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30 years and one minute: Film Arts Foundation

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The Film Arts Foundation turns 30 this year, and to celebrate it’s throwing a party at the Castro Theatre. One-minute movies are a major element of the FAF’s birthday bash — 60-second efforts by some of the organization’s filmmaking members will be shown as part of an evening program MCed by Peter Coyote and Nancy Kelly. Considering FAF members include Les Blank, Debra Chasnoff, Nathaniel Dorsky, Rob Epstein, Sam Green, George Kuchar, Amanda Micheli, Jenni Olson, Jay Rosenblatt, Caveh Zahedi, and Terry Zwigoff, the result promises to be exciting.
Normally, in early November the Film Arts Festival rolls around, but this is an important transitional year for the organization, with recent changes such as the hiring of executive director Eric Hayashi. The Film Arts Fund for Independent Cinema continues to award money to filmmakers whose visions are individual and who aren’t — unlike the vast majority of directors today — following the dictates of TV markets. This year Green (currently working on a movie about utopian visions) and recent Guardian profile subjects James T. Hong and Michelle Silva (“Wild Eyes,” 5/18/05) are among the grant recipients. (Johnny Ray Huston)
FILM ARTS FOUNDATION’S 30TH ANNIVERSARY CELEBRATION
Wed/8, 6:30–8 p.m. reception; 8 p.m. screening; 10 p.m. after-party
Castro Theatre
429 Castro, SF
$15–$75
(415) 552-FILM
www.filmarts.org/30years

Embedded: A Q&A with Iraq in Fragments director James Longley

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It only takes a few minutes of watching Iraq in Fragments to recognize that the film stands apart from the Iraqumentary pack: dazzling cinematography in place of the dull visuals of the evening news, slice-of-life narration instead of talking heads. Divided into three sections, director James Longley’s reportage shows us the everyday chaos in Baghdad and beyond with dramatic vividness — a vividness that, if nothing else, makes us realize how degraded most of the imagery we receive from Iraq is at the moment. Longley’s style owes as much to neorealism as it does to vérité documentary, with an emphasis on rhythm, ritual (school, shaving, washing feet), and — somewhat tiresomely — child perspectives. The director doesn’t explicate politics and often drops us into complex situations without explanation — he expects a lot from his audience but at the same time knows that the tangled human emotions cast before us will give the film meaning. It’s the kind of ambitious work one imagines a director like Gillo Pontecorvo (The Battle of Algiers) would have made if he’d had access to digital technology.
Though the film nabbed a couple of major awards at Sundance, it’s taken months for Iraq in Fragments to get a proper theatrical release here. Fortunately for Longley, the film’s material is evergreen, not tied to specific events, and still wholly relevant to the unfolding devastation. I spoke with the director during last spring’s San Francisco International Film Festival.
SFBG: How did you decide to make a documentary about Iraq?
JAMES LONGLEY: In 2002 I premiered Gaza Strip [his first feature-length documentary] up in Seattle, and someone asked me what I was going to do next. By then it was already clear that we were going to invade Iraq … and I just said I was going to make a film about Iraq. I didn’t know how I was going to do it, I didn’t know what to expect, but I just decided [to] dive in no matter what.
SFBG: After getting kicked out of the country in the immediate buildup to the US invasion, when and how did you return to Baghdad?
JL: I waited for [the war] to end in Cairo. The last two weeks in April, the war was running down, the statue fell, and I flew immediately from Cairo to Amman, Jordan, and then drove across the border, which was totally open. I just kind of settled in. I had my camera and found an apartment. I found people to work with as translators and started filming.
SFBG: It’s striking how comfortable the film’s subjects seem around your camera, especially since you’re an American. How do you go about getting embedded in this way?
JL: Mostly it’s just a matter of making friends with people and hanging out…. It was a conscious choice to have that feeling of being a fly on the wall. When you make that choice, you do whatever it takes … and really, what it takes is a lot of patience. I went through 12 different translators. The difficult thing for them was when I would go out to a farm or wherever I was filming and just stay there from morning until night, just hanging out. Most people demand some kind of action, but in this case the work was really in action, punctuated by really fast decision making. You’re going to be a fixture in this place. Everyone’s going to know who you are, and you’re going to have to say hi to everyone and drink tea with everyone day after day…. If you’re willing to do that, after a while people won’t think it’s such a big deal when you’re filming.
SFBG: Given the on-the-fly nature of the scenes, Iraq in Fragments is also a powerfully cinematic documentary. How does this level of film style factor into your direction?
JL: When I was shooting the film, I was definitely thinking of cinema, not of television. I grew up hating TV and never actually had one…. Conceptualizing the movie while shooting it, I was always thinking, “What’s this shot going to look like on the big screen?” Having that in your mind the whole time changes the way you imagine it, changes the way you shoot; it changes everything. I want to shoot the next film in high-def 3-D [laughs]. (Max Goldberg)
IRAQ IN FRAGMENTS
Opens Nov. 10 in Bay Area theaters
www.iraqinfragments.com

Oh, Alejandro

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› a&eletters@sfbg.com
These days finesse in the art of montage is too often used to compensate for ineptitude (or just laziness) in the art of storytelling. Of course, rhythmic, Eisensteinian montage can be beautiful in itself and can even bear the weight of actual substance. Right now there is no more impressive practitioner of this particular skill than Alejandro González Iñárritu, who since his first feature, Amores Perros, has worked on the kinds of expansive, crisis-driven, crisscrossing stories that practically require cathartic crescendos of pure editorial bravado.
González Iñárritu doesn’t write his own screenplays (Guillermo Arriaga does), and the two features since Perros have credited others as editors. But Perros, 21 Grams, and the new Babel are so much of a piece — conceptually, thematically, stylistically — and the work his collaborators have done elsewhere is so dissimilar that there’s no doubting González Iñárritu’s all-controlling hand.
Anyone who works on so ambitious a scale risks missteps and unevenness. Babel is a teetering monument, and its plot is hole pocked as if made of Swiss cheese. Yet it’s also better shaped as a whole than Amores Perros and carries its burden of existential hand-wringing less pretentiously than 21 Grams. Mercifully, it abjures the latter’s jaundiced palette for Rodrigo Prieto’s full-bodied, naturalistic wide-screen compositions. There are individual passages that are as dazzling as anything onscreen this year. Perros told three consecutive Mexico City stories; Grams interwove three chronology-scrambled threads set mostly in New Mexico (though originally conceived for Mexico City). Babel sprawls across the globe, tenuously linking tales of culture shock in Mexico, Japan, and Morocco.
The last is where San Diegan professionals Brad Pitt and Cate Blanchett have gone for reparative alone time. They’re about to reconcile, maybe, when a stray bullet from a young goatherd’s gun strikes their tour bus. The panic among fellow passengers and impact on innocent locals are ramped up by international media attention on this “terrorist act.”
The same couple’s two preschool children are back in San Diego with Mexican housekeeper-cum-nanny Amelia (Adriana Barraza). She’s willing to go the extra mile when the globe-trotting parents get in trouble — but not, when those troubles drag on, to miss her own son’s wedding. Amelia finally decides to take her towheaded charges across the border, with reckless nephew Santiago (Gael García Bernal) as their most untrustworthy chauffeur.
Ultimately connected to these dramas by the thinnest of threads, a third strand centers on deaf-mute Tokyo teen Chieko (Rinko Kikuchi). Her mother is dead, her CEO father distant. Further alienated from the speaking world, Chieko plunges into raver postures of wannabe nymphomania that are by far Babel’s least convincing or pointed ploy. Still, they engender the movie’s most exhilarating montage — an ecstasy-propelled joyride that arcs from desire to bliss to aftermath, only slightly overdoing the audio on-off effects meant to capture the nonhearing experience.
What is González Iñárritu saying here? Why are the near-death experiences of American yuppies straying outside their home safety zone — in nations painted as menacingly chaotic, even the director’s native Mexico — more vivid than the travails of residents? Surely that’s not González Iñárritu’s intention, but the star power of Pitt and Blanchett and the pixie perils endured by their fictive kids tend to tip the scales in that direction. In interviews the director says what he thought would be a movie about cultural differences ended up being about subjects — family, parenting, compassion — that unite all people. Babel does gesture thataway, yet its primary emphasis is on crisis creation and ambulance chasing. Hot-button issues like terrorism, illegal immigration, and US imperialism are diversionary flags González Iñárritu waves without actually signaling anything.
Among filmmakers working in this fashionable crazy-quilt-of-humanity genre, many less talented ones are even more convinced they’re making an important statement about life. Babel is so accomplished and urgent as spectacle that maybe it’s folly to expect more than the rewards of an engrossing, sweeping surface. Babel might not be a great movie, but you can’t watch it without knowing González Iñárritu will someday make one. SFBG
BABEL
Opens Fri/3 at Bay Area theaters
See Movie Clock at www.sfbg.com for theaters and showtimes
www.paramountvantage.com/babel
For Cheryl Eddy’s interview with director Alejandro González Iñárritu, go to www.sfbg.com/blogs/pixel_vision.

Cheap greats

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› kimberly@sfbg.com
SONIC REDUCER Starved for ideas? Dirt cheap, down to your last slice of cheese pizza and Harley beer, and still deeply smitten with fuzz-swathed guitars, ruttin’ rhythms, and a complete dearth of chops?
Desperate times call for rotten but still somewhat respectful measures, according to Chris Owen, former Guardian music ad maestro, ex–Killer’s Kiss kingpin, Hook or Crook label head cootie, and everlasting primordial rock fan. When the time came to name Budget Rock Showcase, the garage-punk onslaught of a music fest that Owen birthed five years ago with ex–Guardian columnist and onetime Parkside booker John O’Neill, they turned to the best: ye olde SF garage rock upenders the Mummies.
“We took the name from the back of a Mummies record, a picture of the Mummies that says ‘Budget Rock Showcase’ on their hearse or station wagon. We thought it was the perfect name for a festival of these bands,” recalled Owen from Gris Gris leader Greg Ashley’s digs, where they’re working on a 7-inch of Ashley’s pre-Mirrors high school combo, the Strate Coats. In response, the Mummies have been, um, fairly mum. “They’re pretty nonplussed that we decided to appropriate that. I get the feeling that doing some kind of organized, highfalutin thing is not necessarily what they’re into.”
Well, their tacit agreement was all Owen needed to pick up the fest he abandoned after the first year with a bit of booking help from friends such as O’Neill, ex–Parkside booker John Pool, and Stork Club bar manager-booker Lance Hill. Known for giving Comets on Fire one of their first Bay Area shows and drawing the underage Black Lips from across the country and later lauded for bringing in Beantown’s highly combustible Lyres, Budget Rock leaves Thee Parkside for the first time and celebrates its fifth year at the Stork. “It probably wouldn’t have happened if I didn’t do it this year,” Owen said while scarfing pizza with Ashley (“the food that fuels Budget Rock!”). “No one got off their ass to do it.”
So what is this crazy, impecunious thing called Budget Rock? “All the bands fall under a couple different rubrics,” Owen said. “Real traditional garage bands like Omens and Original Sins. I tend to like noisier In the Red stuff, but Budget Rock is supposed to be about Bay Area bands that are descended from great bands like Supercharger, the Mummies, Rip Offs, and Bobbyteens.” Of snarly note — besides the magnifico, malignant Original Sins (Brother JT’s original garage unit, which hasn’t played the Bay in more than a decade) — are fest first-timer Ray Loney, the Sneaky Pinks, the Mothballs, the Traditional Fools, Legendary Stardust Cowboy, and the Okmoniks (one of several acts to have played every fest).
With the mainstream pop scene’s own appropriation of garage rock now petering to a close and disappearing from car commercials and the demise of such fests as Garage Shock, Owen can safely say that Budget Rock is one of the few of its die-hard kind, along with Goner fest in Memphis and Horizontal Action’s Chicago Blackout. Original garage lovers can all breathe a sigh of relief now — and enjoy the grease in peace. “You can spot a band that’s trying to make it a mile away,” Owen said.
“It’s like when you hear the Strokes, and they promote themselves as the Velvet Underground,” Ashley interjected. “They kind of do sound like them but like the worst songs on the last album rather than the best songs off the first album.”
This will likely be the first and last time Budget Rock will pick pockets at the Stork because Hill is moving on after failing to buy the joint — word has it he has looked into the old Golden Bull space too. But then, that’s the way this breed of untamed raw-k shakes down.
JOAN OF OURS A passing that came and went relatively unheralded Oct. 21: Runaways drummer Sandy West died after a lengthy tussle with lung cancer.
Yet it’s not too late to lay down your respect to Joan Jett, who plays San Francisco on Nov. 4 and has said after West’s passing, “I started the Runaways with Sandy West. We shared the dream of girls playing rock ’n’ roll. Sandy was an exuberant and powerful drummer. So underrated, she was the caliber of John Bonham. I am overcome from the loss of my friend. I always told her we changed the world.”
Jett is still out to change the world, it seems, when I spoke to her recently from her tour bus shortly before West’s death. Her new album, Sinner, on her own Blackheart Records, had just come out, and she was psyched about its politically and spiritually oriented material. After chatting about the Warped Tour (“I had my BMX bike and rode around from stage to stage checking out as much music as I could”) and producing the first Germs LP for her friend Darby Crash (“We got serious for about four days and probably as un-fucked-up as we could be and went in there and made a great record”), Jett got in one last push for rocking women like herself and West.
“I think the environment for women is just as bad now [as when I started Blackheart Records],” she said. “In fact, I think it’s even more dangerous because there’s this illusion of equality, when in fact, that’s not the case at all. Girl bands can’t seem to get above that successful club level, then they run into that glass ceiling thing.” SFBG
JOAN JETT AND THE BLACKHEARTS
Sat/4, 9 p.m.
Fillmore
805 Geary, SF
$30
www.ticketmaster.com
ORIGINAL SINS
Nov. 10
Hemlock Tavern
1131 Polk, SF
www.hemlocktavern.com
BUDGET ROCK SHOWCASE
Nov. 10–12
Stork Club
2330 Telegraph, Oakl.
www.myspace.com/budgetrock

Explosives

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› le_chicken_farmer@yahoo.com
What am I grateful for?
Bacon. Fried chicken. Butter. Barbecued chicken. Butter. Bacon fat. Eggs … None of which you will find by the way at my new favorite restaurant, Café Gratitude. I went to the one in Berkeley with my old blackberry pickin’ pal and new favorite massage therapist NFC, and even though I couldn’t find no chicken-fried steak on the menu, I have to admit to having had one of the Times of my Life.
Has the chicken farmer lost her mind?
No! My old pal NFC has, because I would have taken her to Chez Panisse or even House of Chicken and Waffles … and she picked this.
“No, no, I’m serious, anywhere you want,” I said. “My treat.” I owed her big-time, see, for fixing me up backwise in an emergency the week before. “Chez Panisse,” I said. “Chicken and Waffles.”
“Café Gratitude,” she said again.
So, OK, I didn’t even know what it was, but namewise it seemed appropriate for the occasion. Conceptwise, you know: “live” organic foods, no meat, no pain and suffering, locally farmed, environmentally friendly, vegan, “prepared with love,” and all that hippie dippy dong dong dicky doo I’m so, so into these days, so long as I get to go home afterward and lop the head off of one of my chickens.
I like dead food too.
Everything on the menu is named an affirmative first-person statement, and the idea I think is to make you say it when you order. Like “I am wonderful,” “I am lovely,” “I am dazzling,” “I am magical,” and all kinds of other flat-out lies. Personally, I am honest, so I scoured the menu for something true to say to our waitressperson, such as “I am all of the above and none of the above and clumsy and stupid and pissed off and oh yeah, my feet stink.”
“I am explosive,” NFC said, but that wasn’t on the menu either. Although … never mind. Well, no, never mind.
Well, I think she was maybe making a prediction, based on all the ingredients in all the stuff we were looking at, like grains and greens and nuts and flax chips. Give you an example: the salad called “I am fulfilled” contains mixed greens, carrots, beets, cucumber, tomato, avocado, sprouts, microgreens (whatever that means), Brazil nut parmesan, and flax crackers ($10).
Actually, that sounds delicious, but I settled on being “elated,” which meant I was eating an enchilada with corn, cilantro, and something else inside and a spicy green salsa on top ($10). This came with a side salad and Bhutanese red rice. All good, right on.
NFC decided to be accepting, which meant she was eating red rice too, only all tossed together with raw free-range organic vegetables, pine nuts, some other kinds of nuts, and some shit-talking mushrooms. All good, right on.
To drink: free-range organic wind-dried water (with a wink to Posh Nosh fans — hi, Chrissy), and we also ordered a couple things from the smoothies and nut milks, but I don’t remember what. But it was all good, right on.
You think I’m kidding but I’m not. I love this stuff! Anyway, I could have been eating sand and sea shells, and so long as I get to eat it sitting cross-legged on a couch with my old friend NFC, talking about her girls and my chickens and, you know, life and shit, with our knees sometimes touching … I’m going to be happy.
I was satisfied. Technically, this was breakfast, since we started eating around 10, but I didn’t have any lunch and wasn’t hungry for dinner until later than usual. Which isn’t to say that I didn’t run right home anyway and knock over one of my chickens. It was a beautiful day that day.
It’s a beautiful day today. I am sad and scared and loving life because I can’t stop making poetry out of it. This one I call “Hopeful Chicken Farmer Poem”:
Suddenly bugs make sense to me and lavender smells like lavender — finally! Who knew that a dried-up leaf would sound that way under a feral cat’s paw? So I planted a blueberry bush next to the blackberry bushes. Next year, if the chickens don’t scratch it all out … SFBG
CAFÉ GRATITUDE
Daily, 10 a.m.–10 p.m.
1730 Shattuck, Berk.
(415) 824-4652
Takeout available
No alcohol
MC/V
Quiet
Wheelchair accessible

Don’t block the box

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› paulr@sfbg.com
In the Thousand Years’ War between beer and wine, beer has long enjoyed an advantage on the party battlefield, mostly because of the keg, the bunker buster of party drink delivery. Oh yes, kegs do run dry, they must, but has anyone actually seen it happen?
Wine, on the other hand, comes in bottles, and while some of these bottles are, in theory, party sized — the jeroboams and nebuchadnezzars that hold massive amounts of champagne spring to mind — they are unwieldy, lacking the keg’s convenient tap. Could wine’s secret weapon in the struggle for party preeminence be the box? “I drink boxed wine!” is not necessarily an announcement to be shouted from the rooftops in San Francisco, but lately I have had occasion to sample some boxed wines (from Black Box), a cab and a pinot grigio, and I am here to say they are not bad — are, in fact, quite quaffable, though not better than the better Two-Buck Chucks, while costing about twice as much. (A three-liter box of Black Box is the equivalent of four standard-size bottles of wine and retails for about $18, or about $4.50 per bottle.)
It is the box format, of all things, that aggravates. Making the boxes operational is slightly arduous, involving the punching out of stubbornly uncooperative paperboard tabs and the pulling forth of the fugitive spigot, but once all that is accomplished, you have a smart little keg — full of wine. The issue is that the spigot is almost at the bottom of the box, which is fine for flow but does make getting a glass under there a challenge. The solution with a keg is often to set it on some kind of a stool or low table, with plenty of open space under the tap, but the wine boxes aren’t as big and stable as kegs. Little fold-down legs might be helpful, as on Kramer’s coffee-table book about coffee tables.
Also, I did not like the spectacle of white wine gushing downward from the spigot. A little too reminiscent of wee-hours micturition for more delicate sensibilities. And I’m not sure about the recycling; wine bottles are easy, but the wine box would first need some postmortem surgery to get rid of the plastic bladder inside the paperboard shell, and who is going to do that when besotted with party wine and maybe even a blast or two from a competing keg?

Sea rations

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› paulr@sfbg.com
One of the stronger arguments for vegetarianism is variety: there are far more kinds of vegetables and ways of preparing vegetables than there are meats and ways of preparing meat, even if you eat mutton. (And know where to get it.) Fish and seafood too are more various than meats — or at least they have been. There is growing evidence that most of the world’s major fisheries are drifting toward collapse; the British author Charles Clover gives a chillingly thorough review of the evidence in his new book, The End of the Line: How Overfishing Is Changing the World and What We Eat (New Press, $26.95).
Eating fish, then, is no longer presumptively virtuous. It matters what fish we eat: farmed or wild, how and where taken if wild, health of the overall population, and so forth. Earlier this year, while reacquainting myself with Hayes Street Grill after some years’ absence, I noticed that the menu card now gives a good deal of information about the sources of the restaurant’s maritime dishes. The plain assumption is that diners want and need this information, that they are beginning to understand that choices about food involve a moral dimension and that considering the moral dimension of one’s choices need not ruin the meal nor the evening.
Given HSG’s position as an exemplar, I was curious as to whether its attention to sourcing might have begun to influence other seafood houses around town. One of the most obvious places to start looking would have to be Alamo Square Seafood Grill, which since the middle 1990s has sat atop a romantic stretch of Fillmore a block from the hilltop park that provides its name. From the beginning, Alamo Square borrowed a page from the HSG playbook by letting diners choose from among several varieties of fish, cooking method, and sauce. One difference: you did not get fries, as at HSG. On the other hand, there was — and remains — an early bird prix fixe option, three courses for $14.50 and a reminder that Alamo Square began as an offshoot of that long-running prix fixery, Baker Street Bistro, at the edge of the Presidio.
The restaurant looks none the worse for a decade of wear, except that the northern face of the street sign (wreathed in Christmassy little white lights) has lost its initial A: if, trekking uphill, you come across a place called lamo Square, you are there. Inside the storefront space, the mood is one of candlelit intimacy, and the crowd is varied, consisting largely of people in their 20s and early 30s (neighborhood folk?), along with the occasional interloper. A youngish couple who had Marina written all over them arrived in a silvery Aston Martin coupe, which they parked in the bus zone right outside the restaurant’s door. Oh Department of Parking and Traffic, where are you at those rare moments when you could actually be useful? Not that some DPT timeliness would have mattered in this case, since the canny pair took a window seat with a view of bus stop and car.
Our first order of business was establishing which of the proffered fish we might conscionably eat. Trout: no, a farmed carnivore, with aquafarming the cause of environmental pollution and carnivorous fish requiring on the order of four pounds of wild fish to return a pound of salable flesh. Mahimahi: attractively firm and abundant, though flown in from Hawaii. Red snapper: a local fish with decently managed populations, just a wee bit boring. And … an ahi tuna loin, prepared according to a set recipe. Tuna is dicey: bluefin is a no-no, other varieties somewhat less so.
Red snapper ($13.95), luckily, takes well to blackening even if it’s just the Pacific kind, not the true variety from the Gulf of Mexico. We found the mâitre d’hôtel sauce — basically a garlic and parsley butter — to be just assertive enough to make its voice heard without challenging the fish. The more party-hearty Provençale sauce — of tomatoes, black olives, capers, and garlic, a combination reminiscent of Neapolitan puttanesca — made a nice match with grilled mahimahi ($13.95), a fish that, like chicken, welcomes a little help and usually benefits from it. Platters of fish (not too little, not too much) were served with brown rice pilaf and a mélange of sautéed vegetables, among pattypan squash, zucchini, carrots, and button mushrooms; none of this quite matched good French fries for excitement, but it was all pretty tasty and much lower in fat.
The kitchen handles nonfish dishes with equal aplomb, from an amuse of wild-mushroom pottage spiked with a little balsamic vinegar and presented in demitasses to a fabulous salad of shredded romaine hearts ($6.75) tossed with crisp lardons, slivers of carrot and French radish, garlic croutons, blue cheese, and lemon oil. A soup ($6.25) of artichoke and fennel topped with pipings of curry oil was desperately underseasoned — all we could taste was the sweetness of the fennel — but a few good pinches from the tabletop salt dish coaxed the artichoke flavor forth.
There was even an occasional flash of wit, as in a tarte tatin ($5) made with pears instead of apples and presented in the au courant, deconstructed style: the pear slices were fanned over a floor of pastry. It looked a little like a pear pastry lasagna the chef hadn’t quite finished putting together. On the side, a pat of vanilla ice cream nodded to tradition.
As we left, we noted the Marina couple chattering away in their little surveillance box and the Aston Martin still sitting in the bus stop, ticketless. We gave the restaurant pretty good grades, in the A to A- range, for both overall experience and sustainability. Maybe the place can use one of those As to get the sign fixed. SFBG
ALAMO SQUARE SEAFOOD GRILL
Dinner: Mon.–Sat., 5:30–10 p.m.; Sun., 5–9:30 p.m.
803 Fillmore, SF
(415) 440-2828
Beer and wine
AE/MC/V
Noisy
Wheelchair accessible

TV is history

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› annalee@techsploitation.com
TECHSPLOITATION The most interesting social experiments are often the least flashy. A researcher at UC Berkeley’s School of Information Management, Jeff Ubois, proved that last week with the release of his meticulous study on an odd topic: why researchers can’t research TV.
Ubois found that studying one simple event in recent TV history was impossible. Copyright rules and poor archive access meant that even after months of work, he was unable to gain copies of a single primary source related to former Vice President Dan Quayle’s 1992 speech blaming TV character Murphy Brown for the nation’s decline in family values.
In a 1992 speech at San Francisco’s Commonwealth Club, Quayle claimed the Rodney King riots were spurred on by TV characters like Murphy Brown, who made single motherhood into “just another lifestyle choice.”
At the time the speech was intensely controversial. Many suggested that the first Bush administration was blaming television, not the brutal police beating of a black man, for the LA riots. As Ubois points out, it seems reasonable that future TV scholars will want access to original speeches and media reports of the incident, as well as footage from Murphy Brown in which the character responds to Quayle.
But when Ubois tried to get access to Quayle’s speech in storage at the Hoover Institute, librarians told him that copyright and contractual obligations to the Commonwealth Club prevented them from making a digital copy of the speech for educational use. Warner Bros., which owns the rights to Murphy Brown, refused to give Ubois copies of the show. Absurdly, Warner did tell Ubois he would be permitted to show lawfully obtained episodes to students, even though they wouldn’t give him any. How generous!
Of the TV networks that aired news of the speech, only ABC would allow Ubois to digitize and show segments of its newscasts in the classroom. None would give him those digital copies, though. He would have to purchase them from third-party sources like the Vanderbilt Television News Archive. The cost for getting roughly two hours of news clips ranged from $800 to $5,000, depending on the source.
Ubois concludes that a typical historian, who has little access to money, would be unable to complete a simple study of primary sources in the Dan Quayle versus Murphy Brown incident. Some of this is a result of copyright madness. In 1982 a New York judge found that archiving news clips for educational purposes was unlawful because those clips are “readily available” from rights holders. What Ubois discovered is that they aren’t available in any form for educational use. The basis of this oft-cited decision is simply wrong.
Because copyright laws gum up the process of archiving TV footage, nobody is tracking and indexing TV the way librarians do books and movies. This means scholars can’t access materials simply because they aren’t findable. As Ubois points out, “No single comprehensive catalog of television broadcasts now exists in the United States.”
In an age when digitization technologies would allow us to store all of TV history in a server room and make it fully searchable and accessible to the public, this is simply ridiculous.
Ubois cites a recent European video-archiving study that found TV tape storage begins to degrade after 20 years. That means 70 percent of existing TV footage will be gone by 2025. Imagine if 70 percent of existing books were going to be burned by 2025.
This is quite simply an atrocious situation — not just for scholars but for all US citizens whose freedom of thought requires access to their own history.
For inspiration, networks and rights holders should look to the BBC’s media archives, which aim to make most of the broadcasting company’s footage available to the public in digital form online.
Misguided greed and poorly interpreted copyright law are the only things standing in the way of a people’s history of television. I look forward to a day when the people will write it.
Scratch that — I look forward to a day when the people can research it. SFBG
Read Jeff Ubois’s paper here: www.archival.tv/
MurphyBrown-final.pdf.
Annalee Newitz is a surly media nerd who misses Murphy Brown.

At your cervix

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› andrea@altsexcolumn.com
Dear Andrea:
As long as I can remember, I’ve had a fascination with gyno play and playing doctor. I had never acted upon it until meeting my current boyfriend. We’ve begun experimenting with speculums, various insertable objects, vibrators, etc. We are always very careful to be sterile and safe.
I’ve grown more and more interested in the idea of cervical dilation and cervical insertions but have been unable to find any literature on the subject. Apparently, I am the only human alive with such a fascination. I have looked online and found several varieties of uterine sounds but always in context of urethral play, not cervical stretching.
I understand that any cervical penetration has the possibility of causing cramps or other pain, but I am anxious and willing to experiment with this aspect of such play. My concern is safety. Any information?
Love,
Stretch me
Dear Stretch:
Questions like this always remind me of a kids’ science show I used to watch, starring the performance artist Paul Zaloom and some guy in a ratty old rat costume. Seriously, this existed. I’m not making it up. In one episode Paul was explaining how to grow a particularly odoriferous bacteria colony in an old tennis shoe when he broke off midsentence, looked directly into the camera, and said, “Don’t even do this.” That’s how I feel when people ask me about certain extreme and possibly harmless but just a little bit potentially fatal practices. Do something else. Don’t even do this.
Cervical stretching and sounding are, of course, accomplished every day in thousands of gynecologists’ offices and with no lasting harm to the patient. That’s how you get IUDs in and unwanted tissues out, provided, of course, that “you” are a trained medical professional. It isn’t the pain that worries me. I understand that you’re up for that, and, you know, go crazy, although having been the recipient of several antepartum “internals,” I can assure you that the sensation is … let’s call it “challenging” and leave it at that. You know that’s how they determine how close you are to going into labor, right? A doctor or midwife rummages around in there, eventually emerging to announce that you’re only “a fingertip” dilated. Guess what high-tech, finely calibrated device is used to determine that? No, really. Guess.
So, yes, cervical stretching hurts like 12 kinds of mofo, but that’s not our concern here. I’m afraid of you perforating something, introducing outside-world bacteria to your insides, or both. I don’t need to tell you how badly that could go for you, and only you can decide if it’s worth the risk.
It isn’t true that there’s absolutely no information on this out there — there’s just very, very little of it. There’s probably something in BME, the Body Modification Ezine, although you may have to join to get to some of their more esoteric content. I imagine the extreme practitioner C.M. Hurt knows something about cervical play if anyone does, but the closest thing I could find among her writings was an article (on dungeonmagic.com) about female catheterization play that you might enjoy. A place called Eros Boutique carries every conceivable type of sound and catheter, and medical books and sites with instructions for inserting an IUD could walk you through the steps necessary to prepare for messing with your cervix. That’s all I’ve got. I could tell you that in order to introduce something, say, a little catheter full of sperm for intrauterine insemination, into the uterus, they sometimes have to grab the cervix with a clawlike thing called a “tenaculum” (Could that word be more vivid? Half tentacle, half speculum?), but I’m afraid that given your proclivities, it would only encourage you.
This is very strange for me — up till now, whenever someone has asked me about inserting things into the female urethra, I’ve said, in a word, “don’t,” and for good reason. Unlike the longer and hardier male version, the female urethra is only a few inches long and kind of fragile. It’s a very short trip to the bladder, which really doesn’t want you dragging in dirt all over its nice clean floor. So while I generally counsel people, especially beginners, to leave the urethra alone and go play someplace safe, like the vagina, I’m going to take a flyer and suggest the urethra as a slightly safer alternative to the cervix if you absolutely must go poking in places where you’re not invited. At least you can sort of resanitize it by peeing afterwards. You may also feel free to be cranked open with a speculum, even a cold speculum for that frisson of gynecological authenticity, and prodded about the cervix with a gloved finger. It is possible — oh, so very possible — to create some quite intensely painful sensations in that region without ever attempting entry. I can’t, in good conscience, support your friend playing doctor in the sanctum sanctorum there. I just can’t.
Love,
Andrea
Andrea Nemerson has spent the last 14 years as a sex educator and an instructor of sex educators. In her previous life she was a prop designer. And she just gave birth to twins, so she’s one bad mother of a sex adviser. Visit www.altsexcolumn.com to view her previous columns.

Winning in 2006 — and beyond

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EDITORIAL There are plenty of Democrats running for the House and Senate this fall who don’t exactly qualify as liberals. Howard Dean, the (somewhat) grassroots-oriented, progressive party chair, has been largely aced out of a meaningful role in the fall campaigns, which are being run by Rep. Rahm Emanuel (D-Ill.) and Sen. Charles Schumer (D-NY), who have said repeatedly that they’re willing to eschew a coherent program or ideology because what they want to do is win. In fact, there isn’t much of a clear Democratic Party platform at all.
But in a way, that doesn’t matter. The Nov. 7 midterm election is all about President George W. Bush, the war in Iraq, and the precarious state of the US economy. The (ever more likely) prospect of the Democrats taking back both houses of Congress would be a clear and profound statement that the country wants a change.
This year’s Democratic Party is not about fundamental social and economic change. Rep. Nancy Pelosi, who will likely be the next House speaker, has said she won’t consider hearings on or an inquiry into the impeachment of Bush and Vice President Dick Cheney. The Democratic leadership under Pelosi and Sen. Harry Reid (D-Nev.) would likely be far more bipartisan than the Republicans have been. And there are a lot of things that just won’t be on the agenda.
But there are some very strong Democrats who will be in position to chair powerful committees. Rep. John Conyers (D-Mich.) and Rep. Maxine Waters (D–Los Angeles) would be in line to run the House Judiciary Committee. That committee would never allow another PATRIOT Act to emerge. But even more important, Conyers and Waters would likely launch detailed investigations into a long list of Bush administration misdeeds. And with this congressional committee using the investigative authority and subpoena power it holds, the White House would lose a lot of its imperial immunity.
But if the Democrats are going to emerge from the next two years of leading the national legislature with the kind of momentum they’ll need to field a strong presidential candidate in 2008, they’ll need to do more than serve as the loyal opposition. Democrats need to take on some big issues — and the first one is the war. Congress can effectively end the war any time, simply by cutting off funding for it — and while that’s not likely to happen in the first 100 days, the Democrats can and should demand that Bush offer a clear and acceptable timetable for withdrawing from Iraq — and prepare to start cutting appropriations on that schedule.
That would tell the public that the Democratic Party believes in something — and is willing to listen to the large and growing majority in this country who are sick of Bush’s pointless war and want it to end, now. SFBG

Prosecute election theft

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EDITORIAL There’s no doubt at all that a group of downtown businesses operating through a series of supposedly independent political committees organized in part by attorney Jim Sutton have used every tool at their disposal to influence the outcome of the District 6 supervisorial election. And there’s no doubt that what these folks have done violates at least the spirit of the city’s election laws, which were designed to offer, as much as legally possible, a level playing field for candidates and full disclosure of campaign expenses.
There’s also no doubt that Sutton has been willing to bend and at times break the rules: in 2002 his law firm was fined $240,000 — the largest penalty of its kind in city history — for failing to disclose late contributions from Pacific Gas and Electric Co. to a campaign to defeat a public power initiative.
At some point this sort of conduct rises to the level of a crime — and at least some respectable, credible activists and observers think the attacks on Sup. Chris Daly have reached that level. In a letter to the Guardian, published on page 8, former ethics commissioner Joe Lynn argues that Sutton and his allies are guilty of attempting to steal an election.
There’s no crime in the books called “Grand Theft, Election,” although there probably should be. But Lynn says that what’s happened here — unregulated committees raising and spending tens of thousands of dollars and not fully disclosing it until late in the cycle — is not merely sleazy and unethical but criminal.
We’re always nervous about bringing the criminal justice system into political disputes (we still remember how then-mayor Art Agnos pushed the district attorney into conducting a witch-hunt investigation into the opponents of a downtown ballpark ballot measure). But we’re also sick of seeing the likes of Sutton, Don Fisher, and SFSOS operate with virtual impunity when what they are doing comes very, very close to a conspiracy to subvert local election laws. The Ethics Commission needs to conduct a full investigation here, but that body can impose only civil penalties, which means cash fines — and for billionaire Fisher, whose money is behind a lot of these shenanigans, a stiff fine is just the cost of doing business.
District Attorney Kamala Harris ought to look into this. The problem is that Sutton was her lawyer in a heated campaign in 2003 during which her opponent, Terence Hallinan, raised similar charges. So Harris is conflicted; the best solution would be to appoint outside counsel — a special prosecutor, to use the Washington terminology — to investigate whether Sutton, Fisher, SFSOS, or anyone else ought to face criminal prosecution. The sooner that process gets started, the better. SFBG

EDITOR’S NOTES

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› tredmond@sfbg.com
There’s a certain brilliance to the Proposition 90 campaign, perhaps more than the right-wing ideologues who conjured this up even realize. The measure raises a profound, powerful question — and judging from some of the unlikely supporters of this horrible plan, the answer isn’t pleasant.
As we report in this issue (page 20), most people wouldn’t support the measure if they really understood what it meant (no more zoning, no more rent control, no more environmental laws, etc.) But for a lot of Californians and some San Franciscans in places like Bayview–Hunters Point, the real question seems to go like this: do you trust the government to protect you from the private sector — or do you see the government as such a problem, such a threat, so historically untrustworthy that you’ll take your chances with unregulated capitalism?
There are good people, well-meaning people, who are taking the wrong side on this one with potentially terrible consequences, and it’s largely, I think, because they don’t see the public sector as their friend.
I understand how anyone who’s fought redevelopment in the past 40 years can feel that way. Just about everything the San Francisco Redevelopment Agency did in this city, particularly in African American neighborhoods, has been a total disaster. Black support for Prop. 90 is the legacy of generations of corrupt urban politics.
The problem is that Prop. 90, which allows private developers to operate without regulation in urban areas, will be even more of a disaster. And if it passes, it won’t just be Republicans who vote for it. I hope I’m not the only one who finds this deeply frightening. SFBG

The risk of honest planning

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OPINION At the Nov. 1 meeting of the land use committee of the Board of Supervisors, a seemingly straightforward statement of policy will be heard. It simply requires that the city apply its own General Plan guidelines to future development in the eastern neighborhoods.
But the legislation, proposed by Supervisors Sophie Maxwell, Jake McGoldrick, Aaron Peskin, and Tom Ammiano, is creating quite a furor. A senior planning official has testified that if it’s adopted, the entire development boom in the eastern neighborhoods may be halted. The mayor has threatened a veto.
The policy in question calls for city planners to show how they intend to ensure that 64 percent of all new housing development is affordable to moderate-, low-, and very low-income San Franciscans. That’s what the housing element of the master plan says is needed.
Land use development policy lies at the very heart of San Francisco politics. It’s dangerous work for supervisors to attempt to determine that policy, especially if it calls for protection of existing neighborhoods and their residents.
Just ask Supervisor Chris Daly.
Don’t for a minute believe that he is in the fight of his political life because he’s rude, because he doesn’t care about law and order, or because he prefers dirty streets upon which to raise his son. These petty and silly charges mask a far more serious objection: the way his opponents see it, Daly has been too slow in adopting the massive wave of market-rate housing slated for his district and is far too protective of lower-income residents in District 6.
Never mind that since Daly took office some 3,000 units of housing have been built in the South of Market portion of his district alone or that an equal amount wait in the pipeline at the Planning Department. Mayor Gavin Newsom and his market-rate developer allies are simply not satisfied with Daly’s pro–housing development approach — because Daly has sought some balance in that development.
Likewise, the Maxwell resolution calls for plans that will be balanced, contain sustainable development policies, and guarantee a voice for residents against the headlong drive of the current administration to convert the eastern neighborhoods (South of Market, Potrero Hill, the Mission District) into vertical gated communities for Silicon Valley commuters. It states that it shall be the policy of the city that future plans explain not only how they will meet the affordability goals of the housing element but also how they will meet policies of preserving the arts and other productive activities; providing for public transit, pedestrian, and bike rider needs; protecting employment opportunities for current and future residents; and keeping families with children in the city.
There’s a working majority of the Board of Supervisors willing to fight for current neighborhoods and residents and a future that includes them. The battle in District 6 shows that the fight is not without risk. Do the rest of us realize it? SFBG
Calvin Welch
Calvin Welch is a community organizer in San Francisco.

Governor Hummer

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› steve@sfbg.com
If there is a single symbol of American wastefulness, military fetishism, and willful ignorance about what it means to be heating up the planet at the end of the age of oil, it is the Hummer. And if there is one American who is most closely associated with the Hummer, it is Gov. Arnold Schwarzenegger.
So why, in a state whose voters consistently rank environmentalism as one of their most important concerns, is Governor Hummer considered such a lock for reelection? And why haven’t the mainstream media made more of Schwarzenegger’s stubborn refusal to give up the four Hummers he still owns?
For that matter, why is the press overlooking his opposition to Proposition 87 (which would tax oil companies to support research of alternative fuels) and tacit support of Proposition 90 (which would make environmental protection far more costly for governments), both positions on close races that are at odds with environmental groups? Is he really that good an actor?
The visceral response that Hummers elicit from true environmentalists is perhaps best captured on the Web site www.fuh2.com, which has posted thousands of pictures of people flipping off Hummers, what it refers to as “the official Hummer H2 salute.”
The H2 is the slightly less offensive version of the original Hummer, a 10,000-pound monster adapted from the Humvee military vehicle that gets about 10 miles per gallon. The high cost and negative stigma attached to the original Hummer eventually caused sales to lag, and General Motors stopped making them earlier this year.
Schwarzenegger was the first private citizen to own a Hummer, back in 1992, reportedly encouraged American Motors (which GM later bought) to produce them for civilian use, and at one time owned at least seven of them.
Environmentalists have been chiding Schwarzenegger for years to set a good example and get rid of his Hummers, but he has only thrown them a couple of bones: he had GM develop one hydrogen-powered Hummer (at a cost of millions of dollars) and has publicly mused about converting one of his four Hummers to biodiesel, a project he hasn’t yet begun.
At one point Schwarzenegger was rumored to have given up his Hummers. But Schwarzenegger spokesperson Darrell Ng told the Guardian the governor still owns four Hummers, which are now in storage while he drives state vehicles, and that he has no plans to get rid of them. Environmentalists say it is a missed opportunity at a critical juncture in the world’s relationship with oil.
“He could say, ‘I was part of the commercialization of these vehicles, and it was a mistake,’” Bill Allayaud, state legislative director for the Sierra Club, told us. “He could have a press conference and have one of his Hummers crushed or blown up, say these were the products of another era, and it would be a very important symbolic gesture.”
We talked to Allayaud just after Schwarzenegger was elected three years ago, and he was “cautiously optimistic” that the governor would protect the environment. Initially, Allayaud was disappointed: “He vetoed a lot of good bills in those first few years.”
Now, after the governor signed landmark legislation to cut back on greenhouse gas emissions and a few other bills that the Sierra Club supported and made a couple of good appointments to regulatory agencies, Allayaud said, “I feel like we’re right back where we were in 2003, like he might be OK … but what do we get in the second term? It’s anybody’s guess.”
After all, every environmental bill Schwarzenegger signed was someone else’s idea, Allayaud said, and many had to be significantly weakened to gain his support. Schwarzenegger also enraged environmentalists and some lawmakers two weeks after signing the global warming measure by issuing an executive order that seemed to weaken its enforcement provisions.
Schwarzenegger starts to sound like an environmentalist only around election time, his critics say, indicating where he really stands. And so does his choice of vehicles.
“It’s a window into the real Schwarzenegger,” Dan Newman, the spokesperson for challenger Phil Angelides, told us. “It exposes the governor as a complete and utter fraud. Someone with seven Hummers pretending to be an environmentalist is akin to Attila the Hun claiming to be a pacifist.”
Others say “the real Schwarzenegger” is reflected in his positions on Props. 87 and 90.
“It’s a neck and neck race, and the oil companies are pouring unprecedented sums against us, $80 million so far [a figure that had risen to more than $90 million by press time],” said Yusef Robb, communications director for the Yes on 87 campaign. As for Governor Hummer, Robb was critical but diplomatic (noting that Schwarzenegger wasn’t actively campaigning against 87), telling us, “Personally, we think it’s an unfortunate choice of vehicles.”
The Schwarzenegger campaign says he would like to see oil companies pay for alternative energy development, but the measure violates his “no new taxes” pledge.
“The governor is opposed to tax increases. Personally, he opposes the initiative, but he strongly supports its goals,” Schwarzenegger campaign spokesperson Julie Soderlund said.
Apparently, such vague statements of support for good environmental policies are enough for the many daily newspapers that have endorsed him, including the San Francisco Chronicle and San Francisco Examiner. But Chronicle staffers did ask about the Hummers at his endorsement interview, and the paper was apparently satisfied with his answer: “As far as my Hummers are concerned, they are very safely stored in some warehouse garage. I have not had an opportunity to drive them, but I don’t think they are polluting the air or ocean sitting in the garage.”
Allayaud said he prefers to focus on indicators with more direct impact, such as the fact that Schwarzenegger’s best annual rating by the California League of Conservation Voters (the 58 percent he received last year; this year he got a 50 percent) was worse than former Gov. Gray Davis’s worst annual rating (72 percent) — and on Schwarzenegger’s stance on Prop. 90.
“If this is close and we lose it,” Allayaud said of the measure, “it’ll be another thing that he didn’t do.” SFBG

Late breaking news: Just as this story was going to press, Schwarzenegger finally came out with a statement opposing Prop. 90, something he resisted doing until a week before election day when many absentee ballots have already been turned in.

The Destroy California Initiative

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› sarah@sfbg.com
If you knew there was an initiative on the ballot that would make it impossible for government to protect the environment, build affordable housing, raise minimum wages, and mandate health care, you’d vote no on it, right?
Especially if you knew this measure would force taxpayers to spend billions to prevent developers and private property owners from doing things that harm neighborhoods, communities, and the environment.
So why is Proposition 90, which does all this and more, still leading in the polls?
It’s all about fear — and the ability of one wealthy real estate investor from New York City to fund a misleading campaign that exploits legitimate concerns about eminent domain.
Eminent domain is the legal procedure that allows the government to take over private property. It’s been used traditionally to build roads, rail lines, schools, hospitals, and the like. But it’s also been used — abused, many would say — to condemn private homes and turn the land over to developers for more lucrative projects. And after the US Supreme Court ruled in 2005 that doing so was OK, it was easy for property-rights types to whip those fears into a frenzy.
New York Libertarian and real estate investor Howie Rich, who hates government regulation, used the court decision to saddle up a herd of Trojan horses with eminent domain, stuffing the poison pills of “highest best use” and “regulatory takings” deep in their saddlebags, slapping their rumps with wads of cash, and sending them into California, Arizona, Idaho, Montana, Nevada, Oklahoma, and Washington.
Here in California, Rich’s millions went in large part toward paying petitioners a buck per signature to qualify Prop. 90 for the ballot. The pitch was stopping eminent domain — but there was little mention of the extreme provisions contained within the measure’s fine print that if passed, will mean more lawyers and fewer herons and hard hats.
For starters Prop. 90 changes the rules for calcuutf8g how much the government has to pay property owners when it takes their land. The new rules would dramatically increase the price of infrastructure and public works projects like building roads and levees, as well as purchasing open space and preserving habitats and endangered species.
Worse, Prop. 90’s language changes the valuation of regulatory takings. That’s legal mumbo jumbo, but what it amounts to is this: whenever the government takes actions that aren’t explicitly for the protection of people’s health and safety — like establishing rent control, minimum wages, and agricultural easements — property owners can claim that the value of their holdings was decreased. (Protecting an endangered species, for example, might prevent some parcels from being developed.) Under Prop. 90 those landowners can file claims of “substantial economic loss” — and put the taxpayers on the hook for billions (see “Proposition 90 Isn’t about Eminent Domain,” page 22).
THE ICE AGE COMETH
Prop. 90 opponents predict that if the measure passes, its effects will be disastrous, wide-ranging, and immediate.
Bill Allayaud, state legislative director for the Sierra Club, told us it was Prop. 90’s “regulatory takings” clause that led to unprecedented opposition after individuals and groups analyzed the measure’s fine print.
“One little paragraph activated a coalition like we’ve never seen in California history,” Allayaud says.
Prop. 90 flushes away a century of land use and community planning, including regulations and ordinances that protect coastal access, preserve historic buildings, limit the use of private airspace, establish inclusionary housing, and save parks. In short, Prop. 90 destroys everything that makes California a decent place to live.
Over at the California Coastal Commission, executive director Peter Douglas frets that his agency will no longer be able to carry out its mandate to protect the coast.
“Every decision the Coastal Commission makes where we approve projects but impose conditions to protect neighborhoods and communities will be subject to claims,” Douglas says.
“Sensitive environments like the San Francisco Bay and Lake Tahoe will be exposed, along with residential neighborhoods, ag lands, and public parklands. And it will erode the state’s ability to protect against new offshore oil drilling, new liquid natural gas terminals, harmful ocean energy projects like offshore wind turbines and wave energy machines and make it impossible to set aside essential marine reserves to restore marine life and fisheries.”
Members of the California Chamber of Commerce oppose Prop. 90 because it will make it more complicated and costly to build new infrastructure like freeway lanes, sewer lines, levees, and utility sites.
President Allan Zaremberg observes, “At a time when California is trying to finally address the huge backlog of needed roads, schools, and flood protection–water delivery systems, the massive new costs of Prop. 90 would destroy our efforts to improve infrastructure.”
Among government agencies the outlook is equally bleak. Unlike Oregon’s Measure 37, which passed in 2004 and has already led to over $5 billion in claims, Prop. 90 isn’t limited to private land but extends to private economic interests. This wide-ranging scope means that it’ll be almost impossible for government to regulate business without facing claims of “substantial economic loss,” making it prohibitive to protect consumers, establish mandatory health care coverage, or raise minimum wages.
San Francisco city attorney Dennis Herrera told the Guardian, “If Prop. 90 passes, we might as well get out of the business of local government.”
BACK TO THE FUTURE
Asked what California would look like if Prop. 90 had been law for a decade, Gary Patton, executive director of the Planning and Conservation League, paints a sprawl-filled picture.
“All the project proposals that weren’t built would have been, open space and parks wouldn’t have been preserved, almost every public works project would have been affected, and things wouldn’t have been constructed, because there would have been no money because the cost of everything would have gone up.”
Currently, the cost of a piece of land is valued by the market. Under Prop. 90 land would be valued by what it might be used for.
“For instance, a piece of land alongside a highway could one day be developed into a subdivision,” Patton explains. “So that’s the price it would have to be bought at. So unless taxes are raised, Prop. 90’s passage would mean that California would be able to do less. Traffic would be worse. The affordable housing crisis would intensify. Fewer swimming pools and civic centers would be built. Everything that’s done through spending dollars collectively would cost more.”
Within the Bay Area individual communities have chosen to adopt urban growth boundaries, but if Prop. 90 was already in place, Patton says, many environmental and community protection projects wouldn’t have happened.
“Where now we have more focused growth, which is economically and socially as well as environmentally beneficial, there’d be lots more sprawl,” Patton explains. “We’d be a lot more like Fresno and Bakersfield and San Bernardino and Los Angeles. The Bay Area is a place where more people have got together and made sure their communities did things that have been beneficial.”
As for restoring Golden Gate’s Crissy Field or the South Bay Salt Ponds or preserving bird and wildlife sanctuaries, forget about it.
“We’d be more like Houston. Prop. 90 says unless you can pay me for not developing this land, then one day I’m gonna be able to develop it,” Patton says.
A LAWYER’S WET DREAM
Mary Ann O’Malley, a fiscal and policy analyst at the state’s Legislative Analyst’s Office, helped write the legislative analysis for Prop. 90 and as such is familiar with the measure’s far-reaching but more obscure provisions.
“Governments will be required to sell land back to its original owner if they stop using the land for the purpose stated when it took the property in the first place,” O’Malley explains. “And government won’t be able to condemn property to build on another property for the purpose of increasing local government’s tax revenues, but it could do so to build roads and schools.”
As for how the “regulatory takings” section of Prop. 90 affects government’s ability to protect the environment, O’Malley says local governments frequently impose case by case mitigation requirements to uphold the Endangered Species Act, telling a developer where it can build.
“If this is simply an enforcement procedure required by the Endangered Species Act, then it probably would not be viewed as a compensatory act, but if it’s an independent local project decision, it might fall within Prop. 90’s purview.”
Although Prop. 90 supporters say it won’t affect existing laws, Douglas says it’s simplistic to believe that current zoning won’t be superceded.
“Zoning plans aren’t exclusive. They may allow ancillary uses with government’s approval. For instance, you can build additional housing and wineries on ag land, but sometimes these uses are totally incompatible with the area. At which point local government steps in and says, ‘Oh no you don’t.’ But under Prop. 90 government is vulnerable to claims.
“Taxpayers are gonna be stuck with a multibillion-dollar bill. It should be called the ‘Destroy California Initiative.’” SFBG
Read about the Proposition 90 money trail and the truth behind the campaign’s stories at www.sfbg.com.

Proposition 90 isn’t about eminent domain

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Here are some of the things that could be impacted if Proposition 90 passes: NEIGHBORHOOD PLANNING Developers could argue against providing additional community benefits, which are often mandated when increased building height or density is allowed. New zoning restrictions would be hit hard. LOCAL LAWS If Prop. 90 passes, it amends the state’s constitution — and virtually nullifies a number of local antisprawl and smart-growth measures also on the November ballot. In San Francisco the formula retail ordinance (Proposition G) and the tenant relocation ordinance (Proposition H) could create costly litigation. ELLIS ACT Prop. 90 does not affect statutes, ordinances, and measures that already exist, but new tenant protection would be rendered moot. “Any amendment to our law that would cost the city money would be affected by Prop. 90,” said Delene Wolf of the Rent Board. PUBLIC POWER Prop. 90 doesn’t lend any help to municipalities looking to control their own utilities. If San Francisco were to kick out Pacific Gas and Electric and take over the utility’s distribution infrastructure, the corporation could tack millions of additional dollars onto the city’s bill by arguing a loss of future revenue from the seizure. MANDATORY HEALTH COVERAGE San Francisco passed its landmark universal health care plan earlier this year. But with the plan set to be introduced in stages, there’s uncertainty as to whether it will leave the city open to claims of “substantial economic loss” from small businesses opposed to its passage. HISTORIC PRESERVATION St. Brigid Catholic Church in San Francisco is owned by the Academy of Art Institute, which recently petitioned the Board of Supervisors to have national landmark status removed from the 100-year-old building — allowing for a drastic altering of its Romanesque facade. The board denied the request this past October. Under Prop. 90 the Academy of Art could sue the city for the cost of adhering to these guidelines or for the profit lost for what it would have used the building for if allowed to change it. (Amanda Witherell and Sarah Phelan)

Bayview’s perspective

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› steve@sfbg.com
Consider the perspective of Marie Harrison and her political allies in Bayview — including the owners and writers at the San Francisco Bay View newspaper — whose support for Proposition 90 has put them at odds with the progressive political community.
Harrison, who is running for supervisor against incumbent Sophie Maxwell, lives on Quesada Avenue just off Third Street, in a diverse neighborhood bustling with vitality. Residents have transformed the wide median on her street into a gorgeous community garden. Almost all the houses are owner-occupied and well maintained.
“Blight” is not a word that most people would use to describe this neighborhood. Yet that is the word city officials have used to justify their decision earlier this year to turn this neighborhood and the rest of Bayview–Hunters Point into the biggest redevelopment area in city history over the strident objections of Harrison and others.
Redevelopment is a process that collects annual property tax increases into a fund that the San Francisco Redevelopment Agency uses to subsidize favored development projects, usually working with big developers and often bundling properties together for them to use, seizing the land by eminent domain if need be.
“The Redevelopment Agency is like a monster,” Dr. Ahimsa Porter Sumchai, a physician who covers the environment for the Bay View, told the Guardian while sitting in Harrison’s house.
For Harrison and others who moved to this neighborhood after being forced out of the Fillmore by another redevelopment effort that began in the ’60s, redevelopment means one thing: displacement of existing residents, or “repeopling,” a disturbing term that Harrison said she found in some Redevelopment Agency literature. They see it as simply a land grab by greedy developers working in cahoots with Mayor Gavin Newsom and the political establishment.
“Yeah, we’d like to see our community built up and look nice. But does that mean I don’t get to live here?” said Harrison, who, like many Bayview residents, owns her home but struggles to get by: she works, and her husband has two jobs, but they still live month to month.
It is that fear that caused Harrison to support Prop. 90 even after editors at the Guardian and other progressive voices tried to convince her that the state measure’s damaging aspects far outweigh its protections against eminent domain.
While Harrison admitted, “I see some things in Prop. 90 that scare the shit out of me,” she said, “desperation has set in.
“They’ve taken all hope. I see that I have to protect my community. Somebody has to remove the fear…. In this community, [Prop. 90 is] a hope and a chance.”
Where Maxwell and city leaders who favor redevelopment see progress, Harrison and others see an insidious conspiracy to take control of Bayview away from the people who live there.
And the narrative that city government is out to get Bayview has recently been reinforced by other actions: Newsom’s announcement that he wants to use Bayview–Hunters Point as a staging ground for the 2016 Olympics; expanded plans for upscale housing development around Candlestick Park; City Attorney Dennis Herrera’s rejection of a seemingly successful referendum drive challenging the Bayview Hunters Point Redevelopment Plan and the refusal of the Board of Supervisors to allow a vote on the matter; city staffers issuing regular citations to Bayview property owners to make improvements or risk fines; the Housing Authority’s failure to properly maintain the projects it manages; Herrera’s decision this month to seek civil injunctions preventing the free association of purported members of the Oakdale Mob; and the Redevelopment Agency’s Oct. 17 decision to let Lennar Corp. out of its pledge to build rental units on Parcel A of the former Hunters Point Naval Shipyard.
Add it all up, and it becomes understandable why many Bayview residents buy into the vision that Bay View publisher Willie Ratcliff has repeatedly put on the front page of his newspaper: “the bulldozers are at our borders,” just waiting to turn Bayview into one more white yuppie enclave and make a handful of politically connected developers rich in the process.
Officials strenuously deny this is true, arguing that this redevelopment project is all about helping the area by building more affordable housing, infrastructure, and open space and noting how the plan strictly forbids the seizure of residential property by eminent domain.
“The agency has that historical baggage, but we haven’t done anything like that in many years,” Marcia Rosen, director of the Redevelopment Agency, told us.
That hasn’t allayed fears in Bayview or among its allies outside the community, most notably Brian Murphy O’Flynn, whose North Beach property was seized by the city in 2003 to be turned into a park.
“I thought, ‘These people are getting steamrolled,’” O’Flynn told us. “The people there are going to be displaced…. It comes down to money. [Powerful people] want that neighborhood. It’s right on the water, and it’s going to make some people rich.”
Nonetheless, O’Flynn has concerns about the other impacts of Prop. 90, so much so that he has parted ways with his Bayview allies on the measure and refused requests by Prop. 90 advocates to join the campaign.
“I have no position on 90,” O’Flynn said. “But I understand how it came about.” SFBG

The dirt in D6

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› amanda@sfbg.com › sarah@sfbg.com If you live in San Francisco’s District 6, it’s pretty difficult to avoid what some residents are calling a new filth polluting Tenderloin corners and SoMa streets. It’s not overflowing trash bins or urine-stained door frames — it’s the relentless election billeting that uses those images to support Rob Black and oppose Chris Daly for the district’s seat on the Board of Supervisors. “We’re tired of talk. Of loud, whining, condescending, offensive, abusive, lying, showcasing, arrogant talk,” reads a recent poster on a telephone pole. “District 6 is dirty and dangerous. District 6 is still poor. Chris Daly is why. Dump Daly. Back Rob Black.” “I was totally offended by this,” Debra Walker, a progressive activist and resident of the district for 25 years, told the Guardian. “This kind of message intentionally suppresses the vote. People I’ve talked to in the district who aren’t very political are totally turned off by the mailings from Rob Black or made in his benefit.” Some of the mailings, posters, and literature can be directly attributed to independent expenditure (IE) committees recognized by the Ethics Commission and acting legally. Some, however, have more dubious ancestry but apparent links to a campaign attorney with a long history of using millions to control the outcome of elections in San Francisco: Jim Sutton (see “The Political Puppeteer,” 2/4/04). Sutton did not return calls for comment. Most of the anonymous literature directs people to the Web site www.DumpDaly.org. SFSOS’s Wade Randlett told us his group paid for the site and a volunteer set it up. SFSOS and Sutton formed Citizens for Reform Leadership 1–6 — IE committees listed on many of the signs and much of the literature, including the poster quoted above. The committees haven’t filed any IE reports with the Ethics Commission. Walker, along with Maria Guillen, vice president of SEIU Local 790, and another District 6 resident, Jim Meko, submitted a complaint with the Ethics Commission on Sept. 29 with nine pieces of physical evidence supporting their concern that the roof had been blown off the $83,000 spending cap on the campaign, in place because all candidates agreed to public financing. The evidence submitted with the complaint varied and included three different mailers from “Concerned Residents of District 6,” a committee that has yet to exist on paper in the Ethics Commission filing cabinets. The mailers from the “Concerned Residents” are glossy triptychs critical of Daly but not explicitly advocating for another candidate. They do not state the amount the committee paid for them, which is required of any electioneering communication. On Oct. 6 the Ethics Commission released a statement saying the spending cap for District 6 was no longer in effect. John St. Croix, executive director of the commission, has identified at least $90,000 in IEs, including three unreported mailers. “At some point we will attempt to determine who distributed the mailers,” St. Croix said. “But it’s not likely before the election.” The tactic of breaking the law before the election and taking the heat after the ballots are in has been used in the past, and this new example flouts recently passed legislation. These mailings should have been filed with the Ethics Commission, according to an ordinance passed in 2005 in response to similar anonymous hit pieces that came out in the elections of 2003 and 2004 against Supervisors Gerardo Sandoval and Jake McGoldrick. (Sutton defended SFSOS’s main funder, Donald Fisher, in his successful Strategic Lawsuit Against Public Participation against Sandoval over the issue.) “It’s a strategy taken straight from Karl Rove’s playbook,” Meko, a 30-year SoMa resident, told us. Joe Lynn, former Ethics Commission member and staffer, told us “all the committees in San Francisco should turn their backs on contributions from people who are involved in this scheme — at least until they explain their involvement. These are the most sophisticated folks in San Francisco politics. I think a full investigation including possible criminal activity ought to be assigned to a master.” He said District Attorney Kamala Harris used Sutton in her race and therefore may have a conflict of interest. The Rob Black for Supervisor committee claims no connection to the literature that hangs on doorknobs and clogs mailboxes, the push polls calling people, or the postings in the streets and tucked under windshields. “I don’t support the anonymous pieces. If people are doing it on my behalf, I don’t want it,” Black told us. But Daly told us “the IEs appear to be coordinated…. The Black committee is not running a campaign that would be independently competitive. He’s only sent one piece of mail, but he’s had eight sent on his behalf.” Residents suggest it’s even more than that: Walker received three more anti-Daly mailers Oct. 20. Black confirmed that he had only sent one mailing to the district, and he’s “not surprised” that so many IEs have sent out mailings in his support. With the exception of a filing from the Police Officers Association, the only legal IEs reported with the Ethics Commission so far are from the Building Owners and Management Association (BOMA) and Golden Gate Restaurant Association (GGRA). They also trace back to Sutton, Black’s former boss at Nielsen Merksamer, a law firm that represented PG&E in the 2002 campaign against public power, for which the firm was fined $100,000 for failing to report until after the election $800,000 from PG&E, the biggest fine ever levied by Ethics. Sutton left the firm shortly after. Black stayed on until 2004, when he took a position as legislative aide with Michela Alioto-Pier. The most recent poll released by Evans McDonough purports to show Black ahead by six points (with a five-point margin of error). It was commissioned by Barnes, Mosher, Whitehurst, Lauter, and Partners, which has also been employed by Sutton through BOMA and the GGRA for the IEs in the District 6 election. The financial shenanigans have been a rallying point for the Daly campaign. More than 70 volunteers signed in at an Oct. 21 rally and hit the streets: shaking hands, distributing literature, and making phone calls raising support for Daly. Sup. Ross Mirkarimi criticized the soft money’s “ugly, nasty, mean-spirited tactics” to oust Daly. “If they have to resort to these tactics, is that the kind of government we want in San Francisco?” he asked the crowd. “This is the nastiest, most personal and hateful thing I’ve ever been involved with,” Daly said. “It’s very painful.” But, he said, “our people power is better than their money power.” Outside a volunteer shouted into a bullhorn, “Don’t let downtown interests buy your democracy!” SFBG

Tricks and treats with Down at Lulus

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HALLOWEEN BEAUTY The Oakland salon and boutique Down at Lulus is copowered by members of Gravy Train!!! and the Bobbyteens. Seth Bogart of the former and Tina Lucchesi of the latter got together with me recently to first discuss the greatness of Davines hair care products from Italy (“If you have dry hair, they will blow your mind,” Lucchesi says), then get down to ghost boobs, hot sweet and sticky treats, and other things Halloween-y.
SFBG What are your best or worst Halloween experiences?
TINA LUCCHESI None are very memorable because I’m always pretty wasted. A funny one was seeing the Phantom Surfers open for the Cramps at the Warfield after Bill Graham died. One of my friends dressed as Dead Bill Graham and got us kicked out. Everyone was so pissed off about him stepping out of a coffin and slagging off Bill Graham and Ticketmaster. But I did get to hang out with Lux Interior and Ivy Rorschach.
SETH BOGART It’s funny to go trick-or-treating when you’re old. One time my friend was dressed up like Michael Jackson, and this lady answered the door with a baby and was disgusted that we were still trick-or-treating. He made comments about her baby, and she slammed the door in our face.
SFBG What to you is a sexy Halloween costume or look?
TL I hate all the typical ones like French maid, naughty nurse, or Catholic schoolgirl. Why can’t there be a look like sexy crack whore?
SB I think the only appropriate sexy costume is when a guy is wearing it. When a girl does, it’s so played out. A hot straight guy you never get to see naked, wearing a bikini — that’s my fave.
SFBG What’s your idea of a fun Halloween night?
TL Probably playing tricks on little kids and scaring them. I’ve always wanted to set up a crazy graveyard in front of my house.
SB No one comes to my house because it’s kind of dangerous, and I think I’m over trick-or-treating, finally. My ideal Halloween would be to experience something haunted, like a séance.
SFBG Do you have a favorite scary movie?
TL So many. I love The Wizard of Gore. I love Herschell Gordon Lewis movies and Mario Bava movies like Black Sunday and Castle of Blood. Texas Chainsaw Massacre — classic. The Last House on the Left — classic.
SB I love horror movies, but I also love haunted houses. Every year I go to, like, five. The best one is in Hollister in a cornfield — it’s so scary. When the chainsaw man comes, we all run, and a lot of people get hurt just from falling.
SFBG What are you going to dress up as this year?
TL Either Dolly Parton with extreme boobs and hair, Cyndi Lauper, or a vampire bloody majorette.
SB I think I’m going to be Teen Wolf. But I’m not sure yet. One year I was Nancy Reagan, but the mask was hotter than hell and it was making me sick. I had to take it off. (Johnny Ray Huston)
DOWN AT LULUS
6603 Telegraph, Oakl.
Call for appointments
(510) 601-0964
www.downatlulus.com

The sound of evil

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› duncan@sfbg.com
Metal people scare me.
Not in an “ooh, I’m scared” kind of way, but in an “oh, that’s sad,” arrested development kind of way.
This is especially true of the black metal cabal. Black metal is supposedly the be-all and end-all of evil, and it’s just so camp that it’s silly. Everyone’s got a fake metal name (Necronomicon or Umlaut), panda bear Kiss tribute makeup (I mean, corpsepaint), and homemade nail-spike armbands. Don’t forget the unreadable band logo that looks like cleverly arranged twigs. Clearly, these are people who spend as much time rehearsing their look in front of a mirror as they do rehearsing their music in the studio, if not more.
Which is why Ludicra is one of the few bands generally classified as black metal that I’ll bother with. For one thing, the group includes vocalist Laurie Sue Shanaman and guitarist–backing vocalist Christy Cather — they’re not in the same old heavy metal boys club.
More importantly, when I want to hear heavy music, I want it to intersect with my life. I haven’t been burning churches or worshipping Thor lately. If I want to hear some fairy-tale shit, I’ll cut out the middleman and listen to Ride of the Valkyries. Alienation, loneliness, the death of relationships, and the sense of anonymity in being yet another face in a big city — this is stuff I can relate to. “Something big and bright/ Looms outside my window/ Choked with promise/ Smothered in hope/ Days plod on like machines of ceaseless ruin/ Lost in a forest of haunted buildings.” These are the opening lines of “Dead City” from Ludicra’s new album, Fex Urbis Lex Orbis (Alternative Tentacles), which quotes Saint Jerome, via Victor Hugo’s Les Misérables, meaning “dregs of the city, law of the earth.” Jerome was referring to Christ’s apostles and how they were the lowliest scumbags teaching the highest truth. This is echoed in the album’s verminous cover art: restrained line drawings of roaches, ants, rats, flies, and a club-footed pigeon. The meek shall inherit the earth — or at least the urban parts — but they probably won’t be walking on two legs.
Although it’s not necessarily meant to be a concept album, Fex Urbis feels like one to me: five epic tracks, the longest almost a dozen minutes, about the entropy of modern city living. From that hopeful light outside the window, just out of reach, to “the sign that modern times is finally crashing down” in the final track, “Collapse,” the full-length reminds me of the Red Sparowes’ At the Soundless Dawn (Neurot, 2005), which, in turn, reminds me of Godfrey Reggio’s 1982 film Koyaanisqatsi. For all its double-bass drum bombast, dark screams, and perfectly timed twin-guitar riffing, Fex Urbis Lex Orbis has more in common with Philip Glass’s score to that film than with anything released by Mayhem.
Putting in the CD for the first time, I was kind of spooked out by Shanaman’s voice. It’s an otherworldly death rattle. But when juxtaposed with both the lyrics and the relatively clean backing vocals, also sung by Shanaman, the result isn’t evil — a tone that has held so much sway over the metal community for so many years after the first, eponymous Black Sabbath album — but heavy. The music is epic without being cheesy fantasy, which makes it resonate.
I think it’d be fair to say at this point that I don’t believe in evil. I believe ignorance and delusion exist at the base of willful choices. Evil is supernatural. Ignorance is human and therefore that much scarier. Even on Halloween, nothing is going to reach out from the land beyond and get you.
Sure, Shanaman’s voice sounds evil, but when I talked to her in person, the first word that came to mind was sweet. She laughs easily, sometimes because she thinks something is funny but mostly out of nervousness, it seems. She’s a self-admitted “total choir geek.”
Drummer Aesop Hantman knew he wanted to be in a band with her since the mid-’90s, when he was in Hickey and she was in the local noise-grind act Tallow. “Here was this totally demure, nice girl that would fucking explode,” he says in a phone interview. “It was really unnerving.”
Ludicra, which includes guitarist John Cobbett and bassist Ross Sewage, are likewise unnerving. They remind you that just because there’s no bogeyman under your bed and Satan is real only to country bumpkins like the Louvin Brothers and unrepentant metal geeks, it doesn’t mean you won’t be swallowed up by forces greater than yourself: “Gone are the days of reckless vanity,” Shanaman howls as the album winds down. “Gone are the old songs from the shore…. Here’s the end of what we have dreamt of. Here’s the face of the collapse.” SFBG
LUDICRA
Tues/31, 9 p.m.
Elbo Room
647 Valencia, SF
$7
(415) 552-7788

Dan West’s top five horror films

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1. Shriek of the Mutilated (1974) Not only the greatest title in cinema history but also its single greatest achievement. Never before (or since) have bad acting, cannibalism, alcoholism, and the Abominable Snowman scaled such heights. The greatest film ever made.
2. The Wizard of Gore (1970) Director Herschell Gordon Lewis (Blood Feast) does it again, becoming the first filmmaker in history to slaughter someone on camera with a live chain saw. A mad magician runs amok with ghastly results. If the crude and relentless gore effects don’t turn your stomach, the “acting” certainly will.
3. Straight Jacket (1963) High camp is the order of the day as convicted ax murderer Joan Crawford returns home after a lengthy stay in the loony bin, only to seemingly resume her old habits. Hilarity ensues in this William Castle–directed classic. Crawford really sells it. This is the stuff of which drag queens are made!
4. King Kong Lives (1986) Quite possibly one of the most misguided, unintentionally hilarious, idiotically optimistic sequels ever made, this follow-up to the Dino de Laurentiis–produced remake of King Kong boasts a plethora of delights for the bad movie enthusiast. Kong, after falling to his supposed death from the heights of the World Trade Center, is retrofitted with a giant artificial heart during a Monty Python–like opening sequence. It is a film that has to be seen to be believed. Several bong hits might help.
5. The Car (1977) Never has vehicular manslaughter been so much fun! The screenplay boasts “technical advice” from Church of Satan founder Anton LaVey. SFBG
San Francisco filmmaker Dan West codirected Monsturd and the forthcoming RetarDEAD.

Assassin fascination

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› cheryl@sfbg.com
Four presidents have been killed in office: the two you hear about (Abraham Lincoln and John F. Kennedy) and the two you kind of don’t (James A. Garfield and William McKinley). But any time a political figure meets a violent death, post-traumatic stress can echo through generations — particularly because Hollywood is so fond of assassination cinema. Oliver Stone’s JFK is the most exhaustive example but certainly not the first; John Wilkes Booth pops up in 1915’s Birth of a Nation.
You don’t even have to be president to get your own assassination narrative (see: this fall’s Bobby) or be a successful target, for that matter. The Assassination of Richard Nixon spun would-be Tricky Dick killer Samuel Byck into a Travis Bickle–by–way–of–Sept. 11 man with a twisted take on the American dream. Fictitious films like Nashville and The Manchurian Candidate also pick up the assassination thread; Taxi Driver went one further by actually inspiring John Hinckley Jr. to take aim at Ronald Reagan.
Images of Reagan’s shooting outside the Washington, DC, Hilton clearly influenced Gabriel Range’s made-for-British-television mock doc Death of a President, by my count the first to imagine the death of a sitting president. The murder takes place Oct. 19, 2007, outside a Chicago hotel surrounded by angry antiwar protesters. Actors playing secret service agents, speechwriters, and sundry witnesses recall their experiences; the events themselves unfold via staged and real footage, some massaged with special effects to make the holy shit! moment as authentic as possible.
But the holy shit! is what you expect — and once Death of a President segues into the President Dick Cheney era, it assumes the far less salacious task of exposing post-9/11 America’s darker corners. A Muslim man is nabbed for the crime; his home country of Syria is taken to task as the FBI scrambles to make a motive out of terrorism. PATRIOT Act Three is passed. Civil liberties become even more restricted. But is the suspect really the killer? Is he a patsy? Or is he guilty only of wrong time, wrong place, wrong race?
In many ways, Death of a President resembles The Confederate States of America — a fake TV doc beamed from a reality where the South won the Civil War — rather than its assassination-obsessed cinematic predecessors. This, despite all the controversy surrounding the film’s sensational suggestion that someone might think the world a better place with Bush in the grave. Ultimately, Range is more interested in using Bush’s untimely death as a way to address issues that already exist in 2006, notably the lose-lose repercussions of a hopeless, never-ending Iraq war. Alas, there’s nothing shocking about that. SFBG
DEATH OF A PRESIDENT
Opens Fri/27
Lumiere Theatre
1572 California, SF
(415)267-4893
Shattuck Cinemas
2230 Shattuck, Berk.
(510) 464-5980
www.deathofapresident.com

Steel Will

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Inspired by Tad Friend’s 2003 New Yorker article “Jumpers,” filmmaker Eric Steel spent 2004 shooting the Golden Gate Bridge — intentionally capturing the plunges launched from the world’s most popular suicide spot. The resulting doc, The Bridge, studies mental illness by filling in the life stories of the deceased through interviews with friends and family members. After playing to packed houses at this year’s San Francisco International Film Festival, The Bridge opens for a theatrical run in the city that’s perhaps most sensitive to its controversial subject matter. I spoke with Steel during the New Yorker’s early October visit to San Francisco.
SFBG: When you contacted the families, did they know that you had footage of their loved ones committing suicide?
ERIC STEEL: The families didn’t know, for the same reason that the Golden Gate Bridge authority didn’t know. My biggest fear was that word would get out about what we were doing and someone that wasn’t thinking clearly would see it as an opportunity to immortalize themselves on film. My original plan was — when we finished shooting at the bridge, and when I’d completed all the interviews — that I was then gonna tell the families that I had the footage and review it with them if they wanted to see it. But in January of 2005, I went to the bridge authority and said, “I have all this footage, and I have these interviews with the families. I want to interview you, the highway patrolmen, and the people who came into contact with these people before they died.” They went to the San Francisco Chronicle and suddenly it was all over the front page. I spoke to most of the families that I’d already interviewed and explained, “You have to believe that I’m a sensitive person. We’re all doing this in order to save lives and not to exploit people.” Almost all of them felt that way, but [some] didn’t. Also, there were families that I had not yet contacted. Some said, “We don’t want to have anything to do with you,” but others said, “We think you’re doing this for the right reasons.”
SFBG: There aren’t any officials interviewed in the film. Why did they refuse to participate?
ES: I think it would be very hard for them to respond to some of the issues that we raise. We could easily have used interviews in the film that we didn’t, that were much more damning, of what the highway patrolmen and the bridge people did and didn’t do. There’s one man, the crystal meth addict — we called the bridge as soon as we saw him climb over. It took them four and a half minutes to [reach him]. From where my crew was sitting, I could have run to that spot faster than they got there.
SFBG: How many calls like that did you make?
ES: We probably called 20 times during the year. We didn’t call so much that they thought we were crying wolf. But for us, it was simple: as soon as someone made a move to climb up onto the rail, we made a phone call.
SFBG: Was there ever a point when you thought, “I’m filming people jump. Should I be doing this?”
ES: Because we had already determined that if we could intervene, we would, and that would be the priority, it didn’t feel like we were waiting to film them dying. We were out there because we knew it was coming. With 24 [suicides in an average year], it was like every 15 days you would expect someone to die. If 10 days had gone by and there hadn’t been an incident on the bridge, I know the [camera crew] who was working the next day got increasingly anxious. But not a day went by when you didn’t think you were watching somebody who might be preparing to die.
SFBG: Did you ever consider acknowledging your role within the context of the film, maybe via narration?
ES: I really wanted to be invisible, in a way. For me, there was something strange about explaining too much. I thought it would let the audience off the hook a little bit too easily.
SFBG: Have you been drawn into the debate over the suicide barrier?
ES: I believe that it’s ridiculous that they don’t have a barrier. At the same time, I recognize that the barrier’s really the final moment where you can make a difference. The lives stretch back in time, and there are all sorts of moments where people could have intervened. If we had a better health care system, better mental health services, we wouldn’t be in the same position. The burden is on the bridge to put up a barrier, but it’s also on all of us to take more responsibility for the people who need our help. (Cheryl Eddy)
THE BRIDGE
Opens Fri/27 in Bay Area theaters
See Movie Clock at www.sfbg.com
www.thebridge-themovie.com

Solomon’s, mine

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› kimberly@sfbg.com
SONIC REDUCER Boo! And hiss, while you’re at it. Isn’t it scary how the music retail biz has changed? As a onetime music store flunky, I was hard-pressed to decide whether it was a trick or treat when I heard a few weeks back about the liquidation of Tower Records — this after filing for bankruptcy twice in the last two years. After all, I wasted a good, penniless year and a half of the late ’80s behind a register in the “tape” room and then behind a clipboard at one of the Sacto chain’s flagship stores at Columbus and Bay in San Francisco.
Those were the days — the horror, the horror of trying to subsist on megamuffins and minimum wage. The fun of stacking and alphabetizing cassettes under the benevolent leadership of the azure-Mohawked experimental musician Pamela Z. The joy of talking psychedelia and envisioning earth-shattering cultural epiphanies (one fave: imagining Sonic Youth teamed with Public Enemy years before “Kool Thing”) with Winter Flowers’ Christof Certik. The insanity of controlling the red-eyed, camped-out crowd from behind the Bass ticket booth when the final Who tour went on sale — and getting a Tower sweatshirt when my $50,000-in-two-sellout-hours register totaled to the penny.
The shock of realizing, as a budding world music buyer, that my assistant was thieving bags of Van Morrison and Chieftains CDs from my section. The starstruck bedazzlement of glimpsing the musicians and celebs pour through the glass doors on a regular basis (following a testy Todd Rundgren around with a drooling coworker, catching a lady-killing grin from Chris Isaak, and listening to Neil Tennant of the Pet Shop Boys praise the version of Gabriel Fauré’s Requiem pouring out of the speakers). The weirdness of instructing shut-in customers on what to do when the cassette ends (you press “rewind” or you find Scotch tape and record over it in disgust). The surprise of ordering vinyl and CD versions of the same release and finding certain humongous labels unwilling or unable to ship records, making available only the higher-priced so-called alternative. The pleasures of the lurching, lumbering 1 a.m. Muni ride home after completing the midnight closing shift, back to my digs in the Lower Haight. The switch-flipping surrealness of realizing I was the only one actually bothering to work during most of my shifts — while everyone else was down the street on three-hour lunches or fielding drinks with label reps.
Sure, the party was great while it lasted, and in pop cultural backwaters like Honolulu, Tower became the only, life-changing game in town — jetting in imports, hard-to-find discs, zines, and books at below list prices — and likewise you could get your hand-stapled xeroxed zine into Towers from Tokyo to Paris. And while the sprawling stores flourished, they drove out of business the local mom-and-pop music stores that didn’t recalibrate and start to sell used music and books, collector’s cards, comics, and games.
So now it’s being boiled down to end racks and wire fixtures — after a 30-hour bankruptcy auction ended in favor of the Great American Group’s $134.3 million bid rather than that of Trans World Entertainment, which said it would have kept most of the stores open. And frankly, I feel only somewhat sentimental — despite the initial quality of in-house magazine Pulse and the quasi-democratic, carry-everything supermarket atmosphere — because Russ Solomon’s retail model was far from carefree. The reason the prices were so low was that the workers there were barely scraping together a living (therefore often resorting to unrepentant graft — one staffer funded his trip to Italy on returned, unmarked promo music). At the time it felt like the glamorous equivalent of a record store sweatshop, with its overeducated, obsessive employees bitterly muttering to themselves about the amount of money that would pass through their hands — and straight into Solomon’s coffers.
Why stay? Pre–Amoeba Music, Tower was the biggest and best music store in San Francisco. And did such rampant thieving make a dent in profits, leading to the chain’s demise? Maybe it only started to show when downloads began their rule and the market shattered into a grillion niches, when even a megalith like Tower didn’t seem able to keep up.
As Tower crumbles, I may not be able to find the music I passionately want or need at 11:55 p.m., but I might shed a tear for my last shred of connection with the store — those times I’d trot up Market, between sets at Cafe du Nord, when most shops are darkened and early birds are tucked in bed, and duck into the Castro Tower to browse the magazine racks, those fluorescent lights beating down and the words dancing beneath my ringed eyes.
NO PAIN, NO DOCTORS If you think this election season is painful, tell it to the Bay Area–by–way–of–Chicago art-rock transplants No Doctors. Their whistle-stop tour of sorts stops this week at Club Six in San Francisco and ends at Eli’s Mile High Club in Oakland — and takes the formidable loudness of the foursome to some scenic points such as Joshua Tree and Lompoc. A working vacation with a message?
The tour has been dubbed “US out of CA,” guitarist Elvis DeMorrow told me. “I think everyone can get behind secession at this point.” After spending most of the past year working on their new LP, Origins and Tectonics, due spring 2007 on Yik Yak, the band “somehow arrived on an all-California thing, playing all the places no one even tries to play,” he continued.
Luckily for the No Doctors, DeMorrow is keeping his administrative job at the Stanford medical school’s pain research division. “To me, it’s totally relevant to playing music with a band and the effects it might have in your life,” he declares. Playing music as pain control? Don’t tell that to the bright bulbs at the CIA who came up with the Red Hot Chili Peppers as an instrument of torture. SFBG
NO DOCTORS
Tues/31, 8 p.m.
Club Six
60 Sixth St., SF
$5–$7
(415) 863-1221