Bay Guardian Archives

BART negotiations continue as unions withhold strike threat UPDATED

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With the 60-day cooling off period ordered by Gov. Jerry Brown coming to an end on Thursday, raising the specter of another Bay Area Rapid Transit shutdown, BART’s two main unions announced yesterday that they were holding off on calling a strike for now. [UPDATE 10/11: BART unions today issued a 72-hour strike notice, meaning they could strike on Monday].

“We’ve listened to the public and we share their concern about a disruption in service at the end of the cooling-off period.  We do not want to strike. That is why we’re not giving a 72-hour notice at this time, because we want to leave every opportunity open to try to get this deal done. Of course we are keeping all options on the table,” Service Employee International Union Local 1021 and Amalgamated Transit Union Local 1555 said in a joint statement.

Some media reports indicate that there has finally been some progress in the long-stalled negotiations, with a framework on pensions being agreed to, although the two sides still seem far apart on wages, benefits, and the length of the contract.

The unions cast it this way: “To this point of doing everything possible to avoid a strike: over the past 10 days, the unions have moved publicly three times, to BART’s zero times. If this were a score in the baseball playoffs – we, the Oakland A’s would be three and they, the Detroit Tigers would be zero. 

“At this point, if there is a disruption in service at the end of the cooling-off period, it will be for one reason and for one reason alone: our elected BART leadership has not shown leadership.”

BART Board President Tom Radulovich disputed that the concessions have been one-sided, but he said that, “They continue to want to negotiate in the media and we’re not really down with that.”

Asked to characterized where things stand and the prospects for resolving the impasse without another strike, Radulovich said, “We’re still cranking away and trying to get it done…It’s really not up to us whether there’s a strike or not. We just have to get this done.”

Meanwhile, while conservatives clamor to use the situation to get the Democrat-controlled Legislature to ban unions from striking (good luck with that one), Sup. John Avalos held a hearing yesterday at City Hall to examine some of the larger issues at play in the impasse, such as retirement security, that the Guardian covered in our July 9 issue.

Asked how the hearing went, Avalos told the Guardian, “We talked a lot about how BART has been villifying workers in the court of public opinion in an effort to weaken workers’ bargaining power.”

 

Film Listings: October 9 – 15, 2013

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Dennis Harvey, Lynn Rapoport, Sam Stander, and Sara Maria Vizcarrondo. For rep house showtimes, see Rep Clock.

OPENING

A.C.O.D. When happy-go-lucky Trey (Clark Duke) announces rather suddenly that he’s getting married, cranky older bro Carter (Adam Scott), the Adult Child of Divorce of the title, is tasked with making peace between his parents (Richard Jenkins and Catherine O’Hara). Trouble is, they haaaate each other (Jenkins: “If I ever see that woman, I’m gonna kick her in the balls”) — or so Carter thinks, until he discovers (to his horror) that there’s long-dormant passion lurking beneath all the insults. He also discovers that he was part of a book about kids of divorce written by a nutty PhD (Jane Lynch), and is drawn into her follow-up project — through which he meets fellow A.C.O.D Michelle (Jessica Alba, trying way too hard as a bad girl), a foil to his level-headed girlfriend (Mary Elizabeth Winstead). As the life he’s carefully constructed crumbles around him, Carter has to figure out what really matters, blah blah. Stu Zicherman’s comedy (co-scripted with Ben Karlin; both men are TV veterans) breaks no new ground in the dysfunctional-family genre — but it does boast a cast jammed with likable actors, nimble enough to sprinkle their characters’ sitcom-y conflicts with funny moments. Amy Poehler — Scott’s Parks and Recreation boo — is a particular highlight as Carter’s rich-bitch stepmother, aka “the Cuntessa.” (1:27) Metreon. (Eddy)

American Jerusalem: Jews and the Making of San Francisco Documentary about the Jewish experience in San Francisco. (:57) Vogue.

Captain Phillips See “Survival Mode.” (2:14) Four Star, Marina.

Escape From Tomorrow See “Exile on Main St. USA.” (1:43) Roxie.

Machete Kills Danny Trejo returns as the non-texting antihero in the sequel to Robert Rodriguez’s 2010 flick based on one of the fake trailers in 2007’s Grindhouse. (1:47)

Mother of George Fashion photographer and music video director Andrew Dosunmu’s second feature opens with one of the most rapturous set pieces in recent cinematic memory: a wedding ceremony and banquet in Brooklyn’s Nigerian expat community so sensuously rich it washes over the viewer like a scented bath. Afterward, restaurateur Adoydele (Isaach De Bankole) and his younger immigrant bride Adenike (Danai Gurira) live in a connubial bliss increasingly compromised by the pressure on her to bear children. When that doesn’t happen, it could be either party’s biological “fault;” but tradition and an imperious mother-in-law (Bukky Ajayi) place blame firmly on Adenike’s shoulders, till the latter considers a desperate, secret solution to the problem. Like Dosunmu and his cinematographer Bradford Young’s 2011 prior feature Restless City, this follow-up is so aesthetically transfixing (not least its Afropop soundtrack) you can easily forgive its lack of equally powerful narrative impact. Someday they’ll make a movie that works on both levels — but meanwhile, Mother of George is gorgeous enough to reward simply as an object of sumptuous beauty. (1:47) Opera Plaza, Shattuck. (Harvey)

Muscle Shoals Hard on the heels of Dave Grohl’s Sound City comes another documentary about a legendary American recording studio. Located in the titular podunk Northern Alabama burg, Fame Studio drew an extraordinary lineup of musicians and producers to make fabled hits from the early 1960s through the early ’80s. Among them: Percy Sledge’s “When a Man Loves a Woman,” a slew of peak era Aretha Franklin smashes, the Rolling Stones’ “Brown Sugar,” and those cornerstones of Southern rock, Lynyrd Skynyrd’s “Freebird” and “Sweet Home Alabama.” Tales of how particular tracks came about are entertaining, especially when related by the still-lively likes of Etta James, Wilson Pickett, and Keith Richards. (Richards is a hoot, while surprisingly Mick Jagger doesn’t have much to say.) Director Greg Camalier’s feature can be too worshipful and digressive at times, and he’s skittish about probing fallouts between Fame’s founder Rick Hall and some long-term collaborators (notably the local in-house session musicians known as the Swampers who were themselves a big lure for many artists, and who left Fame to start their own successful studio). Still, there’s enough fascinating material here — also including a lot of archival footage — that any music fan whose memory or interest stretches back a few decades will find much to enjoy. (1:51) Opera Plaza, Shattuck. (Harvey)

Romeo and Juliet Every director sees the star-crossed lovers differently: Zefferelli’s approach was sensuous, while Luhrmann’s was hip. Carlo Carlei, director of the British-Swiss-Italian production hitting theaters this week, is so hamstrung by the soapy mechanics of the Twilight series and the firmament of high school productions he fails to add much vision — what he does instead is pander to tweens as much as possible. Which means tweens might like it. Hailee Steinfeld makes Juliet’s foolishness seem like the behavior of a highly functional teenager, while Douglas Booth’s chiseled Romeo can’t help resembling a cheerful Robert Pattinson. Juliet’s maid has never been more memorable than Leslie Mansfield and Paul Giamatti is occasionally not self-consciously Paul Giamatti as the cunning friar. Yet the syrupy score is miserably persistent, and the sword fights are abundant and laughable. Tybalt (Gossip Girl‘s Ed Westwick) leads a group that walks in slo-mo, hats flopping behind them. Carlei wrong-headedly stages the double suicide to resemble Michelangelo’s Pietà, but Romeo and Juliet aren’t martyr for our fantasies, they’re the Adam and Eve of young love. Cinematic adaptations should remind you they’re original, but this Romeo and Juliet simply doesn’t know how. (1:58) Shattuck. (Vizcarrondo)

The Summit See “Survival Mode.” (1:39)

ONGOING

Baggage Claim Robin Thicke may be having the year of a lifetime, but spouse Paula Patton is clearly making a bid to leap those “Blurred Lines” between second banana-dom and Jennifer Aniston-esque leading lady fame with this buppie chick flick. How competitive is the game? Patton has a sporting chance: she’s certainly easy on the eyes and ordinarily a welcome warm and sensual presence as arm candy or best girlfriend — too bad her bid to beat the crowd with Baggage Claim feels way too blurry and busy to study for very long. The camera turns to Patton only to find a hot, slightly charming mess of mussed hair, frenetic movement, and much earnest emoting. I know the mode is single-lady desperation, but you’re trying too hard, Paula. At least the earnestness kind of works — semi-translating in Baggage Claim as a bumbling ineptitude that offsets Patton’s too-polished-and-perfect-to-be-real beauty. After all, we’re asked to believe that Patton’s flight attendant Montana can’t find a good man, no matter how hard she tries. That’s the first stretch of imagination, made more implausible by pals Sam (Adam Brody) and Janine (singer-songwriter Jill Scott), who decide to try to fix her up with her old high-flying frequent-flier beaus in the quest to find a mate in time for her — humiliation incoming — younger sister’s wedding. Among the suitors are suave hotelier Quinton (Djimon Hounsou), Republican candidate Langston (Taye Diggs), and hip-hop mogul Damon (Trey Songz), though everyone realizes early on that she just can’t notice the old bestie (Derek Luke) lodged right beneath her well-tilted nose. Coming to the conclusion that any sane single gal would at the end of this exercise, Patton does her darnedest to pour on the quirk and charm — and that in itself is as endearing as watching any beautiful woman bend over backwards, tumbling as she goes, to win an audience over. The strenuous effort, however, seems wasted when one considers the flimsy material, played for little more than feather-light amusement by director-writer David E. Talbert. (1:33) Metreon, 1000 Van Ness. (Chun)

Battle of the Year Nothing burns Americans more than getting beat at their own culture game. Hence the premise of this 3D dance movie named after the international b-boy competition that regularly shuts out US teams. Diddy-like hip-hop kingpin Dante (Laz Alonso) is feeling the softness of the market, never mind that the trend cycles have spun the other way — we gotta win the b-boy crown back from the Koreans and Russians! So he enlists his old friend and now-down-and-out coach Jason (Lost‘s Josh Holloway) to assemble a winning crew from ragtag talents pulled from across the country, among them the strutting Rooster (Chris Brown). How does one put together a real team from this loose gathering of testosterone-saturated, ever-battling egos? Korean American director Benson Lee twirls off his own documentary Planet B Boy with this fictitious exercise that begs this question: why aren’t there more 3D dance movies? Probably because, much like porn, everything surrounding the money shots usually feels like filler. Leave aside the forced drama of bad news unbearables like Brown and his frenemies — the moments when Battle really lives up to the hype are when the movie’s many hyperathletic, gravity-defying b-boys like Ivan “Flipz” Velez, Jon “Do Knock” Cruz, and David “Kid” Shreibman show off their moves. (1:49) SF Center. (Chun)

Blue Jasmine The good news about Blue Jasmine isn’t that it’s set in San Francisco, but that it’s Woody Allen’s best movie in years. Although some familiar characteristics are duly present, it’s not quite like anything he’s done before, and carries its essentially dramatic weight more effectively than he’s managed in at least a couple decades. Not long ago Jasmine (a fearless Cate Blanchett) was the quintessential Manhattan hostess, but that glittering bubble has burst — exactly how revealed in flashbacks that spring surprises up to the script’s end. She crawls to the West Coast to “start over” in the sole place available where she won’t be mortified by the pity of erstwhile society friends. That would be the SF apartment of Ginger (Sally Hawkins), a fellow adoptive sister who was always looked down on by comparison to pretty, clever Jasmine. Theirs is an uneasy alliance — but Ginger’s too big-hearted to say no. It’s somewhat disappointing that Blue Jasmine doesn’t really do much with San Francisco. Really, the film could take place anywhere — although setting it in a non-picture-postcard SF does bolster the film’s unsettled, unpredictable air. Without being an outright villain, Jasmine is one of the least likable characters to carry a major US film since Noah Baumbach’s underrated Margot at the Wedding (2007); the general plot shell, moreover, is strongly redolent of A Streetcar Named Desire. But whatever inspiration Allen took from prior works, Blue Jasmine is still distinctively his own invention. It’s frequently funny in throwaway performance bits, yet disturbing, even devastating in cumulative impact. (1:38) Clay, Metreon. (Harvey)

Cloudy With a Chance of Meatballs 2 (1:35) Balboa, Metreon, 1000 Van Ness, Presidio.

Don Jon Shouldering the duties of writer, director, and star for the comedy Don Jon, Joseph Gordon-Levitt has also picked up a broad Jersey accent, the physique of a gym rat, and a grammar of meathead posturing — verbal, physical, and at times metaphysical. His character, Jon, is the reigning kingpin in a triad of nightclubbing douchebags who pass their evenings assessing their cocktail-sipping opposite numbers via a well-worn one-to-10 rating system. Sadly for pretty much everyone involved, Jon’s rote attempts to bed the high-scorers are spectacularly successful — the title refers to his prowess in the art of the random hookup — that is, until he meets an alluring “dime” named Barbara (Scarlett Johansson), who institutes a waiting period so foreign to Jon that it comes to feel a bit like that thing called love. Amid the well-earned laughs, there are several repulsive-looking flies in the ointment, but the most conspicuous is Jon’s stealthy addiction to Internet porn, which he watches at all hours of the day, but with a particularly ritualistic regularity after each night’s IRL conquest has fallen asleep. These circumstances entail a fair amount of screen time with Jon’s O face and, eventually, after a season of growth — during which he befriends an older woman named Esther (Julianne Moore) and learns about the existence of arty retro Swedish porn — his “Ohhh&ldots;” face. Driven by deft, tight editing, Don Jon comically and capably sketches a web of bad habits, and Gordon-Levitt steers us through a transformation without straining our capacity to recognize the character we met at the outset — which makes the clumsy over-enunciations that mar the ending all the more jarring. (1:30) Four Star, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Rapoport)

Elysium By the year 2154, the one percent will all have left Earth’s polluted surface for Elysium, a luxurious space station where everyone has access to high-tech machines that can heal any wound or illness in a matter of seconds. Among the grimy masses in burned-out Los Angeles, where everyone speaks a mixture of Spanish and English, factory worker Max (Matt Damon) is trying to put his car-thief past behind him — and maybe pursue something with the childhood sweetheart (Alice Braga) he’s recently reconnected with. Meanwhile, up on Elysium, icy Secretary of Defense Delacourt (Jodie Foster, speaking in French and Old Hollywood-accented English) rages against immigration, even planning a government takeover to prevent any more “illegals” from slipping aboard. Naturally, the fates of Max and Delacourt will soon intertwine, with “brain to brain data transfers,” bionic exo-skeletons, futuristic guns, life-or-death needs for Elysium’s medical miracles, and some colorful interference by a sword-wielding creeper of a sleeper agent (Sharlto Copley) along the way. In his first feature since 2009’s apartheid-themed District 9, South African writer-director Neill Blomkamp once again turns to obvious allegory to guide his plot. If Elysium‘s message is a bit heavy-handed, it’s well-intentioned, and doesn’t take away from impressive visuals (mercifully rendered in 2D) or Damon’s committed performance. (2:00) Metreon. (Eddy)

Enough Said Eva (Julia Louis-Dreyfus) is a divorced LA masseuse who sees naked bodies all day but has become pretty wary of wanting any in her bed at night. She reluctantly changes her mind upon meeting the also-divorced Albert (James Gandolfini), a television archivist who, also like her, is about to see his only child off to college. He’s no Adonis, but their relationship develops rapidly — the only speed bumps being provided by the many nit-picking advisors Eva has in her orbit, which exacerbate her natural tendency toward glass-half-empty neurosis. This latest and least feature from writer-director Nicole Holofcener is a sitcom-y thing of the type that expects us to find characters all the more adorable the more abrasive and self-centered they are. That goes for Louis-Dreyfus’ annoying heroine as well as such wasted talents as Toni Colette as her kvetching best friend and Catherine Keener as a new client turned new pal so bitchy it makes no sense Eva would desire her company. The only nice person here is Albert, whom the late Gandolfini makes a charming, low-key teddy bear in an atypical turn. The revelation of an unexpected past tie between his figure and Keener’s puts Eva in an ethically disastrous position she handles dismally. In fact, while it’s certainly not Holofcener’s intention, Eva’s behavior becomes so indefensible that Enough Said commits rom-com suicide: The longer it goes on, the more fervently you hope its leads will not end up together. (1:33) Presidio, SF Center, Sundance Kabuki. (Harvey)

The Family It’s hard to begrudge an acting monolith like Robert De Niro from cashing out in his golden years and essentially going gently into that good night amid a volley of mild yuks. And when his mobster-in-witness-protection Giovanni Manzoni takes a film-club stage in his Normandy hideout to hold forth on the veracity of Goodfellas (1990), you yearn to be right there in the fictional audience, watching De Niro’s Brooklyn gangster take on his cinematic past. That’s the most memorable moment of this comedy about an organized criminal on the lam with his violent, conniving family unit. Director-cowriter Luc Besson aims to lightly demonstrate that you can extract a family from the mob but you can’t expunge the mob from the family. There’s a $20 million bounty on Giovanni’s head, and it’s up to his keeper Stansfield (Tommy Lee Jones) to keep him and his kin quiet and undercover. But the latter has his hands full with Gio penning his memoirs, wife Maggie (Michelle Pfeiffer) blowing up the local supermarket, daughter Belle (Dianna Agron, wrapped in bows like a soft-focus fantasy nymphet) given to punishing schoolyard transgressors with severe beatings, and son Warren (John D’Leo) working all the angles in class. Besson plays the Manzoni family’s violence for chuckles, while painting the mob family’s mayhem with more ominous colors, making for a tonal clash that’s as jarring as some of his edits. The pleasure here comes with watching the actors at play: much like his character, De Niro is on the run from his career-making albeit punishing past, though if he keeps finding refuge in subpar fare, one wonders if his “meh” fellas will eventually outweigh the Goodfellas. (1:51) SF Center. (Chun)

Gravity “Life in space is impossible,” begins Gravity, the latest from Alfonso Cuarón (2006’s Children of Men). Egghead Dr. Ryan Stone (Sandra Bullock) is well aware of her precarious situation after a mangled satellite slams into her ship, then proceeds to demolition-derby everything (including the International Space Station) in its path. It’s not long before she’s utterly, terrifyingly alone, and forced to unearth near-superhuman reserves of physical and mental strength to survive. Bullock’s performance would be enough to recommend Gravity, but there’s more to praise, like the film’s tense pacing, spare-yet-layered script (Cuarón co-wrote with his son, Jonás), and spectacular 3D photography — not to mention George Clooney’s warm supporting turn as a career astronaut who loves country music almost as much as he loves telling stories about his misadventures. (1:31) Balboa, Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Eddy)

Inequality for All Jacob Kornbluth’s Inequality for All is the latest and certainly not the last documentary to explore why the American Dream is increasingly out of touch with everyday reality, and how the definition of “middle class” somehow morphed from “comfortable” to “struggling, endangered, and hanging by a thread.” This lively overview has an ace up its sleeve in the form of the director’s friend, collaborator, and principal interviewee Robert Reich — the former Clinton-era Secretary of Labor, prolific author, political pundit, and UC Berkeley Professor of Public Policy. Whether he’s holding forth on TV, going one-on-one with Kornbluth’s camera, talking to disgruntled working class laborers, or engaging students in his Wealth and Poverty class, Inequality is basically a resourcefully illustrated Reich lecture — as the press notes put it, “an Inconvenient Truth for the economy.” Fortunately, the diminutive Reich is a natural comedian as well as a superbly cogent communicator, turning yet another summary of how the system has fucked almost everybody (excluding the one percent) into the one you might most want to recommend to the bewildered folks back home. He’s sugar on the pill, making it easier to swallow so much horrible news. (1:25) California, Metreon. (Harvey)

Insidious: Chapter 2 The bloodshot, terribly inflamed font of the opening title gives away director James Wan and co-writer and Saw series cohort Leigh Whannell’s intentions: welcome to their little love letter to Italian horror. The way an actor, carefully lit with ruby-red gels, is foregrounded amid jade greens and cobalt blues, the ghastly clown makeup, the silent movie glory of a gorgeous face frozen in terror, the fixation with 1981’s The Beyond — lovers of spaghetti shock will appreciate even a light application of these aspects, even if many others will be disappointed by this sequel riding a wee bit too closely on its financially successful predecessor’s coattails. Attempting to pick up exactly where 2011’s Insidious left off, Chapter 2 opens with a flashback to the childhood of demonically possessed Josh Lambert (Patrick Wilson), put into a trance by the young paranormal investigator Elise. Flash-forward to Elise’s corpse and the first of many terrified looks from Josh’s spouse Renai (Rose Byrne). She knows Josh killed Elise, but she can’t face reality — so instead she gets to face the forces of supernatural fantasy. Meanwhile Josh is busy forcing a fairy tale of normalcy down the rest of his family’s throats — all the while evoking a smooth-browed, unhinged caretaker of the Overlook Hotel. Subverting that fiction are son Dalton (Ty Simpkins), who’s fielding messages from the dead, and Josh’s mother Lorraine (Barbara Hershey), who sees apparitions in her creepy Victorian and looks for help in Elise’s old cohort Carl (Steve Coulter) and comic-relief ghost busters Specs (Whannell) and Tucker (Angus Sampson). Sure, there are a host of scares to be had, particularly those of the don’t-look-over-your-shoulder variety, but tribute or no, the derivativeness of the devices is dissatisfying. Those seeking wickedly imaginative death-dealing machinations, or even major shivers, will curse the feel-good PG-13 denouement. (1:30) Metreon, 1000 Van Ness. (Chun)

The Institute In 2008, mysterious flyers began popping up around San Francisco that touted esoteric inventions such as “Poliwater” and the “Vital-Orbit Human Force Field” and included a phone number for the curiously-monikered Jejuene Institute. On the other side of the phone line, a recording would direct callers to a Financial District office building where they would undergo a mysterious induction process, embarking on an epic, multi-stage, years-long alternate reality game, designed primarily to reveal the magic in the mundane. In Spencer McCall’s documentary The Institute, viewers are introduced to the game in much the same way as prospective inductees, with few clues as to what lies in store ahead. A handful of seemingly random interviewees offer a play-by-play recap of their own experiences exploring rival game entities the Jejune Institute and Elsewhere Public Works Agency — while video footage of them dancing in the streets, warding off ninjas, befriending Sasquatches, spelunking sewers, and haunting iconic Bay Area edifices gives the viewer a taste of the wonders that lay in store for the intrepid few (out of 10,000 inductees) who made it all the way to the end of the storyline. Frustratingly, however, at least for this former inductee, McCall’s documentary focuses on fleshing out the fictions of the game, barely scratching the surface of what must surely be an even more intriguing set of facts. How did a group of scrappy East Bay artists manage to commandeer an office in the Financial District for so long in the first place? Who were the artists behind the art? And where am I supposed to cash in these wooden “hobo coins” now? (1:32) New Parkway, Roxie. (Gluckstern)

Lee Daniels’ The Butler (1:53) 1000 Van Ness.

Metallica: Through the Never The 3D IMAX concert film is lurching toward cliché status, but at least Metallica: Through the Never has more bite to it than, say, this summer’s One Direction: This is Us. Director Nimród Antal (2010’s Predators) weaves live footage of the Bay Area thrash veterans ripping through hits (“Enter Sandman,” “For Whom the Bell Tolls,” etc.) into a narrative (kinda) about one of the band’s roadies (The Place Beyond the Pines‘ Dane DeHaan). Sent on a simple errand, the hoodie-wearing hesher finds himself caught in a nightmarish urban landscape of fire, hanging bodies, masked horsemen, and crumbling buildings — more or less, the dude’s trapped in a heavy metal video, and not one blessed with particularly original imagery. The end result is aimed more at diehards than casual fans — and, R-rated violence aside, there’s nothing here that tops the darkest moments of highly personal 2004 documentary Metallica: Some Kind of Monster. (1:32) Metreon, 1000 Van Ness. (Eddy)

Parkland Timed to tie in with the 50th anniversary of the JFK assassination, writer-director Peter Landesman’s sprawling ensemble drama takes that tragedy as its starting point and spirals outward, highlighting ordinary folks who were caught up in the drama’s aftermath by virtue of their jobs or circumstance. There’s a lot going on here, with a huge cast of mostly-recognizable faces (Billy Bob Thornton as Secret Service Agent Forest Sorrells; Paul Giamatti as amateur filmmaker Abraham Zapruder; Ron Livingston as an FBI agent; hey, there’s Oscar winner Marcia Gay Harden in two scenes as a stern nurse!), but the events depicted are so familiar that the plot never becomes confusing. Landesman — who favors scenes of breakneck-paced action punctuated by solemn moments of emotion — might’ve done better to narrow his focus a bit, perhaps keeping just to the law-enforcement characters or to Lee Harvey Oswald’s family (James Badge Dale plays his shell-shocked brother, while Jackie Weaver hams it up as his eccentric mother). But paired with 2006’s Bobby, Parkland — named for the hospital where both JFK and Oswald died — named for the hospital where both JFK and Oswald died — could make for an interesting, speculative-history double-feature for Camelot buffs. That said, Oliver Stone fans take note: Parkland is strictly Team Lone Gunman. (1:33) 1000 Van Ness. (Eddy)

Prisoners It’s a telling sign of this TV-besotted times that the so-called best-reviewed film of the season so far resembles a cable mystery in line with The Killing and its ilk — in the way that it takes its time while keeping it taut, attempts to stretch out beyond the perimeters of the police procedural, and throws in the types of envelope-pushing twists that keep easily distractible viewers coming back. At two and a half hours plus, Prisoners feels like a hybrid, more often seen on a small screen that has borrowed liberally from cinema since David Lynch made the Twin Peaks crossing, than the large, as it brings together an art-house attention to detail with the sprawl and topicality of a serial. Incendies director Denis Villeneuve carefully loads the deck with symbolism from the start, opening with a shot of a deer guilelessly approaching a clearing and picking at scrubby growth in the cold ground, as the camera pulls back on two hunters: the Catholic, gun-toting Keller (Hugh Jackman) and his son (Dylan Minnette), intent on gathering a Thanksgiving offering. Keller and his fragile wife Grace (Maria Bello) are coming together with another family — headed up by the slightly more yuppified Franklin (Terence Howard) and his wife Nancy (Viola Davis) — for Thanksgiving in what seems like a middle-class East Coast suburb. The peace is shattered when the families’ young daughters suddenly disappear; the only clues are the mysterious RV that rumbles slowly through the quiet neighborhood and ominous closeups from a predator’s perspective. Police detective Loki (Jake Gyllenhaal) is drawn into the mystery when the RV is tracked down, along with its confused driver Alex (Paul Dano). That’s no consolation to the families, each grieving in their own way, with Keller perpetually enraged and Franklin seemingly on the brink of tears. When Alex’s aunt (an unrecognizable Melissa Leo) comes forward with information about her nephew, Keller decides to take matters into his own hands in ways that question the use of force during interrogation and the very definition of imprisonment. Noteworthy performances by Jackman, Gyllenhaal, and Dano highlight this elegant, wrenching thriller — while Villeneuve’s generally simple, smart choices might make the audience question not only certain characters’ morality but perhaps their own. (2:33) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Chun)

Runner Runner Launching his tale with a ripped-from-the-headlines montage of news reports and concerned-anchor sound bites, director Brad Furman (2011’s The Lincoln Lawyer) attempts to argue his online-gambling action thriller’s topicality, but not even Anderson Cooper can make a persuasive case for Runner Runner‘s cultural relevance. Justin Timberlake plays Richie Furst, a post-2008 Wall Street casualty turned Princeton master’s candidate, who is putting himself through his finance program via the morally threadbare freelance gig of introducing his fellow students to Internet gambling. Perhaps in the service of supplying our unsympathetic protagonist with a psychological root, we are given a knocked-together scene reuniting Richie with his estranged gambling addict dad (John Heard). By the time we’ve digested this, plus the image of Justin Timberlake in the guise of a grad student with a TAship, Richie has blown through all his savings and, in a bewildering turn of events, made his way into the orbit of Ben Affleck’s Ivan Block, a shady online-gambling mogul taking shelter from an FBI investigation in Costa Rica, along with his lovely adjutant, Rebecca (Gemma Arterton). Richie’s rise through the ranks of Ivan’s dodgy empire is somewhat mysterious, partly a function of the plot and partly a function of the plot being piecemeal and incoherent. The dialogue and the deliveries are also unconvincing, possibly because we’re dealing with a pack of con artists and possibly because the players were dumbfounded by the script, which is clotted with lines we’ve heard before, from other brash FBI agents, other sketchily drawn temptresses, other derelict, regretful fathers, and other unscrupulous kingpins. (1:31) Metreon, 1000 Van Ness, Presidio, Sundance Kabuki. (Rapoport)

Rush Ron Howard’s Formula One thriller Rush is a gripping bit of car porn, decked out with 1970s period details and goofily liberated camera moves to make sure you never forget how much happens under (and around, and on top of) the hood of these beastly vehicles. Real life drivers James Hunt and Niki Lauda (played by Chris Hemsworth and Daniel Brühl, respectively) had a wicked rivalry through the ’70s; these characters are so oppositional you’d think Shane Black wrote them. Lauda’s an impersonal, methodical pro, while Hunt’s an aggressive, undisciplined playboy — but he’s so popular he can sway a group of racers to risk their lives on a rainy track, even as Lauda objects. It’s a lovely sight: all the testosterone in the world packed into a room bound by windows, egos threatening to bust the glass with the rumble of their voices. I’m no fan of Ron Howard, but maybe the thrill of Grand Theft Auto is in Rush like a spirit animal. (The moments of rush are the greatest; when Lauda’s lady friend asks him to drive fast, he does, and it’s glorious.) Hunt says that “being a pro kills the sport” — but Howard, an overly schmaltzy director with no gift for logic and too much reliance on suspension of disbelief, doesn’t heed that warning. The laughable voiceovers that bookend the film threaten to sink some great stuff, but the magic of the track is vibrant, dangerous, and teeming with greatness. (2:03) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki. (Vizcarrondo)

Short Term 12 A favorite at multiple 2013 festivals (particularly SXSW, where it won multiple awards), Short Term 12 proves worthy of the hype, offering a gripping look at twentysomethings (led by Brie Larson, in a moving yet unshowy performance) who work with at-risk teens housed in a foster-care facility, where they’re cared for by a system that doesn’t always act with their best interests in mind. Though she’s a master of conflict resolution and tough love when it comes to her young chargers, Grace (Larson) hasn’t overcome her deeply troubled past, to the frustration of her devoted boyfriend and co-worker (John Gallagher, Jr.). The crazy everyday drama — kids mouthing off, attempting escape, etc. — is manageable enough, but two cases cut deep: Marcus (Keith Stanfield), an aspiring musician who grows increasingly anxious as his 18th birthday, when he’ll age out of foster care, approaches; and 16-year-old Jayden (Kaitlyn Dever), whose sullen attitude masks a dark home life that echoes Grace’s own experiences. Expanding his acclaimed 2008 short of the same name, writer-director Destin Daniel Cretton’s wrenchingly realistic tale achieves levels of emotional honesty not often captured by narrative cinema. He joins Fruitvale Station director Ryan Coogler as one of the year’s most exciting indie discoveries. (1:36) Roxie. (Eddy)

Wadjda Hijabs, headmistresses, and errant fathers fall away before the will and wherewithal of the 11-year-old title character of Wadjda, the first feature by a female Saudi Arabian filmmaker. Director Haifaa al-Mansour’s own story — which included filming on the streets of Riyadh from the isolation of a van because she couldn’t work publicly with the men in the crew — is the stuff of drama, and it follows that her movie lays out, in the neorealist style of 1948’s The Bicycle Thief, the obstacles to freedom set in the path of women and girls in Saudi Arabia, in terms that cross cultural, geographic, and religious boundaries. The fresh star setting the course is Wadjda (first-time actor Waad Mohammed), a smart, irrepressibly feisty girl practically bursting out of her purple high-tops and intent on racing her young neighborhood friend Abudullah (Abdullrahman Algohani) on a bike. So many things stand in her way: the high price of bicycles and the belief that girls will jeopardize their virginity if they ride them; her distracted mother (Reem Abdullah) who’s worried that Wadjda’s father will take a new wife who can bear him a son; and a harsh, elegant headmistress (Ahd) intent on knuckling down on girlish rebellion. So Wadjda embarks on studying for a Qu’ran recital competition to win money for her bike and in the process learns a matter or two about discipline — and the bigger picture. Director al-Mansour teaches us a few things about her world as well — and reminds us of the indomitable spirit of girls — with this inspiring peek behind an ordinarily veiled world. (1:37) Opera Plaza, Shattuck. (Chun)

We Are What We Are The title of Jim Mickle’s latest film sums up the attitude of the Parker family: We Are What We Are. We eat people. Our human-flesh cravings go back generations. Over the years, our dietary habits have become our religion. And that’s just the way it is — until teen sisters Iris (Ambyr Childers) and Rose (Julia Garner) start to have some doubts. As We Are (a remake of Mexican director Jorge Michel Grau’s 2010 film) begins, the girls’ mother has suddenly died amid a punishing rainstorm — and their grief-stricken Dad (Bill Sage) has become awfully twitchy. As the local police, a suspicious doctor (Michael Parks), and a curious neighbor (Kelly McGillis) begin to poke into their business, the Parkers prep for “Lambs Day,” a feast that most definitely involves whoever is chained up in the basement. Though not all of the dots connect in the Parkers’ elaborate backstory (how do Mom and Dad have an obscure variation on mad-cow disease if they’re only eating man-meat once a year?), We Are still offers a refreshing change from indie horror’s most recent common denominators — no found-footage tricks here. The last-act dinner scene is required viewing for any self-respecting cannibal-flick connoisseur. (1:45) California, SF Center. (Eddy)

When Comedy Went to School This scattershot documentary by Ron Frank and Mevlut Akkaya is about two big subjects — the Catskill Mountains resorts that launched a couple generations of beloved Jewish entertainers, and mid-to-late 20th century Jewish comedians in general. There’s a lot of overlap between them, but the directors (and writer Lawrence Richards) can’t seem to find any organizing focus, so their film wanders all over the place, from the roles of resort social directors and busboys to clips from History of the World Part I (1981) and Fiddler on the Roof (1971) to the entirely irrelevant likes of Larry King. That said, there’s entertaining vintage performance footage (of Totie Fields, Woody Allen, etc.) and interview input from the still-kicking likes of Sid Ceasar, Jackie Mason, Mort Sahl, Jerry Stiller, and Jerry Lewis. For some this will be a welcome if not particularly well crafted nostalgic wallow. For others, though, the pandering tone set by one Lisa Dawn Miller’s (wife of Sandy Hackett, who’s son of Buddy) cringe-worthy opening rendition of “Make ‘Em Laugh” — to say nothing of her “Send in the Clowns” at the close — will sum up the pedestrian mindset that makes this doc a missed opportunity. (1:23) Opera Plaza, Shattuck. (Harvey)

The World’s End The final film in Edgar Wright’s “Blood and Ice Cream Trilogy” finally arrives, and the TL:DR version is that while it’s not as good as 2004’s sublime zombie rom-com Shaun of the Dead, it’s better than 2007’s cops vs. serial killers yarn Hot Fuzz. That said, it’s still funnier than anything else in theaters lately. Simon Pegg returns to star and co-write (with Wright); this time, the script’s sinister bugaboo is an invasion of body snatchers — though (as usual) the conflict is really about the perils of refusing to actually become an adult, the even-greater perils of becoming a boring adult, and the importance of male friendships. Pegg plays rumpled fuck-up Gary, determined to reunite with the best friends he’s long since alienated for one more crack at their hometown’s “alcoholic mile,” a pub crawl that ends at the titular beer joint. The easy chemistry between Pegg and the rest of the cast (Nick Frost, Paddy Considine, Martin Freeman, and Eddie Marsan) elevates what’s essentially a predictable “one crazy night” tale, with a killer soundtrack of 1990s tunes, slang you’ll adopt for your own posse (“Let’s Boo-Boo!”), and enough hilarious fight scenes to challenge This is the End to a bro-down of apocalyptic proportions. (1:49) Metreon. (Eddy) *

 

Blitzkrieg what?

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arts@sfbg.com

MUSIC The progression of party-rock champion Andrew W.K.’s career reads less like a linear trajectory than a whirlwind of bizarre, hilarious, and downright enviable undertakings. After he started out as a keyboardist in New York’s avant-garde circles, and built his reputation with a handful of ecstatic butt-rock records (most notably 2001’s I Get Wet, featuring that iconic nosebleed on its cover), W.K.’s biography plunged into full-on chaos mode.

From new-age piano improviser on 2009’s 55 Cadillac, to kids’ game-show host on Cartoon Network’s Destroy Build Destroy, to celebrity ambassador of Playtex Fresh + Sexy Wipes, to valiant record-setter for Longest Drum Session in a Retail Store after this year’s much-blogged 24 Hour Drum Marathon, predicting W.K.’s next move over the past decade has proved futile. Yet, his latest gig might be the most wonderfully surprising of all: assuming the bandleader role in the latest incarnation of punk-rock legends, the Ramones.

Marky Ramone’s Blitzkrieg, featuring W.K. on lead vocals, will hit the Independent this Saturday night, introducing a new twist in the Ramones’ storied legacy.

Speaking to the Bay Guardian over the phone from St. Louis, on his second US tour stop as the band’s de-facto Joey figure, W.K. sets his zany, carefree party persona aside, revealing himself as both humbled and starstruck at the reality of leading the band he’s idolized for so many years.

“It’s a combination of feeling on top of the world, because dreams just keep coming true, and terrified by the magnitude of how fantastic the opportunity is, and also, not embarrassed, but just aware, of how many other people would like to have this chance to sing these songs with Marky. Why do I get it?” W.K. ponders.

“I feel very, very lucky, like I want to represent all my friends and all the people around the world that love this music so much. I feel like I’m doing this on [their] behalf, and that this opportunity is to be shared as much as possible, at least in spirit.”

Most famously led by Joey, Dee Dee, Johnny, and Tommy, the most iconic quadfecta of first names in rock since the Beatles, the Ramones forever changed the course of pop music, as one of the formative outfits of the punk rock movement. The songs, from “Blitzkrieg Bop,” to “Rock ‘n’ Roll High School,” to “Bonzo Goes to Bitburg,” were hedonistic in their intent, and radically economical in their structure and duration, feeding directly into the party mindset W.K. would adopt decades afterward.

Their records, from the skeletal beginnings of Leave Home and Rocket to Russia in 1977, to the Phil Spector-produced technicolor pop of End of the Century in 1980, certainly marked an artistic progression, but W.K. thinks of it differently.

“All the albums are just this big explosion of inspired genius. It’s hard to even break it apart. I don’t want to break it apart, actually. I just like thinking of the whole thing as just this one phenomenon.

“[The Ramones are] so singular. They’re so completely self-actualized, that just them standing there screams this certain feeling, and no one else has it… When we play live, it almost feels as if the show is one song.”

While Marky Ramone didn’t join the band until partway through its creative explosion (he took over for Tommy on drums in ’78, after several stints with the Misfits and Richard Hell & the Voidoids), he continues to keep the Ramones legacy alive, as its last remaining member after the deaths of Joey, Johnny, and Dee Dee, from lymphoma, prostate cancer, and a heroin overdose, respectively. W.K. is clearly inspired by Marky’s resilience, through tumultuous times that would’ve rendered positive, joyful music a near impossibility for many musicians moving forward.

“One of the most inspiring parts is his conviction to keep on going and doing all that he can to do this music, which is a cheerful kind of music,” W.K. explains. “No matter how dark aspects of the whole adventure have been, or how challenging, or how sad, or how frustrating, there was always a cheerful effort. The end result was to feel good, not bad.”

W.K. might not be the most intuitive choice to assume Joey’s position as lead singer, yet he contends that his feel-good reputation, and outspoken promotion of partying as way of life, is what captured Marky’s attention, eventually resulting in the current touring lineup.

“Marky, right away when we first met, had done some amount of research into my vibe, or whatever, and said he definitely enjoyed and appreciated the party philosophy,” W.K. says. “[However], at our first dinner together, he explained that he doesn’t want someone who would even attempt to replicate [Joey’s persona]. The shoes are impossible to fill.”

“The thing is, the music is so good, that as long as you sing the best you can, it takes care of itself. No one could ever sing like Joey, even if they tried. It’s futile. There’s no singer like him. But, the songs, as Marky says, deserve to still be played. I just serve him, serve the legacy, and most of all, the music, as best I can.”

On Saturday night, Ramones fans can expect a 30+ song set, borrowing from each of the band’s albums, from its 1976 self-titled debut, to 1995’s farewell effort, ¡Adios Amigos!. Upon W.K.’s request, Marky agreed to include a rendition of “Bonzo Goes to Bitburg,” from 1986’s Animal Boy, a song he heard in a NYC record store as a teenager, in the moment that cemented his Ramones fandom.

“That’s the moment during the show when I can connect all these different times,” W.K. explains, “from the first time I ever saw the Ramones, to the first time I ever heard that song, and now I’m singing it with Marky onstage. Those are the kind of moments that make life worth living. Even if you just get a few of them in your life, you’re lucky.”

MARKY RAMONE’S BLITZKRIEG WITH ANDREW W.K.

With FIGO, the Meat Sluts

Sat/12, 9pm, $25

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

Exile on Main St. USA

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arts@sfbg.com

FILM Escape From Tomorrow acquired cachet at Sundance this year as a movie you ought to see because it probably wouldn’t surface again — not because it was that bad, but because any regular release seemed sure to be legally blocked. The reason was its setting, which composites two of the most photographed (and “happiest”) places on Earth. They’re also among the most heavily guarded from any commercial usage not of their own choosing.

That would be Disney World and Disneyland, where Escape was surreptitiously shot — ingeniously so, since you would hardly expect any movie filmed on the sly like this to be so highly polished, or for its actors to get so little apparent attention from the unwitting background players around them. (Let alone from security personnel, since as anyone who’s ever tried to do anything “against the rules” at a Disney park can tell you, those folks are as omnipresently watchful as Big Brother.)

Disney does not have a history of taking perceived affronts to its brand lightly. One movie that never did never make it past its festival bow was 2002’s The Sweatbox, an excellent behind-the-scenes look at the animated feature that eventually emerged as 2000’s The Emperor’s New Groove. That was a fun movie, but completely different from the far more ambitious narrative its first round of creators envisioned, only to have years of work curtly dismissed with a “start over from scratch” memo from top executives mid process. Though green-lit by the studio itself, its directors given full warts-and-all access, The Sweatbox turned out so heartbreakingly revealing (and so unflattering toward the aforementioned execs) that the studio shelved the finished product after its Toronto International Film Festival premiere. It hasn’t been seen since … at least not legally.

So there seemed little hope for Escape, which is anything but “authorized.” You don’t have to be a Disney lawyer to imagine how it could be seen as copyright infringement, a slander of sorts, or outright theft. That nobody has pulled the fire alarm, however, suggests Disney realized this movie isn’t going to do it any real harm. And perhaps more importantly, that a lawsuit would provide a publicity gold mine for the naughty filmmakers while hardly keeping viewers away in the long run. (Todd Haynes’ infamous, Barbie-enacted 1988 biopic Superstar: The Karen Carpenter Story has been “banned” since 1990, thanks to unamused sibling Richard Carpenter. Surely by now he’s aware his actions helped make it perhaps the most widely seen “unseeable” movie in history; as of this writing, there are 10 copies on YouTube alone.)

Anyway, Escape From Tomorrow is here, in improved form even. Nearly 15 minutes cut since Sundance have made all the difference between a clever, albeit slightly overstuffed, stunt and something uncategorizable yet fully realized. While its illicit setting remains near-indispensable (another big family theme park probably would have worked, too), what writer-director Randy Moore has pulled off goes beyond great gimmickry. His movie’s commingled satire, nightmare Americana, cartooniness, pathos, and surrealism recalls a few cult-fabled others — Eraserhead (1977), Parents (1989), even Superstar — mostly alike only in going so far out on their very own twisted limb.

We’re introduced to average, 40-ish Jim (Roy Abramsohn) the morning of the last day of his family vacation. He’s on their hotel room balcony, taking a phone call from his boss — who cheerfully fires him sans explanation. As Jim sputters in disbelief, approximately seven-year-old son Elliot (Jack Dalton) mischievously — or malevolently — locks the sliding door from the inside, then crawls back into bed beside still-sleeping mommy Emily (Elena Schuber), leaving dad stuck outside in his skivvies. Thus the film’s two major paths for interpretation are introduced right away: What follows might either be hallucinated by shell-shocked Jim, or really be a grand, bizarre conspiracy (usurping son included).

This final day is to be spent doing, well, what you do with kids at places like this. Elliot wants to go on certain rides; little sister Sara (Katelynn Rodriguez) often wants to do different things. Their parents, when separated by conflicting child demands, stay in touch via cellphone — or don’t, to Emily’s exasperation. Jim has a tendency to get distracted by … things, like whimsical park characters that suddenly grow menacing fangs (thanks to the wonders of digital post-production) only he notices, or the two barely-legal French girls frolicking in short shorts (Danielle Safady, Annet Mahendru) who seem to be deliberately exciting his lascivious interest at every turn.

Then there are the disquieting rumors of a “cat flu” epidemic; the wife’s rebuffing all physical affection; a very weird interlude with a fellow park guest (Alison Lee-Taylor) whom Jim abruptly finds atop his bound, naked self, barking “Fuck me! Feel my vagina!;” and assorted other occurrences either imaginary, or apocalyptic, or both. Emily’s irritated accusation “Did you black out again?” is as intriguing and baffling as the full-blown sci fi-horror plot Jim finds himself the center of — or at least thinks he does.

Lucas Lee Graham’s crisp B&W photography finds the natural noir-slash-Carnival of Souls (1962) grotesquerie lurking in the shadows of parkland imagery. Abel Korzeniowski’s amazing score apes and parodies vintage orchestral Muzak, cloying kiddie themes, and briefly even John Williams at his most Spielbergian. All the actors do fine work, slipping fluidly if not always explicably from grounded real-world behavior to strangeness — clearly they were given the explanatory motivational road map that the audience is denied. But then the real achievement of Escape From Tomorrow, more than its sheer novelty of concept and aesthetic, is that while this paranoid fantasy really makes no immediate sense, Moore’s cockeyed vision is so assured that we assume it must, on some level. He’s created a movie some people will hate but others will watch over and over again, trying to connect its almost subliminal dots. *

 

ESCAPE FROM TOMORROW opens Fri/11 at the Roxie.

Survival mode

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cheryl@sfbg.com.

FILM Eye of the tiger, baby. The fight for survival is a dominant theme this season at the movies, with astronaut Sandra Bullock grappling for her life in Gravity; lone sailor Robert Redford piloting a leaky boat in All Is Lost; and Tom Hanks battling Somali pirates in Captain Phillips. (More on that film — directed with trademark urgency by Paul Greengrass — in a moment.)

No movie stars appear in The Summit, a documentary from Irish filmmaker Nick Ryan, but that doesn’t lessen its power. In fact, this tale of a staggeringly tragic mountaineering accident — in which 11 people perished in a 48-hour period atop K2, the second-highest peak in the world — might be the most terrifying of the bunch. Along with the expected historical context, talking heads, and some stunning aerial footage, The Summit crafts its tale using a seamless blend of re-enactments and archival footage shot during the deadly 2008 expedition. Editor Ben Stark picked up two awards at the 2013 Sundance Film Festival, and you can see why — it’s difficult at times to pick out what’s real and what’s not.

“Only 18 percent of the footage is reconstructed. I actually did the calculation, because it was coming up a lot,” Ryan explained on a recent visit to San Francisco. In this era of obsessive self-documentation, it’s not surprising that many of the climbers happened to be carrying cameras. “I was always aware, though, that perhaps once things started to go bad, there wasn’t going to be much footage there. People were going to be too busy surviving, and filming was probably the last thing on their minds. As a director, the reconstructions were a very conscious choice — I knew how complex the story was. The best method would be to tie [its fragments] together with a strong narrative structure.”

Accompanying Ryan to SF was Pemba Gyalje Sherpa, a professional climber who was a hero amid the chaos in 2008. Though K2 claimed the life of his teammate and close friend, charismatic Irishman Ger McDonnell, he didn’t hesitate when Ryan asked him to participate in the film.

“The documentary allowed us to show the public what happened on the mountain,” Sherpa explained. “But the reconstructions did bring up some difficult feelings.”

The Summit has been compared to Kevin Macdonald’s 2003 Touching the Void — a documentary enhanced by re-enactments that’s also about a controversial climb. Ryan said he saw the movie when it came out, but he’s avoided other obvious touchstones, like Jon Krakauer’s Into Thin Air, about the 1996 Mount Everest disaster. “You don’t want to be influenced. But though they’re substantially different, I was always envious of the simplicity of Touching the Void as a story. The Summit was the polar opposite of that, because of its complexity.”

The Summit also delves into the more metaphysical aspects of climbing, including “summit fever” — sharing the startling statistic that for every four people who attempt K2, one will die. “As a non-climber, I was fascinated by that,” Ryan said. “Why would anyone take worse odds than Russian roulette?”

Those who do must understand the sport’s unwritten rule of self-preservation. “Morality is skewed when you get above the [high-altitude] death zone. The morally right thing to do isn’t necessarily the actual right thing to do,” Ryan said. “If you climb these mountains, I think you have to realize that when things go wrong you can only rely on yourself. You can’t expect anyone to help you — when you’re stuck there, you might as well be stuck on the moon. Nobody is coming to help you.”

Fortunately for cargo ship captain Richard Phillips, the Gulf of Aden is neither K2 nor the moon. In 2009, Phillips was taken hostage by pirates who’d hijacked the Kenya-bound Maersk Alabama. His subsequent rescue by Navy SEALs came after a standoff that ended in the death of three pirates; a fourth, Abduwali Abdukhadir Muse, surrendered and is serving a hefty term in federal prison.

A year later, Phillips penned a book about his ordeal, and Hollywood pounced. Hanks is perfectly cast as Phillips, an everyman who runs a tight ship but displays an admirable ability to improvise under pressure.

“He was essentially trying anything to shake them off his path. [The pirates] let him hold onto his radio, and he was able to communicate with everybody else on the ship that way,” Hanks said, in town to promote the film with Greengrass and co-star Barkhad Abdi. “[Phillips] had so much knowledge as a merchant mariner. Prior in his career, he’d been in a hurricane in the middle of the Pacific, in which he was helpless — so he’d experienced a different type of terror at sea. With [the pirates], he had somebody he could interact with. It was a different type of fear and anxiety.”

Abdi, cast from an open call among Minneapolis’ large Somali community, plays pirate leader Muse. Captain Phillips focuses mostly on Hanks’ character, but it takes the time to emphasize that piracy is one of few grim career options for Somali youths. The first-time actor, who left Somalia at a young age, brings nuance to what could’ve been a one-note villain.

“I relate to that character, because that could have been me,” he said. “I was lucky enough to have parents that took me to another country, where I could be a better person. But what if my parents had been killed? I don’t excuse [Muse’s] actions, but I understand his motives.”

With a résumé full of intelligent, doc-inspired thrillers (2006’s United 93, 2007’s The Bourne Ultimatum), director Greengrass has mastered the art of fast-paced action filmmaking. He’s especially known for his use of handheld cameras, and Captain Phillips is no exception.

“Ships rock around. How do you shoot on a lifeboat and keep it steady? It’s impossible. You want the images that you’re capturing to authentically arise out of the environment that you’re shooting in,” Greengrass explained, with a caveat. “The faster-moving your sequence, and the more intensely complicated your action is, it [becomes] imperative to render detail. Detail is what gives you acceleration and focus. You’ve got to be inside the action, and your filmmaking must unlock the inner dynamics in a way that’s clear. With this film, you’ve got a very simple, unbelievably dramatic, stark story. If we render it as authentically as we can, we’ll find out what it means — which you couldn’t have found from the news, because you’re looking at it from the outside. You can only find out by being in it.” *

 

THE SUMMIT and CAPTAIN PHILLIPS open Fri/11 in Bay Area theaters.

Legacy of rhythm

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arts@sfbg.com

DANCE Has there ever been a celebration at Yerba Buena Center for the Arts quite as exuberant, layered, and embracing of a people, a period, and a place as Dimensions Dance Theater’s 40th anniversary show? Not as far as I know. Despite a timing hitch at the end, probably due to the exigencies of costume changes, Dimensions offered a one of a kind evening of glorious dancing. It was a long program — but then, why can’t some events keep going so that they spill deep into the night and the dreams beyond?

The three-hour show opened on a ceremonial note with thank-yous — not to deep-pocketed donors, but to the ancestors both dead and those present who have made Dimensions possible. Poet Marvin White was the griot who poured libations and repeatedly returned to reset the company’s focus on a trajectory of kindness, strength, and love, ending with a promise of a state of being in which earthly limitations will have fallen by the wayside.

Artistic director and Dimensions founder Deborah Vaughan’s vision for the program was both intimate and grand. In the first section, the dancers revisited excerpts of works in the company’s repertoire. If there is one theme that travels through Dimensions’ history, it’s dancing that embodies strength, courage, and joy. In the excerpts of Fly and Catalyst: One by One, the very diverse bodies of Dimensions’ women took to the air with silken buoyancy. Breaking out of unisons, their individuality was still carried by a common impetus. Even the trio of youngsters from the Dimensions youth program danced with that kind of personalized discipline. Young Micaiah Bell’s initial solo just about burned itself into my mind.

In the excerpt from Project Panther, Dimensions’ trio of male dancers (Erik Lee, Justin Sharlman, and Noah James III) proved themselves fierce warriors and fierce dancers in the way they dived over each other and hurled themselves through space. Lee’s exquisitely nuanced solo from Garth Fagan’s Yesterday/Yesternow made you want to see the whole work again — as was, actually, the case with many of the glances in this retrospective, which closed with spitfire ensemble takes on South African boot and can dances.

For the world premiere of Rhythms of Life: Down the Congo Line, Vaughan invited choreographers from the Republic of Congo, Cuba, and Brazil to set works drawn from their traditions on her remarkable dancers. The piece opened with the evening’s pied pipers, MJ’s Brass Boppers, who had led the initial procession into the theater. Latanya d. Tigner choreographed a witty, yet not ironic The Last Dance/St. Ann and Rampart, inspired by New Orleans funeral traditions. With the dancers in brilliant white, they shook their hands, bowed their torsos, and stepped in and out of line, making sure that they were noticed. They were mourning but also celebrating because they were not about to be overcome.

In Palo, the Cuban section, backed by strong singer Sulkary Valverde, dancers used poles as a practice of self-defense but also to demonstrate precision ensemble work. Lovely to see how Sharlman moved through the group and slowly replaced the “weapons” with hooked drumming sticks.

From Brazil, choreographer Isaura Oliveira showcased the Dimensions men in low-to-the-ground feats, that constant shift of weight and direction that we recognize from capoeira. Despite their being filled with an inherent sense of danger, these dances also mesmerize. Danilo Portugal deserved all the applause he got for his chanting and haunting birimbau playing.

I wish the lovely, sexy, and sassy couple dances — inherited from a colonial past though they were — could have been extended before leading into a skirt-swirling, intoxicating carnival. The section ended with a celebration of the end of colonialism with a lilting King (Sharlman) and Queen (Laura Elaine Ellis), and Tigner as an Elder who deposited a totemic doll on the altar.

The after-intermission Vulkana squarely threw the spotlight on the drum, without which African dance — whether in the Congo or in the Diaspora — would not exist. To have these different traditions come together proved both exhilarating and a little messy. Yet it was one of the evening’s highlights to have Kiazi Malonga in a friendly competition with tiny Congolese firecracker Hervé Makaya and his cohort Teber Milandou. They set not only the makuta drums but also costume parts flying.

Vukana also paid tribute to these brave Dimensions performers who, whether chanting in a sitting circle or swiveling their hips so that the energy rose up through the torso and sailed through the arms, looked at home. Whatever the specifics of the wide-ranging demands made on them, Dimensions looked as if born into them. *

 

Keep choppin’

0

arts@sfbg.com

CULTURE It’s 6:35pm in Hunters Point and Poll Brown is about to be late to a documentary about himself. The puckish man from South End, Essex, and a small crew of bikers are scrambling to fix a snapped throttle cable. This is a way of life for them: always under the gun, always fixing things, always a little behind. Like a rag-tag task force, they rip a cable out of one bike and marry it to another. There’s not enough time.

At 7pm, after a hairy ride up the 101, lane-splitting between Google buses on Van Ness, Poll is inside the Opera Plaza Cinema for the premiere of Dirtbag.

“We had a bet — just between four buddies,” Brown says in the film, with his gravelly English accent. “It got to be who could build a custom motorcycle for the least money.”

And thus was born the Dirtbag Challenge, which marks its 10th year this Sunday with more rock music, BBQ, and custom motorcycles doing burnouts than is healthy for any person’s ears, lungs, cholesterol, or psyche. The rules have changed a bit since 2003, but here’s the way they currently stand: 1) build a motorcycle in one month; 2) spend less than $1,000; 3) no Harley-Davidsons; 4) the bike must complete a 60- to 100-mile ride.

The restrictions are designed to bring out the creativity and ingenuity of the builders. The first few years without the 100-mile ride rule attracted several very artistic bikes — some more sculpture than road-ready. (One year, a bike with a partially wooden frame went home in splinters.) As for the no-Harley rule, “the quintessential chopper will always be a Harley-Davidson,” explains Poll. “No matter how bad, if a Harley shows up, it still might win.”

Director Paolo Asuncion’s doc chronicles the 2009 Dirtbag Challenge. “When we started, we were going to do ‘This is about the industry’,” he says. He went so far as to interview bike-building royalty like Arlen Ness. “But by the end of filming, all those high-dollar guys didn’t really belong to the story we were trying to tell.”

Overall, the film is a fun look at a unique subculture of motorcycling. By its end, you get a sense that the Dirtbag is more than just a biker build-off — it’s an idea with a spirit behind it. Asuncion drives the point home with the final word of the film, which was met with roars of approval from the crowd: “This documentary was edited in under a month. And making this entire film cost under a thousand dollars.”

After the screening, Brown says, “I’m blown away. It’s interesting to watch something you’ve created have such a positive influence on so many people.”

Pinky McQueen, longtime organizer of the event, has one honest critique. “I realize the movie was spotlighting the builders in particular, but as far as the [Dirtbag Challenge] party goes, there are so many people who selflessly put in countless hours for free to make sure the event [goes] off without a hitch.”

A few days later, one such volunteer, Emily Wakeman, says, “The movie inspired me to just go with our skill set.” With 16 days to go until this year’s event, she and her friends have a running bike and are getting ready to mount a brake light in an old, mud-filled trombone — donated from the Great Guerneville Flood of ’86.

“We’ve spent more money on beer than we have on parts,” confesses fellow builder Shannon Jones.

In Bayview, master fabricator Turk is exactly $521 into his Yamaha-powered, side-car equipped dragster bike. He enjoys the educational side of the Dirtbag Challenge. “It shows that if you want to build a motorcycle, you can,” he says. “If you don’t know how, you can get help.”

Jason Pate is working against the clock in Fremont. Having spent around $800, he has a running bike constructed from no less than six different motorcycles. His son, Jason Pate II, says Brown was here yesterday and showed him how to clean out carburetors. Meanwhile, San Jose resident Alex “Koska” Verbisky — originally from Moldova — is at exactly $1,000. His 1969 Honda CB450 has a wacky new set of handlebars made from Suzuki shock parts and a Volkswagen camshaft.

Up in Orland, Casey Anderson, a professional chopper builder featured in the film, is about $580 into his build, converting a 1979 Honda touring bike to look like a 1928 BMW R62. Thirty minutes south through walnut and olive orchards, in Willows, Kyle Cannon’s son Michael is building a bike for credit in shop class with his pals Joseph and Jake Martin. And down the road, Josh Stine is overcoming his muscular dystrophy, building a bike he hopes he will sell to supplement his Social Security check.

It’s inspiring — a quality that’s fitting for a volunteer-run event that promotes creativity, self-expression, and self-reliance, and encourages learning and community. Participants build strange, mutant vehicles. And it all started as a small gathering of friends near the waters of San Francisco. Sound like any other event you know?

“At first begrudgingly and now gratefully, I accept comparisons to Burning Man,” says Brown.

Of course, that doesn’t mean he likes it. The biggest difference between the Burn and the Dirtbag is that there’s simply no way to throw money at the Dirtbag. Ten years in, the event is still free and no one is getting paid. Brown even recently sold his van to finance a cross-country motorcycle trip.

“If I did want to make this a money-making enterprise, the potential is there,” says Brown toward the end of the film. “[But] I’m not sure if I’m ever gonna actually do that, because that might remove the soul from it.” *

DIRTBAG CHALLENGE

Sun/13, 2pm, free

End of Quesada St, SF

www.dirtbagchallenge.comwww.rattlerproductions.com

Supervisors examine anti-cyclist bias at SFPD

17

The Board of Supervisors Neighborhood Services and Safety Committee held a high-profile and well-attended hearing Oct. 3 to examine how the San Francisco Police Department investigates motorist versus bicyclist collisions. Sup. Jane Kim called the hearing following revelations about shoddy police work and anti-cyclist bias in the Aug. 14 death of cyclist Amelie Le Moullac.

Dozens of cyclists told horror stories of being hit by cars and then treated badly by police, which routinely absolves motorists of responsibility even in cases where they are clearly at fault.

Deputy Police Chief Mike Biel admitted some shortcomings in their investigations and promised to do better, and he apologized for the absence of Police Chief Greg Suhr and Sgt. Richard Ernst, who showed up at an Aug. 21 memorial event for Le Moullac to make inaccurate and insensitive comments criticizing cyclists. Kim had requested testimony from both men. Sup. David Campos pledged to hold another hearing on the issue, this time at a rare joint hearing of the Board of Supervisors and Police Commission.

San Francisco Bicycle Coalition Executive Director Leah Shahum urged the SFPD to, “Focus limited traffic enforcement resources on known dangerous intersections and known dangerous behaviors.” (Read Shahum’s op-ed on the hearing.)

Concerns about selective enforcement and anti-cyclist bias by the SFPD were heightened in the week before the hearing when officers started enforcement stings focused on stop sign-running cyclists riding the Wiggle, one of the city’s most popular and heavily traveled bike routes.

Among those stopped and given a written warning — one of 534 written warnings and 16 citations the SFPD reported giving out to cyclists in September — was Guardian Editor Steven T. Jones, whose Oct. 1 blog post on whether SFPD should strictly enforce laws requiring cyclist to completely stop at stop signs was the most commented SFBG.com post of the last week.

Shahum told us that the Bike Coalition has done education campaigns urging cyclists to yield to pedestrians on the Wiggle, but that none of the seven intersections on the Wiggle meet the SFPD’s own stated goals of focusing enforcement on the five most dangerous intersections in each police district. “When you look at the data on the Wiggle,” Shahum said, “it’s not a high collision area.”

Airbnb says its hosts should pay taxes

7

Under pressure in San Francisco and New York City for violating local tenant and land use laws and refusing to pay local taxes, Airbnb has finally acknowledged that transient occupancy taxes apply to the room rentals it facilitates. But the company still hasn’t taken any steps to collect the tax or admitted that it shares this tax debt with its hosts.

“Our hosts are not hotels, but we believe that it makes sense for our community to pay occupancy tax, with limited exemptions for those who earn under certain thresholds,” CEO Brian Chesky wrote on the Airbnb blog on Oct. 3, addressing the post to New York City and not San Francisco, where it is headquartered and where we have shown the company is shirking an annual tax debt of nearly $2 million.

Contacted by the Guardian, a company spokesperson extended the pledge to San Francisco, writing, “Yesterday, our CEO Brian Chesky announced that we believe it makes sense for our community of hosts to pay occupancy tax to the cities in which they live, with exceptions under certain thresholds, and we are eager to discuss how this might be made possible. We have been in substantive discussions with Board President David Chiu on these issues for some time, and we’d like to thank him for the open dialogue that helped lead to today’s announcement. We look forward to continuing our work with him and others in San Francisco to set forth clear, fair laws that allow regular people to rent out their own homes, while giving back to the city that makes it possible.”

As the Guardian has repeatedly reported, most recently in our Aug. 6 cover story “Into Thin Air,” the San Francisco Treasurer/Tax Collectors Office has ruled that the city’s TOT of about 15 percent applies to Airbnb guests, and that Airbnb shares that joint tax liability with its hosts.

The ability of individual hosts to receive business licenses for renting out rooms and to collect and remit the TOT is complicated by the fact that such rentals violate land use, tenant, and other city laws — and Chiu has been developing legislation that would legalize and regulate the stays.

Airbnb could easily collect the TOT on each San Francisco transaction, as some of its online competitors have already been doing, but it has so far refused to do so. And when the Guardian asked Airbnb whether it now plans to include the tax in its transactions, the company ignored the question.

In fact, Airbnb’s public statements and private communications indicate its intention to pass the buck to its hosts rather that paying the tax liability itself, and several hosts who commented on Chesky’s blog post expressed hopes they would get more support from the company.

Nonetheless, Chiu took the Airbnb’s statement yesterday as a positive sign, telling us, “I am pleased to hear that Airbnb has acknowledged the need for their users to pay the occupancy tax. This policy was developed as a result of discussions that I’ve led in the past year to regulate and tax shareable housing activity in San Francisco. While we continue to negotiate with shareable housing companies, housing advocates, and the Mayor’s Office to find sensible solutions, I am confident that we will be able to move forward on a regulatory framework that provides flexibility to residents, protects our affordable housing stock, and collects the fair share of taxes for the City. I look forward to introducing legislation in the coming months.”

Justice for cyclists

54

OPINION

It was heartbreaking to hear their stories.

Sarah was hit while riding her bike. Then she was wrongly faulted for the collision, despite multiple witnesses’ testimony and photo evidence to the contrary. A police officer verbally harassed her after the incident.

“The crash was awful,” she said. “But the way I was treated by the police … absolutely compounded the trauma. I was treated, at every turn, like a criminal.”

Dorie was hit from behind while biking in Golden Gate Park with her son in a rear child seat. Thankfully he was fine, but she was injured seriously enough to spend two weeks in the hospital. She was blamed for the incident, despite witnesses’ statements claiming otherwise.

And after Sandrine was hit while biking, she was treated with hostility by police officers while she lay in pain at the hospital. She was shocked to learn witness statements were not included in her incident report, which faulted her. Thousands of dollars in debt later, Sandrine says she is “disheartened and completely disgusted with the attitude and bias of the police” toward people on bikes.

Nearly 40 people spoke up last Thursday at a Board of Supervisors committee hearing into the SF Police Department’s response to traffic incidents involving people biking and walking.

The spotlight is on the SFPD after it botched an investigation last month of a 24-year-old woman who was hit and killed while biking to work on Folsom Street. Police failed to look for video footage in the area, and a police sergeant blocked the bike lane at the memorial to publicly blame the victim for her own death, while forcing bike riders into high speed traffic.

I’m sorry to say that I was not surprised by the sergeant’s “blame the victim” attitude in that recent tragedy. Nor in the dozens of cases people shared at last week’s hearing.

Sadly, we regularly hear about experiences like these: people refused incident reports, despite injuries. Reports being taken inaccurately or incompletely, time and time again blaming the person biking, despite witness statements to the contrary. And officers being ignorant of the law, such as not understanding that people can leave a bike lane to avoid an obstruction or to make a turn.

I believe our police chief when he insists that all road users should be treated fairly, but that message is not being heard by all in the force.

The chief needs to make certain that all collisions resulting in injuries are fully and fairly documented; that training is significantly stepped up to ensure officers’ understanding of bicyclists’ rights and responsibilities on the road; and, finally, that the SFPD uses a data-driven approach to focus limited traffic enforcement resources on the locations and behaviors that are most dangerous.

We are not asking for special treatment for the growing number of people on bikes, but rather fair and equal treatment for all road users.

Leah Shahum is executive director of the San Francisco Bicycle Coalition.

Friends in the shadows

36

rebecca@sfbg.com, joe@sfbg.com

It’s a simple fact of life: Money buys influence. But in San Francisco, despite strict sunshine laws to illuminate donations to city agencies and gifts to the regulators from the regulated, money still circulates in the shadows when it flows through the coffers of “Friends” in high places.

Major real estate developers, city contractors, and large corporations often lend financial support to San Francisco city departments, to the tune of millions of dollars every year. But the money doesn’t just flow directly to city agencies, where it’s easily tracked by disclosure laws. Instead, it goes through private nonprofits that sometimes label themselves as “Friends Of…” these departments.

They include Friends of City Planning, Friends of the Library, a foundation formerly known as Friends of the San Francisco Department of Public Health, Friends of SF Environment, and Friends of San Francisco Animal Care and Control.

The Friends pay for programs the departments supposedly cannot cover on their own. Bond money can build a skyscraper, but sometimes not fill it with furniture. Agencies are barred by law from funding an employee mixer or a conference trip, so departments turn to their Friends to fill in the gaps. Adding bells and whistles to city websites, holding lunchtime lectures, hiring a grant writer — or, in the case of the Department of Public Health, bolstering health services for vulnerable populations — these are all examples of what gets funded.

The extra help can clearly be a good thing, but the lack of transparency around who’s giving money raises questions — especially if it’s a business gunning for a major contract or a permit to build a high-rise.

City agencies receive outside funding from a wide variety of sources. Sometimes grants are made by the federal government, or a well-established philanthropic foundation — and according to city law, gifts of $10,000 or higher must be approved by the Board of Supervisors. But in the case of organizations like Friends, which are created specifically to assist city government agencies, the original funders aren’t always identifiable. And the collaboration is frequently much closer, with city staff members serving on Friends boards in a few cases.

the circle of donations to "friends of" foundations

Friends board members told the Guardian that their partnership with government helps bolster city agencies in a time of increasing austerity, in service of the public good. But do the special relationships these influential insiders hold with high-ranking city officials come into play when awarding a contract, issuing a permit, making a hiring decision, or determining whether a developer’s request for a rule exemption should be honored? Without more transparency, it’s tough to tell.

City disclosure rules state that any gift to a department must be prominently displayed on that department’s website, along with any financial interest the donor has involving the city. But Friends and other outside funders are under no obligation to share their supporters’ names, much less financial ties, when they distribute grants. Meanwhile, the disclosure rules that are on the books seem to be frequently ignored, misunderstood, or unenforced, our investigation discovered.

How are donors repaid for their support? Consider the controversy earlier this year around Pet Food Express, which won approval in June for another store in the Marina District despite opposition from four locally owned pet stores in the area that fear competing with a large national chain. Pet Food Express won the unlikely support of the city’s Small Business Commissioners, some of whom reversed their 2009 positions opposing the chain’s previous application.

SF Animal Care and Control Director Rebecca Katz personally lobbied the commission to support Pet Food Express, at least partially because the company has donated pet supplies valued at $50,000 to $70,000 per year to the department. That’s a lot of money for a cash-strapped city department, but a pittance compared to the profits of an expanding national chain.

It’s moments of clarity like those, when the public can easily trace the line from donations to political influence, that show why disclosure is so crucial. But those moments are few and far between when trying to trace the funders of private foundations and Friends organizations, where deals often happen in the dark.

 

WHEN DEVELOPERS ARE FRIENDS

At the Merchant Exchange Building in May, a crowd of high-profile real-estate developers mixed and mingled with city planners, commissioners, and even Mayor Ed Lee, wine glasses in hand. Sources told the Guardian that most of the planning staff was present, and not all were happy about having ribbons and name tags affixed to their shirts, as if they were being auctioned off.

With around 500 in attendance, the event was an annual fundraiser hosted by the Friends of San Francisco City Planning, a nonprofit organization that accepts contributions of up to $2,500 per individual to lend a helping hand to the Planning Department. This year’s event was titled “Incubator Startups, New Jobs for the Future,” hinting that the development community shares the mayor’s affinity for new tech startups and the droves of high-salaried IT professionals they’ve attracted to the city.

Some Friends of City Planning board members are major real-estate developers who routinely seek approval for major construction projects. Others are former planning commissioners, or have a background in community advocacy.

Amid widespread concern about displacement, gentrification, and the overall character of San Francisco’s built environment, no city department has greater influence than Planning. An individual’s interpretation of the Planning Code can carry tremendous weight; it’s a series of small decisions that shape a project’s profits and the look and feel of San Francisco’s future. And with cranes dotting the city’s skyline and market-rate construction catering to the wealthy while middle income residents get priced out, the amount of capital flowing through the development sector these days is astonishing.

In this dizzy climate, there might seem to be something askew about affluent developers and land-use attorneys rubbing elbows with city regulators, all eager to pass the hat for the Planning Department. Whiff of impropriety or no, the fundraiser appears to be totally legal.

“We aren’t violating the law — that I know,” Friends of City Planning Chair Dennis Antenore told the Guardian. “We’ve had legal advice on that for years.”

There is close collaboration between Friends of San Francisco City Planning and the Planning Department — a partnership so entrenched that it’s almost as if the nonprofit is an unofficial, private-sector branch of the agency.

“We are certainly thankful and appreciative,” Planning spokesperson Joanna Linsangan told the Guardian. “They’ve helped us for many, many years.” The additional funding is needed, she said, because “there isn’t a lot of wiggle room” in the departmental budget.

Each year, Planning Director John Rahaim submits a wish list to the Friends, outlining projects he wants funding for. This year, he requested $122,000 for a variety of initiatives, including training support to help planners assess proposals for formula retail (read: chain stores). That’s a hot-button issue lately, and one that shows how seemingly small decisions by planners can have big impacts.

When the department’s zoning administrator ruled that Jack Spade, a high-end clothing chain that opened up in the old Adobe Books location on 16th Street, wasn’t considered formula retail and therefore didn’t need a conditional use permit, neither widespread community outrage nor a majority vote by the Board of Appeals could reverse that flawed decision. It was a similar story with the Planning Commission’s Oct. 3 approval of the 555 Fulton mixed use project, where Planning Department support for exempting the grocery store for the area’s formula retail ban made it happen, to the delight of that developer.

Even though the planning director makes specific funding requests each year to the Friends and pitches the projects in person at their meetings — and the Friends publishes a list of the grants it awards to the department online — the Planning Department is not reporting those gifts to the Board of Supervisors.

“I confirm that the Planning Department did not receive any gifts,” Finance and IT Manager Keith DeMartini wrote in official gift reports submitted to the Board of Supervisors for the years 2011-12 and 2012-13. Those reports were sent to the board on Oct. 7 and Oct. 4, respectively, well after the July filing deadline and after the Guardian requested the missing reports.

The Friends typically funds two-thirds of the requests, said board member Alec Bash, totaling around $80,000 a year. In 2012, the Friends awarded a $25,000 grant to make the department’s new online permit-tracking system more user-friendly, making life a lot easier for developers.

When asked what safeguards are in place to prevent undue influence when the director is soliciting funding from a nonprofit partially controlled by developers, Linsangan responded, “those are two very separate things. One does not influence the other.”

She stated repeatedly that planners are not privy to information about individual contributors — but the fundraisers are organized by a board that includes identifiable developers, and anyone who attends can plainly see the donors in attendance. Nevertheless, Linsangan insisted that planners would not be swayed by this special relationship, saying, “That’s simply not the way we do things around here. We do things according to the Planning Code.”

But as the ruling on Jack Spade shows, as well as countless rulings by planners on whether a project is categorically exempt from the California Environmental Quality Act, interpreting the codes can involve considerable discretion.

The public can’t review a list of who wrote checks to the Friends of San Francisco City Planning for the May fundraiser. Since the organization waits a year between collecting the money and disbursing grants, donors stay shielded from required annual disclosures in tax filings.

But Antenore says the system was established with the public interest in mind. “We don’t reveal the contributors, because we don’t want anybody to have increased influence by a donation,” he insisted. Bash echoed this idea, saying the delay was to “allow for some breathing room.”

Unlike some of his fellow board members from the high-end development sector, Antenore has a history of being aligned with neighborhood interests on planning issues, helping author a 1986 ballot measure limiting downtown high-rise development. He emphasized that the developers on the Friends board are balanced out by more civic-minded individuals.

Still, developers who regularly submit permit applications for major construction projects sit on the Friends board. Among them are Larry Nibbi, a partial owner of Nibbi Bros.; Clark Manus, CEO of Heller Manus Architects; and Oz Erikson, CEO of the Emerald Fund development firm.

“We’re not making use of [the funding] in a way that benefits these people,” Antenore said. “I wouldn’t do this if I thought otherwise. I have been careful to maintain the integrity of this organization.” The money is meant to facilitate better planning, he added. “I don’t think there’s any conspiracy,” he said. “We’re not financing anything evil.”

Both the Planning Department and its Friends dismissed the idea that the donations could open the door to favoritism or undue influence. So why isn’t the department reporting gifts it receives from the Friends to the Board of Supervisors, or disclosing them on its website, as required by city law?

According to a 2008 City Attorney memo on reporting gifts to city departments, when an agency receives a gift of $100 or more, it “must report the gift in a public record and on the department’s website. The public disclosure must include the name of the donor(s) and the amount of the gift [and] a statement as to any financial interest the contributor has involving the city.”

John St. Croix, director of the San Francisco Ethics Commission, confirmed that’s the current standard, telling us, “The actual disclosure should be on the website of the department that received the gift.”

Linsangan said records of the gifts are indeed available — listed as “grants” in the department’s Annual Report. But while the 2011-12 report lists grants from sources such as the Metropolitan Transportation Commission and the Environmental Protection Agency, there was no mention of Friends of City Planning.

The memo also says any gift of $10,000 and above must first be approved by a resolution of the Board of Supervisors. But last year, when the Friends provided $25,000 to upgrade the permit-tracking system, it wasn’t sanctioned by a board resolution. Asked why, Linsangan made it clear that she was not aware of any such requirement.

As is common, when it comes to adhering to disclosure laws, confusion abounds. And sometimes, only sometimes, politicos get caught.

 

READING UP ON DISCLOSURE LAWS

When the head of a city agency fails to report gifts totaling $130,000, how much do you think he is fined?

City Librarian Luis Herrera failed to report receiving that amount in gifts and he was fined exactly $600 by the California Fair Political Practices Commission on Sept. 19. Specifically, Herrera had to file a form 700 with the FPPC to state the gifts he received. From 2008-2010, the forms he turned in had the “no reportable interests” box checked.

The money was used in what he calls the City Librarian’s Fund, which is the money he keeps on hand to pay for office parties and giving honorariums to poets and speakers who perform at the library’s branches, money that wasn’t disclosed on the very forms designed for reporting it.

There are two stories of how the fine came about. Longtime library advocate James Chaffee said that it was the result of a complaint he filed with the FPPC in April, and indeed, he sought and obtained many public documents revealing the money trail. San Francisco Public Library spokesperson Michelle Jeffers disagreed, saying that the fine was the result of an ongoing conversation with the FPPC to figure how exactly to file the gifts appropriately.

“The law wasn’t clear around these forms and it wasn’t clear if he had to report them,” she told the Guardian. “For amending the reports you have to pay a $200 fine for every year it was proposed. We keep scrupulous records on every pizza party we have.”

When government officials receive “gift of cash or goods,” they must report them annually in statements of economic interest, known as a Form 700, to the city Controller’s Office. The form is kind of a running tally of who is receiving gifts from whom, a way for the public to track money’s influence in government.

The gifts came from the Friends of the San Francisco Public Library, another nonprofit that bolsters city agency funding. Now Herrera has to list the $130,000 gifts from fiscal years 2008-09 and 2009-10 on his website.

What exactly does that accomplish? As it turns out, not a whole lot.

City Administrative Code 67.29-6 defines the reporting of gifts to city departments, and one of those requirements is to make a statement of “any financial interest the contributor has involving the city.” Now that Herrera lists the Friends of the San Francisco Public Library as donors on the department website, the statement of financial interest by the friends group is this: “none.”

There are myriad donors to the Friends of the SFPL, and the group doesn’t have to state the economic interests of its donors, or even mention who its donors are. The code requires gifts be reported to the controller, and the deputy city controller told us this doesn’t apply to the “friends of” organizations, or any nonprofit foundation arms of city departments.

“If gifts are made to a department, yes, they have to disclose, so people don’t get preferential interest in getting city contracts,” Deputy Controller Monique Zmuda told us. “I know it’s a fine line. The foundations don’t provide us with anything.”

Friends of the SFPL doesn’t provide money just for pizza parties. A breakdown of a funding request from the library to its Friends shows requests up to $750,000 to advertise the library on Muni and in newspapers, funding for permanent exhibits, and the City Librarian’s personal fund. That’s just the money it gives to the library. Other monies are spent directly on activities supporting the library.

As Jeffers pointed out to the Guardian, the money isn’t spent on “trips to Tahiti.” Friends of the SPL do good city works, from a neighborhood photo project in the Bayview branch library to providing books for children. But the question is: Who’s buying that goodwill and why?

The millions of dollars in donations made to the Friends of the SFPL don’t need to be approved by the Board of Supervisors, like gifts to departments do. They’re not checked for conflicts of interest or financial interest by any governmental body. Donors give and the Friends of SFPL spend freely, financial interest or not.

When our research for this story began, no financial statements were available of the Friends of the SFPL website. After a few days of inquiries, the most recent year’s financial statements from 2011-12 were posted to the website.

Ultimately, the San Francisco Public Library is one of the smaller city departments, with an annual budget that hovers around $86 million. The Department of Public Health is a much bigger beast, with a 2011-12 budget of around $1.5 billion.

One of its main foundations, the San Francisco General Hospital Foundation, is also one of the largest nonprofits that supplements city spending. In many ways, it could be described as the model of disclosure for city foundations, although its disclosures are not by law, but by choice.

 

FOUNDATION OF FRIENDS

The Department of Public Health relies on a few entities that fundraise on its behalf: the San Francisco Public Health Foundation, the Friends of Laguna Honda Hospital, and the San Francisco General Hospital Foundation.

“They’re private nonprofit entities that are separate from the department,” CFO Greg Wagner told us. “But their roles are to support the department in its efforts.” He cited examples such as sending its staff to conferences or hosting meetings, “things that we don’t have the budget for or don’t have the staff or resources.”

The lion’s share of the DPH’s gifts are funneled through the SFGHF. Unlike many of the assorted Friends groups or foundations that support city services, the SFGHF extensively reports the sources of its $5 million in donations. The donors include a veritable who’s who of San Francisco: the Giants, Sutter Health, Xerox, Pacific Union, and Kohl’s all donated between $1,000 and $10,000 in the past two years.

But the largest gifts to the SFGHF came from Kaiser Permanente, and its financial interests in the city run deep. Kaiser came into the city’s crosshairs in July, when the Board of Supervisors passed a resolution calling on Kaiser to disclose its pricing model after a sudden, unexplained increase in health care costs for city employees. Kaiser holds a $323 million city contract to provide health coverage, and supervisors took the healthcare giant to task for failing to produce data to back up its rate hikes.

In the meantime, Kaiser has also been a generous donor. It contributed $364,950 toward SFGHF and another $25,000 to SFPHF in fiscal year 2011-12.

The funding from Kaiser and a host of other contributors — which include Chevron, Intel, Genentech, Macy’s, Wells Fargo (another city contractor), and a pharmaceutical company called Vertex — does support needed programs. They include research into the health of marginalized communities, services through Project Homeless Connect, screening for HIV, and immunization shots for travelers.

But because DPH doesn’t count much of this support as “gifts” formally received by the city, it isn’t subject to prior approval by the Board of Supervisors, or posted on the department’s website along with the contributors’ financial interests. Major contributions are disclosed in a report to the Health Commission, something Wagner described as a voluntary gesture in response to commissioners’ requests.

“Most gifts to foundations are donations to a nonprofit and do not come through the city or DPH at all,” he noted.

This distance is maintained on paper despite close collaboration with the department. In the case of Project Homeless Connect, a program that holds a bimonthly event to aid the homeless, it supports programs headquartered in city facilities. Penny Eardley, executive director of SFPHF— which used to be called Friends of San Francisco Public Health — noted that her organization occasionally makes grants or seeks funding in response to department requests. And Deputy Director of Health Colleen Chawla is a foundation board member. It’s almost like these foundations are extensions of the department, except they’re not.

SFPHF also earns revenue as a city contractor. When DPH received a grant from the Centers for Disease Control, it contracted with SFPHF to manage subcontracts with about a dozen community-based organizations.

The web gets even more tangled. The president of SFPHF is Randy Wittorp — who’s also Director of Public Affairs for Kaiser Permanente’s San Francisco Service Area. It’s a similar story with SFGHF, whose board includes several General Hospital administrators, including CEO Susan Currin.

Former Health Commissioner James Illig said people shouldn’t worry, that hospital the staff would never direct foundation funds to pet projects or mishandle funds. They maintain a separation and a firewall,” he said, for example noting, “Sue Currin is not directing funds to her own hospital.”

But he did admit that since SFGHF’s minutes are not public documents, that “raises a few concerns,” arguing the public should be able to inspect financial documents to decide if the foundations are directing funds lawfully to city departments.

Even when the public by law has a right to access financial records of a city department, rooting out corruption can be like pushing a boulder up a San Francisco hill.

 

FROM PATIENTS TO PARTIES

In 2010 and 2011, Laguna Honda Hospital administrators and staff used money from the hospital’s patient gift fund to throw a party. And then they spent it on airfare. And then they gave laser-engraved pedometers to the staff. All told, they spent nearly $350,000 meant for the dying and the infirm, nearly half of the total funds.

The incident was big, messy, and out in the public eye. It was an all-too-rare glimpse into the shady use of public funds by public officials. But when hospital staff members Dr. Derek Kerr and Dr. Maria Rivero blew the whistle on Laguna Honda’s misuse of patient funds in 2010, they were drummed out of their jobs.

Eventually litigation on behalf of the whistleblowers and their complaints of corruption were found to have merit.

Kerr’s vindication came at a meeting of the Health Commission in April 2013. In the packed City Hall meeting room, the public watched as Laguna Honda Executive Director Mivic Hirose read her apology to Kerr and Rivero aloud, even announcing a plaque in Kerr’s honor.

“The hospital will install the plaque in the South 3 Hospice,” she read, stiltedly, from a written statement, surrounded by microphones at the podium. “The plaque will say: In recognition of Derek Kerr MD of his contributions to the Laguna Honda’s hospice and palliative care program 1989-2010.”

Kerr received a settlement of $750,000 and something more important: His good name cleared.

But that conflict of interest was rooted out only after years of litigation that revealed the financial abuse through legal discovery of the department’s documents — documents that should’ve been public in the first place. ABC 7’s I-Team broke the story and did much of the reporting at the time, otherwise the entire affair may have been swept under the rug.

The misuse of funds was only brought to light with the revelation of public documents — revelations not possible with most Friends groups. The Laguna Honda Hospital Foundation has also had financial dealings with potential conflicts and a lack of transparency.

The now-defunct LHHF’s board chair, former City Attorney Louise Renne, made an interesting choice for her vice chair after she formed the nonprofit in 2003. Derek Parker was vice chair of the LHHF while simultaneously heading architecture firm Anshen-Allen, with a $585 million city contract to rebuild the hospital.

So he was not only rebuilding Laguna Honda under city contract, but soliciting and spending donations meant to supplement his project. Renne wrote to the Health Commission in December 2011 that LHHF’s purpose was to manage over $15 million in donations meant to furnish the hospital with beds, chairs, and other necessities. Eventually, then-Mayor Willie Brown found funding for the hospital, reducing the foundation’s role.

In a phone interview with the Guardian, Renne said the goals of the LHHF were only ever to furnish the newly christened hospital. “Our purpose was to fill the void, if you will, for what the city and its services could not do,” she said.

But in her letter, Renne advocated for LHHF to take an active role in fundraising for the hospital for years to come. “Today, the members of the Board of Directors of the Foundation continue to assist the hospital in various phases of its new projects and operations with projects approved by the City and/or the hospital administration,” she wrote to the Health Commission.

And Parker would have potentially managed millions of dollars flowing through donations for countless other hospital projects, while heading an architectural firm with contracts to build in San Francisco. We were unable to reach Parker for comment.

“I never saw Derek use his position as an architect or position for any political gain, I never saw it,” Renne told us. But no one else would see it either, because organizations like the now closed Laguna Honda Hospital Foundation operate without public oversight.

The Health Commission itself even noted this in its March 2012 meeting, the minutes describing then-commissioner James Illig as critiquing the foundation for not being open about its source of funding.

“Commissioner Illig thanks Ms. Renne and Mr. Parker for coming to the Commission,” the minutes read. “Because (LHHF) is a project of Community Initiatives, a fiscal sponsor for nonprofits, it is not possible to find basic financial information about the Foundation or its activities.”

Divided interests on hospital board

Due to a quirk of her foundation being under the “umbrella” of a separate entity, Community Initiatives, Illig was never able to even get the LHHF’s IRS forms, he told us. “We tried to get information and reports, and the Community Initiatives [Form] 990 was giant,” Illig said. “It didn’t separate anything out.”

Illig told us that it made sense to have Parker on the board because he is monied and well connected, making it easier to solicit donations. But insiders close to the board told us that Parker’s position may have made it easier to swing getting other contracts for his firm.

Parker got another city contract building the UCSF Benioff Children’s Hospital at Mission Bay, slated to open in 2015. No doubt his firm got the job partly due to his reputation as pioneering architecture that leads to healthy patient outcomes — but then again, the board he served on also approved donations to research at UCSF.

Laguna Honda Hospital Foundation may now be defunct, but it serves to illustrate the lack of controls and oversight of the foundations beyond even gift disclosure.

 

OFF THE BOOKS

It might be characterized as a web of influence, cronyism, or just the way business is done. But is there something improper about all of this?

Private funding often represents a needed boost that allows for important work to take place beyond what could happen under ordinary budgeting. At the same time, it smacks of privatization. While departments and funders point to lean times in the public sector to justify the need for this help, the funding continues to flow whether it’s a good year or a bad year for city government. And at the end of the day, the most glaring issue of all seems to be the lack of transparency.

Are city departments ever tempted to bend the rules to lend a little help to their Friends? As long as the funding is in the dark, the public has no way of knowing.

Ethics chief St. Croix told us his office lacks the resources to visit every city website and check up on whether departments are following the disclosure rules. “If someone brought it to my attention that a department received a gift and didn’t post it [on the website],” he said, “we would look into it.”

But if the watchdogs need watchdogs, citizens who can’t even review documents that should be publicly available, then these quasi-governmental functions and the people who fund them will remain in the shadows.  

Danielle Parenteau contributed to this report.  

ADDENDUM  

When city funders operate in the dark, one of the best ways to learn about corrupt influence, misuse of funds, and other transgressions is from whistleblowers. If you have a tip for us, send us snail mail at SAN FRANCISCO BAY GUARDIAN, 225 Bush, 17th Floor, San Francisco, CA 94104. Or email us at news@sfbg.com. Just make sure not to use an email address provided by your workplace, which is less secure.

Help us keep raising hell

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EDITORIAL The last couple years have been some of the most difficult and precarious in the Guardian’s 47 years of printing the news and raising hell in San Francisco. We’ve been struggling to survive and thrive, both the newspaper and the larger progressive political and alternative arts communities the Guardian is a part of, at a moment when this city needs us more than ever.

But the good news is that people are awakening to what has been lost as our resources have waned. We see it in the resurgent movements against evictions and gentrification and for better transit and bike lanes, in a rare referendum campaign challenging the 8 Washington project and its lies, in the lively online discussions we facilitate, and in the community support that the Guardian and other nascent progressive media projects are receiving.

Most people don’t trust the mainstream political, economic, and media institutions to understand or explain what’s happening to San Francisco and the greater Bay Area. Technology has created an explosion of new media outlets, but it’s come at the price of common narratives and gathering places where we can join together, discuss the issues, and then assert our collective will.

This is where the Guardian comes in, and it’s why we must find the way to grow through these tough years and regain our standing as the premier forum for discussing and promoting San Francisco’s values and needs. And for that, we need your help and support.

In some ways, it’s a situation similar to when Bruce B. Brugmann and Jean Dibble started the Bay Guardian in October 1966, when San Francisco was at the epicenter of social movements and technological innovation that were challenging entrenched economic interests and the inertia of the status quo.

The Guardian gave voice to new ideas about human rights and responsibilities, sexuality and identity, art and expression, diversity and tolerance, and many of the other issues and values that have animated San Francisco for the last half-century. Along with papers such as the Village Voice, Boston Phoenix, and Chicago Reader, the Guardian helped create the model for alternative newsweeklies that came to proliferate in every major US city, expanding the political and cultural dialogue in the country.

But that model is faltering. The Phoenix, which was founded the same year as the Guardian, closed its doors earlier this year, falling victim to the same economic pressures that are plaguing the entire newspaper industry. And the Voice soldiers on as a relatively apolitical corporate clone of its former feisty self after being bought out by a Phoenix-based chain driven by the kind of bottom-line Wall Street values that alt-weeklies were originally launched to oppose.

Regular readers of the Guardian know how we’ve fought for our independence and sustainability over the last year (see “On Guard,” June 19, and “New Guardian leadership wants your input,” July 23), and that we’ve approached it in a way that was consistent with our values on transparency, fearless truth-telling, and partnership with our progressive community.

And now, on the Guardian’s anniversary, we are recommitting to the mission stated on our masthead, “to print the news and raise hell,” while updating that mission for the digital age in myriad ways, some of which we’ll be announcing soon. This region is at a crossroads, choosing between greedy, myopic elitism and egalitarian sustainability, and we need strong media voices like the Guardian to clarify that choice.

For that, we need your help. Read the paper and then pass it to a friend. Post our stories to your favorite online forum. Buy an ad to promote your business, event, or cause. Participate in our community forums, including our Oct. 23 discussion of high-rises and waterfront development at the LGBT Center. Send us good story tips. And, most importantly, help us promote the idea that an informed and engaged citizenry is the foundation of democracy — and the only way to save the soul of San Francisco.

 

Alerts: October 9 – 15, 2013

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WEDNESDAY 9

March against evictions Bayanihan Center, 1010 Mission, SF. www.sdaction.org. 12:30-2pm, free. “Soma Time, and the Livin Ain’t Easy: Walk of Shame” will start at the Bayanihan Center near Sixth and Mission. The march is intended to call attention to and protest matters such as ever-increasing rents and unfair evictions of senior citizens and other long-term residents by profit seekers. This demonstration is a joint effort of local residents, Senior and Disability Action, the Bill Sorro Housing Program and the Housing Rights Committee. For more information, contact Senior and Disability Action at (415) 546-1333. SATURDAY 12

 

Ohlone Big Time Cultural Event Crissy Field Center, 603 Mason, SF. www.ohloneprofiles.org. 12-6pm Saturday; 12-5pm Sunday, free. This festival will feature tribal dances, music, traditional skills demos, discussions, vendors and camping. It coincides with Fleet Week and Indigenous People’s Weekend. Several California Indian tribes will be participating. Organizers hope to make this an annual event. The Ohlone are a Native American tribe indigenous to Northern California but not currently recognized by the federal government, and the event is meant to raise awareness about their presence in the Bay Area.

 

Help find the way forward The Way Christian Center, 1305 University, Berk. tinyurl.com/whichwayforwardCA. Contact@ellabakercenter.org. 9:30-noon, free. Donations accepted. The Oakland-based Ella Baker Center has been empowering low-income populations in the Bay Area since 1996. Its latest effort — Which Way Forward California? — is pushing for state funds to be spent on education, job training and other helpful services — rather than prisons. Join the center at this inaugural community strategy session, and give your input on ways to achieve this change. RSVP at tinyurl.com/whichwayforwardCA.

SUNDAY 13  

Book reading: The Great Sioux Nation Eric Quezada Community Center, 518 Valencia, SF. tinyurl.com/518columbusdaytalk. 4-6 p.m., free. Author Roxanne Dunbar Ortiz and Sioux elder Bill Means will discuss the new edition of the important book, “The Great Sioux Nation: Sitting in Judgment on America,” originally published in 1977. Join them the day before Columbus Day as they discuss both the impact of the book and the present-day attitude toward a holiday that many perceive as nothing more than an endorsement of genocide.

The Performant: Up, up and away

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It’s a Bird…It’s a Plane…It’s Superman flies again.
 
It’s been 75 years since Jerry Siegel and Joe Schuster began developing their most enduring creation, Superman, a character who would go on to change the shape of pop culture forever. The first bona-fide comic book superhero, the spandex-clad refugee from outer space inspired whole universes of imitators, each more improbable and yet strangely influential than the next, and our collective fascination for the modern pantheons of nigh-invincible beings remains virtually unabated, as one glance at a list of blockbuster movies starring caped crusaders and misunderstood mutants can attest.

While superheroes might mean big business in the movies, aside from the infamous (albeit income-generating) debacle that is Spider-Man: Turn Off the Dark, they’ve only rarely ventured to Broadway, and here again, was Superman the pioneer. A (very) minor Broadway hit in its day, the goofy 60s-era It’s a Bird…It’s a Plane…It’s Superman channels the campy vibe of Adam West’s Batman and the relentless cheeriness of an Archie comic. Newly revived by 42nd Street Moon in honor of Superman’s 75th anniversary on earth, the musical is as clean-scrubbed as the titular role, whom mere mortals sometimes exasperatedly refer to as an overgrown “Boy Scout,” recalling times of more innocent entertainment if not actual innocence.

42nd Street Moon embraces this innocence with playful flair. The costume palette (designed by Felicia Lilienthal) appears to have been lifted straight from Warren Beatty’s 1990 Dick Tracy film, and the cartoon-panel backdrop (courtesy of Alvin Shiu) from a book of Lichtenstein prints. At strategic moments, giant word balloons and cardboard computers crowd the stage, and our hero frequently demonstrates his flying “prowess” by leaping clumsily into the wings. Even the villains turn out to be, if not exactly sympathetic, good comic relief, and their sinister goal is not so much to take over the planet so much as to take Superman, representative of perfection, down a notch, the preferred pastime of the small-minded.

Probably best not to dwell on the outdated gender roles that punctuate much of the action, a regrettable by-product of those “innocent” times, but at least the primary criminal mastermind of the show is not only female but also a mad scientist, Dr. Agnes Sedgwick (Darlene Popovic), proving, however thinly, that there is more to the double-chromosomed life than pining for the unattainable as does Lois Lane (Jen Brooks) or soothing the inflated egos of megalomaniacal employers as does glamorous office flirt, Sydney (Safiya Fredericks).

Lucas Coleman as Clark Kent/Superman plays his dual characters with an eager beaver likability, and a humanizing streak of self-doubt that ties both of his identities together just as surely as the single spit curl that dangles across his brow. His arch-nemesis Max Mencken (Brent Schindele) practically steals the show on the strength of his bright yellow loafers and hoofing technique alone, but his last moment of would-be glory is appropriately deflated (kids, crime doesn’t pay, and neither does petty spite!) and it’s all’s-well-that-ends-well for our underrooed protagonist, his best girl, and even for the second-tier criminal element, the hilariously inept Grimaldi family, who make tracks back to the Mamma-land before you can say arrivederci. Sure you could tap into a similar zeitgeist with a stack of Silver-age comics, but comics won’t sing to you. That’s a unique angle that 42nd Street Moon has totally got covered.

It’s a Bird…It’s a Plane…It’s Superman

Through Oct. 20, $25-$75
Eureka Theatre
215 Jackson, SF
www.42ndstmoon.org

Ain’t nobody who can sing — or bring the progressive fire — like Billy Bragg

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During his set yesterday at the Hardly Strictly Bluegrass Festival, iconic British singer/songwriter Billy Bragg said he doesn’t understand why he was booked for an event devoted to Americana, although he did note that it was Brits like the Beatles and Rolling Stones that first popularized African American roots music for white Americans.

Yet in the spirit of legendary American folk singer Woody Guthrie, whose songs Bragg covered with Wilco on the amazing Mermaid Avenue albums, Bragg yesterday unleashed a righteous lefty diatribe against US political powers who were willing to shut down the government and default on its debts rather than offer universal healthcare to its citizens.

“Health care is the Jim Crow issue of the 21st Century,” Bragg said, also calling healthcare reform the “civil rights issue of this time” and calling for “free health care for every American.”

After closing his set with a rousing rendition of Guthrie’s “All you Fascists Bound to Lose,” he implored the young audience to rise up and “just get true.” Apparently his messages resonated with both the audience and organizers, who allowed him back on stage for an encore and some more fearless truth-talking.

“Socialism is organized compassion,” Bragg said, urging Americans to drop their irrational fears of socialized medicine (not to mention the far more insurance-based Obamacare), before playing his anthem, “There is Power in a Union.”

Bragg closed by saying that our enemy in this struggle isn’t the right-wing crazies shutting down our government, it is our own apprehensions about what can be done in this country, and the fear of advocating for what needs to be done.

“The enemy is cynism,” Bragg said, “and the only antidote to your cyncism is your activism.”

I and others left the show with our political fires stirred, as Sup. John Avalos also confirmed when I ran into him after the show, traipsing through the woods of Golden Gate Park toward the next stage. And I thought about what Hardly Strictly founder Warren Hellmen told me about this festival and form of music when I interviewed him for a profile that ran as a Guardian cover story in 2007.

“I feel very strongly that an important part of our culture is built on the type of music and type of performance that goes on at Hardly Strictly Bluegrass,” Hellman told me. From parables set to music to songs of struggle and the old union standards, “that kind of music is the conscience of our country.”

He considered bluegrass a vital and historically important form of political communication, more so than many of the upscale art forms that he and other rich people have tended to sponsor in San Francisco.

“I’m glad that we have first-rate opera, but it’s equally important that we foster the kind of music, lyrics, etc., that support all this,” he said. “Somebody once said that most of the great Western philosophy is buried in the words of country songs. And that’s closer to the truth than most people think. A big passion of mine is to try to help — and people have defined it too narrowly — the kinds of music that I think have a hell of a lot to do with the good parts of our society.”

And that was something that it took a fiery Brit to remind of us of this weekend.

Chess-in defies SFPD crackdown

By Christina Aanestad

More than 50 people crowded Market Street with tables, chairs, chess and other board games Sunday for a “Chess-in,” a response to the San Francisco Police Department’s closure of a decades-long San Francisco tradition of sidewalk chess.

“We had no say in the decision,” said Marvin Boykins, a 35 year veteran chess player.

Last month, police ended the open and public chess games at Fifth and Market Streets, citing crime as the reason. A nearby shopkeeper, who declined to provide their name, told the Guardian that drug dealers sometimes use the chess tables to conceal their business dealings. There’s no doubt crime occurs around the neighborhood, which marks the intersection of the Tenderloin and SoMa. Just three doors down from the chess games, a woman stood in the doorway of a closed business holding a crack pipe. Nevertheless, chess players like Boykins say crime happens in all neighborhoods—and it’s no reason for the police to stop a decades-old tradition.

“SFPD made a very grave mistake in their administrative capacity not acknowledging the true problem—that we have nothing to do with nor do we condone [crime],” he said.

Other shopkeepers, like Phil Gatdula, manager of sustainable soul food restaurant Farmer Brown on Market Street, said he enjoyed the chess players, who encompass people from all walks of life including business owners, youth, and elders.

Many attendees of the Chess-in voiced concerns about gentrification in the city, pointing to sidewalk chess as its latest casualty. Activists with the Coalition on Homelessness said blaming the removal on crime is merely a cover for an underlying agenda.

“To suggest that a long-time community of elder chess players engaging in a fun, public event is creating a public safety issue is a thinly veiled move to push poor people from public space,” said Jennifer Friedenbach, Executive Director of the Coalition On Homelessness.

Just days after the police kicked the chess players off Market Street, a new rent-a-bike station with gleaming identical bikes took their place. Bay Area Bike Share is a newly launched program that rents out bicycles, with nearly three dozen locations in San Francisco. Having opened in August, it’s a partnership with San Francisco, San Mateo, and Santa Clara Valley transportation authorities, offering “access to shared bicycles 24 hours a day, 7 days a week, for use in the cities of San Francisco, Redwood City, Palo Alto, Mountain View and San Jose,” according to the company’s website.

Lisa Alatorre, another staff member with the Coalition on Homelessness, sees the chess crackdown as part of a larger plan to appeal to techies and tourists in the area. It’s also no coincidence that a new shopping mall and condo development are going in right across the street from where chess players gathered for decades before the recent displacement, she said.

Josh Shadlen, 28, moved to San Francisco a few years ago as part of the second dot-com wave. Despite working within the tech industry that critics like Alatorre say is the cause of high rents in San Francisco, Shadlen spent his day sitting on the sidewalk, playing chess in the sun to support reclaiming public space. He said that while 90 percent of his colleagues don’t care about impacts they are having on the local community, he does.

Josh Shadlen, a tech dude who’s siding with the chess players.

“It seemed basically like an attack on the residents of this neighborhood and part of a plan to turn this neighborhood into fancy office buildings where maybe I might work at some point, but I don’t want that to happen here or anywhere,” he said.

Shadlen said the police should do a better job at policing rather than throwing out chess players.

Organizers like Alatorre say it’s unlikely chess will return to Fifth and Market Streets. For now, the players have moved to Yerba Buena Park. Alatorre and others are still hopeful that things could change—but they believe the political will doesn’t exist among current members of the Board of Supervisors. Asked whether she thought people would continue to gather at Fifth and Market streets to play chess next Sunday, she said, “I hope so.”

555 Fulton project moves forward with exemption to formula retail ban

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The San Francisco Planning Commission yesterday approved a plan to build a mixed-use five-story building on the hotly debated 555 Fulton St. property. The plan includes a grocery store measuring 32,400 square feet in addition to 139 apartments and townhouses that would be built above and around the designated shopping area.

It wasn’t a unanimous vote, but the Western Addition is inching toward the affordable grocery store that many in the neighborhood says it desperately needs. The 4-2 vote to exempt the project from the area’s formula retail ban — Commissioners Kathrin Moore and Hisashi Sugaya voted for a continuation instead — was reached after nearly two and a half hours of deliberation, presentations, and local testimonials.

The commission’s decision moves on to the Board of Supervisors, where the discussion of affordable food and whether that can only be provided by a national supermarket chain will likely continue.

In May of 2010, the Planning Commission approved a similar project to the one currently proposed: The then-developers had secured a Special Use District (SUD) called the Fulton Grocery Store SUD back in 2008 —a distinction which lifted the restriction on large-footprint retail outlets in the Hayes-Gough Neighborhood Commercial Transit District — as well as a Conditional Use Agreement (CUA) that lifted the ban on “formula retail outlets” only for the proposed tenant of the specific unit.

But the developers could finance the project and its entitlements expired on April 3, 2013. Renewing the SUD and CUA were key to yesterday’s discussion. Without the SUD, the neighborhood’s current zoning policy would state that the grocery store’s footprint alone would be too large to permit. But with the SUD, the developer is not just obliged but rather forced to seek a tenant that will build a grocery store “larger than 15,000 square feet.” That means that the outlet would finally be the full-service grocery store the neighborhood has called for.

The SUD, however, isn’t the contested item. Both the Western Addition residents and the members of the Hayes Valley Neighborhood Association (HVNA) and the Hayes Valley Merchant’s Association (HVMA) agree that a grocery store at 555 Fulton is ultimately a good thing, but that is where the similarities end.

The HVNA/HVMA want to uphold the Hayes-Gough NCT’s outright ban on formula retail that’s been in effect since 2004, a move that would effectively force the developer into trying to find an independently owned suitor for the 32,400 square foot space, claiming that “independent” and “affordable” aren’t mutually exclusive.

The residents of the Western Addition want a store that falls under the “formula retail” umbrella, citing fair hiring practices and affordability of goods often found at those outlets among other reasons for the preference.

According to developer representative Jessica Zhou, however, of the City’s 31 independent grocery stores, just two measured over 15,000 square feet (the minimum size allowed in the SUD), and of those two, exactly zero had expressed interest in the location.

On the other hand, according to Zhou, a tidy list of “formula” stores have expressed interest in the site, among them Grocery Outlet and The Nugget, which means that the HVNA/HVMA are now holding out for something that isn’t even on a theoretical horizon.

Commissioner Richard Hillis agreed, and he even joked about his own troubles with the affordability at independent grocery stores, a joke that Zhou’s statistics supported, citing a study that found the average shopper in California saves 35 percent more money when shopping at a formula retail grocery outlet over of an independent one.

The public support might have been strong, but the project hasn’t been approved yet. Even with the support of the Planning Commission, the Western Addition neighborhood and the developers, nothing can happen until the Board of Supervisors approves the same plan, and that means that both sides have time.

“We believe that this project will help two-fold: One, economically [by providing] jobs and opportunities for our young residents — individuals from the neighborhood — but also, it will provide access for our seniors to have the opportunity to walk to the store and get out of their homes and be able to be a part of the community,” said Gary Banks, a Fillmore resident.

Or as Dirk Butler said, ” The reality is an affordable grocery store is the best fit for our community. We have seniors, low-income immigrants that are within a half a mile of a grocery store that they have to trek in order to buy groceries for their family. This is a good move.”

 

Airbnb makes small admission on tax issue, saying its hosts should pay

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Under pressure in San Francisco and New York City for violating local tenant and land use laws and refusing to pay local taxes, Airbnb has finally acknowledged that transient occupany taxes apply to the room rentals it facilitates. But the company still hasn’t taken any public steps to collect the tax, nor has it admitted that it shares this tax debt with its hosts.

“Our hosts are not hotels, but we believe that it makes sense for our community to pay occupancy tax, with limited exemptions for those who earn under certain thresholds,” CEO Brian Chesky wrote on the Airbnb blog yesterday, addressing the post to New York City and not San Francisco, where it is headquartered and where we have shown the company is shirking an annual tax debt of nearly $2 million.

Contacted by the Guardian, a company spokesperson extended the pledge to San Francisco, writing, “Yesterday, our CEO Brian Chesky announced that we believe it makes sense for our community of hosts to pay occupancy tax to the cities in which they live, with exceptions under certain thresholds, and we are eager to discuss how this might be made possible. We have been in substantive discussions with Board President David Chiu on these issues for some time, and we’d like to thank him for the open dialogue that helped lead to today’s announcement. We look forward to continuing our work with him and others in San Francisco to set forth clear, fair laws that allow regular people to rent out their own homes, while giving back to the city that makes it possible.”

As the Guardian has repeatedly reported, most recently in our Aug. 6 cover story “Into Thin Air,” the San Francisco Treasurer/Tax Collectors Office has ruled that the city’s TOT of about 15 percent applies to Airbnb guests, and that Airbnb shares that joint tax liability with its hosts.

The ability of individual hosts to receive business licenses for renting out rooms and to collect and remit the TOT is complicated by the fact that such rentals violate land use, tenant, and other city laws — and Chiu has been developing legislation that would legalize and regulate the stays.

Airbnb could easily collect the TOT on each San Francisco transaction, as some of its online competitors have already been doing, but it has so far refused to do so. And when the Guardian asked Airbnb whether it now plans to do so, the company ignored the question.

In fact, Airbnb’s public statements and private communications indicate its intention to pass the buck to its hosts rather than collect and pay the taxes itself, and several hosts who commented on Chesky’s blog post expressed hopes they would get more support from the company on the myriad issues that complicate its simplistic business model.

Nonetheless, Chiu took the Airbnb’s statement yesterday as a positive sign, telling us, “I am pleased to hear that Airbnb has acknowledged the need for their users to pay the occupancy tax. This policy was developed as a result of discussions that I’ve led in the past year to regulate and tax shareable housing activity in San Francisco. While we continue to negotiate with shareable housing companies, housing advocates, and the Mayor’s Office to find sensible solutions, I am confident that we will be able to move forward on a regulatory framework that provides flexibility to residents, protects our affordable housing stock and collects the fair share of taxes for the City. I look forward to introducing legislation in the coming months.”

 

‘Gravity,’ Mill Valley, and everything else: new movies

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The 36th Mill Valley Film Festival opened last night and runs through Oct. 13, filling the North Bay’s travel-worthy venues (the Christopher B. Smith Rafael Film Center is the main one) with must-see films. Check out our recs here, and read on for short takes on Hollywood’s offerings, including the season’s must-see sci-fi film.

http://www.youtube.com/watch?v=m8Gi-ow4hr0

Blind Detective Johnnie To’s latest makes its local debut as part of the San Francisco Film Society’s “Hong Kong Cinema” series, hot on the heels of his Drug War, which had a theatrical run earlier this year. Blind Detective shares Drug War’s crime theme and moody palette, but it also has — whimsy alert! — an accordion-inflected score. The cute quotient is further upped by Andy Lau and Sammi Cheng, who’ve been frequently paired in To’s lighter fare (perhaps most memorably in 2001’s Love on a Diet, which attired its attractive stars in fat suits). Lau plays a former cop who left the force after losing his vision, yet continues to solve crimes (in pursuit of reward money) using, among other unorthodox methods, his superior sense of smell. Cheng plays a scrappy policewoman who admires his investigative skills and asks him to track down a long-lost childhood friend. He agrees, but not before slyly tricking her into helping him pursue lucrative paydays on unrelated cases. Lau’s wannabe-Sherlock antics and Cheng’s lovelorn flailings wear thin after two-plus hours, but Blind Detective still manages to entertain despite its odd blend of broad comedy and serial-killer thrills. (2:10) Vogue. (Cheryl Eddy)

http://www.youtube.com/watch?v=OiTiKOy59o4

Gravity “Life in space is impossible,” begins Gravity, the latest from Alfonso Cuarón (2006’s Children of Men). Egghead Dr. Ryan Stone (Sandra Bullock) is well aware of her precarious situation after a mangled satellite slams into her ship, then proceeds to demolition-derby everything (including the International Space Station) in its path. It’s not long before she’s utterly, terrifyingly alone, and forced to unearth near-superhuman reserves of physical and mental strength to survive. Bullock’s performance would be enough to recommend Gravity, but there’s more to praise, like the film’s tense pacing, spare-yet-layered script (Cuarón co-wrote with his son, Jonás), and spectacular 3D photography — not to mention George Clooney’s warm supporting turn as a career astronaut who loves country music almost as much as he loves telling stories about his misadventures. (1:31) (Cheryl Eddy)

http://www.youtube.com/watch?v=ZnJIA7oqqcM

The Institute In 2008, mysterious flyers began popping up around San Francisco that touted esoteric inventions such as “Poliwater” and the “Vital-Orbit Human Force Field” and included a phone number for the curiously-monikered Jejuene Institute. On the other side of the phone line, a recording would direct callers to a Financial District office building where they would undergo a mysterious induction process, embarking on an epic, multi-stage, years-long alternate reality game, designed primarily to reveal the magic in the mundane. In Spencer McCall’s documentary The Institute, viewers are introduced to the game in much the same way as prospective inductees, with few clues as to what lies in store ahead. A handful of seemingly random interviewees offer a play-by-play recap of their own experiences exploring rival game entities the Jejune Institute and Elsewhere Public Works Agency — while video footage of them dancing in the streets, warding off ninjas, befriending Sasquatches, spelunking sewers, and haunting iconic Bay Area edifices gives the viewer a taste of the wonders that lay in store for the intrepid few (out of 10,000 inductees) who made it all the way to the end of the storyline. Frustratingly, however, at least for this former inductee, McCall’s documentary focuses on fleshing out the fictions of the game, barely scratching the surface of what must surely be an even more intriguing set of facts. How did a group of scrappy East Bay artists manage to commandeer an office in the Financial District for so long in the first place? Who were the artists behind the art?  And where am I supposed to cash in these wooden “hobo coins” now? (1:32) New Parkway, Roxie. (Nicole Gluckstern)

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

Parkland Timed to tie in with the 50th anniversary of the JFK assassination, writer-director Peter Landesman’s sprawling ensemble drama takes that tragedy as its starting point and spirals outward, highlighting ordinary folks who were caught up in the drama’s aftermath by virtue of their jobs or circumstance. There’s a lot going on here, with a huge cast of mostly-recognizable faces (Billy Bob Thornton as Secret Service Agent Forest Sorrells; Paul Giamatti as amateur filmmaker Abraham Zapruder; Ron Livingston as an FBI agent; hey, there’s Oscar winner Marcia Gay Harden in two scenes as a stern nurse!), but the events depicted are so familiar that the plot never becomes confusing. Landesman — who favors scenes of breakneck-paced action punctuated by solemn moments of emotion — might’ve done better to narrow his focus a bit, perhaps keeping just to the law-enforcement characters or to Lee Harvey Oswald’s family (James Badge Dale plays his shell-shocked brother, while Jackie Weaver hams it up as his eccentric mother). But paired with 2006’s Bobby, Parkland — named for the hospital where both JFK and Oswald died — named for the hospital where both JFK and Oswald died — could make for an interesting, speculative-history double-feature for Camelot buffs. That said, Oliver Stone fans take note: Parkland is strictly Team Lone Gunman. (1:33) (Cheryl Eddy)

http://www.youtube.com/watch?v=L2INdFpHPpQ

Runner Runner Launching his tale with a ripped-from-the-headlines montage of news reports and concerned-anchor sound bites, director Brad Furman (2011’s The Lincoln Lawyer) attempts to argue his online-gambling action thriller’s topicality, but not even Anderson Cooper can make a persuasive case for Runner Runner’s cultural relevance. Justin Timberlake plays Richie Furst, a post-2008 Wall Street casualty turned Princeton master’s candidate, who is putting himself through his finance program via the morally threadbare freelance gig of introducing his fellow students to Internet gambling. Perhaps in the service of supplying our unsympathetic protagonist with a psychological root, we are given a knocked-together scene reuniting Richie with his estranged gambling addict dad (John Heard). By the time we’ve digested this, plus the image of Justin Timberlake in the guise of a grad student with a TAship, Richie has blown through all his savings and, in a bewildering turn of events, made his way into the orbit of Ben Affleck’s Ivan Block, a shady online-gambling mogul taking shelter from an FBI investigation in Costa Rica, along with his lovely adjutant, Rebecca (Gemma Arterton). Richie’s rise through the ranks of Ivan’s dodgy empire is somewhat mysterious, partly a function of the plot and partly a function of the plot being piecemeal and incoherent. The dialogue and the deliveries are also unconvincing, possibly because we’re dealing with a pack of con artists and possibly because the players were dumbfounded by the script, which is clotted with lines we’ve heard before, from other brash FBI agents, other sketchily drawn temptresses, other derelict, regretful fathers, and other unscrupulous kingpins. (1:31) (Lynn Rapoport)

http://www.youtube.com/watch?v=KXKogr0O-Zc

We Are What We Are The title of Jim Mickle’s latest film sums up the attitude of the Parker family: We Are What We Are. We eat people. Our human-flesh cravings go back generations. Over the years, our dietary habits have become our religion. And that’s just the way it is — until teen sisters Iris (Ambyr Childers) and Rose (Julia Garner) start to have some doubts. As We Are (a remake of Mexican director Jorge Michel Grau’s 2010 film) begins, the girls’ mother has suddenly died amid a punishing rainstorm — and their grief-stricken Dad (Bill Sage) has become awfully twitchy. As the local police, a suspicious doctor (Michael Parks), and a curious neighbor (Kelly McGillis) begin to poke into their business, the Parkers prep for “Lambs Day,” a feast that most definitely involves whoever is chained up in the basement. Though not all of the dots connect in the Parkers’ elaborate backstory (how do Mom and Dad have an obscure variation on mad-cow disease if they’re only eating man-meat once a year?), We Are still offers a refreshing change from indie horror’s most recent common denominators — no found-footage tricks here. The last-act dinner scene is required viewing for any self-respecting cannibal-flick connoisseur. Check out my interview with director Mickle here. (1:45) (Cheryl Eddy)

http://www.youtube.com/watch?v=Rwr-U1z1F60

When Comedy Went to School This scattershot documentary by Ron Frank and Mevlut Akkaya is about two big subjects — the Catskill Mountains resorts that launched a couple generations of beloved Jewish entertainers, and mid-to-late 20th century Jewish comedians in general. There’s a lot of overlap between them, but the directors (and writer Lawrence Richards) can’t seem to find any organizing focus, so their film wanders all over the place, from the roles of resort social directors and busboys to clips from History of the World Part I (1981) and Fiddler on the Roof (1971) to the entirely irrelevant likes of Larry King. That said, there’s entertaining vintage performance footage (of Totie Fields, Woody Allen, etc.) and interview input from the still-kicking likes of Sid Ceasar, Jackie Mason, Mort Sahl, Jerry Stiller, and Jerry Lewis. For some this will be a welcome if not particularly well crafted nostalgic wallow. For others, though, the pandering tone set by one Lisa Dawn Miller’s (wife of Sandy Hackett, who’s son of Buddy) cringe-worthy opening rendition of “Make ‘Em Laugh” — to say nothing of her “Send in the Clowns” at the close — will sum up the pedestrian mindset that makes this doc a missed opportunity. (1:23) (Dennis Harvey)

Party Radar: Tiara Sensation Pageant, Body and Soul, Peter Kruder, Castro Street Fair, Octo Octa, more

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According to recent findings, it would take 4.85×10(15) years to teleport a complete human at 30GHz. That’s 350,000 times longer than the universe has existed. And almost as long as the clothes check line at the Powerhouse. 

How will I ever get to all these parties???

Darn you, science. I’m guessing I’ll still at least have one or two out of body experiences at the following, howevs.

>>MAXXI SOUNDSYSTEM

If you’re any kind of dance maven, you’d know Brit Sam Watts’ 2011 hit “Criticize” in three notes, probably — but I adore his remix work and DJ prowess. Hit him up at the neat, super-affordable-for-this-kind-of-talent  weekly Base party, which seems to have reemerged after a little hiatus.

Thu/3, 10pm, $5-$10. Vessel, 85 Campton Pl., SF. www.vesselsf.com

 

>>TIARA SENSATION PAGEANT

All the glorious queens forever! This beloved little underground drag tradition, brought to us by the creators of the great Some Thing party every Friday at the Stud, is going BIGTIME. This year it’s being held at the De Young Museum’s fun Friday evenings (there will be kids there! and a bar!) Of course, it’s a freakishly lovely runway pageant for freakishly freakish queens — and I’ll be one of the celebrity judges, so you know it will be, er, drinky. My fellow judges, far more legendary than I could ever be, are Candis Cayne, Gina La Divina, Lil Miss Hot Mess, and Honey Mahogany. Expect a raucous, wiggy crowd.

Fri/4, 6pm-10pm, FREEEEE. de Young Museum, 50 Hagiwara tea Garden, Golden Gate Park, SF. Info here

 

>>BODY & SOUL

Three of the world’s greatest house (and Latin, and electrofunk, and disco, and soul) DJs return to resurrect the feeling of their NYC party — wihch changed my life, and the lives of pretty much everyone else on the scene 10 years ago. Golly, I love them! Welcome back, Francois, Joe, and Danny.

Fri/4, 10pm-late, $25. Mighty, 119 Utah, SF. www.mighty119.com


>>PETER KRUDER

One half of infamous Austrian sophiticated house duo Kruder and Dorfmeister, Peter headlines the giant Public Works third anniversary. But wait there’s so much more! Also there: Christian Martin, Jackie House, Afrolicious, J-Boogie, Josh Vincent and a hot-hot crowd. Here’s one of my favorite remixes of all time, btw:

Sat/5, 8:30pm-3:30am, $10. Public Works, 161 Erie, SF. www.publicsf.com 

 

>>OCTO OCTA

100% Silk label cutie blends dreamy classic house sounds with effusive but totally danceable concepts at the ever-awesome Push The Feeling party. (Love the track “His Kiss” of his lovely Between Two Selves LP.) He’ll be joined by Matrixxman (who made me dance till I cried at the deviants party last week) and Yr Skull and Epicsauce DJs. Good times. 

http://www.youtube.com/watch?v=6Cz6PkRs4QM

Sat/5, 9pm, $5 advance. UndergroundSF, 424 Haight, SF. octoocta.eventbrite.com

 

>>#ENDHIV DRAG BALL

Balls are all the rage! This one, MCed by Sister Roma and Pat N Leather and DJed by Guy Ruben, raises money for a possible HIV vaccine — and of course will be loaded with colorful characters.It has an “animal” theme!

Sat/5, 7pm-10pm, $40. Beatbox, 314 11th St, SF. itrulycare.com/events/endhiv-sf-drag-ball

 

>>CASTRO STREET FAIR

This 40th edition of the fair has an INSANE nightlife focus: Peaches (yes that Peaches) is doing a Sylvester tribute! There is a Legends dance stage featuring David Harness, Pete Avila, Rolo, Blackstone, and Page Hodel. And Cookie Dough will bring her kookielicious Monster Show drag party as well. It’ll be nuts + dancing + cute.OH! And don’t miss one of the best things ever that happens in SF — the two-step line–dance stage behind Castro Theatre.

Sun/5, 11am-6pm, donatiion requested. 18th Street and Castro, SF. www.castrostreetfair.org

TIFF diary #9: this is ‘The End’

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Every time I told people that Lav Diaz’s Norte, the End of History (Philippines) was my favorite film of this year’s Toronto International Film Festival, I would watch their eyes glaze over and their body start shifting as if to say, “Yesbut what else?”
Perhaps the title suggests something long, slow-moving, and attempting to end their history? Perhaps they had only heard about its four-hour running time? While all of the previous statements are probably true, what I want to stress is that this film about a group of existentialist 20-somethings encapsulates why I fell in love with cinema in the first place.

There are no movie stars in the cast, and no way to quickly sum up the plot. Due to the film’s running time, the viewer physically experiences what the film’s conflicted main character Fabian is struggling with. While many TIFF audiences seemed to complain and make snarky one-liners after pretty much all of the star-studded premieres that I attended, that wasn’t the case here; Norte mesmerizes with its inventiveness and harrowing character arcs.

And yet it seems people are refusing to make the time to experience it. Neil Young of the Hollywood Reporter wrote “Diaz is apparently incapable of conveying the passage of time, instead [he] must simply inflict it.”

Personally, I learned volumes from this film, about the state of present-day rural Philippines; about Dostoevsky, Diaz’s favorite writer; about the 1890s Philippine Revolution against the Spanish. I tend to become emotionally wrecked when I watch a Diaz film; in Norte, Sid Lucero’s portrayal of a law school drop-out brought up some very deep, dark personal feelings.

But most importantly, Lav Diaz creates cinema that gets me up early in the morning. So please, Mr. Diaz: keep “inflicting” me.

Ficks’ Picks: Top 12 of TIFF 2013

1. Lav Diaz’s Norte, the End of History (Philippines)
2. Pawel Pawlikowski’s Ida (Poland)
3. Steve McQueen’s 12 Years a Slave (UK)
4. Kim Ki-duk’s Moebius (South Korea)
5. Stephanie Pray/Pacho Velez’s Manakamana (USA/Nepal)
6. Tsai Ming-liang’s Stray Dogs (Taiwan)
7. John Turturro’s Fading Gigolo (USA).
8. Hirokazu Kore-eda’s Like Father, Like Son (Japan)
9. Jeremy Saulnier’s Blue Ruin (USA)
10. Abdellatif Kechiche’s Blue is the Warmest Color (France)
11. Claire Denis’ Bastards (France)
12. Ben Rivers/Ben Russell’s A Spell to Ward Off the Darkness (Estonia/France)

Psychic Dream Astrology: October 16-22, 2013

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10.16-22.2013

Mercury goes Retrograde on the 21st until November 10th. Expect disturbances so you can handle them more gracefully. 

ARIES

March 21-April 19

Even if you do the right thing it may feel kinda wrong this week. You’re growing in ways that allow you to behave differently than your habits would have you, and that’s a good thing. The trick is to move mindfully at every step, Aries. There’s no rush, so take your time to do it right the first time.

­TAURUS

April 20-May 20

Work towards creating security, Taurus. Reflect on what the perfect balance between your personal, or internal needs, and your professional, or external needs is. You are poised to create foundations that you can build on, so you’d better be sure you’re putting together what you truly want.

GEMINI

May 21-June 21

Don’t make a stab in the dark, Twin Star! No matter how badly you’re itching to make changes, you are way too unclear and reactive to do much good. Get your head together before you try figuring out your life this week. You need a time out before you do some serious damage, pal.

CANCER

June 22-July 22

Crack open your lesson books, ‘cause this week is all about learnin’, Moonchild. Listen to your most trusted advisors, write in your journal, or talk to your God; just do what you have to do in order to make choices you can live with. You are in a deeply fertile place, so bring clear intention to everything you’re involved in.

LEO

July 23-Aug. 22

With a light as bright as yours, you’re bound to cast some shade. This week your greatest strengths can be found in the shadows, so don’t avoid them, Leo. You are capable of innovating a new path for yourself, but first you need to take a step back and spend some time with your inner self, pal.

VIRGO

Aug. 23-Sept. 22

You need to make a move, Virgo, just don’t compromise common sense and mindfulness as you boldly strike out this week. This is not the time to sit back and contemplate your navel. Let old, habitual ways of being fall away as you try a little daring on for size.

LIBRA

Sept. 23-Oct. 22

The things that disappoint you are also your greatest teachers. Learn from what’s not working in your life! The stuff that doesn’t work for you can help inform a more whole picture of what does. Your problems can be an opportunities for knowing what you’re made of. Rise to the occasion, Libra.

SCORPIO

Oct. 23-Nov. 21

Set your boundaries, Scorpio. Saturn gets what Saturn wants, and right now it wants to teach you how to better take care of yourself and the stuff that’s important to you. Focus on what you want to have more of in your life; that’ll help you see what you have to say no to or put on ice this week.

SAGITTARIUS

Nov. 22-Dec. 21

If you strike out in reaction to your fears you’re likely to make things more dramatic than they need to be. You may feel stymied this week, but the worst thing you can do is try to fight your way out. Figure out what’re your fears versus real threats before you decide how to handle things, Sag.

CAPRICORN

Dec. 22-Jan. 19

You have to let some stuff go, Capricorn, and that can be rough on it’s own. What’s making matters worse is your lack of clarity around where you’re at and what you want next. Don’t act until you’re ready; strive to feel grounded about what you need before you shake things up this week.

AQUARIUS

Jan. 20-Feb. 18

You can think your situation in circles if you want to, but you’ll be helping no one. This week you gotta put your money where your mouth is. Step forward and act in integrity with what you believe. You may make mistakes, but it’s way better than sitting around wringing your hands.

PISCES

Feb. 19-March 20

Accept where you’re at, Pisces. Engaging in power struggles won’t work well for you this week. Make peace with the choices you’ve made so you can stop wasting your energies lamenting the past. Reassess your actions and goals in order to get an accurate assessment of your current reality.

 

Want more in-depth, intuitive or astrological advice from Jessica? Schedule a one-on-one reading that can be done in person or by phone. Visit www.lovelanyadoo.com