Castro

SFIFF: 52 pick-up

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cheryl@sfbg.com

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

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

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

KIMJONGILIA

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

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


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

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

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Rollin, 18th Street and Castro

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Tell us about your look: “I got this jacket in Hong Kong.”

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Tim, Market and Castro

Tim0409.jpg

Tell us about your look: “Cowboy drag”

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: David, Market and Castro

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Tell us about your look: “I like color and offbeat items. Be true to yourself when it comes to fashion.”

Film Festival 52

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

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

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

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

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

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

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

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

Fiends, eyepatches, and femmes fatales

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The cause of showing neglected old films on 35 mm — that vanishing format — is one recently taken up by a number of local presenters, including the Film on Film Foundation and Midnites for Maniacs. We’re not alone in that pursuit, with one notable purveyor of vintage esoteria on celluloid being Austin, Texas’ Alamo Drafthouse. Its Cinemapocalypse programmers are currently on an "Invasion U.S.A." tour bringing disreputable shlock to big screens along the West Coast.

Yerba Buena Center for the Arts’ double bill on Saturday spans the Atlantic with gratuitous violence and toplessness. Fernando Di Leo’s 1976 Mister Scarface is a lively example of the crime thrillers Italy churned out back then for the international grindhouse circuit. Italian-looking German and Fassbinder regular Harry Baer and German-looking Egyptian Fulci/Franco regular Al Cliver play cocky play dudes out to shake down Jack Palance’s titular mob boss. As their flamboyant older sidekick Vittorio Caprioli opines, "That’s a-Scarface. He’s-a bad news, I tell ya. Just-a looking at him and my asshole a-twitches."

Its marginally less obscure co-feature is Paul Nicholas’ incredibly tawdry 1983 Chained Heat, considered by many the greatest of all W.I.P. (Women in Prison) flicks. The cast alone clinches it: Linda Blair, Sybil Danning, Tamara (1973’s Cleopatra Jones) Dobson, Stella Stevens, Edy Williams — you get the idea.

Midnites for Maniacs gets into the Texas action with a "Fighting Back in the ’80s" quartet at the Castro Theatre on Sunday. Escape from New York (1981) you’ve seen, and 1983’s Vigilante, a.k.a. Street Gang (Fred Williamson and Robert Forster go Death Wish on the usual cackling punk-scum "animals"), is no rarity. But curious minds really want to know about 1982’s kitchen-sink exploitation blowout (cannibal monks! T&A! Kung fu! Cameron Mitchell!) Raw Force. And you haven’t lived till you’ve seen Lady Terminator, a 1988 Indonesian whatsit about an ancient nymphomaniac water goddess who towels off to wreak havoc on the police force and civilian penises of modern Jakarta. It’s vagina dentaterrific. (Dennis Harvey)

SAT/18, MISTER SCARFACE (7 P.M.) AND CHAINED HEAT (8:45 P.M.)

$8-$10

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

SUN/19, VIGILANTE (2 P.M.); RAW FORCE (4 P.M.); ESCAPE FROM NEW YORK (6 P.M.); LADY TERMINATOR (8 P.M.)

$10

Castro Theatre

429 Castro, SF

www.castrotheatre.com

Appetite: Free pancakes, Lower Haight French, Little Skillet, twice the Woodhouse, and more

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littleskill0409a.jpg
Farmerbrown’s leaps from the frying pan into Little Skillet

As long-time San Francisco resident and writer, I’m passionate about this city and obsessed with exploring its best food-and-drink spots, events and news, in every neighborhood and cuisine type. I have my own personalized itinerary service and monthly food/drink/travel newsletter, The Perfect Spot, and am thrilled to share up-to-the minute news with you from the endless goings-on in our fair city.

————-

NEW RESTAURANT OPENINGS

Little Skillet: Chicken & Waffles from a walk-up alley window in SoMa
Farmerbrown’s
is about to open Little Skillet in a SoMa alley at 330 Ritch. It’s a walk-up window offering morning pleasures like biscuit sandwiches loaded with cheese, egg, housemade sausage or bacon, plus Oyster Po’Boys, and one of my favorites in comfort food: Chicken and waffles (from Petaluma Poultry chickens) for breakfast and lunch. Lucky, those who work nearby! Cento, neighboring alley Blue Bottle coffee-source, also sells box lunches of Little Skillet’s food. Initial hours are supposed to be Monday–Friday, 8am–3pm, open later as baseball season progresses. No strikes here!
330 Ritch
415-777-2777

www.littleskilletsf.com

Woodhouse Fish Co… Part Deux
When I want a Crab Salad (aka mountain of fresh crabmeat) with fresh lemons, Anchor Steam-battered Fish & Chips or a buttery Lobster Roll without waiting in line at the great Swan Oyster or paying Waterbar prices, Woodhouse Fish Co. fits the bill perfectly. Old seafaring movies on the wall, like 1935’s “Mutiny on the Bounty”, pair nicely with hanging squids and tackle. Up till now, it’s been the Castro locale but with a brand new, larger space on Fillmore, there’s more than one way to assuage New England seafood hankerings.
1914 Fillmore Street
415-437-2722

www.woodhousefish.com

Bistro Saint Germain delivers French flair to Lower Haight
Le P’tit Laurent owner, Laurent Legendre, with chef Eliseo Soto Dimos, debuted Parisian bistro fare to Lower Haight this weekend with Bistro Saint Germain. If you want a change of pace from Lower Haight’s curry houses and sandwich shops, here you can dine on French classics like bistro-style mussels, salads, escargots and boeuf bourguignon. Legendre makes quick friends in the ‘hood by offering Le P’tit’s popular steal of a prix-fixe: 3-courses for $19.95, Sunday through Thursday.
518 Haight Street
415-626-6262

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WINE COUNTRY OPENINGS

Napa’s new green winery from Plumpjack: Cade Winery
Think what you will of our Mayor and his Plumpjack enterprise, it doesn’t hurt that Plumpjack, Gavin and Gordon Getty (helps to have friends with connections), opened an out-of-the-way winery for your next day trip to Napa. Impress friends with an intriguing drive up Howell Mountain to new Cade Winery, a solar powered, green winery with cave tours and lush, hillside views. After a tour, sip a glass of wine by roaring fireplaces (if it’s chilly) or rushing waterfalls overlooking the Valley on brilliant Wine Country days. It’s appointment-only for a tour or tasting (prices vary) which means you have to plan ahead, but it’ll keep out the tour bus riff-raff.
360 Howell Mountain Road South
Angwin CA, 94508
707-965-2746
www.cadewinery.com

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Neely welcomes you to Napa

Bollywood and Indian flavors come to Napa
Neela Paniz, cookbook author and Indian chef, spices up downtown Napa with something it doesn’t have: an Indian restaurant. From Chota Haazari (starters) to Haazari (mains) and Mitha (desserts), Neela’s certainly has a California fresh, local touch (who doesn’t these days?) to home-style recipes like mini dosas with mango chutney, curries, tandoor Cornish hen and Lasoon Jhinga (shrimp with garlic, green chiles and mustard seeds). The plan is to have Bollywood music videos liven up the bar as you down a Kingfisher beer or glass of wine (it is, after all, Napa).
975 Clinton Avenue
Napa, CA 94559
707-226-9988

www.neelasnapa.com

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DEALS

A week full of deals at Cassis Restaurant
Cassis Restaurant
, a couple blocks off Fillmore Street, does right by French bistro classics like Pissaladiere (Nicoise Carmelized Onion Tart), with service that’s charming, attentive, and oh, so French. Their weekly deals are many… and hard to resist. First, the bar’s happy hour (5:30–6:30pm) has two-for-one beers plus discounted wines and cocktails. Bring-A-Friend-Tuesdays means 15% off your total food and drink bill with a table of four or more (assuming those are friends you brought, right?) Wine Wednesdays offers no corkage (a two bottle max) or if you decide to buy a bottle off the menu, it’s 25% off. Sweet Thursdays is for the sweet-tooth: order two entrees, get two-for-one desserts. Only caveat? You can’t combine with the $25 Early Dinner Special (Sun-Thu, 5:30-7pm, 3-course prix-fixe).
2101 Sutter Street
415-440-4500
www.restaurantcassis.com

Free pancake Saturdays once a month at El Rio
El Rio
is one generous bar to serve free pancakes from the griddle every third Saturday of the month. Further cool points won by calling it “Rock Softly and Carry a Big Spatula“. Curing all that ails after Friday night, breakfast is kindly served at 1pm, so after you’ve rolled out of bed and wandered over, ease into wakefulness with soft rock and hot flapjacks. Wear the “funkiest kitchen couture” and you could win their Golden Apron honors. With a free meal, it’s easy to feed the tradition with generous tips.
Free

3rd Saturdays, 1-3pm

3158 Mission Street

415-282-3325
www.elriosf.com

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Bronwyn from Australia, 18th St. and Castro

Bronwyn0409.jpg

Tell us about your look: “My outfit is very put together because we are traveling and I’m trying to keep warm with what I have in my suitcase.”

Appetite: Free pancakes, Lower Haight French, Little Skillet, twice the Woodhouse, and more

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By Virginia Miller

littleskill0409a.jpg
Farmerbrown’s leaps from the frying pan into Little Skillet

As long-time San Francisco resident and writer, I’m passionate about this city and obsessed with exploring its best food-and-drink spots, events and news, in every neighborhood and cuisine type. I have my own personalized itinerary service and monthly food/drink/travel newsletter, The Perfect Spot, and am thrilled to share up-to-the minute news with you from the endless goings-on in our fair city.

————-

NEW RESTAURANT OPENINGS

Little Skillet: Chicken & Waffles from a walk-up alley window in SoMa
Farmerbrown’s
is about to open Little Skillet in a SoMa alley at 330 Ritch. It’s a walk-up window offering morning pleasures like biscuit sandwiches loaded with cheese, egg, housemade sausage or bacon, plus Oyster Po’Boys, and one of my favorites in comfort food: Chicken and waffles (from Petaluma Poultry chickens) for breakfast and lunch. Lucky, those who work nearby! Cento, neighboring alley Blue Bottle coffee-source, also sells box lunches of Little Skillet’s food. Initial hours are supposed to be Monday–Friday, 8am–3pm, open later as baseball season progresses. No strikes here!
330 Ritch
415-777-2777

www.littleskilletsf.com

Woodhouse Fish Co… Part Deux
When I want a Crab Salad (aka mountain of fresh crabmeat) with fresh lemons, Anchor Steam-battered Fish & Chips or a buttery Lobster Roll without waiting in line at the great Swan Oyster or paying Waterbar prices, Woodhouse Fish Co. fits the bill perfectly. Old seafaring movies on the wall, like 1935’s “Mutiny on the Bounty”, pair nicely with hanging squids and tackle. Up till now, it’s been the Castro locale but with a brand new, larger space on Fillmore, there’s more than one way to assuage New England seafood hankerings.
1914 Fillmore Street
415-437-2722

www.woodhousefish.com

Bistro Saint Germain delivers French flair to Lower Haight
Le P’tit Laurent owner, Laurent Legendre, with chef Eliseo Soto Dimos, debuted Parisian bistro fare to Lower Haight this weekend with Bistro Saint Germain. If you want a change of pace from Lower Haight’s curry houses and sandwich shops, here you can dine on French classics like bistro-style mussels, salads, escargots and boeuf bourguignon. Legendre makes quick friends in the ‘hood by offering Le P’tit’s popular steal of a prix-fixe: 3-courses for $19.95, Sunday through Thursday.
518 Haight Street
415-626-6262

Cruising Craigslist: Muses, models, and art sluts

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Each week, Justin Juul combs the SF Craigslist Personals and Missed Connections for true gems that prove there’s enough love for everyone. View his last installment here

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“Fancy a threesome?”

It’s weird when you have one of those crazy jobs that lets you work from your laptop because, after a while, you really do begin to lose touch with whatever lies beyond the cafes, bars, and dining patios in your comfy little art hood. And I’m not talking about that weird alien feeling you get when you go back to Iowa or Michigan for the holidays. No. All it really takes to get a sense for how uh, queer, you’ve become is to take a little trip to Union Square. I mean, the ads for soda pop and fast food are enough to make you puke right off the bat. But dude, what’s up with the luxury industry? Fancy-pants Romanian guys with five-o-clock shadows hawking Rolexes, scrawny chicks with waxy skin pumping hair-care products and denim, David Beckham, Jessica Simpson?! Are these people really supposed to represent the pinnacle of beauty and success? Are they supposed embody what we want to fuck and/or be? Seriously…can you imagine how bad it would suck to hang out with one of these idiots or –even worse– one of their painfully normal admirers?

Obviously, you can. That’s why you holed up in the Mission (or the Lower Haight, or Oakland, or wherever) and that’s why you never go downtown until you have to get your MacBook serviced or buy some crack. It’s also why The Bay Area stands out –parts of it at least—as a hothouse for new beauty ideals. There’s the whips-n-chains bondage set in SoMa, the hula-hooping fire-eaters in The Haight, the buff dudes with Canadian tuxedos in The Castro, and of course, the coveted “super sexy artist type” you find in galleries, museums, and dive bars throughout the city. We all want one of those, right? The problem is that there simply aren’t enough of them to go around. And then of course there’s the flipside: artsy types actually have a hard time finding love themselves because everyone’s too intimidated to ask for a date. No worries. That’s what Craigslist is for.

Bhutan Exhibit – Asian Art Museum (from Tuesday) – w4m (downtown / civic / van ness)
Reply to: [Redacted]
Date: 2009-04-01, 8:41PM PDT
Hello. This is a total shot in the dark, but it’s worth a try. We were both looking through the Bhutan exhibit by ourselves, but we kept crossing paths. I said something when we were looking at the Phurbas like “these are really amazing!” We kept looking at each other but didn’t talk besides that. You have long, dark beautiful hair, and quiet, soft brown eyes. I had my hair pulled back and was wearing a brown top and jeans. I didn’t see you again after I sat down for a few. I’m curious about you.

Hot girl with long brown hair and a great ass – m4w – 23 (New Montgomery)
Reply to: [Redacted]
Date: 2009-04-07, 1:16AM PDT
You came out of Academy of Art and used someone’s lighter and walked off. I had the pleasure of walking behind you for the rest of the block. Then I turned. [I just want you to know] this handsome black guy thinks you’re hot!

You were wearing a blue top and blue jeans. I think you might’ve had sunglasses too.

Help a bored artist – m4w – 24 (anywhere)
Reply to: [Redacted]
Date: 2009-03-25, 10:34PM PDT
I am a design student that loves to draw. I’m looking to draw something a little more interesting than landscapes, buildings, or the occasional live model we get in studio that is never that pleasing to the eye. So here’s what I’m asking. I’m looking for some lovely ladies to send me some more, lets say, erotic pictures I could sketch from; nude, partial nude, costume, whatever, make it interesting. I’d be happy to send you my drawings when I’m done. Help a bored artist.

Cohen koan

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a&eletters@sfbg.com

SONIC REDUCER What becomes a pop legend? Mink, knighthood, screaming nubiles, Rock ‘n’ Roll Hall of Fame induction, or the Companionship of the Order of Canada? Nay, Lancelot Bass, to a biz looking for its next buck, it’s chart success at the beyond-ripe age of 74.

The curious case of Leonard Cohen: more than 40 years after his classic-crammed debut, Songs of Leonard Cohen (Columbia, 1967), this songwriting genius saw the rocket-boost of mainstream pop acceptance last year, as Jeff Buckley’s version of Cohen’s "Hallelujah" shot to the top of the iTunes charts after Jason Castro interpreted it on American Idol. One Tree Hill starlet Kate Voegele took another stab at the tune — already a TV and film staple covered by everyone from John Cale and Rufus Wainwright to Sheryl Crow and Willie Nelson. The final shoe dropped last December, when a rendition by Alexandra Burke, winner of UK TV’s X Factor, occupied the top of the UK singles charts, with Buckley’s take at #2, and Cohen’s original at #36. Cohen’s current North American tour — his first in 15 years — seems like a natural next step, especially since even the supremely gifted need to eat. (His ex-manager Kelley Lynch misappropriated millions while he was secluded as a Zen Buddhist monk in the late 1990s.)

While it’s no surprise that a relatively recent Cohen creation such as 1984’s "Hallelujah" should become a contemporary standard, working its way into Shrek (2001) and the ambivalent superhero sex scene in Watchmen, the song is still an unlikely commercial success, given its spiritual yearning and hard-boiled smarts. As Bryan Appleyard wrote in the U.K.’s Sunday Times in 2005, "it sounds like a pop song, but it isn’t …. It is a tuneful but ironic mask worn to conceal bitter atonal failure." Cohen’s "Hallelujah" is a gently meta-maniacal song rumination on songwriting and faith, clad in biblical allusions, that finds hope in submission to an uncaring muse.

However hard to picture, there are through lines between Cohen’s original, synth-driven "Hallelujah" and what some call his worst LP, Death of a Ladies’ Man (Columbia, 1977), an overwhelmingly orchestrated collaboration with Phil Spector that imploded as the producer barred Cohen from the final mix, allegedly threatening him with a crossbow.

"I’ve put my trust/And all my faith to see … /Her naked body! Oooh-oooh, oh my baby, can you see her naked body?"

Cohen never sounds as unbridled as he does on Death‘s "Memories," as youthful trysts take the fall with this mocking jack-off, the album’s centerpiece. I like to imagine his vocals were loosey-goosey placeholders. Anyone with a well-blackened punk sense of humor can appreciate the larky, screw-you ethos of this overwrought artifact, decorated with an image of the songwriter flanked by his morose then-wife Suzanne Elrod. Was this Cohen’s jokey fare-thee-well to horndog profligacy?

A cranky attack on youth and "Sound of Young America" pop, "Memories" is also the sound of Spector doffing his aviator shades and jabbing at his own mirrored eyeball and "Be My Baby" legacy. This Sha Nyah Nyah take on the same intermingling of faith and sexuality that underlies "Hallelujah" is constructed as a wall of soup, ready to splash down on Cohen’s fragile voice, sometimes subsumed by an ever-present anima: his female backup vocalists, a beloved counterpart to Spector’s highly controlled girl groups.

But "Memories" should perhaps remain in the past. For a strong hit of current Cohen go to the new Live in London DVD, which is infinitely preferable to 2005’s name-checking doc Leonard Cohen: I’m Your Man. Released along with a CD set, this straightforward, two-hour-plus document of a June 2008 arena show in London beats all that grainy Glastonbury footage on YouTube with its graceful shots of Cohen lost in the center of "Everybody Knows," eyes squeezed closed and mic cord clenched in a fist.

The greatest pleasures come from hearing later Cohen recordings reworked by a full band and witnessing the warmth and graciousness of a songwriter humbled by his audience. "It’s wonderful to be gathered here on just the other side of intimacy," he says wryly at one point, soon segueing seamlessly into the chorus of "Anthem": "Ring the bells that still can ring /Forget your perfect offering /There is a crack in everything /That’s how the light gets in." And perhaps that’s how — and why — Cohen has gone from haunting the rooms of heartsick "Memories" to becoming the go-to guy for a shot of lyrical intelligence: he recognizes our battered souls and sings those elegant, oft-unspoken truths still lingering in the sad café of the pop unconscious.

LEONARD COHEN

Mon/13-April 15, 8 p.m., $69.50–$251

Paramount Theatre

2025 Broadway, Oakl.

www.goldenvoice.com

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DANCE ME TO THE END OF THE WEEK:

RICHARD SWIFT

Shades of Harry Nilsson: the tunesmith makes artful inroads with his soulful new The Atlantic Ocean (Secretly Canadian). With Vetiver and Adam Stephens. Wed/8, 9 p.m., $16. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

CHANGO SPASIUK

Astor Piazzolla is grinning somewhere when this Argentinean accordion master blends the blues, fado, and chamame. Thurs/9, 8 p.m., $18. Yoshi’s, 1330 Fillmore, SF. www.yoshis.com

BEAUSOLEIL

Cajun music would be swallowed up by the swamp if not for the sprightly efforts of Michael Doucet and crew. With David Lindley. Fri/10, 8 p.m., $25. Great American Music Hall, 859 O’Farrell, SF. www.gamh.com

FRIENDLY FIRES, WHITE LIES, AND SOFT PACK

The moody, broody U.K. dance-pop rockers match beats alongside the spunky post-punk San Diegans. Sat/11, 9 p.m., $15. Slim’s, 333 11th St., SF. www.slims-sf.com

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Dylan, 25th Street and Castro

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Tell us about your look: “I’m sorta a rock star and I love really skinny jeans.”

Made in U.S.A.

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REVIEW Rialto Pictures founder Bruce Goldstein will scoop up the Mel Novikoff award at this year’s San Francisco Film Festival, but local audiences have a chance to sample his good work before then during the Castro Theatre’s run of Rialto’s freshly struck 35–mm print of Jean-Luc Godard’s widescreen, red-white-and-blue firecracker Made in U.S.A. (1967). If the picture seems a helter-skelter jumble of contingencies, it’s important to remember it was but one of four Godard movies to wash up on these shores during the otherwise turbulent 12-month period slicing through 1967 and 1968 (the other three were 2 or 3 Things I Know About Her, La Chinoise, and Week End). Of these, Made in U.S.A. gives the fullest demonstration of Godard’s aim to create a cinema that could take part in the jagged incongruities of modern life. Listing the film’s tangled referents — its confluence of aesthetics, politics, and violence crucially hinges on American hardboiled pulp and the real-life murder of Moroccan leftist Ben Barka — doesn’t begin to describe Made in U.S.A.‘s unexpected pathos. For all its agitprop overtures and modernist complications, the film is also a reflective, conflicted goodbye to the writer-director’s formative romances with American culture and Anna Karina. The porcelain actress, already divorced from Godard by the time the picture was made, gives a fragmented, emotional performance almost entirely in close-up. As the long day closes on Made in U.S.A., an old confidante tells Karina’s Bogart-like investigator that obsolete categories of Right and Left cannot adequately address political problems, to which she responds, "Then how?" That broken question, the neutron star of Godard’s career, shows no sign of letting up.

MADE IN U.S.A. opens Wed/1 at the Castro. See Rep Clock.

Photofabulous GayVNs (NSFW)

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Photos by Darwin Bell. Text by Marke B.

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Logan McCree, the inky “it” porn boy of the moment (whither Francois Sagat?) accepts his “Performer of the Year 2009” award. His current studio, Raging Stallion, swept the awards again this year.

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Those ravishing Hungarians, the Visconti Triplets, on the GayVN red carpet. The won nothing.

Well! The sprawling, exhaustive GayVNs (“the Oscars of gay porn”) pretty much swallowed the weekend whole for many of us. The stars! The awards! The tragedies! The complete winners list is here.

All in all, though, the entire thing was pretty relaxed and entirely fun — moreso than I expected. There was even a charity aspect, with a pricey pre-ceremony “Porn Brunch” at the LookOut in the Castro attracting a number of curious onlookers, rabid fans, and stellar anal wattage for a taping of salacious and sometimes humorous Webisodic adventure “The Tim and Roma Show” — raising some bug bucks for StopAIDS. I wish there had been more food, but the “bottomless” (ha!) mimosas soon made me forgot that I was probably the only hungry person there.

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Logan, pre-win, on the couch at the LookOut

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Logan’s man helps him show off his assets

The endless night before had seen porn studio “reception” (double ha!) parties all over the Castro, in which boneriffic stars got very “up close and personal” with fans and photogs alike. Snapper Darwin Bell was there until the bitter, bitter end. Below is one more shot of my current threefold obsession, the Visconti Triplets, and then after the jump — and so, SO NSFW — perennial porno sunshine boy (and media mogul!) Barrett Long demonstrates his tongue-tickling talent for autofellatio. It took a couple tries, but we stuck with him!

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Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Sam, 26th and Castro

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A note from Ariel: “Sam doesn’t know I’m submitting this — but he’s just so darling, I had to!”

GAYVNs: the long, hard rundown of events

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By Marke B.

The GayVN Awards: You’ve felt the gay dude excitement, you’ve felt the straight dude excitement. Now, feel the excitement for yourself at the upcoming onslaught of gay porn-related events, as we explode through the wormhole of this weekend’s fabulous — and flab-u-less — events. OMG — meet the stars! Share the love! Be a part of history!

Hey, don’t shoot me — I’m just the 12-inch pianist.

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Will the violent, controversial To the Last Man from Raging Stallion take home the GayVN for Best Picture? Will you take home its stars? Maybe

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Friday, March 27th

6PM

Falcon Studios’ GayVN Weekend Kick-off Party
Hosted By Juanita MORE!
Q Bar
456 Castro

Roll In Style
A Safer Sex Fashion Show
With NakedSwordsman 2009 Steve Cruz
Sui Generis
218 Church

To The Last Man Signing
Does Your Mother Know?
4141 18th St.

7PM

Raging Stallion Studios Party
The Edge
4149 18th St.

Bel Ami Studios Party
440 Castro
440 Castro

Barrett Long’s Cockstar
Moby Dick
4049 18th St.

Jet Set Men Studios Party
The Mix
4086 18th St.

Dirty Boy Video Studios Party
Twin Peaks
401 Castro

GayRealityPorn and PornTeam
The Midnight Sun
4067 18th St.

Peepshow: Gay porn for spring

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Each week Justin Juul highlights a rad upcoming local sexy event

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Who Have you ever seen that movie where the guy pulls out his dick and rubs it on some other guy’s face and then another guy comes in and he’s like “Hey there buddies, can I get me summa dat?!” Or no, wait! How about the one where the guy is sitting in the sauna at 24 Hour fitness just minding his own business, reading the paper, and then another guy comes up and he’s like “Fancy a blowjob, sir?” Those movies were great! Someone should set up an awards show for all the people involved in making them, don’t you think? They could charge tons of money for admission, throw tailgate parties in The Castro, and invite that dude from Ugly Betty to perform stand up comedy. Maybe Margaret Cho could come too. Just a thought.

Fluffy bunners

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› superego@sfbg.com

Look about you, horny toad. There may not be wee lambykins gamboling on your microlawn or the scent of fresh asparagus pervading your water closet yet, but all the mad party signs of spring are sneaking up to floor you: secret sunset shindigs (www.pacificsound.net), hunky Jesus Easter bonnets (www.thesisters.org), blackout drag road trips to Reno (www.trannyshack.com), and, that ultimate in vernal equinoxious signals, a flood of out-of-state gay porn stars looking for extra cash on Rentboy.com and the back pages of the Bay Area Reporter. Spring has sprung! And will probably be passed out in its stiff leather chaps, turquoise Lycra dress shirt, knock off Gucci wraparounds, and George Michael stubble on the corner of 18th and Market soon.

That’s right, those "Oscars of gay porn," the annual GayVN Awards, are coming upon us yet again, as the Castro Theatre plays host to the biggest circle jerk in the butt biz for another year. Downsizing, of course, is out of the question, despite the rash of porno pink slips being fisted out across the industry, which has been hit hard by a combo of economic deflators, internal tussles, and continued grappling with amateur Web competition. (We’ll see if the upcoming onslaught of 3-D dick flicks provides the stimulus package our local studios — second only to backwoods Eastern Europe in terms of sticky-fingered output — so sorely need.)

No, GayVN organizers are gut-pumping all the lubricious glitz they can into a whole weekend of kiki hurrah, with pre-parties, post-parties, Tupperware parties, and brunches that no one will eat at galore. Inflatable personality Janice Dickinson hosts the awards ceremony itself, with backup from homegirl Margaret Cho and Alec Mapa from Ugly Betty (ha!). Online erotic video-on-demand powerhouse Naked Sword, a.k.a. the giant candy-colored Flash octopus that froze my dinky Windows and made me cry with my pants down, will host the official afterparty, Shameless — "the party you’ll never forget, or remember!" — with some big-name DJs and performers I already can’t! It’ll be a wondrous semi-tragedy unfolding in fast motion, worth it if only to ogle the prancing scene. Just please try not to look at the camera when it’s over.

GAYVN AWARDS CEREMONY Sat/28, 7 p.m., $95. Castro Theatre, 429 Castro, SF. gayvnawards.avn.com

SHAMELESS GAYVN AFTERPARTY Sat/28, 10 p.m., $25. Wunderland, 181 Eddy, SF. www.nakedsword.com

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TINGEL TANGEL CLUB


The louche cabaret monthly celebrates a year of mingling salacious New York City talent and West Coast underground hotness. Original Cockettes Rumi and Scrumbly, singer Novice Theory, "hypersexual" musicians SlowMo Erotic and more light up the stage, and ever-crushable JD Samson of Le Tigre will Sam Ronson the turntables afterward. Tingel Tangel Le Tigre — it’s an anagram.

Wed/25, 8 p.m., $16. Café du Nord, 2170 Market, SF.

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FUCK MIAMI


Oh dear, is it that time of year again? Half our stellar nightlife talents (and a lot of pre-tanned wannabes) will be sucked into the studiously Spandexed and belotioned black hole that is the Winter Music Conference in Miami. If you’re too broke — or too allergic to aggressive slickness and pushy V.I.P. chicks — to jet to the coca beach, share the moment with a slew of worthy left-behinds at this lengthy affair.

Fri/27, 4 p.m.- 2 a.m., free. Mars Bar, 798 Brannan, SF.

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"HOMELESS NIGHT"


This party promises to be wronger than shitting in a urinal: anarchic drag weekly Charlie Horse is hosting a homeless-themed night. Partially controversial gender clown Monistat joins perky Percocetted hostess Anna Conda to present shameful acts by talented messes to actually help benefit homeless services. La-da-dee, la-da-dah, don’t try to rip the wigs off these queens or they will cut you.

Fri/27, 10 p.m., free. The Cinch, 1723 Polk, SF.

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LOOK OUT WEEKEND


Happy hours are all the populist rage, especially in these queasy economics, no? One of the biggest and brightest, Look Out Weekend, is moving into new quarters at Vessel off Union Square. The delicious electronic stylings of Oh Land and DJing by the Magnificent Seven complement yummy eats and fashionable freaks at the relaunch. Will L.O.W. 2.0 be as raucous as the first version? Hey, it’s free, so go see for yourself.

Fridays, 4 p.m.-9 p.m., free. Vessel, 85 Campton Place, SF.

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ROYALTY


Well! It may be a bit bombastic, but the name just fits. SF soulful house music king DJ David Harness inaugurates a new monthly to rain some of that ol’ hands-in-the-air spirit down on the children-in-waiting at the lovely Triple Crown. The Crown’s sound system is winning extreme plaudits, so be prepared for a high-fidelity throwdown.

Fri/27, 10 p.m., $5. 1760 Market, SF.

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DEVOTION


A few years ago, DJ Ruben Mancias packed up his little glam-house weekly at the EndUp, Devotion, and skedaddled to NYC to find fame, fortune, and a lot of really neat T-shirts. He’s occasionally popped back into town to show off each, and remind Latin- and soul-tinged house fans of past EndUp glories. Devotion’s eight-year-anniversary will find him back at the space with Oakland house princes Cecil and Dedan warming up. Memories!

Sun/29, 8 p.m.-4 a.m. The EndUp, 401 Sixth St., SF.

The rise and fall of a Polk Street hustler

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› news@sfbg.com

Last June, a small group of costumed 20-something activists from Gay Shame — wielding saxophones, loudspeakers booming electronica, and bullhorns — held a "séance" on Polk Street to "summon the ghosts of Polk Street’s past."

They performed in front of the recently constructed First Congregational Church — what they call "ground zero" for Polk Street gentrification — built over the remains of what they characterize as a gay hustler bar pushed out of the area by Lower Polk Neighbors (LPN), an organization not coincidentally holding its monthly meeting just a few feet beyond the window during the ear-splitting performance.

It was one of many ongoing clashes as new condos, upscale businesses, and trendy "metrosexual" bars replace Polk Street’s SRO apartment buildings, shuttered businesses, and hardscrabble hustler bars.

Protesters blamed the transition on LPN, a "pro-gentrification attack squad" working to transform the city’s "last remaining public gathering place for marginalized queers." New business and neighborhood associations counter that they are only working to beautify, make safer, and "revitalize" the area — a benefit to everyone, including the street’s marginal residents.

But what has been lost in the noise of this high profile, ongoing clash are the stories, needs, and wishes of the very people purportedly at the center of this conflict: the "marginal queers" and the homeless.

I conducted interviews with more than 60 people during the past year, including sex workers, merchants, the homeless, and social service providers — thanks to a grant from the California Council for the Humanities and the sponsorship of the GLBT Historical Society. And I learned that changes on Polk Street stem from a collapse of the area’s community-based economic and social safety nets in the 1990s, combined with the absence of a viable alternative from the city, the neighborhood, or an increasingly affluent gay political establishment.

That trend is illustrated by the story of one such "marginal queer," known on the street as "Corey Longseeker." In a changing neighborhood divided by distrust and tension, it seems that even people from opposing viewpoints are united in their familiarity with a story that has become the stuff of legend: the most beautiful, most successful boy on Polk Street who became the saddest, poorest homeless man in the neighborhood.

Now, during a time of recession and drastic budget cuts to mental health, drug abuse, and HIV-related services, Corey’s story traces the neighborhood’s history and its present challenges.

THEN AND NOW


Corey, now 39, is a constant presence in the neighborhood. He’s always alone when I see him, sometimes sitting on the sidewalk, his head of long stringy hair in his lap, rocking back and forth slightly. Or walking up and down the alleyways, sometimes stooping over and making cupping motions with his arms — picking up imaginary children, I’m later told. Or walking slowly, alone, near City Hall, his arms straight by his side, his body hunched.

"I came to San Francisco because I wanted to be an artist," he told me. He speaks slowly, softly, laboring, with long pauses. "When I first got here, there were a lot more people. We used to play guitars and drink beers or smoke a joint and just hang out and stay out of trouble."

He was diagnosed with schizophrenia, compounded by years of methamphetamine use and complications related from AIDS — a triple diagnosis that is unusually common among homeless people on Polk Street. Corey’s flashes of clarity alternate with moments in which memories blend into different times and places, and seemingly into dreams and fantasy: "I’ve been trying to protect my little self and my little brother and I’m about 500 homicides behind and I don’t know how to bump and grind to pick up the little morsels and the pieces of the people I liked and loved the way I used to know how to." He paused. "So I just keep on."

Dan Diez, now the co-chair of LPN, believes that homeless on the street such as Corey are negatively affecting businesses and residents who "should not have to put up with people sleeping in their doorways." He even talks of moving the homeless to facilities on Treasure Island as one solution. "I think it’s one of the reasons why these condos that have gone up have not been filled."

Corey and Diez may seem to have little in common, but they maintained a close relationship with each other for more than a decade, and Diez felt so close to him that he characterized himself as part of Corey’s "surrogate family."

It was 19 years ago that Diez first laid eyes on Corey, then a fresh-faced 19-year-old who had just moved to San Francisco. Diez, then a city government employee living in the East Bay, was sitting in the Q.T. II, Polk Street’s premier hustler bar — on the very plot of land where protesters later clashed with the LPN meeting.

Corey "wasn’t what I expected someone like a hustler to look like," Diez said. "I cannot tell you, this kid had movie star written all over him. He was extremely clean and very attractive and he just looked like somebody who walked out one of these suburban towns."

Dan befriended Corey, taking him to Burger King, listening to rock music in his car while Corey drew and writing poetry. Dan slipped him $20 bills and took him to movies. With time, he also brought him to the spas to clean Corey up, took care of his laundry, and bought him clean underwear and food.

"A lot of the kids on the street were hustling," Diez said, "but I did not pick up at that time. Corey was the only person I was really interested [in] ‘cuz he was something different. He was a person with a creative bent, which I really admired."

Diez says their relationship was not sexual, though he did enjoy being physically close with Corey. "He was someone I liked being around. It was just really a nice relationship."

In a letter Corey wrote in the late 1990s, he calls Dan one of his "sponcers" [sic], along with another man Diez said is a "multi-multimillionaire" and "very well known in San Francisco." This man bought Corey a car and provided him with plenty of cash and drugs as one of his clients. In Corey’s letter, he says the man "made me into a liveing legand [sic] at the age of twenty two years old by letting me have enough money." Corey listed as his "Boss" a bartender at the Q.T., widely known for facilitating hookups between johns and hustlers, and spoken of warmly by many as being a "big mama" to kids on the street.

By this time, many of the buildings that had held thriving businesses in the ’70s and ’80s were shuttered, leaving sex work and drug sales as a few of the street’s dominant economies. People such as Corey, widely considered to be the most beautiful and lucrative sex worker at the time, were Polk Street’s economic engines.

In fact, Q.T. manager Marv Warren was president of the merchant’s association in the 1990s. The sex trade turned profits on the streets and in the bars. "Most of us didn’t like the idea of these kids hanging out because it didn’t look good," Steve Cornell, owner of Brownies Hardware, recalled. "[But] if there are male prostitutes out there and there are businesses that thrive on that, they’re part of the business association too."

THE BOTTOM LINE


The current conflict on Polk Street has been framed as one between profit-hungry business owners and marginalized queers. But on Polk Street, a coveted bloc of city space long zoned as a commercial corridor, the buck has always been the bottom line.

This is not to discount the deeply emotional ties many have to the area, many who reported escaping abusive families and discrimination to find themselves and their first real family in Polk Street. Just the opposite: the history of Polk Street shows that community and commerce were closely linked.

In the early 1960s, gay men bought up failing shops along the street and created posh clothing stores, record shops, and elegant restaurants. Failing bars and taverns cashed in on gay consumer power. The community combined economic and political power to win major gay rights battles.

Most famously, bartenders formed the Tavern Guild in 1962, the nation’s first gay business association, which combined economic self-interest with charitable support for the nascent gay community. According to historian Nan Alamilla Boyd, the Guild "represent[ed] a marketplace activity that, in order to protect itself, evolves into a social movement."

The Imperial Court, part of the Guild’s fundraising arm, elected Empresses who raised funds for people in the community who needed housing, drug treatment, mental health services, or help with their medical bills. In the ’70s and ’80s, the Polk Gulch was a magnet for young people around the country escaping abusive homes and discrimination, and who therefore did not have the educational or employment background to make it on their own in the city.

Anthony Cabello came to Polk Street from a working class family in Fresno as a teenager in the late 1960s, dining as the guest of an older lover at the posh P.S. Lounge. As a student at a nearby college, he formed lifelong relationships with men on the street who took him to fancy hotels, plays, and dinners. "I did not mind the monetary help, but that wasn’t my primary concern," he said. "I was getting exposed to things that normally, I wouldn’t have the ability to do." He toured Europe in a theater troupe, worked a number of jobs on Polk Street, and now manages the neighborhood’s Palo Alto Hotel, which continues to house people living with AIDS and people of meager means.

Coy Ellison found a safe haven in Polk Street as a teenager in 1978. He did under-the-table work at gay businesses through an unofficial job pool at the street’s bars. That allowed him to avoid being caught by the police and sent back to an abusive home. "There were a lot of people doing that at the time," he said. "Let’s say you needed your apartment painted, was there a kid here who knows how to paint and [the bartenders would] send him off." He later climbed the employment ladder through the bars by working as a bouncer, providing support for new young people coming to the area. He now lives a few blocks away with his partner.

Kevin "Kiko" Lobo moved from San Francisco’s Mission District to Polk Gulch in the early 1980s and found work on the street as a sex worker in bars like the Q.T. "Nobody lost because the bar made money, I got a few drinks, and I met clients." He pooled money with his "street family," made up of teenagers escaping abusive homes and discrimination. On the street, "everything was family," Lobo said. "We all looked out for each other. If you didn’t make any money that day it didn’t mean you were going to sleep on the street." Kiko eventually worked his way into the bar business, becoming a bouncer and later a DJ.

COREY’S STORY


Diez learned that Corey grew up in a deeply religious family in a small town in Minnesota. His mother and father worked in factories, and hunted and fished in the countryside. But "something happened in that family," Diez said. "Either he did something really wrong and they could not put up with him, or they did something wrong and he could not put with up with them, or both — I don’t know." Corey never graduated high school, instead leaving Minnesota for San Francisco.

Corey gave Dan clues as to his move in a series of letters he wrote him from jail, where he was sent on a series of drug charges in the late 1990s. He wrote about three "childhood nightmares" that were "true life stories" and "part of my past survived existence."

He wrote of being part of a "bunch of little gay boys" in high school who "were not allowed to live a normal life one on one with their partners, among lost immediate family, and unforgiven [sic], misunderstanding, or nonaccepting [sic] religious traditional old fashioned folks.

"Our very own parents used to laugh and giggle, and be cruel to us. And no matter how gifted each child was, our parents watched us and made harsh comments, and truly not funny jokes, and then forced us by broken pride, trust, and rejection to survive in Satan’s swamp.

"Some parents are not willing to understand the flower children of the nineties," Corey wrote, but now "I am trying to step out of a nightmare and back into a Dream … [to] kickstart the new flower child era" in San Francisco, "like the hippies once did, so will we rise above once again."

A San Francisco State University study published in Pediatrics in January found that LGBT youth who reported higher rates of family rejection were eight times more likely to report having attempted suicide, and more than three times more likely to use illegal drugs and have unprotected sex, compared with their peers who reported lower levels of family rejection.

Those escaping persecution also appear more likely to be runaways or homeless. While approximately 3-10 percent of the U.S. population identifies as lesbian or gay, 30 percent of youth served by San Francisco’s Larkin Street Youth report that they are lesbian, gay, bisexual, transgender, or intersex.

POLK FALLS APART


By the time Corey arrived in 1990, the twin epidemics of AIDS and methamphetamine addiction were wreaking havoc on Polk Street.

Harvard-educated ethnographer Toby Marotta, who worked on several federally funded research projects in the Polk Gulch, said that by the mid-1980s "the whole southern end of Polk Gulch was being transformed because of methamphetamine use."

Speed was the perfect drug for the early days of AIDS, when people were terrified and confused: it produced feelings of euphoria, a sense of invulnerability, focus, and a desire for sex. But while the drug "produced long mind-escapes" for people who used it, Marotta said, it "completely undercut the personal relationships and social obligations essential to functioning community."

Combined with a national recession and a rash of Polk Street business closures, the economic health of the street, and the support systems enabled by it, suffered a tremendous blow. The money, energy, guidance, and options for street youth employment through local bars and businesses were quickly disappearing.

By the late 1970s, the city’s gay political center had moved to the more affluent Castro District. "For those of us that depended on the street to survive, the money was harder and harder and harder to make," Lobo said. "And that’s what [began] the downward spiral. Some very pretty boys have become very ugly people because of the … loss of the great community."

A large homeless shelter moved onto Polk in 1990, along with much of the hardscrabble Tenderloin population. A different kind of john came to the street, and there was less respect for sex workers, leading to more escape through drug use. Ellison left his work at the bars in the 1990s, when the community of bartenders that had kept violent crime in check on the street broke down. Sex workers increasingly started advertising in newspapers, and later on the Internet.

Corey began using the speed that was rampant on the block, quickly becoming addicted. Diez worried that by continuing to give Corey money, which he used for drugs, he was "keeping him where he was at" instead of helping. "I eventually always gave in because I always wanted to see him have something better," Diez said. "I just enjoyed being with him. Even if we weren’t talking and he was just writing, I just liked him being there. He was company."

As Corey began using more speed, his artwork "became wilder and wilder." He started to lose his teeth, and his blonde hair turned brown. "He went down, I would say, fairly fast," Diez recalled. Spas began to refuse to serve him. He would wander into the street to pick up imaginary children, and began to be more difficult to talk with. "He went into a lot of gibberish or psychobabble," Diez recalled. "He started to look almost Charles Manson-like."

James Harris, a Polk Street community member since 1978, met Corey when he came to the city in 1990. Harris left in the mid-’90s, and when he returned in 2001, he barely recognized Corey. "I just could not believe what I was seeing. What was once a strapping, good-looking, young man had been reduced to this homeless, toothless guy. It freaked me out so bad. It took me a little while to get over it."

Harris has no doubt that Corey’s decline was linked to the breakdown of the Polk community. "If Corey came to Polk Street in 1980, he would have a job as bartender maybe, working somewhere, maybe living in the Castro," he said. "No question about it." Many people who now work in Polk Street businesses and social service organizations started as runaways and sex workers on Polk.

"In the ’60s and the ’70s, it was like a big party atmosphere. I, fortunately was taken under several people wings," said Cabello, the Palo Alto Hotel manager. "Now people don’t have the cash flow, ‘cuz economically times have really changed. People who were out partying and being able to take somebody home and help them find a job are basically waiting in line at Social Security and making sure that their housing is together."

INTO THE SYSTEM


Gay bar patronage decreased citywide in the 1980s and 1990s, the result of AIDS-related deaths, a generational shift, and later the rise of the Internet. The Tavern Guild disbanded in 1995, and by the late 1990s, most of the Polk Street bar owners had either died or retired. Most of the remaining gay bars were remade into upscale heterosexual or mixed drinking establishments, serving new residents attracted by low rents during dot.com era.

Lower Polk Neighbors represented this new bloc of business owners. Diez joined LPN in 2001, when he retired and moved to Pacific Heights. They planted trees, cleaned sidewalks, and successfully pressured the city officials to increase the number of police patrols in the area. In one of their most controversial actions, they opposed the relocation of the RendezVous bar, which they blamed for nurturing the street and hustler population.

Corey and people like him, once the street’s economic engine, were now bad for business. After his string of arrests on drug charges in the late 1990s, Corey always came back to Polk Street after being released. In 1997, he was arrested, diagnosed with HIV while in jail, and sent to a psychiatric hospital.

The most recurrent theme in Corey’s letters from this period were finding love and proving to himself that his love was okay. In a poem, he wrote, "God’s gift a soul /it was not shattered, battered, but whole / … My love from within /was not curse … scattered, tattered, or sin/than [sic] I found I did win /see like yang of yin /by forgiving within /my mind and my kin. I’m forgiving their sins."

When the Rev. Megan M. Rohrer, director of the Welcome Ministry, first met him in 2001, Corey was having "loud, yelling conversations" on the sidewalk outside Old First Presbyterian Church, where he often slept at night. "He was having the conversation of the day he came out to her, and his Mom was always trying to tell him why he couldn’t be gay, and why it was a bad thing. He was always trying to have the conversation that that was who he was, and it was how he loved, and he just kept having the conversation over and over and over, trying to have a different result, which never happened."

The organization formed in the late 1990s as a result of complaints about the increasing number of homeless in the area. Rohrer estimates that 98 percent of the homeless who live in the Polk Gulch and come to the Welcome Ministry have been part of the Polk Street sex work industry. Like Corey, they had aged into the general homeless population.

For four years, Rohrer tried unsuccessfully to place Corey in a hospital or get long-term treatment from the city. Ironically, it was the result of increasing neighborhood complaints that he finally found this. "The neighbors were getting really angry and wanted to get rid of the homeless from the area," Rohrer recalls. In 2005, Corey was arrested on drug charges as part of what she characterized as a sting operation.

The breakthrough came when he was arrested and declared mentally unfit to stand trial for the first time since 1997. The court sent him to Napa State Hospital, a secured mental facility where he was required to take medications. "Finally Corey was getting the mental health services he needed," she said.

In the absence of sufficient social services, this has become standard policing practice, according to Al Casciato, who heads San Francisco Police Department’s Northern Station. "We do not have a front end to the criminal justice system in the health arena that allows us to take these people and put them in a secure facility," he told the Guardian.

"What happens is that we wait until they get in trouble in order to put them in jail to get them off the street and then try to get them into services. We should be trying to get them into services first, but we do not have the capacity to accept everybody into services." Even after police convince a person to use services, during the long waits due to the lack of services, sometimes months at a time, "they fall back into their pattern of either drug abuse, or if they have a mental health issue, their depression starts to spin out again."

Corey was at Napa State for nearly a year on medications. "Corey make some really good strides there," Diez said. "He was also at his artistic high points … he built balsawood airplanes that he gave to children." When he was declared competent to stand trial and sent back to San Francisco, "he was like a completely different person," Rohrer recalled. "He was so with it. He was really clear about what he wanted and where he wanted to go."

But Rohrer spent two months navigating the bureaucracy to get Corey the medication he needed, during which he had slid back into schizophrenia and was no longer willing to take his prescriptions. "It was like watching Corey emerge in this beautiful way and then to disappear," Rohrer said. He’s never been back on medication, and his condition has not improved.

Rohrer was able to find him housing in a nearby SRO hotel through the Homeless Outreach Team, instituted in 2004 as part of Care Not Cash — part of a dramatic move indoors for the homeless in the area. It was an improvement from the streets, on which the supportive "street families" had now broken down. But it’s unclear whether Corey is capable of living on his own, or whether the case managers assigned to him are sufficient.

"They weren’t there," Diez says. "Because I was vacuuming his floor, I was cleaning his sink, I was taking his dirty clothes out. As much as I hate to say it, Corey needs to be in a medical facility where he can have some psychiatric help."

When I visited Corey in his apartment a few months ago, cartoons played on the television, the only piece of furniture other than his bed. His walls were bare and the sink fastened to the wall was clogged with brackish water. The carpet was filthy with cigarette butts and a mouse ran over my feet.

BOTTOMING OUT


Now, with major budget cuts across the board, services are being cut at the time when they are most needed. This will have a tremendous negative impact not only on people like Corey, but also on business owners and service providers in the Polk neighborhood.

The Welcome Ministry will lose big grants next year, Rohrer said. Jennifer Friedenbach, director of the Coalition on Homelessness, says that budget cuts in the works will have a "huge and dramatic impact" on people like Corey and will "devastate" mental health treatment services — with as much as a 44 percent reduction in the publicly-funded mental health treatment system and similar reductions for substance abuse treatment.

Ann R.P. Harrison, director of New Leaf, a mental health organization that serves 1,500 LGBT people a year, says they recently reduced staff hours and the amount of services offered, and, like most nonprofits, are looking at up to a 20 percent budget reduction starting July.

Toby Eastman of Larkin Street Youth, which serves youth under 25, says that $100,000 in HIV prevention services cuts from the Department of Public Health mean "significantly reduced the prevention staff." Eastman expects the cuts to increase next year, at a time when she sees other smaller agencies closing their doors.

Diez and Rohrer take away different lessons from their experiences with Corey. Diez says he has "hardened" about homelessness and has stopped talking with Corey. "I was an enabler for him, which I didn’t like doing but I was always hoping that what I was doing was helping him," he said. "But maybe not. Corey made choices, and maybe they weren’t good choices. And you can’t blame that on the city. It’s gotta go both ways." Once the keeper of Corey’s Social Security card, money, and other personal items, he has now handed that responsibility to Rohrer.

Rohrer sees a failure of the social safety net. "There’s a barrier to getting mental health services that seems like it’s set up so that people will fail," she said. "Places that accept MediCal or city patients can take two months before they can get an appointment. The hospital does not even have the capacity to help those police deem a threat to themselves or others."
"There were gay bars here, and there were affluent men, and that’s not here anymore," Diez said. "The bars are gone, those people who went to those bars don’t come anymore, and Corey’s just a remnant. He’s just existing. He’s surviving. He’s just something that’s eventually going to disappear from the scene."
For now, Corey poses both a challenge for the emerging Polk community and an opportunity for a divided neighborhood to find common ground. He still has dreams, Rohrer says, even if they might not be realistic. "We’re not expecting him to be a Wall Street CEO," she said. "But he’s always going to be stuck in the past if he doesn’t achieve some of his future hopes."
Joey Plaster is curator of "Polk Street: Lives in Transition," an exhibit open through May 31 at the GLBT Historical Society. More information at www.glbthistory.org/PolkProject.

Pineapple express?

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In the late 1950s and early 1960s, Hollywood’s hitherto stereotypical or simply indifferent portrayal of Asians progressed, albeit in one-step-forward-two-steps-back fashion. (Notably horrifying was Mickey Rooney’s 1961 yellowface caricature as Holly Golightly’s "Japanese" neighbor Mr. Yunioshi in Breakfast at Tiffany’s.)

South Pacific (1958), Flower Drum Song (1961), The World of Suzie Wong (1960), and several Sam Fuller–directed pulp actioners (like 1959’s The Crimson Kimono) promoted tolerance and understanding, however compromised they might look now. Nor is sincerity an issue in 1963’s Diamond Head, which gets a rare revival screening at this year’s San Francisco International Asian American Film Festival. This glossy Panavision soap opera, based on a pulpy novel (Peter Gilman’s Such Sweet Thunder), offers a perfect mixed-message read of Hollywood’s hesitant multiculturalist liberalism at the time.

Charlton Heston, then at the height of box-office stardom (concurrently a significant civil rights activist, before his infamous conservativism later in life) plays the politically aspirational, bullwhip-wielding macho Richard "King" Howland, ruler of a vast Hawaiian pineapple ranch. He’s got a borderline incestuous interest in preventing kid sister Sloane (Yvette Mimieux) from marrying "half-caste" Paul (teen idol James Darren in light-cocoaface). That intervention is intervened by Paul’s big brother Dr. Dean (West Side Story‘s George Chakiris, two years later, again with the dusky "ethnic" makeup). Meanwhile Heston’s "Dick" (ahem) hypocritically keeps mistress Mai Chen (a stilted Frances Nuyen, famed from South Pacific and ridiculously self-serving protests against 1993’s The Joy Luck Club when her big scene was cut). Blackmail, jealousy, arguably accidental death, and provocative Caucasian hula-dancing likewise figure into the contrived melodramatics.

Diamond Head sports the sort of juicy-coarse plotting that used to be called "claptrap." It’s not wholly camp yet. But the widescreen gloss, corny emoting, and sheer presence of über-alpha-male Heston at his Sir Smirksalot peak are getting there, fast. Buried somewhere in these vanilla histrionics are fairly sharp digs against ethnic prejudice. Mimieux even says, "Someday all bloods will be mixed and all races gone. Where’s the loss?" — a remarkably hopeful statement for 1963. Or today. Diamond Head semi-embarrasses now. Yet it also tries admirably hard to get over its inherent miscegenationalist sensationalism, which does count for something.

DIAMOND HEAD

Sun/15, noon, $11

Castro Theatre, 429 Castro, SF

www.asianamericanmedia.org

THE SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL March 12–22. Main venues are the Castro, 429 Castro, SF; Sundance Kabuki, 1881 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Camera 12 Cinemas, 201 S. Second St., San Jose. Tickets (most shows $11) are available at www.asianamericanmedia.org. For this week’s schedule, see film listings.

Home suite home

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› cheryl@sfbg.com

How’s this for lowest common denominator? The first sentence of Kiyoshi Kurosawa’s Wikipedia entry explains that he is a "Japanese filmmaker best known for his many contributions to the J-horror genre." With his latest film, family drama Tokyo Sonata, particularly fresh in my mind, I’d nearly forgotten he was even part of that late-1990s trend. It’s inarguable that he made one of the best of the genre — 2001’s cult nugget Pulse, a meditation on the cold, paralyzingly lonely soul of the Internet masquerading as a sublimely creepy ghost story. Pulse is the only one of Kurosawa’s films made widely available to American popcorn-munchers, albeit in the dumbed-down form of a bastardized PG-13 remake starring Kristen Bell (tagline: "You are now infected.")

Fortunately, as the San Francisco International Asian American Film Festival program notes point out, you’ll soon be getting a chance to see the original Pulse on the big screen, where its sinister sparseness should freak out even those who’ve already watched it on DVD. SFIAAFF’s spotlight on Kurosawa, encompassing seven films (including the local premiere of Tokyo Sonata) and an in-person visit from the man himself, couldn’t have been easy to curate. His filmography stretches back to the 1970s, with pink films and yakuza films and pre-J-horror horror films. His breakthrough, at least to stateside art house patrons and festival attendees, was 1997’s Cure, a serial-killa-thrilla lacking anything resembling Hollywood-style story beats. As the New York Times marveled, "Kurosawa constructs an elaborate psychological maze and then strands us in the middle of it" — a favorite technique that echoes throughout his work.

Though the SFIAAFF program spotlights Kurosawa, in many ways it’s also the Sho Aikawa show, with the actor appearing in paired films The Revenge: A Visit from Fate and The Revenge: The Scar that Never Fades (both 1997), and Eyes of the Spider and Serpent’s Path (both 1998). The stone-faced Aikawa — also a Takashi Miike regular, having triggered the total destruction of Planet Earth at the end of 1999’s Dead or Alive, among other triumphs — is particularly moving in the later films, wherein he plays a same-named character caught up in mirror-image circumstances who is, nonetheless, decidedly not the same dude. A child is snatched and murdered, and vengeance is sought, but Kurosawa focuses on the mundane aspects of gangsterhood, with the crew in Eyes of the Spider, for example, discussing polar bears and fishing strategies during stretches of downtime.

But this ain’t no Tarantino-style crimes-‘n’-chuckles set of films. With Tokyo Sonata, Kurosawa does away with the yakuza element, along with the overtly scary stuff, though the film is so timely it’s near-eerily prophetic. The economy is the boogeyman here, as an average Japanese family fractures when Dad is laid off (and doesn’t tell Mom) and the older son decides that joining the U.S. military seems like a pretty good career option. Dinner-table calm is soon replaced by ever-bizarre and sometimes tragic events, but the hidden talents of the younger son suggest all may not be dark in the world. The end result is Kurosawa’s most fulfilling work to date, in a career that’s already delivered quite a few winners. To borrow the title of one of those films, a bright future awaits.

THE SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL March 12–22. Main venues are the Castro, 429 Castro, SF; Sundance Kabuki, 1881 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Camera 12 Cinemas, 201 S. Second St., San Jose. Tickets (most shows $11) are available at www.asianamericanmedia.org. For this week’s schedule, see film listings.

Keeping their cool

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>>Click here for our complete SFIAAFF coverage

Did Asian American hipsters arrive with the cinematic appearance of Mr. Miyagi or Gregg Araki? The moment Hipster Bingo included an "über-hot Asian hipster (female)" square? Face it, we are everywhere — bubbling up from every microniche to make zines, play in bands, draw comics, and chafe against those model-minority, math-geek stereotypes, ready to rage against the Man’s machine.

According to You Don’t Know Jack: The Jack Soo Story, it all started with the star of Flower Drum Song (1961) and late-1970s TV series Barney Miller. Oakland-raised Goro Suzuki got his start as the life of the Tanforan and Topaz internment camps, evolving into a popular crooner-comedian in the Midwest where he attempted to sidestep prejudice by shortening Suzuki to the more Chinese Soo. He hit the Hollywood big time with his scene-stealing nightclub owner Sammy Fong and his beloved Detective Sgt. Nick Yemana, a role showcasing an understated wit that seems to define Asian cool. Alas, The Slanted Screen (2006) director Jeff Adachi concentrates so hard on Soo’s hipster cred, reinforced by pals like George Takei, that the drumbeat gets a bit deafening in this valuable if flawed doc, which fails to truly reveal the man behind the parts.

That’s the flip side of cool — the more you stress on it, the more elusive it is. On the opposite side of the spectrum: the 1990s-ish iconoclastic, workaholic breed of Asian hip obsessively worked by David Choe in Dirty Hands: The Art and Crimes of David Choe. Exhaustively documenting the Los Angeles-born artist for eight years as he matures before our eyes, director Harry Kim charts the growth spurts: from mischievous tot to shoplifter and graf artist to porn illustrator to street-art superstar to spiritual penitent after a stint in a Tokyo jail. The filmmaker doesn’t seem to know quite when to stop, but then neither does his subject: an obviously intelligent, playful talent who specializes in compulsively analyzing himself and pushing himself to the limits of the law, his work, and his own (r)evolution as a human being. So driven in his pursuit of edge-skating experiences that he comes off as less hipster than haunted, Choe and his Bukowskian tendencies, Vice aesthetics, and "deep" thoughts rivet long after the bodily fluids and sensory overload murals congeal.

YOU DON’T KNOW JACK: THE JACK SOO STORY

Sun/15, 2:30 p.m., and March 18, 7 p.m., Kabuki

DIRTY HANDS: THE ART AND CRIMES OF DAVID CHOE

Sat/14, 9:30 p.m., Castro

Tues/17, 4:30 p.m., Kabuki
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THE SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL March 12–22. Main venues are the Castro, 429 Castro, SF; Sundance Kabuki, 1881 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Camera 12 Cinemas, 201 S. Second St., San Jose. Tickets (most shows $11) are available at www.asianamericanmedia.org. For this week’s schedule, see film listings.

Indie notes

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› a&eletters@sfbg.com

A D.I.Y. movie musical made for all of $15,000, indie popster-turned-scenarist/actor H.P. Mendoza and local cinematographer-turned-feature-director Richard Wong’s Colma: The Musical proved to be the little movie that could after its 2006 San Francisco International Asian American Film Festival debut. It won a limited theatrical release and critical praise, including a flattering New York Times review. After collaborating on last year’s unclassifiable (IMDB lists it as "action/drama/musical/thriller") SFIAAFF premiere Option 3, they’re back with Fruit Fly, which isn’t quite a Colma sequel but feels like one. It brings back that film’s Maribel (L.A. Renigen), this time starring as a straight newcomer wading into SF’s theater and gay-nightlife scenes while dealing with some unresolved identity issues. With 19 numbers (including "Fag Hag"), it is once again not your grandma’s (or even ABBA’s) kind of musical.

This time around Mendoza (who also plays a supporting part) is in the director-editor’s chair. But Wong’s brightly colored widescreen HD photography is once again an outstanding element. He spoke with the Guardian before Fruit Fly‘s bow as this year’s SFIAAFF Centerpiece presentation.

SFBG H.P. Mendoza directed this time, but it seems like the two of you are collaborative in most aspects of the movies you’ve made together.

RICHARD WONG I was certainly very involved in a lot of different ways. This is definitely H.P.’s movie, though. We were originally going to do something called On Sundays. Where Colma was kind of H.P.’s story, I wanted to do a movie about my family dynamic, this big, grand musical. But the economy really screwed that. We decided to use our CAAN (Center for Asian American Media) grant just to jump in and do something, [resulting in] both Option 3 and Fruit Fly.

SFBG You must have been really surprised by the exposure Colma got.

RW So much has happened since then, it’s really changed my life. I can attempt to be an actual, serious filmmaker. When we were making it, it was hard to see that as even a possibility. It was so remote. Of course all the timing was wrong with the writer’s strike and the recession, but nonetheless, I honestly still can’t quite believe it.

FRUIT FLY

Sun/15, 6:15 p.m., Castro

March 20, 6:30 p.m., Pacific Film Archive

March 22, 7 p.m., Camera 12

THE SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL March 12–22. Main venues are the Castro, 429 Castro, SF; Sundance Kabuki, 1881 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Camera 12 Cinemas, 201 S. Second St., San Jose. Tickets (most shows $11) are available at www.asianamericanmedia.org. For this week’s schedule, see film listings.

Alone and ahead

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Amid a persistent backlash against feminism stateside — see: He’s Just Not That Into You — at least two SFIAAFF docs offer compelling reminders that women’s struggle for equality in education, work, property ownership, and their very lives continues to be very relevant: Patsy Mink: Ahead of the Majority and The Forgotten Woman (both 2008).

Now best known for her coauthorship of Title IX — the 1972 legislation prohibiting sex discrimination in schools that now bears the name the Patsy T. Mink Equal Opportunity in Education Act and is still being fought by athletic departments — the late Mink was a force of nature in national as well as Hawaiian politics. Growing up in Honolulu, I knew her as the fearsome liberal rabble-rouser who stormed the islands’ oft-complacent consciousness with such fire that she rated a daily newspaper comic strip. Kimberlee Bassford’s documentary reminded me of Mink’s achievements, her battles, and the incontrovertible fact that the Japanese American Maui native, once denied entrance into medical school because of her gender, became the first woman of color to serve in the U.S. Congress in 1965.

Dilip Mehta — a National Geographic photojournalist and the production designer of older sister Deepa’s Water (2005) — turns an equally empathetic lens toward the real-life subjects of his sibling’s feature: the tragically marginalized widows of India. In The Forgotten Woman, they gravitate to the holy city of Vrindavan to live on the streets after being abandoned by families who have claimed their land and property. Mehta doesn’t shy away from questioning the ashrams that dispense some charity but benefit financially from the donations; the men who claim that women are forbidden to remarry; and the upscale city dwellers — so far from the glam exotica purveyed by Slumdog Millionaire (2008) — who pay their alms and then banish the women from their minds. His images of the women themselves — surrendering their stories as monkeys scamper about, their glasses held together by string as he shoots them with the utmost grace, respect, and heartbreaking beauty — genuinely sing.

PATSY MINK: AHEAD OF THE MAJORITY

Sun/15, noon, and March 18, 6:45 p.m., Kabuki

March 21, 12:45 p.m., Camera 12

THE FORGOTTEN WOMAN

Mon/16, 6:45 p.m., and March 18, 6:30 p.m., Kabuki

March 19, 6:30 p.m., Pacific Film Archive

THE SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL March 12–22. Main venues are the Castro, 429 Castro, SF; Sundance Kabuki, 1881 Post, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Camera 12 Cinemas, 201 S. Second St., San Jose. Tickets (most shows $11) are available at www.asianamericanmedia.org. For this week’s schedule, see film listings.