Print Sections Archives — Page 255 of 493 — San Francisco Bay Guardian Archive 1966

Where’s teacher?

Jesse Hawthorne Ficks

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April 6, 2010

By Brady Welch

news@sfbg.com

Horace Mann Middle School principal Mark Sanchez sounded exhausted when we reached him on March 26. It wasn’t because Horace Mann is such a tough school, although the Mission District campus does have a disproportionate number of at-risk students. And it wasn’t because it was the Friday before spring break, although that might have had something to do with it.

All week Sanchez had been reeling from news that a whopping 10 out of his 20 full-time teachers had been issued pink slips by the San Francisco Unified School District. Including counselors, a vice principal, and other staff, the budget cuts essentially lopped off 24.6 percent of the school’s workforce, an unprecedented blow that speaks volumes about the state of California public education.

“A lot of the kids were wondering if the school was getting shut down,” Sanchez said. And although Horace Mann isn’t closing, with so many axed teachers, it might seem like a new school to many students come August. “If a significant number [of teachers] are moved, we don’t know what we’re in for.”

There is a legend that you will meet the person who will seal your fate long before the final event happens. And in an interesting turn of events, it was Sanchez who, as president of the Board of Education in 2007, hired current SFUSD Superintendent Carlos Garcia. Attempting to close a staggering $113 million budget gap over the next two years, it fell to Garcia on Feb. 23 to send out 645 layoff notices across the district in a list that included 163 administrators, 239 elementary school teachers, 124 high school teachers, and 104 middles school positions. Horace Mann was hit particularly hard because so many of its staff lacked seniority. Final decisions on layoffs will be made next month by the school board.

The first indications of this massive fiscal blood-letting came Jan. 20, when Garcia sent a letter to the entire district on learning of Gov. Arnold Schwarzenegger’s budget. The document was a glaring reminder of how bad things had gotten in Sacramento, and the superintendent wrote candidly of what he saw and what it meant for the district. “These numbers are large, and they will be devastating.”

Aside from the extraordinary blow to personnel, the proposed SFUSD budget will increase class sizes, freeze salaries, cancel summer school except for those who need credits to graduate, and reduce the number of days of classroom instruction to 175 annually, putting the district in conflict with a state law mandating at least 180 days. Given its deep cuts, Sacramento probably won’t enforce the statute.

“The state itself is in such a budget crisis,” Sanchez told us. “And [it’s] refusing to raise taxes. The fix has to be at the state level.”

But that’s been difficult since the passage of Proposition 13, the 1978 measure that limits property tax increases and gives control of whatever revenue is generated directly to the state. Because all state budgets must pass the Legislature with a two-thirds super-majority vote, a disciplined minority of virulently antitax Republicans block budgets that adequately fund education nearly every time.

Yet now, the bill for that political stalemate is coming due at schools like Horace Mann.

Beyond the numbers and politics, the Guardian wanted to get a closer look at how this regular cycle of cuts and layoffs is affecting teachers and students, so we spoke to a couple of eighth grade English teachers at Horace Mann who described it as dismal.

“I try to put it at the back of my mind, to be honest,” said Matt Borowsk, one of the 10 teachers at Horace Mann who received a pink slip. Borowsk reiterated a common sentiment that all teachers — potentially laid off or not — just want to do their jobs and focus on their classes. “I want to be able to stay and do my work and make improvements. And I want to do what I can for the school community and work with students,” he said. “I’m still in it, and I’m in it for the long run, despite what issues the district has about keeping their teachers.”

Gail Eigl, a teacher at Horace Mann for eight years who is tenured and therefore not at risk of a layoff, concurred. “No one I know who got a pink slip has changed their attitude. People are trying to stay focused on the present and teach.”

It’s an admirable response, and one Eigl understands well. She was laid off after her first year there in 2001. “Six of us got pink slips,” she recalled. “It was terrible.” She went looking for a job in South San Francisco, but in a strange turn of events, SFUSD called and offered her a job at Argonne Elementary in the Richmond District. A year later, she was back where she started at Horace Mann, and until now, she hadn’t really looked back.

“It’s like the school keeps having problems,” she said, an opinion that also hints at SFUSD’s skewed notion of teaching as a stable career path.

Borowski offers a similar story. This year’s pink slip is his second. Last year he received one after teaching only a year in Burlingame, which is how he ended up in San Francisco. Such rampant doling out of pink slips has nothing to do with Borowski’s performance. Rather, it has everything to do with seniority. And because the state is in such a crunch, it’s hard to stay in any school long enough before the budget’s grim reaper comes to collect.

“People who are able to stick through the first five years, they genuinely want to be a good teacher, make seniority, and not have to worry about it,” he said. And “because Horace Mann is a school where new teachers go, because it’s a tough school, then they’re the most vulnerable to layoffs. Which starts this vicious cycle.”

It’s classic Catch-22. Facing such a budget shortfall, how does SFUSD keep teachers who have little or no seniority teaching in the very schools whose litany of needs put those teachers there in the first place? In many ways, these are the most committed and passionate teachers the district has, and they represent for their classes a level of discipline and stability absent in many of their students’ home lives.

Many of Eigl’s students are low-income, speak English as a second language, or both. Some of their parents are deceased, others are undocumented immigrants, and a few are in jail.

“I honor tenure,” she told us. “I know there’s a reason for it. But right now, it doesn’t seem to be working for us.” Eigl brings up the case of a new parent liaison the school received this year, a critically important position that takes time building solid relationships with students’ families. “She got a pink slip too,” Eigl told us, the exasperation evident in her voice.

“I think people are really defeated inside. It’s so frustrating,” she continued. When asked what she meant by that, Eigl became heated. “It’s California! We’re supposed to be the richest economy. We should have money for schools. Why are other states doing so much more? We’re at the bottom. Where’s the money?” She suggested that Horace Mann should be granted special status because of its high-needs student body.

“It’s almost predictable that students who have a lot of unpredictability in their lives will suffer for this,” Sanchez told us. “It will be destabilizing for them. Teachers will get disrupted as well. A lot of what you do in schools has so much to do with outside the classroom, and it takes a lot of time to get acclimated.” At a tough school like Horace Mann, he says, “there’s been a lot of professional development and new programs.”

Borowski stresses the sentiment forcefully. “It’ll be devastating if the pink slips go through. It’ll be a huge mess.”

Both teachers participated in the massive statewide protests against the cuts on March 4. But other than letting Sacramento know how public educators feel, nothing concrete has come out of it. Sanchez suggested that it might be possible to sue the state for violating its statute on the minimum number of school days. Even SFUSD, at the last Board of Education meeting on March 23, didn’t rule out the possibility of suing the state for lack of adequate funding.

Negotiations are ongoing between the district and the United Educators of San Francisco teachers union about final layoffs. Those will be finalized May 15. Meanwhile, teachers at Horace Mann and across the district will continue to do their jobs despite how grim the outlook may be. As Eigl puts it, “It’s like out of a book from a bad future.”

Our stuff, our planet

Jesse Hawthorne Ficks

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April 6, 2010

1

Sarah@sfbg.com

Annie Leonard, author of The Story of Stuff (Free Press, 2010), sat in her office in Berkeley explaining why we must direct our energy toward making policy and reforming laws, not just individual green lifestyles, to avoid destroying the planet.

Leonard recalled how, at a recent reading to promote her book, she was presented with the claim that people in Berkeley are environmentally superior to other folks. “But people shouldn’t point the finger at other individuals unless those individuals are the heads of Chevron, Dow Chemical, Disney, Fox News, Halliburton, McDonald’s, Shell, or the World Bank,” Leonard warned.

Her point is that the planet’s biggest problems are systemic, not a result of personal choices. “Because our choices are limited to the forces outside the store. We have this big illusion of that ‘free market,’ but I can’t choose pajamas for my kid without them containing neurotoxins because of the law. And I cannot choose an electrical appliance that lasts for more than a year. The overall structure encourages people to use toxics. We have to start looking at these harder issues,” she said. “It’s so easy to think it’s an individual’s fault.”

Leonard’s quest to shine some cleansing light on the toxic effects of capitalism started with her short film, The Story of Stuff, which became an Internet sensation with more than 10 million viewings. It showed how our obsession with buying stuff is trashing our planet, communities, and health, thanks to the hidden costs in how we organize our economy.

Her book goes into the details of how these costs come at the expense of millions of people who live and work in dangerous, unhealthy circumstances. Leonard isn’t saying that people shouldn’t be responsible and smart in their individual and household actions. But she is critical of the idea that we can solve the problems caused by “our take-make-waste paradigm” entirely through green living.

“Unfortunately, there are no 10 easy things individuals can do to save the planet,” Leonard said. “We definitely should engage in these actions, as long as we don’t let them lull us into a false sense of accomplishment or let the effort of maintaining this constant, uptight, rigorous green screen on our life exhaust us. And as long as taking these actions doesn’t stand in the way of engaging in the broader political arena for real change.”

Leonard includes a list of “recommended individual actions” in her book, but it’s tucked behind examples of “promising policies, reforms, and laws” and ahead of a sample political letter warning that “PVC is the most hazardous plastic at all stages of its lifecycle.”

What worries Leonard is that the planet is already bumping up against ecological limits. “If we don’t change, we’ll have change forced upon us,” she said. “If change is by design, it’ll be much more compassionate and strategic. If it’s by default, it’ll be a lot uglier, a lot more violent, and a lot less fair.”

Leonard says our planetary problem stems from approaching product purchases as if we were exempt from the ecological system. “If you think as a consumer, you want the best product and the best price. But if you think as a citizen, you want what’s best for your community, your environment.

“We all know how to be good consumers, but our citizen muscle has atrophied,” she added. “That has limited our ability to know how to solve problems. And often environmental victories here become problems elsewhere, like e-waste that gets taken to third world countries.”

Fox News has labeled Leonard anticapitalist, describing her as “Karl Marx with a ponytail.” But Leonard stresses that she is not anti-stuff, just stuff that trashes the planet, poisons people, and that people confuse with personal self-worth.

“I’m pro stuff,” she said. “But I want us to have a reverence for it, to ask, ‘Who made this, and where did it come from?’ Because someone mixed those metals, felled that forest. And I’ve become fascinated by why folks in the U.S. can’t talk about capitalism. It’s the economic system that must not be named. It’s like we’re in an ice cream shop that serves only one flavor and we’re not allowed to look over the counter.”

Access denied

Jesse Hawthorne Ficks

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April 6, 2010

3

rebeccab@sfbg.com

If tuition goes up to $40 per course unit at the community college where Dielly Diaz is working toward her associate of arts degree, she’s not sure she’ll be able to afford it. But Diaz isn’t just worried about her own shot at an education. She also wonders what’s in store for her 19-year-old daughter, a student at Laney Community College in Oakland. For parents scrambling in the face of the economic downturn even as their kids prepare for the future, she said, “it’s like we’re getting hit both ways.”

Diaz, who is 39 and originally from Venezuela, says she decided to enter Berkeley City College’s adult education program to earn her degree because the recession threw her into a precarious position, shaking the stability of her job as a mortgage loan officer. When she started just a year ago, tuition was $20 per course unit. It has since gone up to $26, and now the California Legislative Analyst’s Office is recommending ratcheting it up to $40.

Even as students are being asked to shell out more, California’s community colleges are reeling from the impacts of budget cuts: faculty layoffs, swelling class sizes, fewer available courses, and reductions in student services. For students hoping to transfer to other public institutions in the California State University (CSU) or University of California (UC) systems — or even for those seeking to develop a skill set that can garner a living wage — maneuvering the shredded educational framework can be frustrating. This past year, roughly 250,000 students statewide were denied access to community colleges due to a lack of course availability, according to education advocacy group Against Cuts.

“When you see all that, it’s like OK, I feel like I really need to do something,” Diaz said. “It’s not like we can just sit and wait, letting the cuts happen. I think we can really get organized.”

Between school, work, and being a mom, Diaz started pitching in on community outreach for Against Cuts, a grassroots effort that took shape last fall in the wake of devastating education cutbacks. It was one of hundreds of organizations that collectively launched mass demonstrations decrying funding slashes to education on March 4. The newly energized education movement plans to propel another mass rally to descend on Sacramento in the fall, Diaz noted, in the meantime focusing on awareness-raising efforts like an April 17 teach-in at Berkeley City College.

California’s community colleges are unique among the state’s higher education institutions in that they represent a gateway for nontraditional students to get a foothold for career advancement or a fresh start for people trying to improve their lives. They also offer an affordable option to complete lower-division coursework before transferring, a path that’s starting to become a bottleneck since courses needed to meet transfer requirements have been affected by cuts.

Yet even as fees climb and class sizes balloon, more people are opting to go the community college route, and demand for enrollment is only expected to increase. Some are college-age students whose families have been priced out of other institutions.

“We’re having this flood of people from the CSUs and UCs now trying to do their freshmen and sophomore year with us and then transfer,” notes Berkeley City College faculty member Joan Berezin. Others are individuals who can’t find work in an economic climate marked by 12.5 percent unemployment. “When we get hog-tied and cut and restricted, we close off possibilities to everyone,” Berezin says. “People who’ve just lost their jobs, people whose parents have lost their jobs, they’re all coming to us.”

Of the nearly 3 million students attending community college statewide, women and people of color are in the majority, and 80 percent work while attending school. It’s still a relative bargain for education, but fees are keeping pace with the rising costs of housing, transportation, childcare, and food.

“I have students who are homeless, who are living in their cars,” Berezin notes. “So we can say, oh, $40 a unit, that’s not a big deal. But if you’re taking 12 units and you have no income — and you don’t qualify for financial aid ’cause you don’t have an address … that’s a huge amount of money.”

Financial aid is available, but with narrow eligibility requirements — and even some of that funding may be headed for sacrifice on the budgetary chopping block. Gov. Arnold Schwarzenegger’s budget for the 2010-11 fiscal year proposes suspending new awards for the Competitive Cal Grant Program, for a savings of $45.5 million. About 70 percent of Cal Grant award recipients attend community colleges.

“This award is dispersed according to income and GPA,” explained Theresa Tena, director of fiscal policy at the Community College League of California. “Many of our students have a high GPA and a low income.” Some 22,500 students receiving this financial help would be affected by the proposal — and Tena says more than 150,000 eligible students already compete for the award packages.

Research increasingly shows that students from working-class families are being priced out of college — even community college — and that it’s harder to pay their own way without taking on serious amounts of debt. A California Postsecondary Education Commission (CPEC) report found that in 1975, a community college student would have earned well over the amount needed for a year of school, including housing and other expenses, by working a summer job in retail. Today that same student would only be able to scrape together about two-thirds of the needed amount — and that’s assuming every single penny was saved.

“In the old days, going to community college was a break-even proposition,” notes Adrian Griffin, assistant director of research and policy development for the CPEC. “With stagnating wages at the low end of the job market, it doesn’t work this way anymore.”

The blow to community colleges caused by a loss in state revenue and consequential budget cuts mirrors the damage done to the entire public education system. While the recession has triggered especially hard times, this low point follows a long-term trend of diminishing state funding for education. In 1965, the state general fund provided $15 for every $1 paid in fees by UC or CSU students, according to the CPEC. By 2009–10, that state contribution had declined to $1.40 for every dollar paid in fees. “We’ve gone from a taxpayer-supported system to a semi-privatized system,” Griffin observed.

This point hasn’t been lost on the education advocates at Against Cuts, who are pushing for reform in tax policy as a solution for restoring public education in California. An information packet created by the group highlights a nearly 50 percent decline in the share of corporate income paid in taxes since 1981, even as corporate profits have shot up.

“There is no reason for education to be cut in California, the world’s eighth-largest economy,” Diaz said. “We can’t just continue to accept and accept and accept. Having a population that does not have access to education is dangerous.”

Rep Clock

David Talbot

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April 6, 2010

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Schedules are for Wed/7–Tues/13 except where noted. Director and year are given when available. Double features are marked with a •. All times are p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. "Films by Lukas Lukasik," short films, Fri, 8pm. "Other Cinema:" With the Wind in Our Hair (Sachs, 2010), Sat, 8:30. Co-presented with San Francisco Cinematheque as part of its "States of Belonging" series. "Brunch," live electronics and 4D phantasmagoria by Craig Baldwin and others, Sun, 11-6.

CAFÉ OF THE DEAD 3208 Grand, Oakl; (510) 931-7945. Free. "Independent Filmmakers Screening Nite," Wed, 6:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. "Legendary Composers: Lalo Schifrin:" •The President’s Analyst (Flicker, 1967), Wed, 2:15, 7, and Kelly’s Heroes (Hutton, 1970), Wed, 4:15, 9:05; •Enter the Dragon (Clouse, 1973), Thurs, 7, and Hell in the Pacific (Boorman, 1968), Thurs, 9. "Midnites for Maniacs: In-One-End-And-Out-The-Other Triple Feature:" •The Gate (Takács, 1987), Fri, 7:30; Hackers (Softley, 1995), Fri, 9:30; and Prince of Darkness (Carpenter, 1987), Fri, 11:45. $10 for one or all three films. Sunrise (Murnau, 1927), Sun, 1:30, 4, 7:30. Theater closed Mon-Tues.

CERRITO 10070 San Pablo, El Cerrito; www.rialtocinemas.com. $7. "Cerrito Classics:" Diva (Beineix, 1982), Thurs, 7:15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.50-10. Breath Made Visible (Gerber, 2009), call for dates and times. The Girl With the Dragon Tattoo (Oplev, 2009), call for dates and times. The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (Ehrlich and Goldsmith, 2009), call for dates and times. A Prophet (Audiard, 2009), call for dates and times. Vincere (Bellocchio, 2009), call for dates and times. The Greatest (Feste, 2009), April 9-15, call for times.

HUMANIST HALL 390 27th St, Oakl; www.humanisthall.org. $5. If Only I Were an Indian (Paskievich, 1996), Wed, 7:30.

LUMIERE 1572 California, SF; (415) 267-4893. $8-10.50. 2012: Time for Change (Amorim, 2010), Fri-Sun, 7.

MECHANICS’ INSTITUTE 57 Post, SF; (415) 393-0100, rsvp@milibrary.org. $10. "CinemaLit Film Series: Day and Noir:" Born to Kill (Wise, 1947), Fri, 6.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, www.bampfa.berkeley.edu. $5.50-9.50. "Film 50: The History of Cinema:" Annie Hall (Allen, 1977), Wed, 3. "What’s a Matta U?": Somersault (Shortland, 2004), Wed, 7. "Joseph Losey: Pictures of Provocation:" King and Country (1966), Thurs, 7:30; Boom! (1968), Fri, 9; Mr. Klein (1976), Sat, 8:20. "Celebrating Chekhov:" An Unfinished Piece for Player Piano (Mikhalkov, 1977), Fri, 7; The Lady with the Dog (Heifitz, 1960), Sat, 6:30. "What’s It All Mean: Films by William T. Wiley and Friends:" "Films by Wiley and Robert Nelson," Sun, 3. "Life, Death, and Technicolor: A Tribute to Jack Cardiff:" Pandora and the Flying Dutchman (1951), Sun, 5:15. "Dotted Lines: Women Filmmakers Connect the Past and the Present:" "Stages of Belonging: Films by Lynne Sachs (1994-2009)," Tues, 7:30. Co-presented by the San Francisco Cinematheque.

PIEDMONT 4186 Piedmont, Oakl; (510) 464-5980. $5-8. "Cult Classics Attack 5:" City of Lost Children (Jeunet and Caro, 1995), Fri-Sat, midnight.

PLAYLAND-NOT-AT-THE-BEACH 10979 San Pablo, El Cerrito; (510) 592-3002, www.playland-not-at-the-beach.org. Free with museum admission ($10-15). Playland Remembered! (Wyrsch, 2010), Sat-Sun, every half hour starting at 10:30.

PRESENTATION THEATER USF School of Education Building, 2350 Turk, SF; (415) 422-6525. Free. Speaking in Tongues (Jarmel and Schneider, 2009), Thurs, 7.

RED VIC 1727 Haight, SF; (415) 668-3994. $6-10. My Son, My Son, What Have Ye Done (Herzog, 2009), Wed, 2, 7:15, 9:20. Crazy Heart (Cooper, 2009), Thurs-Sat, 7:15, 9:35 (also Sat, 2, 4:20). The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (Ehrlich and Goldsmith, 2009), Sun-Tues, 7:15, 9:20 (also Sun, 2, 4).

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $5-9.75. Breath Made Visible (Gerber, 2009), Wed-Thurs, 6:45, 8:30. "San Francisco International Women’s Film Festival," Wed, 7, 9:15. "Out in Israel Film Series," Thurs, 7, 9:15. Call for Fri-Tues shows and times.

SAN FRANCISCO CINEMATHEQUE Oddball Film + Video, 3225 22nd St, SF; www.sfcinema.org. $10. "States of Belonging Program II," Sun, 8. With filmmaker Lynne Sachs in person.

SAN FRANCISCO INTERNATIONAL WOMEN’S FILM FESTIVAL Various Bay Area locations; www.sfwff.com. Ticket prices vary. The Women’s Film Institute presents their sixth annual festival of women filmmakers and films. Wed-Sun.

VIZ CINEMA New People, 1746 Post, SF; www.newpeopleworld.com/films. $8-10. Sakuran (Ninagawa, 2007), Wed-Thurs, call for times. Eatrip (Nomura, 2009), April 10-15, call for times.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "The Word and the Image: Films by Marguerite Duras:" Destroy, She Said (1969), Thurs, 7:30. "Independent Inuit Film: The Fast Runner Trilogy:" Before Tomorrow (Cousineau and Ivalu, 2008), Fri, 7:30; Atanarjuat, the Fast Runner (Kunuk, 2001), Sun, 2.

Stage listings

David Talbot

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April 6, 2010

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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com.

THEATER

OPENING

"DIVAfest" Exit Theatre, 156 Eddy; 673-3847, www.theexit.org. Opens April 8, check website for dates and times. Through May 1. The ninth annual festival features plays and performances by women artists.

BAY AREA

Girlfriend Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $27-71. Previews Fri/9-Sat/10 and Tues/13, 8pm; Sun/11, 7pm. Opens April 14, 8pm. Runs Wed, 7pm; Thurs-Sat and Tues, 2pm (also Sat, 2pm); Sun, 2 and 7pm. Through May 9. Berkeley Rep presents a new musical written around Matthew Sweet’s love songs.

A History of Human Stupidity LaVal’s Subterranean Theatre, 1834 Euclid, Berk; (510) 499-0356, www.randt.org. $16-20. Previews Thurs/8, 7:30pm. Opens Fri/9, 8pm. Runs Thurs-Sat, 8pm; Sun, 7pm. Through April 25. Rough and Tumble performs Andy Bayiates’ intellectual vaudeville, an examination of stupidity.

The Lysistrata Project Regent House, 2836 Regent, Berk; www.crowdedfire.org. $10-15. Opens Thurs/8, 8pm. Runs Thurs-Sat, 8pm. Through April 23. Crowded Fire presents Elana McKernan’s Aristophanes-inspired tale as part of its Matchbox Production development program for new works.

To Kill a Mockingbird Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $27-62. Previews Wed/7-Fri/9, 8pm. Opens Sat/10, 8pm. Runs Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through May 9. TheatreWorks performs Christopher Sergel’s adaptation of Harper Lee’s literary masterpiece.

ONGOING

*…And Jesus Moonwalks the Mississippi Cutting Ball Theater, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through April 25. In this inspired poetical-historical counter-narrative from Bay Area playwright Marcus Gardley, Greek mythology, African American folklore, personal family history, and Christian theology are all drawn irresistibly along in a great sweep of wild and incisive humor, passion, pathos and rousing gospel music as buoyant and wide as the Mississippi — or rather Miss Sippi (the impressive Nicole C. Julien), personification of the mighty and flighty river. The Cutting Ball-Playwrights Foundation coproduction, lovingly directed by Amy Mueller, sports exquisite design touches from Cutting Ball regulars like Michael Locher, whose gorgeous plank-wood set serves as the ideal platform for a work both magnificently simple and eloquently evocative. (Avila)

Baby: A Musical Off-Market Theatres, 965 Mission; 1-800-838-3006, www.roltheatre.com. $20-32. Thurs-Sat, 8pm; Sun, 2pm. Through April 18. Ray of Light Theatre performs a comedy about pregnancy.

*Den of Thieves SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40. Tues, 7pm; Wed-Sat, 8pm (also Sat, 3pm). Through April 17. Stephen Adly Guirgis has been good to SF Playhouse. The company already scored big with two of the New Yorker’s gritty, dark and sharply funny plays, Our Lady of 121st Street and Jesus Hopped the ‘A’ Train. Director Susi Damilano continues the streak with SF Playhouse’s latest, the less heavy but very funny Den of Thieves, about an unlikely foursome of inept bandits caught trying to heist a Mafioso’s safe under a discotheque in Queens — a simple tale that gives plenty of scope to Guirgis’s muscular way with dialogue and the clash of characters. It’s a meaty comedy, and the exceptional cast sells the conceit so beautifully they make it a crime to miss. (Avila)

Desperate Affection Royce Gallery, 2901 Mariposa; www.expressionproductions.com. $28. Thurs/8-Sat/10, 8pm. Expression Productions presents a dark comedy by Bruce Graham.

The Diary of Anne Frank Next Stage, 1620 Gough; 1-800-838-3006, www.custommade.org. $10-28. Thurs-Sat, 8pm; Sun, 7pm. Through May 1. Custom Made performs Wendy Kesselman’s modern take on the classic.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed, 8pm. Through April 28. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

An Enemy of the People Eureka Valley Recreation Center Auditorium, 100 Collingwood; http://sffct.wordpress.com. Free. Fri/9-Sat/10, 7:30pm; Sun/11, 3pm. San Francisco Free Civic Theatre performs Henrik Ibsen’s drama.

Frau Bachfeifengesicht’s Spectacle of Perfection Stage Werx Theatre, 533 Sutter; 1-800-838-3006, www.circusfinelli.com. $15-20. Fri-Sun, 8pm. Through April 25. San Francisco’s all-women clown troupe, Circus Finelli, performs their comedy show inspired by European circus acts and American vaudeville.

Lady, Be Good! Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. $8-44. Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm (also Sat/10, 1pm); Sun, 3pm. Through April 18. 42nd Street Moon presents George and Ira Gershwin’s madcap tale of a brother-sister vaudeville team in the 1920s.

*Legs and All Climate Theater, 285 Ninth St; 346-1411. $15-20. Thurs/8-Sat/10, 8pm (also Sat/10, 3pm). After last year’s SF Fringe run and fresh from a roundly lauded New York appearance, San Francisco–based physical comedienne Summer Shapiro brings her cheeky-fresh show back to the Climate Theater. Since last appearing in workshop form at the Climate, a solo piece has bloomed into a pas de deux between Shapiro and Brooklyn-based performer and co-creator Peter Musante (Blue Man Group, New York), becoming a sassy and shrewd physical-comic deconstruction of romance by two hapless, winsome characters — an eat-drink-man-woman-pie sort of thing. The show’s series of short vignettes hits all the right notes in its playful skewering of love’s half-bemused pleasures and general panic. I wept copiously at the precision here, but most people will likely laugh and reach out for their loved ones, or at least warmly squeeze the knee of the patron seated next to them. Deft physical comedy to an eclectic and bouncy soundscape (from Musante and Jeremy Shapiro, and including an original score by local composer-musician Brandi Brandes) substitute quite nicely for the usual he-she dialogue, though there’s a brief, absurdist version of that too. Just shy of an hour in length, psycho-romantic Legs offers a swift all-ages kick in the funny groin. (Avila)

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through April 25. Starting May 8, runs Sat, 5pm and Sun, 2pm at the Marsh Berkeley, 2120 Allston, Berk. Through June 13. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky, and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. (Avila)

Macho Bravado Thick House, 1695 18th St; http://machobravado.eventbee.com. $15-25. Thurs-Sat, 8pm; Sun, 5pm. Through April 24. Asian American Theater Company performs Alex Park’s drama about a Korean-American soldier dealing with life on the home front after fighting in the Middle East.

Othello African American Art and Culture Complex, 762 Fulton; 1-800-838-3006, www.african-americanshakes.org. $20-30. Wed-Thurs, 10am (school matinees); Sat, 8pm; Sun, 3pm. Through April 18. African-American Shakespeare Company closes its 15th season with this adaptation of Shakespeare’s play, set during a modern-day military tribunal in Iraq.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Fri-Sat, 8pm; starting July 10, runs Sat, 8pm and Sun, 7pm. Extended through August 1. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $18-50. Wed-Fri, 8pm (April 16, show at 9pm; starting April 24, no Fri shows except May 28, 8pm); Sat, 5pm; Sun, 3pm. Through May 30. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Scalpel! Brava Theater Center, 2781 24th St; 647-2822, www.brava.org. $20-35. Thurs-Sat and April 14, 8pm; Sun/11, 3pm. Through April 17. Writer-director D’arcy Drollinger’s world premiere is a comedic rock thriller that satirizes the pursuit of plastic-surgery perfection.

Shopping! The Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.brownpapertickets.com. $27-29. Fri-Sat, 8pm. Ongoing. The musical is now in its fifth year at Shelton Theater.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-35. Thurs/8-Sat/10, 8pm. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

Vigil American Conservatory Theater, 415 Geary, SF; 749-2228, www.act-sf.org. $10-82. Tues-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm (also Sun/11, 7pm). Through April 18. Olympia Dukakis and Marco Barricelli star in Morris Panych’s comedy about a self-involved bachelor and his dying aunt.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

*Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-27. Wed/7 and Sun/11, 7pm (also Sun/11, 2pm); Thurs/8-Sat/10, 8pm (also Thurs/8 and Sat/10, 2pm). Using the medium of photography as its unifying thread, Naomi Iizuka’s Strange Devices ties together two moments in time — the 19th century and the present — as a collector of rare Meiji-era photographs (Bruce McKenzie) comes to modern Yokohama to make a buy, eager to believe in the constructed reality their images represent. But as the tantalizing fragments of a mystery of birthright unfold within an elaborate web of forgery, fraud, and blackmail, so does the realization that, even posed, the truth of a photograph lies within the moment of time it captures, even when misinterpreted by the viewer. (Gluckstern)
*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. Fri/9, April 16, 30, and May 7, 9pm; Sat/10, May 1, and May 8, 8pm; April 18 and 25, 2pm. Through May 8. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

Equivocation Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-54. Tues and Thurs-Sat, 8pm (also April 17 and 24, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through April 25. Marin Theatre Company performs Bill Cain’s drama, set behind the scenes during Shakespeare’s time at the Globe Theatre.

John Gabriel Borkman Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $34-55. Opens Thurs/8, 8pm. Runs Tues and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 9. Aurora Theatre Company performs Henrik Ibsen’s pointed indictment of capitalism.

*A Seagull in the Hamptons Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $15-30. Wed, 7pm; Thurs-Sat, 8pm; Sun, 5pm. Through April 25. Emily Mann’s free adaptation of Chekhov’s Seagull captures the essence of his early "comedy" — very much a human comedy, brimming with pain, turmoil and tragedy in equal measure with laughter, love and folly — and yet manages to be completely of its own (our own) time and place, so effortlessly as to seem a little miraculous. It helps, naturally, that director Reid Davis has assembled a very solid and enjoyable ensemble cast for this wonderfully tailored Shotgun Players production. (Avila)

PERFORMANCE/DANCE

"Bijou" Martuni’s, Four Valencia; www.dragatmartunis.com. Sun, 7pm. $5. Cabaret showcase with Alyssa Stone and others.

"Catwalk 2010" Somarts, 934 Brannan; www.brownpapertickets.com. Sat, 7pm. $35. Tita Aida hosts this search for the next transgender supermodel.

Mario Cantone Castro, 429 Castro; 392-4400, www.cityboxoffice.com. Sat, 8pm, $27.50-49.50. The Broadway and Sex in the City star performs.

"The Dance Hour" CounterPULSE, 1310 Mission; www.brownpapertickets.com. Thurs-Sat, 8pm, $20. Stephen Pelton Dance Theater performs new works and audience favorites.

"A Funny Night for Comedy" Actors Theatre of San Francisco, 855 Bush; www.brownpapertickets.com. Sun, 7pm. $10. Marga Gomez headlines, with Morgan, Ronn Vigh, Tom Smith, and Katie Compa.

"Gotta Dance" Novellus Theatre, Yerba Buena Center for the Arts, 700 Howard; (510) 526-8474. Sat, 8pm; Sun, 2pm. $12-20. Gil Chun presents this eclectic program of tap, hula, jazz, and ethnic dances.

"Hysteresis" Dance Mission Theater, 3316 24th St; 287-0192, www.double-vision.biz. Fri-Sun, 8pm, $15. Double Vision presents this evening-length dance work with choreography by Pauline Jennings.

"Kung Pao Kosher Comedy presents Comedy Returns to El Rio!" El Rio, 3158 Mission; www.brownpapertickets.com. Mon, 8pm. $7-20. Lisa Geduldig presents and performs at this comedy show, also featuring Maureen Langan, Dhaya Lakshminarayanan, Bob McIntyre, and Erin Souza.

"ODC Theater presents SCUBA" ODC Dance Commons Studio B, 351 Shotwell; 863-9834, www.odctheater.org. Sat-Sun, 8pm. $18. This dance series includes new work by Megan Mazarick, Locust, and the Foundry.

"Previously Secret Information" StageWerx Theatre, 533 Sutter; www.brownpapertickets.com. Wed/7, 8pm; May 16 and June 13, 7pm. $10. Joe Klocek hosts this storytelling series.

Slomski Brothers with Red Hots Burlesque El Rio, 3158 Mission; www.elriosf.com. Fri, 7:30pm. $5-10. Vaudeville and burlesque performers.

"Snob Theater" Dark Room, 2263 Mission; www.darkroomsf.com. Thurs, 8pm, $10. Music and comedy with Mary Van Note, Natasha Muse, Emily Heller, and more.

"Three Stories" Mission Dolores School Auditorium, 3320 16th St; sixteenthstreetplayers@yahoo.com. Fri, 7:30; Sat-Sun, 3pm. Through April 18. Free. 16th Street Players perform one-act plays by Anton Chekhov, Susan Glaspell, and Jean Giraudous.

"Ungrateful Daughter: One Black Girl’s Story of Being Adoped Into a White Family … That Aren’t Celebrities" StageWerx Theatre, 533 Sutter; www.brownpapertickets.com. Thurs/8 and April 22, 8pm. $15-25. Lisa Marie Rollins performs her solo show.

Film listings

David Talbot

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April 6, 2010

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Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Johnny Ray Huston, Erik Morse, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. The film intern is Peter Galvin. For rep house showtimes, see Rep Clock. For first-run showtimes, see Movie Guide.

OPENING

After.Life Christina Ricci plays a girl who may or may not have died in a car accident; Liam Neeson plays a creepy funeral director who may or may not know the truth. (runtime not available)

Date Night Don’t you kinda wish Steve Carell and Tina Fey were married IRL? (1:27) Presidio.

The Greatest Pierce Brosnan and Susan Sarandon play a couple dealing with the death of their oldest son — and the sudden appearance of a girl (Carey Mulligan) claiming to be pregnant with their grandson. (1:36) Embarcadero, Shattuck, Smith Rafael.

2012: Time for Change Author and outspoken advocate of using psychedelics to commune with spirits, Daniel Pinchbeck hosts this flimsy documentary about his search for a means to end contemporary culture’s addiction to consumerism and apathy. It has little to do with the prophetic year of the title. Instead, Pinchbeck’s thesis is that the year should represent a turning point in a society that is shirking its responsibility for its abuse of the earth and its people. I think we can all agree that contemporary culture is a tad self-indulgent, but Pinchbeck devalues his argument by spending an enormous amount of film time hyping psychedelic experiences and yoga as the answer to these issues. Lacking on-screen charisma himself, Pinchbeck turns to celebrity star power to punch things up. Notable are a sit-down with Sting who recounts an ayahuasca experience, David Lynch explaining transcendental meditation, and a talk with Ellen Page on the value of "shoveling goat shit." The film is so rambling and unfocused that by its end I wasn’t sold on any of its points. I knew 2012 just wouldn’t be the same without John Cusack. (1:25) Lumiere. (Galvin)

The Warlords No doubt following the lead of John Woo’s Red Cliff (2008), this three-year-old Chinese epic is not quite as epic, but definitely worth a watch. It’s set during the Taiping Rebellion of the 1860s; Jet Li is joined by Andy Lau and Takeshi Kaneshiro as he leads a force of Qing rebels. The intricacies of Chinese history are initially daunting, but thankfully the film’s true themes of brotherhood and betrayal are pretty universal. Though director Peter Chan is not known for his action films, The Warlords‘ battlefield sequences are plenty fun. Unfortunately, the non-combat stuff — i.e., anytime Chan appears interested in playing up the emotional drama between his three leads — are the least developed aspects of the film. It’s possible that certain sequences were more fleshed out in the film’s original cut (the "international" version is shortened by 15 minutes) but by skimping on important character moments, The Warlords feels incredibly lopsided. (1:50) Lumiere, Shattuck. (Galvin)

When You’re Strange Johnny Depp narrates Tom DiCillo’s Doors documentary. (1:30)

ONGOING

Ajami You may recognize the title of Yaron Shoni and Scandar Copti’s debut collaboration as one of five films nominated for a 2010 Academy Award in the Foreign Category. Though it didn’t bring home the grand prize, Ajami remains a complex and affecting story about desperation and its consequences in a religiously-mixed town in Israel. As we follow the lives of four of Ajami’s residents the narrative shifts perspective almost maddeningly, switching characters seemingly at the height of each story’s action. But once all of the stories fully intersect, the final product has the distinction of feeling both meticulously calculated and completely natural. I was most impressed to learn that Shani and Copti prepared their actors with improvised role-playing rather than scripts. By withholding what was going to happen in a scene before shooting, we are treated to looks of surprise and emotion on actor’s faces that never feel unnatural. Attaining such a level of realism may be Ajami‘s crowning achievement; it can’t have been easy to make a foreign world feel so familiar. (2:00) Elmwood. (Galvin)

Alice in Wonderland Tim Burton’s take on the classic children’s tale met my mediocre expectations exactly, given its months of pre-release hype (in the film world, fashion magazines, and even Sephora, for the love of brightly-colored eyeshadows). Most folks over a certain age will already know the story, and much of the dialogue, before the lights go down and the 3-D glasses go on; it’s up to Burton and his all-star cast (including numerous big-name actors providing voices for animated characters) to make the tale seem newly enthralling. The visuals are nearly as striking as the CG, with Helena Bonham Carter’s big-headed Red Queen a particularly marvelous human-computer creation. But Wonderland suffers from the style-over-substance dilemma that’s plagued Burton before; all that spooky-pretty whimsy can’t disguise the film’s fairly tepid script. Teenage Alice (Mia Wasikowska) displaying girl-power tendencies is a nice, if not surprising, touch, but Johnny Depp’s grating take on the Mad Hatter will please only those who were able to stomach his interpretation of Willy Wonka. (1:48) Cerrito, 1000 Van Ness, SF Center, Sundance Kabuki. (Eddy)

*Breath Made Visible Ruedi Gerber’s documentary throws a sympathetic and fascinating light on the work of dance pioneer Anna Halprin. Weaving on-camera interviews with former collaborators, family members, and Halprin herself into excerpts from current and past work suggests decades and decades thoughtfully lived by an artist who had the guts to be herself. Again and again the camera returns to the now legendary The Deck, which husband and landscape architect Lawrence Halprin built so she could do her work while their children were growing. One of this film’s loveliest aspects is to see the deck changing just as Halprin does. Wisconsin-raised and East Coast-oriented, her moving to the California of the 1940s had isolated her from mainstream dance influences. But it also had opened vistas — to nature and through nature into herself — that she might not have able to achieve otherwise. The film may be conventionally structured but what emerges is a portrait of an anything but conventional woman, artist and thinker. (1:20) Elmwood, Roxie, Smith Rafael. (Rita Felciano)

The Bounty Hunter There’s a real feeling of impotence in reviewing a movie whose ad was pasted on the side of the bus you took to the screening. This thing is determined to be seen, and that’s a true shame. Those who heed the call of the ubiquitous marketing campaign will have to sit through a dull parade of contrivances concerning a bounty hunter (Gerard Butler) whose latest catch is his court-skipping ex-wife (Jennifer Aniston). She’s a hotshot city journalist who’s forced to continue her investigation of a police cover-up while handcuffed to a car door and bickering with her old flame. The trajectory of the plot is obvious enough, but there’s so little chemistry between the two actors that the inevitable reconciliation practically constitutes a twist ending. Aniston saw fit not to whine her way through this role, which is something, but nothing nearly as complimentary can be said about Butler. He emotes in lurches, with the presence of a guy who’s not sure acting is the right direction for his life but still really wants to give it a go. If "This. Is. Sparta!" weren’t burned into my brain I would swear the man had never been in front of a camera before. (1:50) 1000 Van Ness, SF Center. (Jason Shamai)

Chloe The theme of undependable narrative surfaces in Atom Egoyan’s newest film, Chloe (a remake of French director Anne Fontaine’s 2003 Nathalie), but here the artifice — of the premise itself — is so hard to move past as to feel at times like a barrier, rather than a passageway into the interior of a handful of lives. We do see interiors, in the beautiful, chilly household of Catherine (Julianne Moore), a Toronto doctor who suspects that her professor husband, David (Liam Neeson), may be cheating on her. And one of the more haunting images in the film is the painful sight of Catherine drifting through their home at night, barred from the rooms where her husband and teenage son (Max Thieriot) carry on their private, unknowable lives.

Why this unbearable situation would lead her to contact Chloe (Amanda Seyfried), a beautiful young call girl she just met, and hire her to engineer an interaction with David to test his fidelity, is not quite clear. Nonetheless, one masochistic transaction leads to another, and in a series of lavish and exquisite settings, we, along with Catherine, are treated to the erotic details of Chloe’s encounters with David, which begin to charge the connection between the two women as well. Moore’s work is as fine as ever, but Egoyan has settled for something here: trying to beguile and seduce us. And in the end, this is more disturbing, and surprising, than the rather sharp turn Chloe makes into the landscape of the erotic thriller, where it takes the shape of an unbelievable story we’ve been told many times before. (1:36) Elmwood, Four Star, Presidio, SF Center, Sundance Kabuki. (Rapoport)

*City Island The Rizzo family of City Island, N.Y. — a tiny atoll associated historically with fishing and jurisdictionally with the Bronx — have reached a state where their primary interactions consist of sniping, yelling, and storming out of rooms. These storm clouds operate as cover for the secrets they’re all busy keeping from one another. Correctional officer Vince (Andy Garcia) pretends he’s got frequent poker nights so he can skulk off to his true shameful indulgence: a Manhattan acting class. Perpetually fuming spouse Joyce (Julianna Margulies) assumes he’s having an affair. Daughter Vivian (Dominik García-Lorido) has dropped out of school to work at a strip joint, while the world class-sarcasms of teenager Vinnie (Ezra Miller) deflect attention from his own hidden life as an aspiring chubby chaser. All this (plus everyone’s sneaky cigarette habit) is nothing, however, compared to Vince’s really big secret: he conceived and abandoned a "love child" before marrying, and said guilty issue has just turned up as a 24-year-old car thief on his cell block. Writer-director Raymond De Felitta made a couple other features in the last 15 years, none widely seen; if this latest is typical, we need more of him, more often. Perfectly cast, City Island is farcical without being cartoonish, howl-inducing without lowering your brain-cell count. It’s arguably a better, less self-conscious slice of dysfunctional family absurdism than Little Miss Sunshine (2006) — complete with an Alan Arkin more inspired in his one big scene here than in all of that film’s Oscar-winning performance. (1:40) Embarcadero, Shattuck. (Harvey)

Clash of the Titans The minds behind Clash of the Titans decided their movie should be 3D at the last possible moment before release. Consequently, the 3D is pretty janky. I don’t know what the rest of the film’s excuse is. Clash of the Titans retreads the 1981 cult classic with reasonable faithfulness, though Ray Harryhausen’s stop-motion effects have been (of course) replaced with CG renderings of all the expected monsters, magic, gods, etc. Liam Neeson and Ralph Fiennes — as other reviews have pointed out: Schindler’s List (1993) reunion! — glow and glower as Zeus and Hades, while Sam Worthington (2009’s Avatar) once again fills the role of bland hero, this time as a snooze-worthy Perseus. You might have fun in the moment with Clash of the Titans, but it’s hardly memorable, and certainly nowhere near epic. (1:58) Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Eddy)

Crazy Heart "Oh, I love Jeff Bridges!" is the usual response when his name comes up every few years for Best Actor consideration, usually via some underdog movie no one saw, and the realization occurs that he’s never won an Oscar. The oversight is painful because it could be argued that no leading American actor has been more versatile, consistently good, and true to that elusive concept "artistic integrity" than Bridges over the last 40 years. It’s rumored Crazy Heart was slotted for cable or DVD premiere, then thrust into late-year theater release in hopes of attracting Best Actor momentum within a crowded field. Lucky for us, this performance shouldn’t be overlooked. Bridges plays "Bad" Blake, a veteran country star reduced to playing bars with local pickup bands. His slide from grace hasn’t been helped by lingering tastes for smoke and drink, let alone five defunct marriages. He meets Jean (Maggie Gyllenhaal), freelance journalist, fan, and single mother. They spark; though burnt by prior relationships, she’s reluctant to take seriously a famous drunk twice her age. Can Bad handle even this much responsibility? Meanwhile, he gets his "comeback" break in the semi-humiliating form of opening for Tommy Sweet (Colin Farrell) — a contemporary country superstar who was once Bad’s backup boy. Tommy offers a belated shot at commercial redemption; Jean offers redemption of the strictly personal kind. There’s nothing too surprising about the ways in which Crazy Heart both follows and finesses formula. You’ve seen this preordained road from wreckage to redemption before. But actor turned first-time director Scott Cooper’s screenplay honors the flies in the windshield inherited from Thomas Cobb’s novel — as does Bridges, needless to say. (1:51) Opera Plaza, Red Vic, Shattuck, Sundance Kabuki. (Harvey)

Diary of a Wimpy Kid Spoiler alert: nothing happens in Diary of a Wimpy Kid. That was OK when it was just a book—author Jeff Kinney’s illustrated novel works due in large part to his whimsical drawings and tongue-in-cheek humor. It’s a kids’ book, but it’s fun for adults, too. The same can’t be said for the film adaptation: Diary of a Wimpy Kid sticks close to its source material without the creativity necessary to make it work on the big screen. As in the book, Greg Heffley (Zachary Gordon) navigates the treacherous terrain of middle school, struggling to cope with an awkward best friend, a brutal older brother, and parents who just don’t understand. All the actors turn in solid performances — Gordon is a particularly good find. But there’s so little here to work with. The best that can be said about Diary of a Wimpy Kid is that it’s cute and mostly harmless: a pleasant diversion for young’uns, and a tolerable bore for the parents they drag along. (2:00) 1000 Van Ness. (Peitzman)

*The Ghost Writer Roman Polanski’s never-ending legal woes have inspired endless debates on the interwebs and elsewhere; they also can’t help but add subtext to the 76-year-old’s new film, which is chock full o’ anti-American vibes anyway. It’s also a pretty nifty political thriller about a disgraced former British Prime Minister (Pierce Brosnan) who’s hanging out in his Martha’s Vineyard mansion with his whip-smart, bitter wife (Olivia Williams) and Joan Holloway-as-ice-queen assistant (Kim Cattrall), plus an eager young biographer (Ewan McGregor) recently hired to ghost-write his memoirs. But as the writer quickly discovers, the politician’s past contains the kinds of secrets that cause strange cars with tinted windows to appear in one’s rearview mirror when driving along deserted country roads. Polanski’s long been an expert when it comes to escalating tension onscreen; he’s also so good at adding offbeat moments that only seem tossed-off (as when the PM’s groundskeeper attempts to rake leaves amid relentless sea breezes) and making the utmost of his top-notch actors (Tom Wilkinson and Eli Wallach have small, memorable roles). Though I found The Ghost Writer‘s ZOMG! third-act revelation to be a bit corny, I still didn’t think it detracted from the finely crafted film that led up to it. (1:49) California, Cerrito, Embarcadero, Piedmont, Presidio, Sundance Kabuki. (Eddy)

The Girl on the Train André Téchiné’s beautifully photographed, ripped-from-the-headlines film explores the events that led a young Parisian girl to lie about being the victim of an anti-semitic attack. Téchiné’s dramatization fails as an account of the incident, but the film manages to evoke a powerfully mysterious tone due largely to two stellar performances, by Émilie Dequenne as the 20-something Jeanne and Catherine Deneuve as her persistent mother. Much of the running time follows Jeanne’s experiences before the fabrication, as she falls for (and moves in with) a young wrestler named Franck, before a tragic event causes Jeanne to invent the famous lie. An arty exploration into the psychology of victimization that happens to be anchored by a real-life event, The Girl on the Train may disappoint those looking for easy answers but is undeniable as a showcase for some outstanding acting. (1:42) Elmwood, Four Star. (Galvin)

*The Girl With the Dragon Tattoo By the time the first of Stieg Larsson’s so-called "Millennium" books had been published anywhere, the series already had an unhappy ending: he died (in 2004). The following year, The Girl With the Dragon Tattoo became a Swedish, then eventually international sensation, its sequels following suit. The books are addicting, to say the least; despite their essential crime-mystery-thriller nature, they don’t require putting your ear for writing of some literary value on sleep mode. Now the first of three adaptive features shot back-to-back has reached U.S. screens. (Sorry to say, yes, a Hollywood remake is already in the works — but let’s hope that’s years away.) Even at two-and-a-half hours, this Girl With the Dragon Tattoo by necessity must do some major truncating to pack in the essentials of a very long, very plotty novel. Still, all but the nitpickingest fans will be fairly satisfied, while virgins will have the benefit of not knowing what’s going to happen and getting scared accordingly. Soon facing jail after losing a libel suit brought against him by a shady corporate tycoon, leftie journalist Mikael Blomkvist (Michael Nyqvist) gets a curious private offer to probe the disappearance 40 years earlier of a teenage girl. This entangles him with an eccentric wealthy family and their many closet skeletons (including Nazi sympathies) — as well as dragon-tattooed Lisbeth Salander (Noomi Rapace), androgynous loner, 24-year-old court ward, investigative researcher, and skillful hacker. Director Niels Arden Oplev and his scenarists do a workmanlike job — one more organizational than interpretive, a faithful transcription without much style or personality all its own. Nonetheless, Larsson’s narrative engine kicks in early and hauls you right along to the depot. (2:32) Albany, Embarcadero, Piedmont, Smith Rafael. (Harvey)

Green Zone Titled for the heavily-guarded headquarters of international occupation in Baghdad, Green Zone reunites director Paul "Shaky-Cam" Greengrass with star Matt Damon, the two having previously collaborated on the last two Bourne films. Instead of a super-soldier, this time around Damon just plays a supremely insubordinate one as he attempts to uncover the reason why his military unit can’t find any of Saddam’s WMDs. With the aid of the CIA, a Wall Street Journal reporter and a friendly Iraqi, Damon goes rogue in order to suss out the source of the misinformation. The Iraq War action is decent if scarce, but an overindulgence in (you guessed it) shaky-cam and political jargon cannot hide the fact that Green Zone‘s plot is simplistic and probably light on actual facts. Damon makes a fine cowboy-cum-hero, but the effectiveness of the mix of patriotism and Pentagon paranoia will vary based on your penchant for such things. Still, Green Zone moves fast enough that it remains worth a matinee for conspiracy thriller aficionados. (1:55) 1000 Van Ness. (Galvin)

Greenberg Roger Greenberg (Ben Stiller) is 40, and you might think he’s going through a midlife crisis — if he hadn’t been in pretty much this same crisis for 15 years or more. Still very edgy and fragile after a nervous breakdown-sparked institutional stay, he’s holing up at the comfortable Hollywood home of a big-deal brother while the latter and family are on vacation in Vietnam. (The implication being that Roger is most welcome here when no one else actually has to endure his prickly, high maintenance company.) While in residence he reconnects with old friends including the ex-girlfriend (Jennifer Jason Leigh) he dumped yet never quite got over — though clearly she did — and the ex-bandmate (Rhys Ifans) he burned by wrecking their one shot at a major-label deal. He also gets involved, kinda-sorta, with big bro’s personal assistant Florence (mumblecore regular Greta Gerwig), whose passivity and low self-esteem make her the rare person who might consider a relationship with someone this impossible. Like all Noah Baumbach films, especially the slightly overrated Squid and the Whale (2005) and vastly underrated Margot at the Wedding (2007), his latest pivots around a pathologically self-absorbed and insensitive protagonist who exasperates anyone unlucky or blind enough to fall into his or her orbit. Working from a story co-conceived by spouse Leigh, Baumbach’s script sports his usual sharp dialogue, penetrating individual scenes, and narrative surprises. But it also gets stuck in dislikable Roger’s rut, finding conflict easily but stubbornly resisting even the smallest useful change. For all its amusing and uncomfortable moments, Greenberg emerges a dual character slice with no real point. Neither Roger or Beth reward long scrutiny (least of all as a hapless potential couple), while the few screen minutes Ifans and Leigh get make you wish their roles had hijacked the focus instead. (1:40) Empire, Piedmont, Shattuck, SF Center, Sundance Kabuki. (Harvey)

*Hot Tub Time Machine How can you hate a movie called Hot Tub Time Machine? Even those who pooh-pooh poop jokes have to admire a movie so unapologetically upfront about its ludicrous storyline. A group of friends who’ve drifted apart (Rob Corddry plays the maybe-suicidal asshole; Craig Robinson, the emasculated never-did-nothing; John Cusack, the recently-dumped workaholic) reunite for a ski weekend at the resort that hosted the most debaucherous party of their youth. Along for the ride, which soon includes a trip back to 1986 courtesy of you-know-which device, is Cusack’s character’s internet-obsessed nephew (Clark Duke), whose terror over leaving the plugged-in 21st century is soon superceded by his realization that any disruption of the past will likely erase his very existence. Hot Tub Time Machine‘s 80s nostalgia (Chevy Chase cameo!) enfolds an homage to the Back to the Future films (Crispin Glover cameo!), as well as Cusack’s early career (see: immortal 1985 ski-slope classic Better Off Dead), but it’s very much a movie of our times. See it now while the Twitter and Tiger jokes are still timely, and before the next R-rated comedy comes along to up the ante on dick jokes. (1:55) California, Marina, 1000 Van Ness. (Eddy)

How to Train Your Dragon (1:38) Empire, Marina, 1000 Van Ness.

The Hurt Locker When the leader of a close-knit U.S. Army Explosive Ordnance Disposal squad is killed in action, his subordinates have barely recovered from the shock when they’re introduced to his replacement. In contrast to his predecessor, Sgt. James (Jeremy Renner) is no standard-procedure-following team player, but a cocky adrenaline junkie who puts himself and others at risk making gonzo gut-instinct decisions in the face of live bombs and insurgent gunfire. This is particularly galling to next-in-command Sanborn (Anthony Mackie). An apolitical war-in-Iraq movie that’s won considerable praise for accuracy so far from vets (scenarist Mark Boal was "embedded" with an EOD unit there for several 2004 weeks), Kathryn Bigelow’s film is arguably you-are-there purist to a fault. While we eventually get to know in the principals, The Hurt Locker is so dominated by its seven lengthy squad-mission setpieces that there’s almost no time or attention left for building character development or a narrative arc. The result is often viscerally intense, yet less impactful than it would have been if we were more emotionally invested. Assured as her technique remains, don’t expect familiar stylistic dazzle from action cult figure Bigelow (1987’s Near Dark, 1989’s Blue Steel, 1991’s Point Break) — this vidcam-era war movie very much hews to the favored current genre approach of pseudo-documentary grainy handheld shaky-cam imagery. (2:11) Opera Plaza. (Harvey)

The Last Song Had a hunch that Miley Cyrus’ poor posture at the Oscars couldn’t be chalked up to a too-tight strapless — or worry about a red-carpet wardrobe malfunction? Who knew Cyrus was nursing a method hangover from The Last Song, in which she plays Ronnie Miller, a rebellious piano prodigy acting out against her parents and in particular her music teacher father Steve (Greg Kinnear). Cyrus’ physical contribution to the role is to slouch, sneer, and pout like a pug dog with scoliosis, making her the weakest link, performance-wise, in this latest weeper by America’s favorite sentimentalist, novelist Nicholas Sparks (Dear John, 2004’s The Notebook). Everything here depends on Ronnie’s transformation from sullen teen stuck in a small Southern coastal town for the summer with pops and an adorable younger brother Jonah (Bobby Coleman) — she’s determined to undermine her own talents (though the George Winston-like compositions don’t make you fearful for the loss to music at large) — to a happy and responsible young adult primed to do the right thing (too-good-to-be-true suitor Will, played by Liam Hemsworth, helps her learn to trust). All of which isn’t to say that Cyrus isn’t pretty to look at or without charm (although Coleman steals scenes from her left and right) nor is it her fault that director Julie Anne Robinson succumbs to a Touched by an Angel moment as CGI-generated sun beams pour through a stained-glass window, a mawkish moment that actually elicited giggles from the otherwise smitten crowd of true believers all around me. (1:47) Sundance Kabuki. (Chun)

*The Last Station Most of the buzz around The Last Station has focused on Helen Mirren, who takes the lead as the Countess Sofya, wife of Leo Tolstoy (Christopher Plummer). Mirren is indeed impressive — when is she not? — but there’s more to the film than Sofya’s Oscar-worthy outbursts. The Last Station follows Valentin Bulgakov (James McAvoy), hired as Tolstoy’s personal secretary at the end of the writer’s life. Valentin struggles to reconcile his faith in the anarchist Christian Tolstoyan movement with his sympathy for Sofya and his budding feelings for fellow Tolstoyan Masha (Kerry Condon). For the first hour, The Last Station is charming and very funny. Once Tolstoy and Sofya’s relationship reaches its most volatile, however, the tone shifts toward the serious — a trend that continues as Tolstoy falls ill. After all the lighthearted levity, it’s a bit jarring, but the solid script and accomplished cast pull The Last Station together. Paul Giamatti is especially good as Vladimir Chertkov, who battles against Sofya for control of Tolstoy’s will. You’ll never feel guiltier for putting off War and Peace. (1:52) Shattuck. (Peitzman)

*The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers For many, Daniel Ellsberg is a hero — a savior of American First Amendment rights and one of the most outspoken opponents of the Vietnam war. But as this documentary (recently nominated for an Academy Award) shows, it’s never an an easy decision to take on the U.S. government. Ellsberg himself narrates the film and details his sleepless nights leading up to the leak of the Pentagon Papers — the top secret government study on the Vietnam war — to the public. Though there are few new developments in understanding the particulars of the war or the impact the release of the Papers had on ending the conflict, the film allows audiences to experience the famous case from Ellsberg’s point of view, adding a fresh and poignantly human element to the events; it’s a political documentary that plays more like a character drama. Whether you were there when it happened or new to the story, there is something to be appreciated from this tale of a man who fell out of love with his country and decided to do something about it. (1:34) Red Vic, Shattuck, Smith Rafael. (Galvin)

*Mother You can guarantee that a movie titled Mother is not gonna be a love fest, ever. And through the lens of The Host (2006) director-writer Bong Joon-ho, motherly love becomes downright monstrous — though altogether human. Much credit goes to the wonderful lead actress Kim Hye-ja as the titular materfamilias, who’s frantically self-sacrificing, insanely tenacious, quaintly charming, wolfishly fearsome, and wildly guilt-ridden, by turns. On the surface, she’s a sweetly innocuous herbalist and closet acupuncturist — happily, and a wee bit too tightly, tethered to her beloved son Yoon Do-joon (Won Bin). He’s a slow-witted, forgetful, and easily confused mop-top who flies into deadly rages when taunted or called a "’tard." When Do-joon is quickly arrested and charged with the murder of schoolgirl Moon Ah-jung (Mun-hee Na), Mom snaps into action with a panic-stricken, primal ferocity and goes in search of the killer to free her boy. But there’s more to Do-joon, his studly pal Jin-tae (Ku Jin), and Moon Ah-jung than meets the eye, and Mother discovers just how much she’s defined, and twisted, herself in relation to her son. Bong gives this potentially flat and cliched noirish material genuine lyricism, embedding his anti-heroine in a rural South Korean landscape like a penitent wandering in an existential desert, gently echoing filmmakers such as Ingmar Bergman and Abbas Kiarostami and beautifully transcending genre. (2:09) Bridge, Shattuck. (Chun)

Our Family Wedding America Ferrera and Lance Gross play a couple of lovebirds who must jump through some serious family hoops before they get married in the mostly serviceable Our Family Wedding. What begins as a dual Guess Who’s Coming to Dinner, with the differences in each family’s traditions forcing complications and compromises, soon loses sight of its matrimonial plot as the focus steers towards a childish rivalry between the fathers. While it’s being marketed as a goofy comedy, the final product seeks a relatively sentimental tone, which makes the few slapstick moments — like a goat trying to rape Academy Award-winning actor Forest Whitaker — seem pretty inappropriate. Still, for some audiences the well-tread plot will act as comfort food: they fight, they make up, and it all ends in a big wedding where we watch the characters dance for damn near ten minutes. (1:41) Four Star. (Galvin)

*A Prophet Filmmaker Jacques Audiard has described his new film, A Prophet, as "the anti-Scarface." Yet much like Scarface (1983), A Prophet bottles the heady euphoria that chases the empowerment of the powerless and the rise of the long-shot loner on the margins. In its almost-Dickensian attention to detail, devotion to its own narrative complexity, and passion for cinematic poetry, A Prophet rises above the ordinary and, through the prism of genre, finds its own power. The supremely opportunistic, pragmatically Machiavellian intellectual and spiritual education of a felon is the chief concern of here. Played by Tahar Rahim with guileless, open-faced charisma, Malik is half-Arab and half-Corsican — and distrusted or despised by both camps in the pen. When he lands in jail for his six-year sentence, he’s 19, illiterate, friendless, and vulnerable. His deal with the devil — and means of survival — arrives with Reyeb (Hichem Yacoubi), temporarily locked up before his testifies against the mob. Corsican boss Cesar Luciani (Niels Arestrup) wants him dead, and Malik is tagged to penetrate Reyeb’s cell with a blade hidden in mouth. After Malik’s gory rebirth, it turns out that the teenager’s a seer in more ways than one. From his low-dog position, he can eyeball the connections linking the drugs entering the prison to those circulating outside, as well as the machinations intertwining the Arab and Corsican syndicates. It’s no shock that when Cesar finds his power eroding and arranges prison leaves for his multilingual crossover star that Malik serves not only his Corsican master, but also his own interests, and begins to build a drug empire rivaling his teacher’s. Throughout his pupil’s progress, Audiard demonstrates a way with Henri Cartier-Bresson’s decisive moment, and when Malik finally breaks with his Falstaffian patriarch, it makes your heart skip a beat in a move akin to the title of the director’s last film. This Eurozone/Obama-age prophet is all about the profit — but he’s imbued with grace, even while gaming for ill-gotten gain. (2:29) Lumiere, Shattuck, Smith Rafael. (Chun)

The Runaways In Floria Sigismondi’s tale of the rise and fall of a 1970s all-girl band, LA producer Kim Fowley (Michael Shannon) proclaims that the Runaways are going to save rock and roll. It’s hard to gauge the sincerity of this pronouncement, but you can certainly hear, in songs like "Cherry Bomb" and "Queens of Noise," how the band must have brightened a landscape overrun by kings of prog rock. Unfortunately, a handful of teenagers micromanaged by a sleazy, abusive nutcase proved not quite up to the task, though the band did launch the careers of metal guitarist Lita Ford (Scout Taylor-Compton) and, more famously, Joan Jett (Kristen Stewart). Sigismondi’s film entertainingly sketches the Runaways’ beginnings in glam rock fandom and gradual attainment of their own rabid fan base. We get Currie lip-synching Bowie to catcalls at the high school assembly, Jett composing "Cherry Bomb" with Fowley, glamtastic hair-and-wardrobe eye candy, pills-and-Stooges-fueled intra-band fooling around, and five teenage girls sent off sans chaperone on an international tour with substantial quantities of hard drugs in their carry-on luggage. What follows is less pretty: a capsule version of the band’s disintegration after the departure of bottoming-out 16-year-old lead singer Cherie Currie (Dakota Fanning). In a film darkened by Currie’s trajectory, Jett’s subsequent success is a feel-good coda, but it’s awkwardly attached and emblematizes one of The Runaways‘ main problems. When the band begins to fall apart, the film doesn’t know which way to turn and ends up telling no one’s story well. (1:42) 1000 Van Ness, SF Center. (Rapoport)

Sakuran Oh the pretty colors! Elaborate headpieces, brightly colored floors and walls, and the silky smoke of the opium pipe steal every scene of this Japanese film about a rebellious girl sold into courtesanship. Anna Tsuchiya brings that same punk-rock attitude that made her such a treat to watch in Kamikaze Girls (2004) to the role of Kiyoha, a young courtesan whose defiant attitude diverts the spotlight from the head orian and sets her whole Edo-era pleasure-house abuzz. Based on a manga series, the story itself feels a little light and cliché if you’ve seen any films set in this period, but Tsuchiya has created a distinct character in Kiyoha who happily feels out of place in 1700s Japan. As captivating as she is, there’s no denying that the costume and set-design are the true stars of Sakuran. (1:41) Viz Cinema (www.newpeopleworld.com). (Galvin)

Secret of Kells The preceding year was such great one for feature animation that the 2010 Oscar category could have been credibly filled twice over. Four nominees were predictable major U.S. studio productions — but the fifth was neither another such, nor one of several terrific if slightly off-the-beaten-path titles like Ponyo, A Town Called Panic, or Sita Sings the Blues. Instead, it was this hitherto barely-seen European co-production vaguely inspired by Irish history and mythology. Orphaned Brendan, raised by stern uncle Cellach (voice of Brendan Gleeson) in a medieval monastery, is intrigued by the vast forest outside its walls (where he’s forbidden to roam) and by a visiting master illuminator’s work on a "magical" book. Though overall this first feature by co-directors Tomm Moore and Nora Twomey might look best on the small screen — its line-drawing character designs are as simple as those in a 60s "Fractured Fairy Tale" — it’s been justifiably praised for some bold color and minimalist design elements. However, Kells is so preoccupied with those abstract backgrounds (which will likely confuse children by bearing little resemblance to the intended locations) that there’s no attention paid toward basic story clarity and involvement. Villains supernatural ("The Dark One") and mortal (Viking invaders) are virtually interchangeable; after 75 minutes you might realize you still have no idea just what the book is, or why it’s so important. Though clearly targeted as an audience, kids are likely to grow bored fast, and so might you. (1:15) Embarcadero, Shattuck. (Harvey)

She’s Out of My League From the co-writers of the abysmal Sex Drive (2008), She’s Out of My League could be another 90-minute assemblage of gross-out humor, dick jokes, and unabashed homophobia. As it turns out, the latest offering from Sean Anders and John Morris is legitimately funny — far better than the trailer (and that half-assed title) would have you believe. The adorkable Jay Baruchel stars as Kirk, a hapless loser who finds himself dating bonafide hottie Molly (Alice Eve). Once you get past the film’s silly conceit — Kirk’s only "movie ugly," and personality goes a long way — you’re left with a surprisingly charming comedy. The characters are amusing and the wit is sharp. Not to mention the fact that She’s Out of My League offers a downright heartfelt message. There’s a sincerity here that feels genuine instead of just tacked-on: yeah, yeah, it’s about what’s inside that counts, but there’s more to it than that. Ignore the dreadful "jizz in my pants" scene, and the movie’s almost an old-fashioned romcom. (1:44) 1000 Van Ness. (Peitzman)

Shutter Island Director Martin Scorsese and muse du jour Leonardo DiCaprio draw from oft-filmed novelist Dennis Lehane (2003’s Mystic River, 2007’s Gone Baby Gone) for this B-movie thriller that, sadly, offers few thrills. DiCaprio’s a 1950s U.S. marshal summoned to a misty island that houses a hospital for the criminally insane, overseen by a doctor (Ben Kingsley) who believes in humane, if experimental, therapy techniques. From the get-go we suspect something’s not right with the G-man’s own mind; as he investigates the case of a missing patient, he experiences frequent flashbacks to his World War II service (during which he helped liberate a concentration camp), and has recurring visions of his spooky dead wife (Michelle Williams). Whether or not you fall for Shutter Island‘s twisty game depends on the gullibility of your own mind. Despite high-quality performances and an effective, if overwrought, tone of certain doom, Shutter Island stumbles into a third act that exposes its inherently flawed and frustrating storytelling structure. If only David Lynch had directed Shutter Island — it could’ve been a classic of mindfuckery run amok. Instead, Scorsese’s psychological drama is sapped of any mystery whatsoever by its stubbornly literal conclusion. (2:18) California, 1000 Van Ness, Sundance Kabuki. (Eddy)

A Single Man In this adaptation of Christopher Isherwood’s 1964 novel, Colin Firth plays George, a middle-aged gay expat Brit and college professor in 1962 Los Angeles. Months after the accidental death of Jim (Matthew Goode), his lover for 16 years, George still feels worse than bereft; simply waking each morning is agony. So on this particular day he has decided to end it all, first going through a series of meticulous preparations and discreet leave-takings that include teaching one last class and having supper with the onetime paramour (Julianne Moore) turned best friend who’s still stuck on him. The main problem with fashion designer turned film director Tom Ford’s first feature is that he directs it like a fashion designer, fussing over surface style and irrelevant detail in a story whose tight focus on one hard, real-world thing — grief — cries for simplicity. Not pretentious overpackaging, which encompasses the way his camera slavers over the excessively pretty likes of Nicholas Hoult as a student and Jon Kortajarena as a hustler, as if they were models selling product rather than characters, or even actors. (In fact Kortajarena is a male supermodel; the shocker is that Hoult is not, though Hugh Grant’s erstwhile About a Boy co-star is so preening here you’d never guess.) Eventually Ford stops showing off so much, and A Single Man is effective to the precise degree it lets good work by Goode, Moore and especially the reliably excellent Firth unfold without too much of his terribly artistic interference. (1:39) Opera Plaza. (Harvey)

*The Sun It may have taken five years for Alexander Sokurov’s The Sun (2005) to reach local theaters, but then the Russian master’s contemplation of Emperor Hirohito’s last days as Godhead is decidedly out of time. Painterly and slow like all Sokurov’s work, the film specifically follows his estranged reconstructions of Hitler’s retreat with Eva Braun (1999’s Moloch) and Lenin’s demise (2000’s Taurus). In August 1945, Hirohito broke with tradition by making a direct appeal to the Japanese people to end military operations; soon thereafter he renounced his divine rights. The Sun‘s elliptical narration intuits the emperor’s paled existence, and Issey Ogata’s lead performance, centering on a fish-out-of-water puckering of the lips, amply conveys the shuttered hours of a man who, in experience if not in fact, is not quite human. The muted use of available light and a disquieting sound design (faraway air-raid sirens yield to the barest brush of a finger) eschew historiography’s harsh glare, instead returning primal scenes of power to a dreamlike state of unknowing. Sokurov’s most hallucinatory effects are reserved for ashen views of firebombed Tokyo which float free from perspective or clear boundary; a brief fantasy in which fish-like warplanes spew apocalyptic destruction suggests the emperor’s childlike imagination and set the stage for his historical date with General MacArthur, realized by Sokurov less as a diplomatic breakthrough than a leaden twilight. (1:50) Lumiere, Shattuck. (Goldberg)

Vincere Given the talent involved, Vincere should be a better film that it is. Director Marco Bellocchio has a lengthy track record of successes, and star Giovanna Mezzogiorno is one of the biggest names in contemporary Italian cinema. The based-on-a-true-story plot is certainly worthy of being filmed: Mezzogiorno plays Ida Dalser, secret wife of Mussolini and mother of the dictator’s first-born son. When Ida begins to make trouble for Il Duce by publicly proclaiming their marriage, she is locked away in a mental hospital. But while Vincere‘s subject is compelling, the film as a whole falls flat. Moments of greatness are few and far between, and the rest of the movie gets by on mediocrity. It’s likely the fault lies with the script, which is too scattered and unfocused to maintain an audience’s focus. Why after almost two hours of watching Ida’s struggle are we suddenly left with her son’s descent into madness? How depressing that a film about a woman forgotten by history is, itself, mostly forgettable. (2:02) Albany, Clay, Smith Rafael. (Peitzman)

Waking Sleeping Beauty Hollywood history is full of epic rivalries, juicy scandals, multi-million-dollar mistakes, and triumphant comebacks. Sometimes, all of the above and more can be contained within a single studio, or even a single studio division, or even a single studio division during a finite number of years, as illustrated by this insidery peek at Disney’s animation division. The doc gives a bit of background, but focuses its attentions on 1984-1994, a ten-year span that saw the floundering department struggle through post-Walt, identity-crisis blues before blossoming into a rejuvenated powerhouse. Waking Sleeping Beauty director Don Hahn was a producer on the Oscar-nominated Beauty and the Beast (1991), so he’s uniquely positioned to tell the story as it unfolded, using home movies and countless interviews. High points include a glimpse of late composer Howard Ashman introducing his demo for the iconic Little Mermaid (1989) tune "Under the Sea" (it was Ashman’s idea to give the crab character a Jamaican accent), and plenty of dish on the legendary Jeffrey Katzenberg-Michael Eisner feud. (1:26) Opera Plaza. (Eddy)

*The White Ribbon In Michael Haneke’s The White Ribbon, his first German-language film in ten years, violence descends on a small northern German village mired in an atmosphere of feudalism and protestant repression. When, over the course of a year, a spate of unaccountable tragedies strikes almost every prominent figure as well as a powerless family of tenant farmers, the village becomes a crucible for aspersion and unease. Meanwhile, a gang of preternaturally calm village children, led by the eerily intense daughter of the authoritarian pastor, keep appearing coincidentally near the sites of the mysterious crimes, lending this Teutonic morality play an unsettling Children of the Corn undertone. Only the schoolteacher, perhaps by virtue of his outsider status, seems capable of discerning the truth, but his low rank on the social pecking order prevent his suspicions from being made public. A protracted examination on the nature of evil — and the troubling moral absolutism from which it stems. (2:24) Four Star. (Nicole Gluckstern)

Why Did I Get Married Too? (2:01) 1000 Van Ness, Shattuck.

REP PICKS

*"Out in Israel Film Series" See "Way Out Middle East." Roxie.

Music listings

David Talbot

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April 6, 2010

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Music listings are compiled by Paula Connelly and Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items at listings@sfbg.com.

WEDNESDAY 7

ROCK/BLUES/HIP-HOP

Boy in the Bubble, Actors, Catholic Radio, DJ Dudehouse El Rio. 9pm, $6.

*Faith and the Muse, Jill Tracy, Tell Tale Heartbreakers, Sunshine Blind DNA Lounge. 9pm, $15.

Gram Rabbit, Spindrift, Foxtail Somersault Red Devil Lounge. 8pm, $8.

Adam Green, Dead Trees Café du Nord. 9:30pm, $15.

*Patty Griffin, Buddy Miller Fillmore. 8pm, $35.

Moira Scar, Attic Ted, Slow Poisoner Hemlock Tavern. 9pm, $5.

Moldover, Nonagon, Celeste Lear Hotel Utah. 8pm.

Curtis Salgado Biscuits and Blues. 8pm, $18.

Sherwood, Seabird, Black Gold, Reece Rickshaw Stop. 7pm, $15.

DANCE CLUBS

Afreaka! Attic, 3336 24th St, SF; souljazz45@gmail.com. 10pm, free. Psychedelic beats from Brazil, Turkey, India, Africa, and across the globe with MAKossa.

Booty Call Q-Bar, 456 Castro, SF; www.bootycallwednesdays.com. 9pm. Juanita Moore hosts this dance party, featuring DJ Robot Hustle.

Hands Down! Bar on Church. 9pm, free. With DJs Claksaarb, Mykill, and guests spinning indie, electro, house, and bangers.

Jam Wednesday Infusion Lounge. 10pm, free. DJ Slick Dee.

Machine Sloane, 1525 Mission, SF; (415) 621-7007. 10pm, free. Warm beats for happy feet with DJs Sergio, Conor, and André Lucero.

Mary-Go-Round Lookout, 3600 16th St, SF; (415) 431-0306. 10pm, $5. A weekly drag show with hosts Cookie Dough, Pollo Del Mar, and Suppositori Spelling.

RedWine Social Dalva. 9pm-2am, free. DJ TophOne and guests spin outernational funk and get drunk.

Respect Wednesdays End Up. 10pm, $5. Rotating DJs Daddy Rolo, Young Fyah, Irie Dole, I-Vier, Sake One, Serg, and more spinning reggae, dancehall, roots, lovers rock, and mash ups.

Synchronize Il Pirata, 2007 16th St, SF; (415) 626-2626. 10pm, free. Psychedelic dance music with DJs Helios, Gatto Matto, Psy Lotus, Intergalactoid, and guests.

Yoruba Dance Sessions Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. With resident DJ Carlos Mena and guests spinning afro-deep-global-soulful-broken-techhouse.

THURSDAY 8

ROCK/BLUES/HIP-HOP

Growlers, Sandwitches Rickshaw Stop. 8pm, $10.

Miles Kurosky, Pancho-san, Lia Rose Bottom of the Hill. 8:30pm, $12.

Late Young, Jaws Knockout. 9:30pm, $7.

Light This City, Comadre, Funeral Pyre, Early Graves Thee Parkside. 9:30pm, $12.

Montana 1948, DownDownDown, Beta State, Brooks Was Here Café du Nord. 8:30pm, $10.

Murder By Death, Ha Ha Tonka, Linfinity Slim’s. 9pm, $16.

*Ty Segall, Numerators, Bridez Hemlock Tavern. 9pm, $6.

"Stevie Ray Vaughn Tribute with Alan Iglesias" Biscuits and Blues. 8pm, $16.

White Buffalo, Joey Ryan Hotel Utah. 9pm, $12.

JAZZ/NEW MUSIC

Graham Connah Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

FOLK/WORLD/COUNTRY

Valerie Orth Band Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

DANCE CLUBS

Afrolicious Elbo Room. 9:30pm, $5-7. DJs Pleasuremaker and Señor Oz spin Afrobeat, Tropicália, electro, samba, and funk.

CakeMIX SF Wish, 1539 Folsom, SF; www.wishsf.com. 10pm, free. DJ Carey Kopp spinning funk, soul, and hip hop.

Caribbean Connection Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $3. DJ Stevie B and guests spin reggae, soca, zouk, reggaetón, and more.

Drop the Pressure Underground SF. 6-10pm, free. Electro, house, and datafunk highlight this weekly happy hour.

Funky Rewind Skylark. 9pm, free. DJ Kung Fu Chris, MAKossa, and rotating guest DJs spin heavy funk breaks, early hip-hop, boogie, and classic Jamaican riddims.

Good Foot Yoruba Dance Sessions Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. A James Brown tribute with resident DJs Haylow, A-Ron, and Prince Aries spinning R&B, Hip hop, funk, and soul.

Heat Icon Ultra Lounge. 10pm, free. Hip-hop, R&B, reggae, and soul.

Kick It Bar on Church. 9pm. Hip-hop with DJ Jorge Terez.

Kissing Booth Make-Out Room. 9pm, free. DJs Jory, Commodore 69, and more spinning indie dance, disco, 80’s, and electro.

Koko Puffs Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. Dubby roots reggae and Jamaican funk from rotating DJs.

Mestiza Bollywood Café, 3376 19th St, SF; (415) 970-0362. 10pm, free. Showcasing progressive Latin and global beats with DJ Juan Data.

Motion Sickness Vertigo, 1160 Polk, SF; (415) 674-1278. 10pm, free. Genre-bending dance party with DJs Sneaky P, Public Frenemy, and D_Ro Cyclist.

Peaches Skylark, 10pm, free. With an all female DJ line up featuring Deeandroid, Lady Fingaz, That Girl, and Umami spinning hip hop.

Popscene 330 Rich. 10pm, $10. Rotating DJs spinning indie, Britpop, electro, new wave, and post-punk.

Represent Icon Lounge. 10pm, $5. With Resident DJ Ren the Vinyl Archaeologist and guest.

FRIDAY 9

ROCK/BLUES/HIP-HOP

Citizen Cope Fillmore. 8pm, $25.

*Fear Factory, Amon Amarth, Eluveitie, Dirge Within Regency Ballroom. 7pm, $27.

Roy Gaines Biscuits and Blues. 8 and 10pm, $22.

John n Jesse, Ziggy King and the Jokers Epicenter Café, 764 Harrison, SF; (415) 543-5436. 7pm.

Karl Denson’s Tiny Universe, DJ Logic Independent. 9pm, $25.

Love of Diagrams, Weekend, Fever Dream Hemlock Tavern. 9:30pm, $7.

Miko Marks, Andre Thierry Slim’s. 9pm, $16.

Noodles, All Ages, Golda and the Gunz, El Nino Red Devil Lounge. 8pm, $12.

Retribution Gospel Choir, Carta, Sarah June Hotel Utah. 9pm, $10.

7 Walkers featuring Bill Kreutzmann and Papi Mali with George Porter Jr. Great American Music Hall. 9pm, $25.

Rube Waddell, Sweet Bones, Cheetahs on the Moon, Unpopable Bottom of the Hill. 9:30pm, $9.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Black Market Jazz Orchestra Top of the Mark. 9pm, $10.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Sounds of Blackness Yoshi’s San Francisco. 8 and 10pm, $24-34.

Thorny Brocky Red Poppy Art House. 8pm, $10-15.

FOLK/WORLD/COUNTRY

Jackie Rago and the Venezuelan Music Project El Rio. 4pm, $10-25 sliding scale. With DJ La Rumorosa.

Jonathan Shue Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

"That Night in Rio" Café du Nord. 9pm, $15. Samba party with Grupo Samba Rio and Dj Fausto Sousa.

Matt Turk Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:45pm, free.

DANCE CLUBS

Activate! Lookout, 3600 16th St, SF; (415) 431-0306. 9pm, $3. Face your demigods and demons at this Red Bull-fueled party.

Bar on Church 9pm. Rotating DJs Zax, Zhaldee, and Nuxx.

Blow Up Rickshaw Stop. 10pm, $10. With rotating DJs.

Evil Breaks DNA Lounge. 9:30pm, $20. Breaks with Fine Cut Bodies, Left/Right, Aaron Jae, and more.

Exhale, Fridays Project One Gallery, 251 Rhode Island, SF; (415) 465-2129. 5pm, $5. Happy hour with art, fine food, and music with Vin Sol, King Most, DJ Centipede, and Shane King.

Fat Stack Fridays Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm, free. With rotating DJs Romanowski, B-Love, Tomas, Toph One, and Vinnie Esparza.

Fo’ Sho! Fridays Madrone Art Bar. 10pm, $5. DJs Kung Fu Chris, Makossa, and Quickie Mart spin rare grooves, soul, funk, and hip-hop classics.

Gay Asian Paradise Club Eight, 1151 Folsom, SF; www.eightsf.com. 9pm, $8. Featuring two dance floors playing dance and hip hop, smoking patio, and 2 for 1 drinks before 10pm.

Good Life Fridays Apartment 24, 440 Broadway, SF; (415) 989-3434. 10pm, $10. With DJ Brian spinning hip hop, mashups, and top 40.

Gui Boratto Mighty. 10pm, $15. With Nikola Baytala and more spinning techno.

Gymnasium Stud. 10pm, $5. With DJs Violent Vickie and guests spinning electro, disco, rap, and 90s dance and featuring performers, gymnastics, jump rope, drink specials, and more.

Hot Chocolate Milk. 9pm, $5. With DJs Big Fat Frog, Chardmo, DuseRock, and more spinning old and new school funk.

Look Out Weekend Bambuddha Lounge. 4pm, free. Drink specials, food menu and resident DJs White Girl Lust, Swayzee, Philie Ocean, and more.

M4M Fridays Underground SF. 10pm-2am. Joshua J and Frankie Sharp host this man-tastic party.

Menage a Birthday Party Rickshaw Stop. 9pm, $10. Benefit for Northern California Youth Leadership Seminar with DJs spinning music celebrating famous threesomes (like TLC!)

Rockabilly Fridays Jay N Bee Club, 2736 20th St, SF; (415) 824-4190. 9pm, free. With DJs Rockin’ Raul, Oakie Oran, Sergio Iglesias, and Tanoa "Samoa Boy" spinning 50s and 60s Doo Wop, Rockabilly, Bop, Jive, and more.

Sensitive Thug Club Six. 9pm, $7. With DJs Whooligan and J. Boogie spinning hip hop, soul, funk, dancehall, and breaks.

Strictly Video 111 Minna. 9pm, $10. With VDJs Shortkut, Swift Rock, GoldenChyld, and Satva spinning rap, 80s, R&B, and Dancehall.

Treat Em Right Elbo Room. 10pm, $5. Hip-hop, funk, and more with DJs Vinnie Esparza, B. Cause, and guest Joe Quixx.

SATURDAY 10

ROCK/BLUES/HIP-HOP

*Exene Cervenka Rasputin Music, 67 Powell, SF; www.rasputinmusic.com. 4pm.

Citizen Cope Fillmore. 8pm, $25.

"Fifth Annual Funk Out with R.O.C.K." Café du Nord. 9pm, $15-25. With Stymie and the Pimp Jones Luv Orchestra.

*Grannies, Fast Takers, Blank Stares El Rio. 10pm, $7.

Karl Denson’s Tiny Universe, DJ Logic Independent. 9pm, $25.

*Kowloon Walled City, Hollow Mirrors, Across Tundras, Lost Machine Thee Parkside. 9pm, $7.

*McCabe and Mrs. Miller, Orange Peels, Ralph Carney’s Serious Jass Project Hemlock Tavern. 9:30pm, $7.

Society Dog, Hot Farm, Empireslum Thee Parkside. 3pm, free.

Tender Mercies, Naked Barbies, Yard Sale Hotel Utah. 9pm, $8.

Tornado Rider, Stomacher, 3rd Rail, I the Mighty Great American Music Hall. 8pm, $14.

Phillip Walker Biscuits and Blues. 8pm, $20.

We Are Wolves, Parlovr, Off Campus Bottom of the Hill. 9pm, $10.

JAZZ/NEW MUSIC

Audium 9 1616 Bush, SF; (415) 771-1616. 8:30pm, $15.

Bobby McFerrin’s VOCAbuLarieS Nob Hill Masonic Center, 1111 California, SF; www.sfjazz.org. 8pm, $25-85.

Eric Kurtzrock Trio Ana Mandara, Ghirardelli Square, 891 Beach, SF; (415) 771-6800. 8pm, free.

Ricardo Scales Top of the Mark. 9pm, $15.

Sounds of Blackness Yoshi’s San Francisco. 8 and 10pm, $34.

FOLK/WORLD/COUNTRY

Bryan Byrnes Socha Café, 3235 Mission, SF; (415) 643-6848. 8:30pm, free.

Derek Lassiter Red Poppy Art House. 8pm, $15.

DANCE CLUBS

Audio Alchemy Yoshi’s San Francisco. 10:30pm, $15-25. With Mix Master Mike, DJ Shortkut, and Jazz Mafia All-Stars.

Bar on Church 9pm. Rotating DJs Foxxee, Joseph Lee, Zhaldee, Mark Andrus, and Niuxx.

Blowoff Slim’s. 10pm, $15. With DJs Bob Mould and Rich Morel.

Bootie DNA Lounge. 9pm, $6-12. DJ Earworm headlines this mash-up party.

Cockblock Rickshaw Stop. 10pm, $7. DJ Nuxx and guests spin at this queer-friendly dance party.

Dead After Dark Knockout. 6pm, free. With DJ Touchy Feely.

Electricity Knockout. 10pm, $4. A decade of 80s with DJs Omar, Deadbeat, and Yule Be Sorry.

Frolic Stud. 9pm, $3-7. DJs Dragn’Fly, NeonBunny, and Ikkuma spin at this celebration of anthropomorphic costume and dance. Animal outfits encouraged.

HYP Club Eight, 1151 Folsom, SF; www.eightsf.com. 10pm, free. Gay and lesbian hip hop party, featuring DJs spinning the newest in the top 40s hip hop and hyphy.

Mini Non-Stop Bhangra Rickshaw Stop. Noon-3pm, $5-10. Family-friendly Bollywood dance party.

No Way Back 222 Hyde, 222 Hyde, SF; (415) 345-8222. 10pm, $10. With DJs Trevor Jackson, Solar, and Conor.

Same Sex Salsa and Swing Magnet, 4122 18th St, SF; (415) 305-8242. 7pm, free.

Social Club Lookout, 3600 16th St, SF; (415) 431-0306. 9pm. Shake your money maker with DJs Lee Decker and Luke Fry.

Spirit Fingers Sessions 330 Ritch. 9pm, free. With DJ Morse Code and live guest performances.

Spotlight Siberia, 314 11th St, SF; (415) 552-2100. 10pm. With DJs Slowpoke, Double Impact, and Moe1.

Tormenta Tropical Elbo Room. 10pm, $5-10. Electro cumbia with Ghosts on Tape, Disco Shawn, Oro11, and more.

SUNDAY 11

ROCK/BLUES/HIP-HOP

"Battle of the Bands" DNA Lounge. 5:30pm, $12. With Amalgrama, Ten Days New, Wheels Have Eyes, and more.

Edie Sedgwick, Pozor, Leslie Q Hemlock Tavern. 9pm, $6.

Ordstro, Tigon, Former Thieves, Benoit, Caulfield, Deadman, Versions Submission Art Space, 2183 Mission, SF; (415) 503-1425. 7pm, $6.

P.K. 14, Carsick Cars, AV Okubo Bottom of the Hill. 9pm, $10.

Michael Rose, R2D2, Reggae City Slim’s. 9pm, $30.

Serena Ryder, Ryan Star Café du Nord. 8pm, $12.

*Slough Feg, Bible of the Devil, Orchid Thee Parkside. 8pm, $10.

JAZZ/NEW MUSIC

Lua Hadar, Jason Martineau Bliss Bar, 4026 24th St, SF; (415) 826-6200. 4:30pm, $10.

Noertker’s Moxie Musicians Union Hall, 116 Ninth St, SF; www.noertker.com. 7:30pm, $10.

Sounds of Blackness Yoshi’s San Francisco. 2 and 7pm, $5-34.

Tomasz Stanko Quintet Florence Gould Theatre, Legion of Honor, 100 Legion of Honor Dr, SF; www.sfjazz.org. 2pm, $25-40.

FOLK/WORLD/COUNTRY

Country Casanovas Thee Parkside. 3pm, free.

DANCE CLUBS

DiscoFunk Mashups Cat Club. 10pm, free. House and 70’s music.

Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with J Boogie and Vinnie Esparza.

Gloss Sundays Trigger, 2344 Market, SF; (415) 551-CLUB. 7pm. With DJ Hawthorne spinning house, funk, soul, retro, and disco.

Honey Soundsystem Paradise Lounge. 8pm-2am. "Dance floor for dancers – sound system for lovers." Got that?

Jock! Lookout, 3600 16th St, SF; (415) 431-0306. 3pm, $2. This high-energy party raises money for LGBT sports teams.

Kick It Bar on Church. 9pm. Hip-hop with DJ Zax.

Lonely Teardrops Rock n’ Roll Night Knockout. 9pm, $4. With DJs dX the Funky Granpaw and Sergio Iglesias.

Lowbrow Sunday Delirium. 1pm, free. DJ Roost Uno and guests spinning club hip hop, indie, and top 40s.

Movement Temple. 9pm, $15. A benefit for CommuniTree and after party for the Green Festival featuring a live performance by Abstract Rude with DJ Drez, and DJs Ana Sia, David Satori, Aima the Dreamer, Sake One, and Abai.

Religion Bar on Church. 3pm. With DJ Nikita.

Stag AsiaSF. 6pm, $5. Gay bachelor parties are the target demo of this weekly erotic tea dance.

MONDAY 12

ROCK/BLUES/HIP-HOP

Buxter Hoot’n, Mark Matos and Os Beaches, Nick Jaina Elbo Room. 8:30pm, $5.

MGMT Fillmore. 7pm, $30.

Ruby Suns, Toro y Moi, Dreamdate Bottom of the Hill. 9pm, $10.

DANCE CLUBS

Bacano! Som., 2925 16th St, SF; (415) 558-8521. 9pm, free. With resident DJs El Kool Kyle and Santero spinning Latin music.

Black Gold Koko Cocktails, 1060 Geary, SF; (415) 885-4788. 10pm-2am, free. Senator Soul spins Detroit soul, Motown, New Orleans R&B, and more — all on 45!

Death Guild DNA Lounge. 9:30pm, $3-5. Gothic, industrial, and synthpop with Decay, Joe Radio, and Melting Girl.

M.O.M. Madrone Art Bar. 6pm, free. With DJ Gordo Cabeza and guests playing all Motown every Monday.

Manic Mondays Bar on Church. 9pm. Drink 80-cent cosmos with Djs Mark Andrus and Dangerous Dan.

Monster Show Underground SF. 10pm, $5. Cookie Dough and DJ MC2 make Mondays worth dancing about, with a killer drag show at 11pm.

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.
Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest Djs.
Spliff Sessions Tunnel Top. 10pm, free. DJs MAKossa, Kung Fu Chris, and C. Moore spin funk, soul, reggae, hip-hop, and psychedelia on vinyl.
TUESDAY 13
ROCK/BLUES/HIP-HOP
Taina Asili y la Banda Rebelde, Lila Rose, Genie Café du Nord. 9:30pm, $10.
Blue Scholars, Bambu Slim’s. 9pm, $13.
Fat Tuesday Band Biscuits and Blues. 8pm, $15.
Jen Grady, Kevin Florence, Ploughman Club Waziema, 543 Divisadero, SF; (415) 346-6641. 8pm, free.
Jel, Serengeti, Odd Nosdam Bottom of the Hill. 9pm, $20. Benefit for Haitian relief by Sustainable Organic Integrated Livelihoods (SOIL).
Little Dragon, VV Brown, Hottub Independent. 9pm, $20.
MGMT Fillmore. 7pm, $30.
Neighbors, Lazer Zeppelin, Ghost to Falco Hemlock Tavern. 9pm, $6.
Robot Bombshelter, Marrow, Girls N Boomboxes Elbo Room. 9pm.
DANCE CLUBS
Alcoholocaust Presents Argus Lounge. 9pm, free. With DJ What’s His Fuck and DJ Crystal Meth.
Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.
La Escuelita Pisco Lounge, 1817 Market, SF; (415) 874-9951. 7pm, free. DJ Juan Data spinning gay-friendly, Latino sing-alongs but no salsa or reggaeton.
Rock Out Karaoke! Amnesia. 7:30pm. With Glenny Kravitz.
Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.
Womanizer Bar on Church. 9pm. With DJ Nuxx.

Events listings

David Talbot

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April 6, 2010

0

Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com.

WEDNESDAY 7

California Nights California Historical Society Museum, 678 Mission, SF; (415) 357-1848. 6pm, free. Connect, learn, and discuss the future of the Golden State at this open house in conjunction with the current exhibition, Think California, a collection of artwork, artifacts, and ephemera that represent different parts of California’s history.

Castro Farmers’ Market Noe between Market and Beaver, SF; for a list of farmers’ markets in the area, visit pcfma.com. 4-8pm, free. Attend the seasonal opening of the Castro Farmers’ Market and enjoy fresh fruits and vegetables, live music, a blessing by the Sisters of Perpetual Indulgence, and more.

Women’s International Film Festival Various Bay Area locations, visit http://www.sfwff.com/ for more information. Wed. – Sun., ticket prices vary. Choose from a diverse selection of films made by female filmmakers from around the world, featuring work by local and international women in all areas of film, in short and feature productions.

THURSDAY 8

1369 Lights Blue Six Acoustic Room, 3043 24th St., SF; www.moholyground.org. 7pm, $5. Be among the first to get a copy of the new Moholy Ground Magazine, the New Photography Journal. Meet Moholy Ground staff and featured artists and enjoy cocktails and music from DJ BoomBostic spinning soul, motown, and funk. The Moholy Ground Project publishes nonprofit art journals and books and provides low cost promotions and marketing to art organizations and individuals involved in the art community.

BAY AREA

Freedom Dreams @ 17th, 510, 17th St., Oak.; (415) 777-5500. 7pm, $5-$20 sliding scale. Attend the launch party for Community United Against Violence’s (CUAV) Safetyfest, a festival celebration safe ways for queer and trans people in the Bay Area to strut their stuff. Proceeds to benefit CUAV’s programs supporting LGBTQQ survivors of hate and domestic violence.

Three Ring Bingo RhythMix Cultural Works, 2513 Blanding, Alameda; (510) 865-5060. 7:30pm; $20, including one drink. Play ten knockout rounds of Bingo while enjoying performance art spectacles complete with live entertainment, tumbling numbers, cash prizes, the Yay Girls, Lucky Lucy, and emcee Mr. Entertainment.

FRIDAY 9

BAY AREA

"What I Learned at Straight Camp" UC Berkeley Campus, room 2050 VLSB, Dwinelle Hall, off Bancroft and Telegraph, Berk.; atheists.meetup.com. 7pm, free. Hear about Ted Cox’s undercover stint in gay-to-straight therapy programs at this presentation including music, videos, and a live demonstration. Cox is a godless writer from Sacramento.

SATURDAY 10

Cesar E. Chavez Parade and Festival Parade starts at 19th St. and Guerrero; 24th Street Fair, 24th St. between Treat and Bryant, SF; (415) 621-2665. Noon parade, 1pm street fair; free. People of all races and creeds are encouraged to participate in honoring the life and work of civil rights and labor leader Cesar E. Chavez at this parade and festival featuring live music, ethnic dance, entertainment, food vendors, and more.

BAY AREA

Yuri’s Night Bay Area NASA Ames Research Center, Hangar 211, Moffett Field, Mountain View; ybna.org. Noon – Midnight, $49.50. Join other space enthusiasts to interact with exhibits from a wide range of groups including Google Earth, Zero Gravity Arts Consortium, Loco Bloco, the Astronomical Society of the Pacific, and more and catch the huge line up of musical acts to be performing on two stages including N.E.R.D., the Black Keys, Les Claypool, Common, and more.

SUNDAY 11

Reinventing Porcelain San Francisco Airport Commission Aviation Library and Louis A. Turpen Aviation Museum, Departures Level, International Terminal, San Francisco International Airport, SF; (650) 821-6700. 1:30pm, free. Attend this lecture with Malcolm D. Gutter, professor at Foothill College and UC Berkeley Extension, about the development of Meissen, Europe’s oldest porcelain, during the Golden Age. This lecture is in conjunction with the exhibit, "Evolution of a Royal Vision: The Birth of Meissen Porcelain," through Sept. 13.

Phillip Schultz Space Gallery, 1141 Polk, SF; (415) 377-3325. 3pm, free. Hear Pulitzer Prize winning poet Philip Schultz read and discuss selections from his recent book of poetry, The God of Loneliness, at this celebration of the third anniversary of Writers Studio Workshops in San Francisco.

Wildflower Ramble Mt. Livermore, Angel Island Park; (415) 435-3522. From Tiburon take 10am ferry, meet at Gift Shop at 10:30am. From San Francisco take 10:35am Blue and Gold Fleet ferry from Pier 41, meet at Visitor’s Center at 11am; $5. Learn about the wildflowers that grow on Mt. Livermore on this docent led, 4 1/2 mile hike. Wear comfortable, layered clothing. Bring lunch and liquids.

MONDAY 12

No Rich, No Poor! Modern Times Bookstore, 888 Valencia, SF; (415) 282-9246. 7pm, free. Join Charles Andrews in this discussion based on his new book about whether capitalism can be repaired or if it needs to be replaced and what a potential new "program of common prosperity" could look like.

Post-Punk Extravaganza Needles and Pens, 3253 16th St., SF; (415) 255-1534. 7pm, free. Join Microcosm Publishing for their West Coast author tour featuring zine author Joe Biel showing his latest documentary, If It Ain’t Cheap It Ain’t Punk, followed by a Q&A about DIY Publishing, Mia Partlow and Michael Hoerger presenting the secret history of food and espionage in conjunction with their new book, Edible Secrets, and more.

Editor’s Notes

David Talbot

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April 6, 2010

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Tredmond@sfbg.com

A couple of weeks ago, political consultant David Latterman, who often works with downtown interests, sent off an e-mail warning that the pro big-business, moderate bloc needed to get its act together. "It appears as if different groups are unwilling to set aside their egos or agendas, and pool together resources in a comprehensive plan to take back the [Democratic County Central Committee]," he wrote. "And guess what, we’re going to lose, in June and November."

His point: the DCCC matters, a lot. "The DCCC controls the supe endorsements that matter most," he noted, adding, "The mayor’s race starts now."

And that’s absolutely true — and unless the folks downtown are foolish or have given up (and neither is terribly likely) they’re going to get the message, and there’s going to be a big-money push in the next two months to oust the progressive majority on the county committee.

The DCCC controls the Democratic Party endorsements — and the party slate card is among the most influential political slates in a city where the vast majority of the population votes for Democrats. The DCCC could well make the difference in some of the key supervisorial races this fall — and could play a key role in choosing the next mayor of San Francisco.

But it’s not a high-profile election. More than half the votes will probably be absentees. That means it’s critical that the progressive candidates can raise money, do mailers, and fight back.

At this point, there’s a pretty good consensus on a progressive slate. We published our endorsements last week, and the Milk Club, Sierra Club, Tenants Union, and Assembly Member Tom Ammiano have endorsed most of the same candidates. In the fall, labor, environmental groups, tenants, and other progressive interests will be putting a lot of money into the races for district supervisor. But I could argue that the DCCC is just as important — and if we don’t fight this one to win, it’s going to be a lot harder in November.

Avoiding a taxicab meltdown

David Talbot

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April 6, 2010

1

EDITORIAL The pilot program to privatize taxicab permits is a done deal. It’s a mistake, and its going to cause serious problems, but at this point, short of a new charter amendment, there’s not a lot anyone can do about it. Under the 2007 measure Proposition A, the Municipal Transportation Agency has the authority to revamp the rules for how cabs are regulated, and the MTA board, appointed by Mayor Gavin Newsom, has approved the privatization plan.

But the implementation rules can still be written to prevent some of the worst possible results.

Under the proposal, as many as 300 medallion holders who are now more than 70 years old will be allowed to sell their permits and pocket the money. The city will get 15 percent of the sale price. The idea is to encourage older drivers to retire. Since medallion holders must by law be active drivers — and the medallions are issued to drivers until they retire or die and the medallions are highly lucrative — the city’s taxi fleet includes a significant number of people who should no longer be behind the wheel.

But since 1978, the medallions have been issued to drivers for only a token fee — so in essence, the city just handed the older drivers a massive windfall. The permits — public property — are expected to sell for around $200,000, with holders pocketing 85 percent of that cash.

Newsom had much more ambitious plans — he initially wanted to put all the permits on the market and raise as much money for the city as possible. To her credit, Christine Hayashi, MTA’s taxi director, has held her ground and stuck to a plan she thinks will slowly address the problems in the current system (too many older drivers, too long a waiting list for permits).

But if this is going to be anything other than an utter disaster for cab drivers and the city, Hayashi needs to make sure that the permits don’t become speculative commodities — and that cab companies don’t use the new rules as a way to turn medallion buyers into indentured servants.

The rules still require that medallions be held by (and thus sold to) working drivers. But let’s face it: not many drivers have $200,000 cash on hand, so the system’s only going to work if the city can line up financing. Hayashi says she has several banks interested in making medallion loans (in fact, the banks will be the big winners here — medallions don’t depreciate and almost certainly won’t lose value over time). But the drivers will have to come up with a downpayment, probably 10 percent — and a lot of prospective buyers won’t have that much cash, either. One likely outcome: Cab companies will offer to front the downpayment for drivers who agree to associate their medallions with that company. Hayashi needs to press and enforce a rule that bans any cab company from lending money for permits. If this is going to benefit the average driver, the city ought to mandate low downpayments from participating banks or work with nonprofit microlenders to make those loans. (In fact, the city ought to be reaching out to the nonprofit finance community for advice on how to implement the entire program.)

MTA also needs to set a firm, reasonable cap on prices — at a level that a working driver earning the income possible at today’s fares can afford. Medallions can’t be allowed to sell at whatever the market will bear — or speculators and unscrupulous companies will be working all sorts of scams to cash in, the drivers will never have a chance, and the whole system will collapse.

Revenue for all

David Talbot

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April 6, 2010

2

OPINION Cut, cut, cut, cut, cut: this is the sound of your government — parks, schools, playgrounds, hospitals, clinics, public transportation, programs for youth and seniors, arts, social services, the whole fabric that makes San Francisco what it is — fading away as state and local politicians refuse to raise revenue to revitalize our economy.

Mayor Gavin Newsom and big business groups have promoted a defeatist politics of low expectations, cutting spending, laying off city workers by the thousands, and offering tax breaks to businesses and developers rather than tapping San Francisco’s deep pockets of wealth to generate economic opportunities citywide.

It’s time for a new path: a fiscal politics of optimism, opportunity, and addition rather than subtraction. It’s time for an unapologetic progressive taxation movement for this November’s ballot and beyond, to make the city’s great wealth — individual and corporate, often badly undertaxed — work for all San Franciscans.

As California crumbles, local revenue movements could fuel a statewide campaign of towns, cities, and counties to overturn Proposition 13. San Francisco can take the lead with progressive taxation to create jobs, promote small neighborhood businesses, expand affordable housing and public transit, save public health, and more.

A citywide campaign for progressive taxes is building, including leaders from community-based nonprofits, grassroots organizing and neighborhood groups, labor unions, and some corners of City Hall. There are many promising ideas; with the right political will and organizing, the city could, for instance, tax large-scale real estate and levy profits from large firms. Progressive taxes could, at minimum, bring in close to $100 million and help save critical city services.

To win this campaign, a strong coalition must educate and mobilize the public about the vital importance — and citywide benefit — of raising revenue through targeted taxes on large firms and wealthy individuals. The city’s political leaders will need prodding, pressure, and support to get this done.

Progressive taxation will benefit all of San Francisco, not just some — working-class people of color and immigrants who endure the cuts’ harshest effects, everyone from youths to seniors, and vitally needed city employees like social workers, nurses, librarians, park workers, and firefighters.

The politics of austerity poses false choices between public safety and public health — as if health isn’t a safety issue. San Franciscans of all stripes must reject the pitting of services and "constituencies" against each other, reject the wedge politics that pit labor against nonprofits (both of which work to uplift working-class and poor residents), and unify around progressive revenue.

Nobody likes taxes, least of all the middle class, working class, and poor (the vast majority of us) who shoulder the bulk of the burden. But wealthy individuals and corporations can and must pay their fair share. According to a 2007 World Wealth Report produced by Merrill Lynch, 123,621 households in the Bay Area — many of them in San Francisco — "had $1 million or more in financial assets in 2007, up 10.8 percent from the year before," the San Francisco Chronicle reported.

At a Feb. 14, 2007 Town Hall on Poverty in Bayview-Hunters Point, Newsom asserted, "we haven’t addressed the wealth divide; we haven’t addressed the health divide; we haven’t addressed the economic divide … why in a city like San Francisco has income inequality grown like it has?"

Yet Newsom and others continue to avoid progressive taxation — despite polls suggesting such measures can win. Tell Mayor Newsom, and your district supervisor, to make San Francisco’s wealth work for everyone. Now. *

Christopher Cook, an award-winning journalist and former Bay Guardian city editor, is communications director for the Revenue for All campaign of Budget Justice, a coalition of members from dozens of community organizations, labor unions and their allies working to raise revenue and protect the most vulnerable San Franciscans from budget cuts.

Alerts

David Talbot

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April 6, 2010

0

alert@sfbg.com

WEDNESDAY, APRIL 7

The Human Cost of Food

Join the Green Café Network, Mission Pie, and local farmers for a discussion about the different models of farm labor structure and how individual consumers, cafes, and restaurants can integrate this knowledge into their sourcing decisions and methods. It’s an idea whose time has come: fooders and foodies working together to balance social and economic justice goals with economic demands.

6:30 p.m., $5–$10 suggested donation

Kitchen at Mission Pie

2901 Mission, SF

(415) 282-1500

greencafenetwork.org

FRIDAY, APRIL 9

Berkeley Critical Mass

Join this "spring renewal ride" to celebrate Berkeley Critical Mass’ 17th year of protests on wheels. Bring noise-makers, bike decorations, food to share, and bike lights.

6 p.m., free

Berkeley BART

Center at Shattuck, Berk.

www.berkeleycriticalmass.org

SATURDAY, APRIL 10

Forum for Choice 2010

Hear candidates for governor, attorney general, and insurance commissioner take part in an in-depth discussion on a woman’s right to choose and the government’s role in making reproductive health decisions that affect all of us. Confirmed participants are Jerry Brown, Hector De La Torre, Rocky Delgadillo, Kamala Harris, Dave Jones, Chris Kelly, Ted Lieu, Pedro Nava, and Alberto Torrico.

8:30 a.m.; $50, $15 for students

Nob Hill Masonic Center

1111 California, SF

forumforchoice.com

Hilltop Park Beautification Day

Join AmeriCorps members of Habitat for Humanity as they maintain and beautify Hilltop Park, an under-utilized public outdoor space in the Bayview neighborhood that has fallen into disrepair due to budget cuts at SF’s Recreation and Park Department.

9 a.m., free

Across from 52 Whitney Young Circle construction site, SF

www.habitatgsf.org

San Francisco Green Festival

Volunteer or attend the Spring 2010 San Francisco Green Festival, a sustainability event featuring talks by authors, educators, and leaders; exhibits from ecofriendly businesses; workshops, films, activities, vegetarian food, and more.

Sat. 10 a.m.–7 p.m., Sunday 11 a.m.– 6 p.m.

$15 weekend, $10 one-day; $5 seniors, bike, and public transit riders;

free for volunteers, students, and youth.

SF Concourse Exhibition Center

635 Eighth St., SF

www.greenfestivals.org

SUNDAY, APRIL 11

Cuba and U.S.

Attend this afternoon of presentations and discussions about Cuba, the U.S. blockade, how to visit, how to get involved advocating for Cuba, and how you can get involved with freeing the Cuban Five.

3 p.m., $5

La Pena Cultural Center

3105 Shattuck, Berk.

(510) 849-2568 or email cucaravan@igc.org

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Psychic Dream Astrology

David Talbot

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April 6, 2010

0

April 7-13

ARIES

March 21-April 19

It’s so hard to make peace with the ending of something you once cherished, even if you can see that its time has come. This week, don’t mask your pain with aggression! The glass is really half-full — if you’re patient enough to see it.

TAURUS

April 20-May 20

Even if you don’t know what to do next, this is the time for clarifying your boundaries, pal. Acting like Bully McBosserman will annoy the folks around you, and won’t help you figure anything out.

GEMINI

May 21-June 21

Listen to that nervous whisper in your head, the one telling you that something ain’t right, Gem. Rushing through your uncertainties will backfire this week. Restore your insides so you’re ready for the next big change coming your way!

CANCER

June 22-July 22

The best way to stay on course this week is to trust your trusty gut instincts, Crabcakes. This is the time to mobilize on your desires. Lay the foundations now and your next steps will present themselves soon enough.

LEO

July 23-Aug. 22

Take some risks in the name of love, Leo. Not for some sappy, Hollywood-style loving, though. Step out and stand tall for the love of your own damn self. Take care of No. 1 so you can follow through with everyone else.

VIRGO

Aug. 23-Sept. 22

Create as though you are capable enough to make anything happen, but execute your dreams without forgetting to take into account of your need for sleep and coffee breaks. Put yourself out there and go for gold.

LIBRA

Sept. 23-Oct. 22

When the shit hits the fan, you’d better act fast or you’ll get some in the kisser! Be willing to try something completely new and look at things from fresh angles. Turn your problems into opportunities, Libra.

SCORPIO

Oct. 23-Nov. 21

Make sure you feel OK with things before you consent to them, Big Guy. This week is testing how well you know yourself, so stay checked in. Save the strategies for another time. Just be real for now.

SAGITTARIUS

Nov. 22-Dec. 21

Be decisive and cut through the crud this week, Sag. Something is coming to a close that probably should’ve ended a while ago. Turn to your closest peeps to get the support and cheerleading you need.

CAPRICORN

Dec. 22-Jan. 19

When fear and scarcity motivate you, you’re likely to multiply the things you are trying to avoid, Cap. Instead of overthinking things and getting defensive, try calming down and figuring out what’s right.

AQUARIUS

Jan. 20-Feb. 18

Any chef knows that genius in the kitchen does not come from the ingredients alone, but from the magic they create when combined. This week, look at the whole picture of your life and make sure the pieces serve the whole.

PISCES

Feb. 19-March 20

It’s not an either/or situation, Pisces; there are more options available to you than that. Something new is emerging in your life, and you may have to open your mind to see it. Don’t jump to conclusions this week. *

Jessica Lanyadoo has been a psychic dreamer for 15 years. Check out her Web site at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com

alt.sex.column: Maresy dotes

Jesse Hawthorne Ficks

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March 31, 2010

0

Dear Andrea:

It’s spring! Even though I live in California, it’s exciting when spring comes. I mean literally exciting, as in, it makes me horny. All winter I was like “Eh, dating” and now I’m all like “OMG boys! Lemme at ’em.” This happens every year, whether I have a boyfriend or not.

I know everyone talks about spring fever and it’s hardly just me being weird, but is there something that actually happens to our brains in the spring? Are there spring hormones?

I’m a girl, by the way.

Love,

Spring Fever

Dear Feev:

Indeed there are, at least among the smaller, furrier mammals, and we separate ourselves from our smaller, furrier cousins at our peril.

It doesn’t take a modern laboratory to note that mammals and most other creatures, not to mention the entire plant kingdom respond to the lengthening days and the return of the sun by, depending on physiology, sprouting, producing warm juicy sap, nest-building, and/or taking off their clothes. That’s what spring is for.

We may not like to think of ourselves as programmed to quite the degree of, say, the famous Siberian hamsters who were found to have libidos entirely regulated by the cutely-named neuropeptide kisspeptin, production of which shuts off in the winter. But we kind of are. Obviously we also respond to things like warm sun on our shoulders, longer afternoons in which to build up sleek sexy muscle and vital endurance, and the relative nakedosity of our fellow humans as they shed bulky coats and long wooly trousers in favor of warm, visible, touchable, responsive skin.

If you think about it, springtime isn’t actually mating season for most creatures. Spring is for gamboling little lambsies, conceived in the fall and born once the worst of winter’s privations have passed. What peaks in the spring, it seems, is energy. What we do with all that energy is pretty much up to us.

“We may have more energy in springtime, but it won’t necessarily play itself out in the bedroom,” Michael Smolensky wrote in a WebMD article. “The peak [of sexual activity] is in the fall.”

Here’s what I think: yes, our hormones and neurowhatses respond to the seasons. Increased energy and optimism plus being outside more, where other people are also feeling happier and healthier, makes everyone feel hornier. If you live anywhere with a proper summer, you’ll want to get your oats sown now, though, because researchers have found that we start to feel sluggish again as soon as it gets much over room temperature out there. Maybe we are all meant to live in San Diego, or in shopping malls. But I don’t think so.

Now I have Julie Andrews singing “The Lusty Month of May” stuck in my head (“That lovely month when everyone goes blissfully astray”.) If there is anything less sexy than Julie Andrews singing Lerner and Loewe, I can’t think of it right now. But I’m quite certain that if you venture out in a cute outfit and kicky new sandals and gambol about like a little lambsy-divey, you will find some takers.

Love,

Andrea

Got a question? E-mail Andrea at andrea@altsexcolumn.com

Trash talk

Jesse Hawthorne Ficks

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March 30, 2010

3

Sarah@sfbg.com

The battle to win San Francisco’s lucrative garbage disposal contract turned nasty as city officials tentatively recommended it go to Recology (formerly Norcal Waste Systems), causing its main competitor, Oakland-based Waste Management, to claim the selection process was flawed and bad for the environment.

Recology is proposing to dispose of San Francisco’s nonrecyclable trash at its Ostrom Road landfill in Yuba County, which is double the distance of the city’s current dump. The contract, worth hundreds of millions of dollars, would run until 2025.

For the past three decades, the city has trucked its trash 62 miles to the Altamont landfill near Livermore, under an agreement that relied on the services of the Sanitary Fill Company (now Recology’s SF Recycling and Disposal) and Oakland Scavenger Company (now Waste Management of Alameda County).

That agreement allowed up to 15 million tons of San Francisco’s municipal solid waste to be handled at Altamont or 65 years of disposal, whichever came first. As of Dec. 31, 2007, approximately 11.9 million tons of the capacity had been used, leaving a balance of 3.1 million tons, which the city estimates will be used up by 2015.

Currently Recology collects San Francisco’s curbside trash, hauls it to Pier 96, which is owned by the Port of San Francisco, then sends nonrecyclables to the Altamont landfill operated by Waste Management.

After SF’s Department of the Environment issued a request for qualifications in 2007, Waste Management, Recology, and Republic Services were selected as finalists. The city then sent the three companies a request for proposals, asking for formal bids as well as details of how they would minimize and mitigate impacts to the environment, climate, and host communities, among other criteria.

Republic was dropped after a representative failed to show at a mandatory meeting, and Recology was selected during a July 2009 review by a committee composed of DOE deputy director David Assmann, city administrator Ed Lee and Oakland’s environmental manager Susan Kattchee.

The score sheet suggests that the decision came down to price, which was 25 percent of the total points and made the difference between Recology’s 85 points and Waste Management’s 80 in the average scores of the three reviewers. But the scores revealed wide disparities between Kattchee’s and Lee’s scores, suggesting some subjectivity in the process.

For instance, Kattchee and Lee awarded Recology 15 and 23 points, respectively, for its “approach and adherence to overarching considerations.” Kattchee awarded 13 points to Recology’s “ability to accommodate City’s waste stream,” while Lee gave it 24 points. And Kattchee awarded Waste Management 13 points and Lee gave it 20 for its proposed rates.

When the selections and scores were unveiled in November, Waste Management filed a protest letter; Yuba County citizens coalition YUGAG (Yuba Group against Garbage) threatened to sue; and Matt Tuchow, president of the city’s Commission on Environment, scheduled a hearing to clarify how the city’s proposals was structured, how it scored competing proposals, and why it tentatively awarded Recology the contract.

Emotions ran high during the March 23 hearing, which did little to clarify why Recology was selected. Assmann said that much of the material that supports the city’s selection can’t be made public until the bids are unsealed, which won’t happen until the city completes negotiations with Recology and the proposal heads to the Board of Supervisors for approval.

YUGAG attorney Brigit Barnes said Recology’s proposal could negatively affect air quality in Alameda, Contra Costa, Solano, Yolo, Sacramento, and Yuba counties, and does not attain maximum possible reductions of greenhouse gas emissions. Barnes pointed to a study commissioned by Waste Management showing the company’s biomethane-fueled trucks emit 68 percent fewer greenhouse gases than Recology’s proposed combination of trucks and trains.

Barnes further warned that Recology’s proposal might violate what she called “environmental justice strictures,” noting that “Yuba County has one of the lowest per capita incomes and one of the highest dependent populations in the state.”

She also claimed that awarding the contract to Recology would create a monopoly over the city’s waste stream and could expose the city to litigation. “Every aspect of garbage collection and waste treatment will be handled by Norcal’s companies,” Barnes stated, referring to antitrust laws against such monopolies.

Deputy City Attorney Tom Owen subsequently confirmed that the two main companies that handle San Francisco’s waste are Recology subsidiaries. “But it’s an open system,” Owen told the Guardian. “Recology would be the licensed collectors and would have the contract for disposal of the city’s trash.”

Irene Creps, a retired schoolteacher who lives in San Francisco and Yuba County, suggested at the hearing that the city should better compare the environmental characteristics of Ostrom Road and the Altamont landfill before awarding the contract. She said the Ostrom Road landfill poses groundwater concerns since it lies in a high water table next to a slough and upstream from a cemetery.

“It’s good agricultural land, especially along the creeks, red dirt that is wonderful for growing rice because it holds water,” Creps said of Recology’s site. “I’d hate to see that much garbage dumped on the eastern edge of Sacramento Valley.”

Livermore City Council member Jeff Williams said the Altamont landfill has the space to continue to dispose of San Francisco’s waste and he warned that Livermore will lose millions of dollars in mitigation fees it uses to preserve open space.

“Waste Management has done a spectacular job of managing the landfill and they have a best-in-their-class methane control system,” Williams said, noting that the company runs its power plants on electricity and its trucks on liquid methane derived from the dump.

Williams pointed out that the Altamont landfill is in a dry hilly range that lies out of sight, behind the windmills on the 1,000-foot high Altamont Pass. “It’s many miles from our grapevines, in an area used for cattle grazing because it’s not particularly fertile land,” Williams said. “We are filling valleys, not building mountains.”

Waste Management attorney John Lynn Smith told the commission that the city’s RFP process was flawed because it didn’t request a detailed analysis of transportation to the landfill sites or fully take into account greenhouse gas emissions, posing the question: “So, did you really get the best contract?”

David Gavrich, who runs San Francisco Bay Railroad and Waste Solutions Group, testified that he helped negotiate the city’s contract 35 years ago, saving taxpayers hundreds of millions of dollars, and that the city needs to be smarter about this contract.

Gavrich and port director Monique Moyer wrote to the Department of the Environment in June 2009, stating their belief that shipping trash by rail directly from the port “can not only minimize environmental impacts, but can also provide an anchor of rail business from the port, and a key economic engine for the local Bayview-Hunters Point community, and the city as a whole.” But Gavrich said DOE never replied, even though green rail from San Francisco creates local jobs and further reduces emissions.

“Let the hearings begin so people get more than one minute to speak on a billion-dollar contract,” Gavrich said, citing the time limit imposed on speakers at the commission hearing.

Wheatland resident Dr. Richard A. Paskowitz blamed former Mayor Willie Brown’s close connection to Recology mogul Michael Sangiacomo for the company’s success in pushing through a state-approved 1988 extension of its Ostrom Road Landfill while assuring Yuba County residents that the site would only be used as a local landfill.

“The issue is that Yuba County is becoming the repository of garbage from Northern California,” Paskowitz said, claiming that the site already accepts trash from Nevada.

Members of the commission told Assmann that they wanted an update on the transportation issue, but they appeared to believe the process was fair. “One guy got the better score,” Commissioner Paul Pelosi Jr. said. “The fact that they may or may not have permits or the best location, that’s for the Board of Supervisors to take up.”

Recology spokesperson Adam Alberti told the Guardian that its bid was predominantly about handling the waste stream. “Everybody’s bid included transportation, so you include the cost of getting the trash there. But primarily we were looking at the cost of handing the city’s waste,” Alberti said. “Recology’s Ostrom Road facility has more than enough capacity to hold not only San Francisco’s, but also the surrounding region’s, waste.”

Alberti said Recology is still pursuing a permit for a rail spur to get the waste from Union Pacific’s line, which ends some 100 yards from Ostrom Road site. Still, he said the company is confident it will be awarded, calling this step “a pro forma application with Yuba County.” Alberti also noted that it’s normal for host communities to object to landfills but that Yuba County stands to gain $1.6 million from the deal in annual mitigation fees.

Assmann told the Guardian the selection process took into account issues raised at the hearing. “The important thing in a landfill is to make sure there is no seepage, no matter how much rainfall there is, “Assmann said. “And there are still two hurdles Recology needs to clear: a successful negotiation, and the approval of the board.”

Our Endorsements: For DCCC

Jesse Hawthorne Ficks

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March 30, 2010

10

The Democratic County Central Committee isn’t the most high-profile elected agency in San Francisco, but it’s really important. The committee sets policy for the local Democratic Party — and that includes endorsements. The people who control the committee control a slate card that goes out to every registered Democrat in the city, and that’s a vast majority of the voters. DCCC endorsements, carrying the imprimatur of the party, have a significant impact on local elections, particularly in district supervisor races.

For years, the DCCC was controlled largely by the old Brown-Burton machine, but two years ago, the progressives took back control, and that made a huge difference in electing good supervisors. The DCCC endorsement will also matter in the next mayor’s race.

The folks downtown realize this. David Latterman, a political consultant who often works with more moderate candidates and interest groups, sent a memo out March 17 titled “Headed toward the cliff in 2010 elections.” The memo, which we’ve obtained, argues that downtown and the moderates need to get organized, now: “If we can have one person run a coordinated effort with $150K … we can really pick up DCCC seats. Only a few will make a difference in the fall endorsements. The mayor’s race starts now.”

So it’s crucial that the progressives turn out to vote June 8, and vote for strong candidates for the DCCC who will support district elections, public power, tenant rights — and progressive candidates for supervisor.

We’ll be publishing endorsements for all of the June primary races and ballot measures in a few weeks, but we’ve decided to do early endorsements for the DCCC. Twelve people are elected from each assembly district. Here are our choices:

ASSEMBLY DISTRICT 12

John Avalos

Michael Borenstein

Sandra Lee Fewer

Chris Gembinski

Hene Kelly

Eric Mar

Milton Marks

Jake McGoldrick

Jane Morrison

Melanie Nutter

Connie O’Connor

Larry Yee

ASSEMBLY DISTRICT 13

David Campos

David Chiu

Michael Goldstein

Robert Haaland

Joseph Julian

Rafael Mandelman

Kim-Shree Maufas

Carole Migden

Aaron Peskin

Eric Quezada

Alix Rosenthal

Debra Walker

Building better buses

Jesse Hawthorne Ficks

-

March 30, 2010

3

By Adam Lesser

news@sfbg.com

GREEN CITY To hear Jaimie Levin talk is to understand that his cause is larger than just promoting alternative fuels for public transportation. “We either pay the tax ourselves or we pay the tax of sending money to the Middle East,” he said as we walked through the noisy AC Transit bus yard in East Oakland. “There’s a human cost of lives lost in a foreign war.”

AC Transit uses 6.5 million gallons of diesel per year. As the agency’s director of alternative fuels policy, it’s Levin’s job to lower that number. He has experimented with biodiesel and gas-electric hybrid buses. But the passion that consumes him these days is hydrogen. He has spent the last 10 years testing and deploying three hydrogen fuel cell buses for AC Transit, and he’s ready for more.

The first of 12 new hydrogen fuel cell buses begin arriving from Belgium at the end of April, doubling the number of fuel cell buses operating in the United States. They will run on multiple lines, including the 57, 18, and the NL transbay route, which runs between San Francisco and Oakland.

Levin promotes a mix of energy sources, but he argues that hydrogen is the best way to go, even if there’s a big near-term problem: the price of a hydrogen fuel cell bus. The new buses cost $2.5 million each compared to a standard diesel bus, which runs $400,000. Levin describes the buses as research vehicles and works with the National Renewable Energy Laboratory to monitor their performance.

“It’s not cheap. We understand that. These are still hand-made. We’re talking about making less than 20 vehicles,” he says. Levin is hopeful that if orders for hydrogen fuel cell buses could reach even 200, the cost of the fuel cells would come down by 45 percent. Levin has secured 16 different grants from federal, state, and regional agencies, ranging from the Federal Transportation Administration to the California Air Resources Board, to cover the $57 million program. The use of outside funds has been critical at a time when AC Transit is cutting service to deal with its budget shortfall.

The cost of the hydrogen fuel itself has caused some to ask if it’s a viable alternative to gasoline. A kilogram of hydrogen, which is equivalent to a gallon of gas in terms of energy content, typically costs $7-$8. But hydrogen fuel cells are twice as energy efficient as internal combustion engines.

AC Transit currently gets its hydrogen fuel from its own production facility that it built with Chevron, which is regularly criticized by environmental and human rights groups for everything from pollution to obscene profits to support for despotic regimes. “Chevron Hydrogen” billboards plaster the bus yard, and the logos are yellow and baby blue, a noticeable difference compared to the traditional blue and red Chevron insignia. There’s an ecofriendly, sunny quality to the branding.

But come September, Chevron will exit its collaboration with AC Transit, which will begin purchasing its hydrogen from a Linde plant in Southern California. Part of the reason is that the Chevron-designed system does not have the capacity to produce hydrogen for 12 buses. Industry watchers note that oil companies have scaled back initial forays into hydrogen, perhaps not wanting to facilitate the transition from fossil fuels.

“The big issue is the infrastructure side. What’s cooling it off right now is how far the oil companies have backed off,” said Tim Lipman, codirector of the UC Berkeley Transportation Sustainability Research Center. “If you’re an oil company, you’ve got to figure you’re going to lose money for a while — and you’re making tons of money in your existing business. It’s not broken right now. They don’t see an advantage of being the first to market. We’re not running out of oil.”

Maybe not yet, but between the global warming impacts of oil and the increased cost of extracting oil after the most readily available supplies peak, there is a pressing need to develop alternatives to fossil fuels.

“The oil companies were getting all sorts of pressure to get off oil and carbon so they go out looking for an alternative that looks good and takes the longest to implement. Hydrogen is perfect,” said David Redstone, editor of Hydrogen and Fuel Cell Investor, who has covered hydrogen for more than 10 years.

After studying hydrogen for so many years, Redstone has become skeptical about its real potential. “I was a believer when I started,” he told us. “I learned a lot. I knew a lot less when I started. I knew a lot less about the engineering and cost issues involved.”

For example, fuel cells require platinum, which acts as a catalyst to help burn hydrogen fuel. There is ongoing research to reduce the amount of platinum needed in a fuel cell, and exploratory work with less expensive catalysts like nickel. But for now and in the foreseeable future, hydrogen is still a very expensive technology. “They’ve been demonstrating these fuel cell buses for 20 years. It’s like the mentality at the companies involved is that it’s perfectly normal to be a demonstration technology forever,” added Redstone.

He believes that the realistic solutions to the overuse of fossil fuels lie in a mix of behavioral changes and economic incentives, not technological silver bullets. Stop suburban sprawl, get people to live closer to work, and start taxing carbon. Or in Redstone’s simpler terms, you’ve got to put an end to “assholes commuting 75 miles to work in a Hummer.”

The International Panel on Climate Change estimates that surface temperatures will rise 2 degrees to 11.5 degrees Farenheit in the 21st century. Greenhouse gas emissions are a major contributor to global warming.

The promise of hydrogen fuel is that its only emission is water. The major criticism of the move toward battery electric plug-in vehicles has been that the power to charge batteries comes from a power grid that is frequently a heavy greenhouse gas emitter. Half of the electricity generation in the U.S. comes from coal, the dirtiest of the fossil fuels.

But the hitch with hydrogen fuel is how to make it. You can’t drill for hydrogen, you have to create it in a process that requires energy. The predominant source for hydrogen fuel is natural gas, which emits less carbon than gasoline but is still a fossil fuel.

The holy grail of alternative energy is an efficient method for making hydrogen fuel from water instead of natural gas. The problem has been the significant amount of energy required to electrolyze water, to split apart H2O to make hydrogen fuel.

Levin believes he has the beginning of an answer. Before the end of 2010, AC Transit will complete its installation of a solar-powered proton electrolyzer in Emeryville. Solar panels will be built atop the roof of the hydrogen fueling station and the solar energy trapped will power the electrolyzer, in turn producing hydrogen fuel from water, hopefully about 60 kilograms per day, enough to power two buses. Levin received $6.4 million from the American Recovery and Reinvestment Act for the project. The remaining 10 hydrogen fuel cell buses will rely on hydrogen fuel made from natural gas.

As important as the production of hydrogen fuel are the pump stations to deliver it. Gov. Arnold Schwarzenegger’s promised “hydrogen highway” hasn’t happened. The initial plans called for 50 to 100 stations by the end of 2010, and a station every 50 miles, but there are now just 21 stations clustered in urban areas. And with oil companies withdrawing their support and government agencies hurting for resources, the hydrogen highway remains as far off as ever.

“I see the power of corporations growing and the power of politicians actually waning,” Lipman said. “Who is really going to benefit the most? It’s society and consumers, but they’re not going to lobby for it.”

When it comes to lobbying, few can outgun the power of the Western States Petroleum Association. WSPA is consistently among the top few lobbyists in California, spending $10.5 million to influence the Legislature in 2007-08. Even with the push for alternative energy options, it’s oil that really governs the debate. Relatively inexpensive and easily storable, oil is still king even as gasoline prices hover at $80 a barrel.

“We will never run out of oil, but the question is, can we afford it?” said WSPA spokesperson Tupper Hull. Rising oil prices have helped proponents of alternative energy because the cost spread between gasoline and other energy options has narrowed. But they worry that momentum will be lost if the recession lingers and oil drops in price.

Proponents of the “peak oil” theory say we are approaching a point at which global oil production will start declining, necessitating a rapid and potentially painful transition to new fuels. But identifying the peak is difficult, complicated by events such as the 2007 discovery of more than 5 billion barrels of oil off the coast of Brazil. The oil field was found under 7,060 feet of water, 10,000 feet of sand, and another 6,600 feet of salt. What the oil industry is ultimately worried about is whether we will hit a point where extracting oil gets so expensive that the cost of oil starts to cripple the global economy. Drilling four miles under the sea isn’t cheap.

In an e-mail exchange about Chevron’s AC transit hydrogen fueling station, Chevron spokesperson Brent Tippen wrote, “Hydrogen has potential as a transportation fuel in the long term, but significant technical and economic obstacles prevent it from being a widespread commercial fuel option right now.”

Levin is cautiously optimistic that it could be the gas companies like Linde and Praxair, and not the oil companies, that carry the hydrogen torch forward.

After a brief ride in a hydrogen fuel cell bus, Levin noted how quiet they are. At one point, he bought Tibetan bells and had them welded to the bus so it would be audible as it moved, but there wasn’t enough vibration to make them ring.

Therein lies Levin’s dream: a quiet, nonemitting vehicle for public transportation. And maybe even someday an entire society running on a clean, renewable, domestic fuel source. But for now he’ll start with what he’s got: a $2.5 million bus that emits water from the tailpipe and doesn’t make any noise.

Hooch with the pooch

Jesse Hawthorne Ficks

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March 30, 2010

2

By Robyn Johnson

You have to take the dog for a walk anyway, right? Why not stop in at your friendly neighborhood dog bar along the way? A few local bars make a point of catering to the canine crowd; here are some places where your (well-behaved) pet is welcome.

STRAY BAR

With its motto of “Sit. Stay. Drink.” and Smurf-esque French bulldog logo, Stray Bar flaunts its fur-buddy friendliness, and the bartenders always make sure to keep the dog-treat and water bowls filled. People amenities include a darts room, a TV (usually tuned to a sports game), a jukebox with a healthy cross section, and a few ample leather couches. The crowd tends toward the unpretentious and neighborly, so if you happen to see a grizzled fellow totter on by, greet him with a raised glass and a pat on the head — that’s Camden “the drunken sailor,” the owner’s beloved pooch, just making his usual rounds. Some rules to keep in mind: keep your pup on a leash and off the couches, no doggie roughhousing, and, of course, if you don’t clean up any mess your furry friend should make, you will be summarily ejected and banned. Also, for crowd and animal safety, don’t bring your four-legged pal on Fridays and Saturdays or during special events.

309 Cortland, SF. (415) 821-9263, www.straybarsf.com. Happy hour: $2–$3 beers, daily, 4–7 p.m.

LUCKY 13

If you and your dog are of a more dive-bar-patronizing persuasion, trot on over to Lucky 13. The consistently top-rated jukebox is loaded with classic punk, metal, and rockabilly tunes, and the two of you can rock out over complimentary doggie treats and cheap beers from the extensive microbrewery selection. (People treats usually range from free popcorn to cheese Goldfish.) Other fun bits include a pool table, a photo booth, and, best of all, an outdoor patio to give your dog a stretch and a breather — as long as you don’t mind sharing the air with smokers. Although pups can wander off their leashes, the basic tenets of responsible pet ownership still apply. Don’t let your dog act in any way that would, if you were to do the same, get you tossed out or arrested.

2140 Market, SF. (415) 487-1313. Happy hour: $1 off well drinks, 50¢ off beer, daily, 4–8 p.m.

FIRESIDE BAR

If, on the other hand, you are both creatures of finer tastes, seeking a more elegant excursion, take a walk to the Fireside Bar. At this modern-minded and cozy lounge, the purple walls and dark leather furniture strive for a chic ambience, and sofas are set up around — you might have guessed — a fireplace. It’s a lot like drinking in someone’s classy living room — someone who doesn’t mind your bringing over the dog. The bartenders also seem to be phenomenally friendly, and the eclectic jukebox plays everything from Flogging Molly to jazz. Dogs must always be on a leash, and water bowls are set out in case it gets a little too toasty.

603 Irving, SF. (415) 731-6433. Happy hour: $4 well drinks, 50¢ off beer and wine, daily, 1–7 p.m.

ALBATROSS PUB

It’s games galore at the Albatross Pub, the cheerful and spacious bar that describe its atmosphere as the “guts of an old wooden pirate ship.” Besides a pool table and a darts shooting gallery, Berkeley’s oldest pub boasts 17 types of board games to tickle patrons’ competitive spirit. Be wary, though: Connect Four always gets nabbed first. Yarr. If gaming doesn’t set your heart aflame, you can occupy yourself listening to the live music sets and sorting, or drinking your way, through the decent selection of Scotches, bourbons, whiskeys, and Belgian-style beers. One buck gets you an unlimited pass to the popcorn machine. Dogs must be on leashes and at the tables, so don’t sidle up to the bar with your furry companion in tow. And here’s one of the most important rules: dogs must be out by 8 p.m. Consider the Albatross the perfect place to stop by for a sip or two on your pup’s evening constitutional.

1822 San Pablo, Berkeley. (510) 843-2473, www.albatrosspub.com. Happy hour: 50¢ off pints, $2 off pitchers, free popcorn, and discounted pool, Wed.–Sat., 6–8 p.m.

HOMESTEAD

Homestead’s a lot like other Mission joints — cheap strong drinks, $2 Tecates, and a hipsterish crowd peppered with some normal folks (although according to Yelpers, an unusual number of attractive people seem to congregate here, so use that tip for whatever you will). The bevy of topless pinups hung on the walls sets the bar apart, as does the gorgeous Victorian decor, holdovers from and nods to the establishment of the first bar on the site in 1905. You can also look forward to free peanuts. The rules for dog patrons are on par with the ones at Lucky 13. Dogs can wander around without a leash, but don’t be an irresponsible a-hole pet owner. Treats and water bowls are available.

2301 Folsom, SF. (415) 282-4663, www.myspace.com/thehomesteadsf. Happy hour: $1 off drinks, Mon.–Wed. and Fri., 3–6 p.m.

Is BARFing good for your pet?

Jesse Hawthorne Ficks

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March 30, 2010

1

tredmond@sfbg.com

It’s called the BARF diet — and it’s the hottest thing in San Francisco pet stores these days. No, it’s not food that makes your pet throw up; BARF stands for biologically appropriate raw food. And its advocates are passionate about its advantages over old-fashioned commercial pet food.

“Dogs and cats in the wild would eat raw meat,” said Susan Yannes, who co-owns Pawtrero pet store and bathhouse on Mississippi Street. “They didn’t have doggie barbecues.”

The idea is to mimic as closely as possible what your pets would have eaten way back when — in the natural state, before they became so close to humans that they started eating the same sort of processed food (some would say processed crap) many of us eat.

And the trend is growing — fast. Matt Koss, who owns Primal Pet Foods, a supplier of frozen raw animal feed, reports 20 percent annual growth. He cites a massive pet food recall in 2007 as a spur to his business, adding that “there’s more and more consumer awareness about pet food.” Primal Pet supplies food to 2,000 pet stores nationwide, 15 in San Francisco.

But the BARF diet also has its critics — and not just in the multibillion dollar pet food industry.

A BETTER DOG IN JUST WEEKS

Yannes got into the raw food business when one of her dogs developed skin problems. “We were feeding him standard dry dog food, and the vet said it was fine,” she said. “His coat had all these bumps, so they gave him allergy medicine.”

Instead, she tried shifting the dog to an all-natural diet — “and a week later, he was fine.”

That’s a common story among some pet owners, who say that raw meat, combined with raw bones and some specially prepared grain and vegetable matter, makes dogs and cats healthier and happier. “Business is growing,” Yannes said. “People who try this don’t go back.”

The argument is similar to what you hear from people who have given up processed human food in favor of fresh fruits and vegetables and organic, free-range meat. It’s more natural; all that processing (and even heat) destroys essential nutrients.

A summary published on Pawblog that Yannes passed on to me sums it up: “When switching your pet to a raw food diet, there are many differences you will notice in a few weeks, including improved breath and white teeth, better digestion resulting in much smaller and firmer stools, less itching, scratching, and allergies, increased energy, healthy skin, and a shiner coat.”

The reason? “Dogs and cats stomachs are designed to digest raw meat and soft bones, utilizing the very strong concentrations of hydrochloric acid as well as the short length of their gastrointestinal tract. Any bacteria are taken care of with this acid.”

But some vets — including those that support and practice non-Western medicine — are more cautious.

“A raw diet is fine,” said Dr. Randy Bowman, a vet at Pets Unlimited. “Dogs were meant to eat raw food in the wild. But we’ve come far beyond that. Their gastrointestinal system has evolved, and they don’t need it.”

Adds Dr. Jeffrey Bryan, a veterinary oncologist who teaches at the University of Washington: “I think highly processed foods are problematic, but I wish we had more scientific evidence on the value of the raw diet.”

NOT FOR ALL

I think it’s safe to say that the raw food diet isn’t for everyone. For one thing, it’s more expensive — but if it winds up keeping our dog out of the vet’s office, it will more than pay for itself over time. More important, it requires a fair amount of work — and a lot of attention.

Raw meat has to be handled carefully. All the preparation surfaces have to be washed, and the pets’ dishes need to be washed with soap and water after every meal. That’s because raw meat — even organic, free-range stuff — contains bacteria that can carry diseases to pets and humans.

And according to Bowman, even the best grade of meat can carry diseases: “Even human-grade meat that’s processed and shipped distances carries bacteria, and it’s not meant for raw consumption.” Bowman suggests that pet owners at least sear the meat first, since the bacteria tend to be on the surface.

Dr. Rebecca Remillard, a veterinarian and pet nutritionist, is one of the harshest critics of the raw diet. “This is not a safe practice,” she writes on her Web site. “Dogs fed raw meat or eggs may develop mild to severe gastrointestinal disease from consuming products contaminated” with disease-causing bacteria.

Koss says that’s just misinformation. “Bacteria and pathogens are a concern in the entire food industry,” he said. “But if the food is handled properly, there is no danger at all to pets.”

Susan Lauten, who has a master’s degree in animal nutrition and a doctorate in biomedical science, runs a veterinary consulting business in Knoxville, Tenn. She agrees that, for the most part, healthy dogs and cats can safely eat raw food. But she’s less enthusiastic about comparisons to the diet these creatures ate in the wild.

“In the wild, dogs didn’t live very long,” she told me. “And one reason was that they got sick from eating contaminated meat.”

Lauten has a different concern about the raw diet. Animals that eat raw meat can release salmonella and other dangerous pathogens in their stool. “You don’t want that around if you have kids or immune-compromised people,” she said. “You can clean up after your dog, but you might not get everything.”

And she raised another issue: economics. “Do you tell people that they can’t have a cat unless they can afford the most expensive kind of food?”

Dr. Hannah Good, who practices holistic veterinary medicine in Santa Cruz, argues that “there’s a lot that can be accomplished by going in a different direction than kibble.” She noted that “a lot of diets are 100 percent garbage.”

But she also said that high-grade kibble diets are balanced to include all the nutrients an animal needs.

And what do the vets feed their pets? Good said her dog “eats whatever I eat”; she prepares a version of her own meals for her canine companion. Lauten’s dog has inflammatory bowel disease “and does very well on a commercial veterinary diet.”

Bryan, who thinks what a dog eats is an important factor in its health, doesn’t do the BARF thing either: “I give my dog Science Diet.”

Finding the right dog walker

Jesse Hawthorne Ficks

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March 30, 2010

8

news@sfbg.com

If you wake up every morning and begin your day with a leisurely stroll to the park to spend time frolicking with your beloved pup and other pup friends, you’re blessed. But if your schedule isn’t so flexible — and you’ve got a little cash to spare — there’s an easy way to keep your BFF (best furry friend) exercised, socialized, trained, and happy.

Hundreds of dog walkers in this city are looking for your business. There are companies and independent walkers, playgroups and privates. Some pet sit, some don’t. Some even bathe your pooch if it happens to get too dirty while out on the town.

But there are also some operators who cram too many dogs into small vehicles, pay little attention to them while they run amok on public land, and don’t show much concern for your pet’s overall health. So it’s important to take some time finding someone who has a good reputation, a good rapport with your dog, and has a training philosophy you either share or would like to learn.

Start with your doggie’s temperament. If she thrives with other dogs, go playgroup. If not, one-on-one time is best. Endless energy and in need of a vigorous workout? Maybe a daily jogging session is required. Dogs who don’t get along with other dogs won’t be accepted by most dog walkers — although some specialize in behavior problems.

Next, pick a setting. It’s not always the case that off-leash park romps are the best option. If your pooch has anxiety in new places, say due to poor eyesight, maybe a neighborhood haunt is best. If she is limited by arthritis, a stroll close to home might be ideal.

Then go observe the dog walkers in action. Find someone whose energy fits your dog’s and start asking questions. Ask for references. Ask happy dog owners or your veterinarian’s office for recommendations.

Transparency, friendliness, and willingness to spend time answering your questions are good signs; nevertheless, the proof is in the meeting. Make sure you have an interview with all potential dog walkers. Most dogs get driven together to parks, so make sure the vehicle is safe, large, and cool enough.

Good dog walkers train their charges during their time with them. Great ones become extended family members. And remember: you’re trusting this person with the keys to your home. There’s no state or city licensing required, so make sure your dog walker is bonded and insured. Top-end dog walkers are often members of the Association of Pet Dog Trainers and have taken classes in animal behavior.

I recently spent an hour romping around in the Presidio with 10 ecstatic dogs and walker Andrew Frye. Frye is the newest partner of Who Let the Dogs Out (WLTDO). Lauren Goldboss, who started the company seven years ago after deciding she’d rather be outside with dogs than inside with bankers, calls Frye "the best dog walker in the city."

Frye takes out two playgroups a day, and Goldboss says people beg to be in his group. After 30 minutes of picking up the pups and getting to the park — favorites are Crissy Field, the Presidio, Bernal Heights, and McClaren Park — he runs around with the dogs playing ball and teaching them tricks. He taught Birdie the cattle dog to weave in and out of his legs as he walks.

Frye loves his job and is great at training the pups to behave while showing them a fabulous time. He has no formal education in dog training, but reads extensively about classical conditioning and spends his free time talking to other people and dog walkers about tips for making the animals learn and behave.

Goldboss says the most important thing she looks for when hiring dog walkers is the way they interact with the dogs. They need to be willing, able, and happy to run around with the dogs everyday — rain or shine.

For an hour of park time five days a week WLTDO charges a monthly rate of $385 — a relative bargain. Some independent walkers I spoke with charge $15– $30 per trip, depending on the details, so you can spend as much as $600 a month for a daily walk. Typically, there are discounts for households with multiple dogs.

One benefit of hiring an established company is consistency. If your dog walker gets sick or takes a vacation, other staff can fill in, leaving your schedule is undisturbed.

But if your own schedule is flexible or is subject to sudden changes, make sure your dog walker is open to that and won’t charge you for days when you don’t need the services. Individual dog walkers are often willing to be accommodating.

Finally, different companies offer different services: SF Puppy Prep, for example, (sfpuppyprep.com) specializes in adolescent dogs.

On a beautiful, sunny Tuesday, it definitely didn’t suck going out to the park to bounce around with the dogs. As Ernie the bulldog rolled around on the beach, covering his wrinkly face with a thin brown mask of sand, I knew he had found the perfect dog walker in Frye. Earlier that morning, I saw the same honest grin on Jack the standard poodle as he wrestled with his neighborhood friends in the run. That’s one of the best standards of all — your dog walker is having fun, and so is your BFF.

Bark if you like needles

Jesse Hawthorne Ficks

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March 30, 2010

4

tredmond@sfbg.com

The dog named Hank Stamper got paralyzed on a sunny Saturday afternoon. One moment he was hanging out in the backyard, lying in the little patch of grass and giving the cats next door the evil eye, and the next thing I knew he was making a yelping sound like nothing my dog had ever uttered in his four years of healthy life.

When I got there, Hank was dragging himself around by his front paws, his back legs and hindquarters completely limp and useless.

So I picked up the 90-pound beast and wrestled him into the car and carried him to the pet hospital, where a young vet poked and prodded and confirmed that Hank’s entire hindquarters were numb and paralyzed. The doc didn’t know why, or what might have happened; there was no obvious injury. He said it might get better on its own, or it might not.

The specialist vet we saw the next day didn’t know what was wrong, either; it seemed to be some sort of stroke. An x-ray showed what might have been something screwy in his spine. “There’s a surgical procedure they do at UC Davis,” the specialist vet said. “It costs $10,000, and has about a 50 percent chance of success. I could call them if you want.”

Uh, no. I loved my dog, but that was way beyond our means, and my health insurance didn’t cover family members of the canine persuasion. So, sadly, with much weeping, we took poor Hank home. We figured we’d give it a day or two and, if he didn’t improve, his next trip to the vet would be his last.

While I was lamenting all this at work the following morning, one of my colleagues made a wild suggestion: take him to Irving Street Veterinary Clinic, she told me; there’s a vet there who does acupuncture.

Well, hell. I’d never heard of doggie acupuncture, but Hank wasn’t getting better, plus he was miserable, and we were at the end of the line. So I called and made an appointment. Dr. Jeffrey Bryan met me at the clinic, took a look at the poor mutt, and went to get his gear.

“To be totally honest, I can’t explain scientifically exactly why this works,” he said as he started sticking needles in Hank’s back and legs. “But in a remarkable number of cases, it does.”

We sat on the floor, the dog and I, while Bryan hooked a very low electric current up to some of the needles, then he told me to wait. Thirty minutes later, the doc turned the juice off, took the needles out — and goddamn if that dog didn’t stand up and start to walk.

Seriously — the animal that couldn’t even hold himself up to poo (it was gross, don’t ask) ambled stiffly out of the clinic and got into the car. Four acupuncture sessions later, Hank was running again, and within a few months, we did a 5K race — and the human member of the team wasn’t the one setting the pace.

That was back in 1996, when veterinary acupuncturists were fairly rare, even in San Francisco. I think Bryan was one of only two licensed vets who did it. Today it’s a growth industry.

In fact, an increasing number of vets — people with a doctor of veterinary medicine degree, folks who spent four years in graduate school studying Western science and medical techniques — are treating some of their patients with acupuncture, chiropractic, herbs, and other holistic approaches.

“It’s expanded quite a bit in the past five years,” said Dr. Randy Bowman, who practices at Pets Unlimited, a nonprofit animal hospital and adoption center in San Francisco. “We as vets have become more informed and more in touch with what our clients want.”

Bowman practices what he calls complementary and integrative medicine — a combination of traditional Western techniques and holistic treatments like acupuncture and herbs. “I think a lot of us get fed up with chronic conditions, pets that have problems Western medicine doesn’t have a cure for,” he said. “I wanted to offer my clients something more than the same antibiotic over and over.”

Acupuncture’s been around much longer than what we now call Western medicine. A recent article in accupuncture.com noted that primitive acupuncture therapies may have been practiced in India as long as 7,000 years ago, and it’s been part of Chinese culture for centuries.

“One of the earliest records of veterinary acupuncture was some 3,000 years ago, for the treatment of elephants,” explained the article, which was written by Susan Thorpe Vargas and John Cargill.

But the technique didn’t find widespread acceptance in America until much more recently. California first legalized acupuncture in the 1970s. And while some licensed acupuncturists have quietly been treating animals for years, it’s only recently that significant numbers of university-trained veterinarians have started to adopt the practice.

Although most humans have to choose between a doctor with an M.D. and an acupuncturist, in the animal world, the spheres of traditional and holistic medicine have grown closer.

Dr. Hannah Good, who practices in Santa Cruz, is an early disciple. She’s been offering animal acupuncture and chiropractic for more than 20 years. “I look at every case individually,” she told me. “Sometimes it’s herbal treatment, sometimes it’s surgery.”

There are many reasons for the shift toward holistic medicine in the animal world — and one, frankly, is cost. Invasive procedures, antibiotics, steroids — all the things traditional vets tend to do for sick animals — come at a stiff price. Hank’s $10,000 surgical estimate is unusual, but spending hundreds of dollars — many hundreds of dollars — on an animal’s illness is all too common.

The acupuncture that saved Hank’s life cost $40 a session, and the bottle of Chinese medicine Bryan prescribed as a supplement cost $8 at the herbalist down the street.

That’s not always the case — extended acupuncture treatment can be pricey. “But it’s still less expensive, particularly with chronic diseases,” Bowman noted.

I tracked down Bryan recently; these days, he’s a professor at the University of Washington School of Veterinary Medicine and an expert in veterinary oncology. He remembered Hank well — and although he has spent years in advanced training learning to treat animal cancer, he still uses acupuncture at times.

“One of my students had a dog with chronic pain and we gave him a very powerful steroid, but it had no affect,” he said. “But acupuncture made a lot of difference.”

He finds that his clients — even those whose animals have advanced diseases — are interested in alternatives. “A lot of people who have had acupuncture themselves find that this kind of treatment is more in line with their core values,” he noted. “It’s certainly growing in the public consciousness.”

Bryan would like to see the veterinary establishment — which is still dominated by Western scientific models — move more quickly to adopt nontraditional techniques. “Most of what we’re seeing is demand-driven,” he said. “People are asking for it. Veterinary medicine as a whole has done a poor job of being a leader in the field.”

Three things I learned at SxSW

Jesse Hawthorne Ficks

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March 30, 2010

1

arts@sfbg.com

EVENTS/MUSIC South by Southwest is a mega-clusterfuck. Even its name is too crowded. Neither Austin’s locals nor the festival’s veterans have the time or patience to mouth the four syllables; they simply call it “South by” — dropping the more descriptive region designator of the two altogether. Given the rumor that Austin’s population doubles from 1 million to 2 million during the 10-day event, this abstraction is befitting. Despite the few interactions I had with some of the locals — venue staff, college partiers, pedicab drivers, homo-projecting cowboys, and homeless beer can recyclers — I can’t say I’ve seen Austin, only the spectacle they call SX.

The festival is sectioned into three categories: interactive, film, and music. Interactive and music never blend (not officially, at least), just as geeks and rock stars are like oil and vinegar. But film overlaps both. Each camp is roughly five days long, and each is jack-in-the-box-packed with all-day events ranging from industry-celebrity keynotes, to trade shows, to corporate-sponsored tent parties, to “Come as You Are Yoga” and other “stress-relieving” seminars. Having unfettered access to all three, including any unofficial events and parties I caught wind of, was equivalent to being handed a golden ticket to the Wonka Factory and told, “Eat up. Whatever you find, it’s yours.”

The problem, as with most sprawling, supersized festivals, is that there is too much to consume. Too many things are happening simultaneously, and too many sound enticing, so you end up spending the majority of your mornings trying to navigate the best-patterned routes by RSVPing to and marking down upwards of 20 events a day on three different schedules (there’s a printed, online, and iPhone app schedule, each with varying levels of accuracy and event details). After you’ve lined up all your top-tier choices and fallbacks for the day and mapped out their requisite times and locations, you have to go do it, to experience everything the tech, film, and music world has to offer.

Herein lies the other problem. Hordes of other festival fanatics have this same golden ticket. They, too, are running around with intricately-woven agendas and too much on their plate. But due to logistical hangups — feeding and relieving the body, small talk with recognized faces, getting lost on Austin’s manic Sixth Street or on the labyrinthine trade show floor of the Convention Center — these itineraries disintegrate like dominoes made of dust. You make it to a few events you planned for, if they aren’t over capacity, and then you catch glimpses — shards, really — of several others throughout the day as you hopscotch around downtown Austin.

This isn’t so bad. I got to see and hear a lot in 10 days. Approximately 30 panels, 10 films, and 40 music acts. For someone who eats his food too fast, this should feel normal — or at least somewhat familiar. But it doesn’t. Not being able to digest any of the fragmented sensory input because there’s always something beckoning around the corner, I now empathize with poor Violet Beauregarde. Revealingly, the majority of the discourse and conversation surrounding SxSW took place through Twitter feeds, thumbs up/down responses, and the words “awesome” or “lame” yelled or whispered in a neighbor’s ears. The Q&A sessions for the festival’s panels and films were cut short or canceled entirely due to rigid time constraints, and interviews or thoughtful debate were ransacked by over-stimulation that collectively crippled attention spans. Engagement, as it turned out, seemed to be hiding elsewhere.

SPEED X SOUND = WHITE NOISE

“Nothing is free,” said media critic Douglas Rushkoff in a keynote that kicked off this year’s SxSW. This was the first event I attended, as well as the one I retained the most from due to the week’s subsequent madness. Unfortunately, Rushkoff never got a chance to explain what he meant by this because he was pressed for time and needed to finish rattling off the rest of his “commands” — in a talk titled “Program or be Programmed: 10 Commands for A Digital Age” — lest the fest rep at the back of the auditorium threaten him again by tracing her thumb across her throat. As the week wore on, I realized what he meant by this — or at least what he meant in the context of SxSW.

Pepsi, Red Bull, Sobe, Monster Energy drinks, 42 Degree Vodka, Miller Light, Zone energy bars, Camel cigarettes, Harley Davidson motorcycle rides — all free. ChapStick, T-shirts, backpacks, sunglasses, Levi’s, hand-towels pressed into hockey pucks replete with complimentary guitar picks, contests to win iPhones and automobiles, you name it: free. Everywhere I went during SxSW (yes, even the bathrooms had shwag) some recent college grad was hocking some product with some company’s logo on it at me like celebratory confetti.

It was like communism meets Disneyland for a few days, until I realized I was spending most of my time standing in lines and staring into the expanses of yet another sponsorship spectacle. It’s like being in a live commercial. Sure, commercials are fun and zany, but when a lady scolded me for having a Red Bull in a Monster-sponsored area, all of a sudden I realized the fences, registration cards, and other trappings of “free.”

But SxSW is all about the unofficial, word-of-mouth, other-side-of-the-tracks, free stuff. Or at least this is what everyone tells you. At least what all the die-hard, seasoned SxSWers swear by — those who refuse to buy badges or pay for a single event. This is how my SXSW fantasy originally formed when a friend who went a few years previous raved about seeing Gang of Four in a parking garage.

Unfortunately, I saw nothing of the sort. I did glean some tired trends in tech, like the limitations of copyright and the potentials of crowd-sourcing and community; see a few fine foreign films, including The Red Chapel, which paradoxically and intimately reveals North Korean ideology via Danish comedians; catatonically experience Black Rebel Motorcycle Club slow down time; feed a nostalgia for stage-diving during 7 Seconds’ youth-crew anthem “Young ‘Till I Die”; and develop a newfound music crush on local psych-rock band the Fresh & Onlys. But with 2,000 bands and 2,000 sponsors clamoring for your attention, it’s difficult to separate the good from the bad and, more important, the great from the good.

There really is no way to do SxSW “right.” You either do extensive research, include yourself in a network of like-minded people, and only pick the best available options, or you experience as much as possible and digest — or vomit, depending on your pace — all of it the following week, when the toxins have finally run their course and the buzzing in your ears returns to a low, numb hum.

Blink

Jesse Hawthorne Ficks

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March 30, 2010

0

le.chicken.farmer@gmail.com

CHEAP EATS He was tapping a red-tipped cane, staying close to the buildings, and sometimes bumping into them. We greeted each other in passing. And the second person I saw that morning, walking to BART in the dark, was using a red-tipped cane too, but also holding onto her man’s arm. Her hat was tall and adorned with either fruit, flowers, or both. I took off my glasses and wiped them on my shirt.

The children have been wonderful. Boink, who started reading books to his little sister while I was away, says "I love you" about a million times a day now. One of the first things we did was make gnocchi, and now Popeye the Sailor Baby is old enough to help roll them too.

The Chunks de la Cooter remember all our songs and games, and Chunk II hardly ever lets go of me when I’m there. As if, more than even me, she can’t believe I’m back and ain’t lettin’ go this time.

I feel like I’ve just woken up from a really, really bad dream, rolled over in my sweat-soaked life, and blinked into the also-blinking eyes of my four True Loves, age two, two, three, and four. These four, they give my heart right back to me.

Boink thinks we should open a restaurant together. Inclined to believe him, I picture the boy 14 years from now, standing on a step-stool next to me, lightly dusted in flour from his fuzzy blond head to his pink tennis shoes — only I guess by then he’ll have flour in his beard too.

Maybe in the meantime — his parents and child labor laws willing — I can practice him in my imaginary guerilla Guerrero Street pastry war against Tartine. He can sell lemonade to the liner-uppers across the street while I learn to cook. Or better yet: limeade.

The burritos I have eaten have tended to be from Cancun, of course, with Earl Butter, and of course El Farolito with Dan-Dan the Fireman and Phenomenon. With one exception. That was El Buen Sabor, with Last Straw Sullenger, who is helping me to curtain and depression-proof my new hovel.

And she bought me a burrito for lunch.

Now I was never very fond of Good Taste during my previous stomps through the Mission, I forget why. But Earl Butter told me El Buen Sabor got better, and I trust him, as you know.

As you also know, if you’ve been reading Cheap Eats while I was out there getting my ass kicked, the buttery one just doesn’t venture beyond a two-block radius of his house at lunchtime or dinnertime. Or breakfast time, for that matter.

So what I think he likes about El Buen Sabor is that it’s the closest beans to home for him, and now me. Well, their two table-top squeezy-thingie salsas are excellent — both the red and the green. They both have some seriousness to them, and are good not only on chips and burritos, but back home poured over slightly stale and heavily buttered drop biscuits. I speak from first-hand leftover experience. But personally, I don’t think the place is any better than I think I used to think it was. That is: nothing special.

They do have brown rice and spinach tortillas, as Last Straw proved by asking for, and getting, both. With her vegetarian burrito.

Whereas I got my vegetarian burrito with as much unhealthiness as possible: white rice, refried beans, and carnitas. It was good, but honestly, unless you live one block away and are Earl Butter, or have recently eaten Mexican food in Regensburg, Germany … it’s nothing to write home about.

Let alone a restaurant review.

So now, if you’ll excuse me, I would like to go back outside again, before it gets dark again, and look into one of those stenciled sidewalk gems again, for a while longer.

This one:

I WOULD STEAL THE STARS FOR YOUR and then I can’t quite make out the last word but I believe it to be HAT.

There is more than one way to read this.

EL BUEN SABOR

Daily: 10 a.m.–10:30 p.m.

697 Valencia, SF

(415) 552-8816

D/MC/V

Beer & wine

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

Last but not least

Jesse Hawthorne Ficks

-

March 30, 2010

0

arts@sfbg.com

DANCE Looking at the last piece by the greatest choreographer of the second half of the 20th century seemed a daunting prospect. What if it was less than good? Could I see it as something that stood on its own terms regardless of the context?

My concerns evaporated the minute the curtain opened on Merce Cunningham’s Nearly 90(2), the traveling version of Nearly Ninety, which premiered on Cunningham’s 90th birthday, on April 19, 2009. (The superscript for the road show is surely a final twinkle from those pale blue Cunningham eyes.) The elaborate set is gone; the musicians (John King and Takeshisa Kusogi), performing former Led Zeppelin bass player John Paul Jones’s score, are now in the pit. What remains the same, one has to assume, is the choreography, still performed by a cast trained by Cunningham himself. Nearly 90(2) is an exquisite piece of and about dance making; it is perhaps the most intimate work of his extraordinary career.

Throughout his life, Cunningham resisted narrative readings, but in Nearly 90(2) I couldn’t help feeling the choreographer’s presence; he seemed to be looking at the dancers one by one as they walked in from opposite sides of the wings, as if on call. He paired this one with that one, tried to see what could be done with trios, and finally took a close look at some individuals. Watching the piece felt like observing the process of shape-giving.

The pacing was slow and deliberate; the clarity with which each torque, each angled limb, and each crossover step was given time to reach the fullness of its expression encouraged close watching. But it was not just the audience that was seeing through Cunningham’s eyes: the dancers, too, participated in this process of looking. They’d finish a phrase and then sit to see where the section would spin to with someone else. At one point, a trio — looking uncannily like a Henry Moore sculpture — implacably watched another trio and then returned to its own work.

With its multiple points of view, Cunningham’s choreography often looks structurally unfocused. Nearly 90(2) was formally transparent. The choreographer, one more time, contemplated a set of questions and, here, set them out in front of us like a diorama of possibilities. What could be done with, let’s say, that most basic of building stones, the duet? Are two dancers, physically apart, a duet? At what point do two duets become a quartet or four soloists? But Cunningham doesn’t care about the answers; he is interested in the questions.

When Andrea Weber and Rashaun Mitchell, the first of five couples, stretched, cantilevered, and folded their limbs, they were off-balance yet in equilibrium with each other. When all five duets engaged in similar encounters, you couldn’t miss the individuality of the combinations. No wonder fleet-footed Julie Cunningham and newcomer Jamie Scott smiled at each other in passing.

Before looking at each dancer individually, Cunningham explored trios that were more grounded than the often precarious duets, supported on two legs while the other two had landed somewhere in space. Here Cunningham’s dancers explored volume and weight. They first grew and contracted like a bellows, never letting go of each other even as Weber pulled herself across the stage like a plow horse. Later, the partners were knitted together through small, intricate exchanges, but they didn’t touch.

The solos finally looked like little bouquets that Cunningham wanted to pass to individual dancers: John Hinrichs’s push-up flipped open like a book, Melissa Toogood shone in sparkling footwork, and Mitchell’s hip rotations on top of a deep plié rolled across the stage like an earthquake.

Print sections as they appeared in the early 2010s

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