recesses — each one furnished with a glass window allowing visual access from the gallery proper, whether or not one wants to venture into the screening room.

One of these is Charles Atlas’s Hail the New Puritan (1986), which collapses the visual and performing arts by way of a made-for-BBC faux-documentary portrait of Scottish dancer-choreographer Michael Clark, supposedly captured over the course of one monumental but half-desultory day as he and his company rehearse his New Puritan (1984). With endless interruptions and segues — and a soundtrack sharpened by ample doses of post punk’s jolly downers, the Fall (whose Mark E. Smith and Brix Smith even appear in a staged TV “interview” with Clark) — Hail the New Puritan remains a gorgeous work whose ’80s-era aesthetic (a little like Godard meets Culture Club) retains a questioning and mocking insouciance.

http://www.youtube.com/watch?v=PLm0tgyH4cc

It’s such jubilant indifference, including toward previous standards of seriousness or taste, that has contributed to a significant turn in much new work in the 1980s. Frieling, in an email correspondence from Europe, describes it as “a moment where the historic era of performance art and conceptualism had been challenged by a more exuberant, playful, and hybrid way of working — Charles Atlas, Peter Fischli and David Weiss, or Robert Wilson [all represented in the show] being three examples from that time despite their huge differences.”

Other salient themes running through the show explore the conceptual and practical possibilities in rehearsal, reenactment, and the speech act. To this end, the installation Today Is Not a Dress Rehearsal — which repurposes video of a Judith Butler lecture and other materials from an eponymous three-day collaborative performance by Mika Tajima (with her group New Humans) and Charles Atlas in the museum’s atrium in 2009 — offers subtle food for thought amid a visual and aural repositioning of a privileged form of address.

Also intriguing along similar lines is Sharon Hayes’s restrained yet progressively enthralling four channel video work, Symbionese Liberation Army (SLA) Screeds #13, 16, 20, & 29 (2003). In each of four television screens fixed with audio headphones, viewers see and hear the artist reciting from memory each of Patty Hearst’s four video messages to her parents while a hostage of the SLA in 1974, with prompting from an unseen audience each time she veers even slightly from the script. It becomes, especially in the era of Occupy, a resonant occasion for a collective act of remembering as well as re-presenting, re-creating, resituating, and reformulating an iconic but elusive link to a radical past.

“Rethinking formats of presentation is a key to many of the works and the whole show,” says Frieling. “We were ultimately interested in art works that stress this open process while reflecting about the conscious act of staging.” *

“STAGE PRESENCE: THEATRICALITY IN ART AND MEDIA”

Through Oct. 8, $11-$18

San Francisco Museum of Modern Art

151 Third St., SF

www.sfmoma.org

 

Mid-century modern

0

arts@sfbg.com

FILM After World War II, the hitherto miniscule U.S. market for foreign language films slowly opened up, partly due to G.I.s returning home curious about the countries they’d been stationed in. But mostly it was because bold new voices in European cinema were delivering a new realism that could be sold (even when cut by censors) as more “shocking,” “frank,” and “shameless” than anything Hollywood would hazard for years yet.

While Sweden, France, and other nations would soon catch up, the first to make a significant impact was Italy, whose artists chronicled the ruination it had to recover from after Axis defeat. Italian Neorealism, as the movement came to be called, looked like nothing else before it; even rare social-issue documentaries had been heavily doctored and sanitized by comparison. Reacting against the increasingly incongruous glamour of studio films made as war and Mussolini’s government wreaked havoc, the neorealists (largely film critics turned makers, as with the French New Wave a decade later) eschewed soundstages and trained actors for the real world. Lines between fiction and nonfiction were willfully blurred.

Leading neorealist films (which fast influenced American film noir and other genres) made a splash. That happened thanks to (or in spite of) misleading adverts for movies that were far from sexy: 1945’s Rome, Open City (resistance fighters caught, tortured, and killed by Gestapo), 1946’s Shoeshine (poor kids scapegoated by corrupt cops, thrown in prison), 1948’s The Bicycle Thief (desperate father and son lose the vehicle that provides their threadbare subsistence), 1952’s Umberto D. (old pensioner gets sick, evicted, suicidal). All these were directed by Roberto Rossellini or Vittorio De Sica, the first star neorealists.

By 1953 Italian cinema was moving on. It had begun to export bombshells (Silvana Mangano from 1949’s Bitter Rice, then Sophia Loren and Gina Lollobrigida); soon would come the sword and sandal epics and international co-productions that would make Rome a crazy hive of commercial filmmaking. Neorealism was on its way out, but as a brand it still had familiarity and a certain market appeal. Ergo a “second generation” of directors were introduced via Love in the City (1953), a recently restored six-part omnibus feature opening for a week at the San Francisco Film Society Cinema (side note: SFFS’s residency at Japantown’s New People ends August 31; the organization plans to shift its fall programming to various local venues).

It isn’t a great film so much as a great curio, and a crystal ball forecasting where the local industry would be head for the next 20 years or more. Little of that was immediately apparent, but just months later Federico Fellini (the sole director here who’d already made several well-received features) would cause a sensation with La Strada (1954). The others, including Michelangelo Antonioni, would eventually follow with breakthroughs of their own. The two surviving today are still active — in fact Francesco Maselli and Carlo Lizzani just contributed to a new omnibus feature last year.

Introduced as “a journal created out of film rather than pen and ink” — love being the topic of its first (and last) “issue” — Love in the City announces its “Raw! Revealing! Shocking!” intentions with Lizzani’s psuedodocumentary opening “article,” a series of interviews with alleged prostitutes. The next similarly surveys women driven to attempted suicide. While the style is as yet unidentifiable, the subject of profound, despairing alienation amid the crowd could hardly be more apt for young Antonioni.

Things lighten up considerably with a delightful set piece of amorous shenanigans in a divey dancehall, demonstrating the wry observation that would make Dino Risi one of Italian cinema’s greatest comedy directors. Fellini’s equally bemused vignette finds a young reporter investigating a matchmaking agency for a humorous story sobered by the plight of the poor, earnest would-be bride he meets.

These breezy episodes are followed by the most devastating. Maselli’s Story of Caterina, co-written by De Sica’s scenarist Cesare Zavattini, follows its plain, forlorn heroine (Caterina Rigoglioso) from bad to worse — impregnated and abandoned, she can neither return to the Sicilian family that’s disowned her or work legally in Rome to support her toddler son. The extremes to which she’s driven are bleakest tragedy.

Even the most frivolous of these segments capture the realities of urban poverty with unblinking authenticity. As if acknowledging that so much realism might be bad for the digestion, Love in the City ends on its silliest (and sole upwardly mobile) note. Future Mafioso (1962) director Alberto Lattuada’s The Italians Turn Their Heads finds all Roman mankind neck craning to leer at a procession of pretty women in tight modern fashions, each granted their own distinct lounge-music theme by composer Mario Nascimbene — thus silencing the chorus of wolf-whistles that would have been their real-life soundtrack.

LOVE IN THE CITY

Aug. 17-23, 2, 4:15, 6:30, and 8:45pm (no 6:30pm show Mon/20), $10-$11

SF Film Society Cinema

1746 Post, SF

www.sffs.org

 

Pläj

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virginia@sfbg.com

APPETITE The world has become hooked on New Nordic cuisine in recent years, thanks to Copenhagen’s Noma, often referred to as the world’s best restaurant for three years straight, sparking a global interest in all things Scandinavian and a new generation of chefs.

Before this renaissance I dined at New York City’s Aquavit, back in the days when Marcus Samuelsson was still its chef. I reveled in Samuelsson’s clean dishes and shots of the restaurant’s eponymous liquor infused with horseradish or dill. As a fan of pickled herring, cured fish, and the like, I’ve long been drawn to Germanic and Eastern European cuisines. Perhaps my love for Scandinavian food was a forgone conclusion. I dream of taking a trip to the region to eat lutefisk (air-dried whitefish), and breathe in crisp air during long hours of summer daylight.

But then Pläj (pronounced “play”) opened in SF in June, tucked behind the Inn at the Opera and within sight of City Hall. I dined there during its opening week, and have returned multiple times since. Granted, what you’re about to read is an early take. The newborn restaurant needs time to come into its own.

Yes, Pläj is a hotel dining room, and off-putting smooth jazz and clubby Euro tunes often intrude, altering the mood of a meal. But bright orange accents and fireside seating warm up the blessedly peaceful space, and service is warmly welcoming, staff attentive and gracious.

Pläj isn’t so much New Nordic or Scandinavian-style minimalist. It’s more reminiscent of Aquavit: traditional dishes interpreted with a fresh regional spin, Scandinavia by way of Northern California. Chef-owner Roberth Sundell hails from Stockholm but has been in the Bay Area long enough to be well-acquainted with local ingredients, putting them to good use in Nordic-influenced dishes.

Working my way through every dish on the initial menu, I was happiest in the Fjord-seafood section that highlighted the best parts of Scandinavian cooking. A creative “taste of herring” trio ($12) brought fish served à la ginger-smoked soy, saffron tomato, and with coriander, chile, and lime on rye crackers. Rustic bread arrived at the table, artfully served in a paper bag.

Krondill (crown dill) poached lobster is the seafood of choice for Sundell’s skagen, which is typically toast topped with a mixture that often includes poached shrimp, mayo, caviar. Beautifully reinterpreted here, lobster swam in a foam akin to bisque that was also made of lobster, with horseradish, avocado, and a hint of chili, all of it accented by white fish caviar.

Norwegian salmon belly gravlax ($9) proved to be buttery, thin slices of cured salmon over lemon crème fraîche, spicy grain mustard, and dill purée. Only the Alaskan halibut ($21) felt closer to typical: the fish came seared in herbs and partnered with shaved asparagus in a chanterelle emulsion. In a similar, though more traditional vein of meat and veg entree was the tender, porter-braised ox cheek ($22) topped with a mountain of fried onions. Other than the vibrant red, whipped beetroot the ox rested atop, the dish was well-executed, if not particularly memorable. Next time I’d go for traditional, comforting Swedish meatballs ($15), which were juicy in their pan gravy and bed of mashed potatoes, served with lingonberries and pickled cucumber that added a much-desired contrast of sweet and vinegar.

On the Hagen (“pasture”) or vegetarian section of the menu, burrata ($12) was pleasant, but its presentation was similar to countless burrata plates everywhere — heirloom tomato and greens. At least it wasn’t beets, which are obvious, overdone burrata companions. Barely-there aquavit in the vinaigrette could have set it apart if it was kicked up a few intensity levels. I found a subtle smearing of beetroot under a salad ($14) piled with Jerusalem artichoke, watercress, hazelnuts, and thinly-shaved layers of Västerbotten cheese and black summer truffles more interesting. Equally intriguing were the potato dumpling kumla ($12), dense and doughy dumplings in brown butter sauce that were savory with onion ragout and, once again, lingonberries.

Desserts ($8) are certainly pleasing — particularly the rhubarb crumble pie — but none left a major impression. Cocktails ($11) thankfully utilize Scandinavian spirits like vodka and genever (Dutch gin, often aged in wood so as akin to whiskey as gin.) Spirit-cocktail aficionados may crave more depth in a menu that leans toward sweet, subtle, and light cocktails. The Midsommar is promising: Pernod absinthe that delivers herbaceous notes to a Flor de Cana light rum, lime, and dill simple syrup. It was garden-fresh, a fine companion to seafood.

An all-Scandinavian beer list is spot-on, with pours like HaandBryggeriet Norwegian harvest ale ($14) or cheaper, refreshing Einstock Icelandic white and pale ales ($6 each.)

Pläj is a welcome newcomer to the SF dining scene — one I hope thrives as it dares to bring what we lack. What a delight it would be to form a “best of” list of Scandinavian eateries here, as we can with so many cuisines.

PLÄJ

333 Fulton, SF

(415) 294-8925

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

 

Friends, love, leftovers

0

le.chicken.farmer@gmail.com

CHEAP EATS Georgie Bundle is my new favorite person. My ever-loving bassist and keeper of my records, he has at various times during our many years of friendship impressed me with his barbecued things and bass lines. His harmonies, his goosey Christmases… He once accepted custody of some hand-me-down chickens of mine and built a coop for them on his lunch break. It was next to the steps, under the avocado tree, as if my old ex-chickens’ existence wasn’t cartoonish enough.

Well, yesterday evening we stood on those steps in North Oakland, after work, and reminisced. We have such a rich and rhythmic history, but the subject of our nostalgic reverie was a fried chicken dinner he’d cooked up two nights before.

I was there! I love it when people make fried chicken, because it’s something I have never myself been able to do. In fact I only know, personally, a handful of people who have managed to fry the chickens in the comfort and coze of their own little kitchens: Kentucky Fried Woman (obviously), Ruberoy “Shortribs” Perrotta, Wayway…

And now this. Now Georgie Bundle. Dude bought $70 worth — in fact, “bought” might not suffice — dude fucking purchased $70 worth of healthy, grass-fed Sonoma County chickens, brined them overnight, dredged them through some kind of fancy-pants specialty gluten-free flour, bathed them in buttermilk, and then flour again before they hit the hot oil.

When we joined his Southern-themed dinner party, with our Hedgehog-made cornbread and my me-made okra and tomatoes, Bundle was three paper towels to the wind, pinballing between the counter, the stove, and the sink, high on peanut oil fumes. He had a thermometer in the oil, and did the breasts all together at one temperature, and then the wings, legs and thighs at an altogether different temperature.

I don’t know if I ever hugged a host or hostess harder.

Long story short, the chicken was the best chicken ever, but this weird anti-Jesus thing happened where, after everyone had cleaned their plates and licked their fingers and (if they were me) their wrists and forearms, there weren’t any seconds.

Hedgehog is a lot of wonderful things, but “the most gracious guest in the world” isn’t one of them. When she came back outside with a second helping of Everything But, her disappointment was palpable.

Sadness, she calls it now. “Mostly I was just sad. I went up there with hope in my heart,” she said, when I interviewed her for this story. Just now, in the kitchen.

Mr. Bundle and our very dear Yoyo were sad too, and confused.

“I don’t know what happened,” Bundle said. “It seemed like so much chicken while I was cooking it.”

“It was the best fried chicken ever in the history of the world,” I said. “That’s what happened. We disappeared it. Everybody got some.”

There were so many great sides, like roasted carrots and greens and mac and cheese, that nobody stayed sad for long and everyone went home happy.

Short story long: Next day I get an email from Georgie Bundle titled, “there was MORE chicken!” He had put a whole tray of it in the oven to keep warm, and then forgot about it. And here’s where the superhero comes out in him. He offered to deliver more chicken to anyone who wanted it. “Even if you don’t email me I might just show up with some chicken,” he said. “You’ve been warned.”

I did email him, of course. I’m not proud. And it really was awesome, awesome fried chicken. But we had been chicken-sitting in Alameda when the dinner happened, or we probably wouldn’t have been invited. In fact, I’m not sure we were, technically, invited. The point is, it was an East Bay thing. And by the next day we were back home in the Mission, so I was sure there was no chance of a Late Night Trans-Bay Leftover Fried Chicken Delivery.

I took a bath.

I fell asleep, as usual, in the bathtub. And when I came back upstairs to get into bed with Hedgehog, my phone was blinking. Georgie Bundle. Are you still up, can I bring chicken? I’m in SF.

So you see what I mean about superhero? Georgie Bundle is my new favorite person.

New favorite restaurant?

Curry Boyzz

Sun.-Thu. noon-11pm; Fri.-Sat. noon-2 am

4238 18th St., SF

(415) 255-6565

www.curryboyzz.com

AE,D,MC,V

Beer and wine

 

The trouble with demons

0

cheryl@sfbg.com

FILM Suspended between the deluge of superhero flicks and awards-show fodder (speaking of, check back next week for the Guardian’s fall movie preview), mid-to-late August is an outstanding time to go to your local art house, rep theater, underground cinema, or movie night in the park.

You could also seek out a pair of new movies from Asia, both opening Friday, which offer viewing experiences only similar in that they’re entirely different than anything else out there right now — or ever, in the case of Painted Skin: The Resurrection, a sort-of sequel to 2008’s Painted Skin (which one need not have seen to enjoy Resurrection).

Starring two of China’s most glamorous leading ladies, Resurrection is a lavish fantasy following the adventures of fox demon Xiaowei (Xun Zhou), who can become human only if someone voluntarily offers up his or her heart (as in, the actual blood-pumping muscle). Though she’s been rampaging cross-country trying to find a suitable man-donor, she spots a likelier candidate in Princess Jing (Vicki Zhao), who wears a delicate gold mask to conceal her scarred face. Jing has fled her royal duties to confront her true love, General Huo (Chen Kun), who is a generally nice guy and most excellent archer, but not a huge fan of the messed-up face. But wait! Supernaturally pretty Xiaowei has just the solution, and it definitely involves swapping bodies (and all-important internal organs).

But Huo is secondary here. Less a love story than the tale of a toxic friendship, Resurrection adds levity with a subplot about a demon hunter (William Feng) who falls for Xiaowei’s bird-demon sidekick (Mini Yang), and has plenty of over-the-top flair, with abundantly obvious CG and Kris Phillips’ campy performance as an evil wizard. It was a huge hit in China but will probably only reach a small audience here, so don’t miss your chance.

A different type of demon — the mental, fucks-with-your-emotions kind — infiltrates Hara-Kiri: Death of a Samurai, the latest from prolific director Takashi Miike. The speed of his output is nearly as dizzying as the array of genres represented in his filmography, though for Hara-Kiri, he sticks with the samurai milieu of his hit 2010 epic, 13 Assassins. That said, despite its equally suggestive-of-gore title, Hara-Kiri — which takes place some 250 years earlier than Assassins — is no limb-lopping extravaganza. Rather, it’s a surprisingly somber drama, with violence used judiciously (albeit gruesomely).

Solemn samurai Hanshiro (Ebizo Ichikawa, an acclaimed kabuki theater actor) appears before a feudal lord, humbly asking permission to commit ritual suicide in the man’s courtyard. But in this house, skepticism reigns over honor, thanks to a recent rash of “suicide bluffs” — it’s not death these downtrodden men seek, but sympathy in the form of handouts or job offers. In fact, there was a suicide bluff recently, right there in the courtyard. A young man named Motome. It ended badly.

It’s soon clear that Hanshiro and Motome are connected, and the circumstances that motivate their extreme behavior are indeed tragic and deeply felt. Miike takes his time getting there, though, and fans seeking breakneck mayhem may be disappointed. Side note: for whatever reason, Miike filmed Hara-Kiri in 3D, but it’ll be screening in old-school 2D during its local run at the Four Star.

 

PAINTED SKIN: THE RESURRECTION and HARA-KIRI: DEATH OF A SAMURAI open Fri/17 in San Francisco.