Castro

Play it again

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› a&eletters@sfbg.com

Why spend your New Year’s Eve blowing a lot of money to get drunk with douchey strangers when you can curl up with a bottle of Cook’s and some good movies? Here’s my short list of movies I was glad to see receive the DVD treatment in ’08:

<\!s>White Dog (Criterion) If you missed the Castro’s revival screening of Sam Fuller’s 1982 animal drama, here’s another chance to watch Paul Winfield attempt to retrain a German shepherd that attacks black people. One of the strangest and most profound antiracist films ever made. For a double bill, you can also check out Winfield’s Academy Award–winning turn with a much kinder pooch in 1972’s Sounder (Koch Vision) — but that film is totally Cicely Tyson’s show.

<\!s>Goodbye Uncle Tom (Blue Underground) Speaking of race, Gualtiero Jacopetti and Franco Prosperi’s infamous 1971 "doc" (the duo kicked off the shockumentary craze with 1962’s Mondo Cane) about the horrors of America’s original sin may indeed be, in the words of Roger Ebert, "the most disgusting, contemptuous insult to decency ever to masquerade as a documentary." But the film’s hideousness is only matched by its hubris — you really have to see it to believe it.

<\!s>The Last Laugh (Kino International) If Cristi Puiu’s Mr. Lazarescu had a forefather, it would be Emil Jannings’ sad-sack hotel porter in F.W. Murnau’s 1924 classic of German silent cinema. Watching a man lose his last shred of dignity has never looked so good, thanks to Murnau’s innovative camerawork and Kino International’s loving scrub-job.

<\!s>Sleeping Beauty (Disney DVD) I totally wanted to be Maleficent as a child, and her devilish hauteur and magenta and black robes have never looked better thanks to Disney’s Blu-ray edition of the studio’s last hand-inked feature film (1959). Watch it on mute and get lost in the Sirk-ian palette.

Honorable mentions: Criterion’s reissues of notable Max Ophüls works, Wes Anderson’s Bottle Rocket (1996), and Paul Schrader’s Mishima: A Life in Four Chapters (1985); Paramount Home Entertainment’s The Godfather: The Coppola Restoration (original film, 1972); Fox Film Noir’s release of Jean Negulesco’s Road House (1948); and Lionsgate’s Sophia Loren and Catherine Deneuve box sets.

MATT SUSSMAN’S TOP TEN LEADING LADIES (IN NO PARTICULAR ORDER)

Julianne Moore in Savage Grace (Tom Kalin, Spain/USA/France, 2007)

Juliette Binoche in Flight of the Red Balloon (Hou Hsiao-hsien, France, 2007)

Sylvia Miles in Go Go Tales (Abel Ferrara, Italy/USA, 2007)

Meryl Streep in Mamma Mia! (Phyllida Lloyd, USA)

Lina Leandersson in Let the Right One In (Tomas Alfredson, Sweden)

Ann Savage in My Winnipeg (Guy Maddin, Canada, 2007)

Asia Argento in The Last Mistress (Catherine Breillat, France/Italy, 2007)

Tilda Swinton in Burn After Reading (Joel and Ethan Coen, USA/UK/France)

Jun Ichikawa (as the Harajuku witch) in Mother of Tears (Dario Argento, Italy/USA, 2007)

All the women of In the City of Sylvia (José Luis Guerín, Spain, 2007)

Henry’s Hunan Restaurant

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› paulr@sfbg.com

In ages past, I belonged to a small literary society — a sect, if you like. Let us call this society the Out of Print Society. (It actually bore another name, which decency forbids me from proclaiming in print.) The members of our little group met weekly at a Chinese restaurant to trade gossip and pour out the frustrations that have a way of accumuutf8g in literary life; although we did not drink beer from tankards or pound those tankards on the tabletop as a way of demanding refills, we did like kung pao chicken and Hunan fish, and we drank lots of green tea, poured from a pretty pot into dainty little cups.

The restaurant that served as our meetinghouse was Alice’s, corner of Sanchez and 29th streets. The food was cheap and good, and the location was both out of the way and central, perfect for our fugitive natures. At this time, in the second half of the mid-1990s, the Chinese-restaurant picture — indeed the entire restaurant picture — in upper (or is that outer?) Noe Valley was … sleepy. The whole neighborhood was sleepy, and Alice’s was the jewel in the crown atop this nodding head.

Although the Out of Print Society is no more — has gone out of print, we might say — Alice’s is still there. But these days it’s facing competition as the dominant local purveyor of fine, inexpensive, and spicy Chinese food, for just a block away, over on Church Street, an outpost of Henry’s Hunan Restaurant has opened, in the space that belonged most recently to Pescheria and, an iteration or two before that, the estimable but short-lived Café J.

It is one of my beloved maxims that oft-flipped restaurant locations sooner or later become sushi joints, but now there will have to be a new, or another, maxim in light of the spectacle of a Hunan enterprise moving in to cast a calm upon troubled restaurant waters. The look of the space doesn’t seem to have changed much since Café J days; the footprint of the dining room is the same, with the tables laid out in a kind of backward J around a long bar. The chairs, in brushed steel or nickel, are very urban modern, as are the red-shaded halogen lights suspended from the ceiling. In a bow to Noe Valley’s famed sunshine (which real estate people have a way of perceiving more keenly than the rest of us), a few tables and chairs sit outside, nestled against the building’s façade.

So Henry’s Hunan doesn’t look like a typical Chinese restaurant. This appears to be a trend, and is a welcome one. The food, meanwhile, is outstanding and moderately priced. As at Brandy Ho’s over in the Castro District, the menu includes a selection of Hunan-style smoked meats. The usual suspects of Chinese restaurants are also well-represented, from wonton soup to Mongolian chicken. But Henry’s also offers some dishes I’ve never seen before.

One of the most memorable of these is Diana’s special meat pie ($6.95), a stack of scallion cakes buffered by tasty minced meat (pork, I suspect) and plenty of shredded iceberg lettuce. The cakes take on an almost pastry-like flakiness from deep-frying, and the dish as a whole is like a cross between a club sandwich and a tostada: a layered golden disk cut into quarters you can eat with a knife and fork or with your hands, sandwich-style. (Here, incidentally, we have the heretofore unheard-of reality of a Chinese dish even an expert couldn’t eat with chopsticks.)

Henry’s chopsticks are the plastic kind, incidentally, which limits their utility. Dumplings ($5.50), a.k.a. potstickers, aren’t chopstick-friendly in any case, so it was a relief to find them served in a shallow bowl, from which they could be fork-speared without slipping around too much. And chopsticks are blissfully irrelevant in matters of soup, such as mo soi soup ($6), a sizable bowl of steaming chicken stock thickly invested with chunks of chicken, tofu, and egg and shreds of baby-spinach leaves. This is a lovely, satisfying soup, especially in cold weather, but you should make sure you have it before the spicy stuff starts coming, or it could seem lost and pale.

And the spicy stuff is spicy, although the heat is well-controlled, like a 104 mph fastball that shaves the outside corner at the knees. Henry’s special seafood dish ($10.50), a mélange of scallops, shrimp, and chunked chicken breast tossed with carrot coins and tabs of water chestnut, takes its charge from red chili garlic paste, whose distinctive flavor tends to be a little dominant. If you like that flavor, you’ll like it here.

More subtle is spicy curry show main ($7.50), which can be had with chicken, pork, beef, or vegetables. I am wary of curry dishes in Chinese restaurants; too often they taste of canned curry powder, which too often tastes mostly of can — a metallic harshness that overwhelms neighboring flavors, as a huge ugly building can cut off the sun to buildings around it. But Henry’s curry seasoning, though almost certainly a powder (to judge by the yellow tint it imparts to the noodles: a sign of turmeric), has an attractively rounded flavor that accepts the presence of other ingredients (meat, slivered scallions, julienne red bell pepper) and doesn’t stomp on them.

The dish (like Henry’s seafood special) is marked on the menu with a chili pepper — a sign of either welcome or warning, depending on your views about heat — but the kitchen will dial down the chili charge on request. Your server will ask you how hot you like it, along a range from mild to tankard-banging.


HENRY’S HUNAN RESTAURANT

Daily, 11 a.m.–10 p.m.

1708 Church, SF

(415) 826-9189

www.henryshunanrestaurant.com

Beer and wine

AE/DISC/MC/V

Somewhat noisy

Wheelchair accessible

Picks, pans, and a top 10

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CHUCK MOBLEY, CURATOR AT SF CAMERAWORK


Pan: SF Art Institute’s furlough

A humble proposal to those laid off for a month: exchange your individual voice for a collective one and begin intervening by employing the crafty tools of activism as an artful device of communication in order to effect positive change for your institution. As culture workers you are bound to succeed.
Pick: The Size Queens, Magic Dollar Shoppe (Bitter Stag)

A lineup of Bay Area all-stars have produced a multi-layered disc of anti-globalization, anti-pop culture anthems filled with pathos and wit. By turns literary, cheeky, melancholic, and celebratory, this music is the perfect accompaniment to a protest or a Naomi Klein lecture.

XYLOR JANE, ARTIST


Pick: P&H 2 (Behemoth), 2007, oil on canvas, 84" x 92", from "Amy Sillman: Third Person Singular,"

at Tang Museum, Saratoga, NY

This painting stares you down and sizes you up. I lock a gaze. I’m a little scared. I can hear and smell every single thing near me. IT makes you bristle, puff, straighten and square the challenge, feet planted for a tussle. The hot center smokes and glows blood fire, breathes through clamped jaws, "What the fuck are you?". Turns a thick neck and swings an armored tail. THWACK. Hit, jolted, burnt? Part of me melts away, Oh, just my outers, clothes and skin. Hair.

LAWRENCE RINDER, DIRECTOR OF BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE


1. Odetta at Hardly Strictly Bluegrass Festival
2. Donal Mosher and Michael Palmieri’s documentary film October Country
3. Conspiracy of Venus at Adobe Books
4. "Ajit Chahuan: Milky Way of Breeding Stallions That Roll, Ejacuutf8g By Themselves," at Adobe Books Backroom Gallery
5. "Paul Schiek: the thing about you is that you will end up like me," at Stephen Wirtz Gallery
6. Leah Marks’ senior show at California College of the Arts
7. Jennifer Blowdryer
8. Andy Goldsworthy’s The Spire in the Presidio
9. Brontez at Dog Eared Books
10. Frederic Rzewsky, solo piano at Mills College

WILLIAM E. JONES, FILMMAKER


Pick: Odires Mlászho

At São Paulo’s Galeria Vermelho this fall, I saw the sexy and cerebral, disciplined and dissipated work of Mlászho for the first time. He juxtaposes ordinary mortal faces and Roman portrait sculptures with geometric rigor in his collage series "A Fossil Dig Full of Hooks." He cunningly cements pages of reference books together in his sculpture Enciclopédia Britânica. His most powerful works (from a series called "Butchers and Master Apprentices") involve elaborate collage rearrangements of male nudes that manage to look at once disemboweled and bloodless. Diaphanous yet strong, a body becomes a deconstruction of a flesh-colored Herman Miller lamp.

AVA JANCAR, CO-OWNER OF JANCAR JONES GALLERY


Pick: The current Berkeley Art Museum

A few months ago I found a pamphlet-like publication at an antique shop in Alameda, its cover austere, reading simply University Arts Center. Detailed within were the elevation plans of the elegantly modern yet utilitarian Mario Ciampi design for the Berkeley Art Museum’s current site. Opened in 1970 and constructed in a brutalist manner, with fanning interior cantilevers around an airy core, the concrete building is to be replaced soon with a design by international architect Toyo Ito. My past year of visits to the museum has been colored by this knowledge, and I’ve begun to mourn its impending loss. In spite of the current structure’s seismic instability, it remains baffling to me that a community is so quick to dispose of this local icon, not yet 50 years old. "The richness of this building will arise from the sculptural beauty of its rugged major forms," an awards jury wrote in 1966 regarding Ciampi’s plan. "We believe [it] can become one of the outstanding contributions to museum design in our time."

HENRY URBACH, CURATOR OF ARCHITECTURE AND DESIGN AT SAN FRANCISCO MUSEUM OF MODERN ART


Pick: "Lautrec in Leather: Chuck Arnett and the Birth of the San Francisco Scene," at the GLBT Historical Society

If you missed the show, you can still see Arnett’s rendition of Michelangelo’s David in full leather gear (on view in the Historical Society’s exhibition on 18th and Castro), or you can make an appointment to visit the organization’s extensive queer archive.

Pick: The Federal Office Building by Morphosis, Renzo Piano’s Academy of Sciences Building, and Toyo Ito’s design for the Berkeley Art Museum

These buildings point the way to a new civic architecture.

Pick: The Hunky Jesus contest in Dolores Park on Easter Sunday

Street theater at its finest.

Pick: Nice Collective’s "Voix de Ville" Collection

How fortunate we are to have these brilliant designers among us.

Pan: Proposition 8

MATT FURIE, ARTIST


Pick: "One-Thousand Twenty-Six Eyes," at Hamburger Eyes Photo Epicenter

One thousand twenty-six eyes is a lot of eyes and it’s also the name of an awesome group show I saw this year at Hamburger Eyes. I like eyes. The show featured a ton of cool photos from the kids at Space 1026 in Philly. The best thing there was a large glowing geodesic dome with tie-dyed pillows all around it. I sat on a pillow and discovered a little peephole with a tiny photo inside. Turned out this structure was lined with tons of little viewfinders and each hole had a different pic! They also had a great merch booth in the back with a bunch of handmade prints, zines, t-shirts and stuff. I bought an awesome hamburger-with-eyes t-shirt there by artist Chris Kline. He rules.

DARIN KLEIN, PROGRAMS COORDINATOR AT THE HAMMER MUSEUM AND CURATOR


Pick: Fag School #3

Naked men (Jewish Jason, Bob the Handyman, and My Best Friend’s Weiner), hilarious cruising reviews, mortifying blackout reviews, advice columns by Telfar and Allison Wolfe, interviews with New Bloods and Billy Cheer. All of this and more, created with scissors, markers, glue, and a manual typewriter. Nothing fancy, experimental or tricky about this project. Just rants, raves, and snapshots, served up hottt by San Francisco’s very own Brontez in glorious black and white photocopy. The price is right at just $3.50. Warning: Playing the weird Lovewarz DVD that comes with this zine could ruin a preppy gay birthday party!

New Years Eve Parties 2008

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Here’s some rockin’ bottle-pops for your 2k9 hello — followed by some all night dance affairs ….

BUTTHOLE SURFERS


One of the best parts of reading Michael Azerrad’s Our Band Could Be Your Life (Little, Brown, 2001) is learning how psychotic the Butthole Surfers actually were. Whether filling an upside-down cymbal with lighter fluid and igniting and playing it or projecting scary-ass surgery footage onto huge smoke machine-generated clouds to terrorize the audience, the Buttholes clearly intended to have everyone walk away from shows with physical or mental wounds congruent to their own self-inflicted ones. By the time Electric Larryland (Capitol, 1996) gave them access to post-Nevermind commercial radio, the Butthole Surfers had transformed into a run-of-the-mill heavy rock unit, saving their perverseness for their lyrics.

But all’s you need to do is backtrack to Locust Abortion Technician (Touch and Go, 1987) to find the group’s secret reverence for classic rock juxtaposed with a not-so-secret love of tripping balls on tracks like the genuinely disturbing "22 Going on 23" and imagine that there was a time when the Butthole Surfers toured with a naked dancer named Ta-Da the Shit Lady but managed to devote enough energy to the whole "music" side of being a band to write something as enduring as the proto-grunge of "Human Cannonball." The group’s more recent output isn’t good, and it goes without saying that the ‘Urfers will never be able to equal the antics of their past. This one is a mixed bag, but I’m guessing that, while Gibby Haynes won’t be regaling us with tales of Chinese men with worms in their urethras, he won’t pull any cutesy "you are loved" Flaming Lips bullshit, either. (Brandon Bussolini)

With Negativland. Dec. 31, 9 p.m., $55. (Also with Fuckemos, Tues/30, 8 p.m., $35). Fillmore, 1805 Geary, SF. (415) 346-6000, www.livenation.com

GEORGE CLINTON AND PARLIAMENT FUNKADELIC


"Bow-wow-wow-yippee-yo-yippee-yeh." That was the "Atomic Dog" mantra back in the day when I worked at a mega-music store for minimum wage: it kept us tame, it soothed our frayed nerves, and it never failed to remind all concerned that there was a little dog in me, you, and everybody. Hell, if "Atomic Dog" mastermind George Clinton stopped with just Funkadelic’s Free Your Mind … and Your Ass Will Follow and Maggot Brain (both Westbound, 1970, 1971) many a fan boy and babe would have been satisfied to sing his praises forever more, but nooo, the musical groundbreaker and funk-rock-R&B OG of a dogfather has had more creative lives than a nuclear feline — a good and bad thing, I suppose, in terms of quality control.

Later, I would come to associate Clinton with a tale divulged by a colleague who was once allowed into the icon’s smokin’ sanctum sanctorum — namely a venue bathroom — to, ah, do an interview. This time, however, when the man brings Parliament-Funkadelic to the Warfield for New Year’s Eve, I’ll expect candidate Clinton — settling into his golden years, it appears, with the recent release of his covers album, George Clinton and His Gangsters of Love (Shanachie) — to tear the roof off with a super-stupid rendition of his prescient par-tay anthem "Paint the White House Black." (Kimberly Chun)

With the Greyboy Allstars. Dec. 31, 9 p.m., $79–$89. Warfield, 982 Market, SF. (415) 421-TIXS, www.goldenvoice.com

FANTÔMAS


For all those who don’t want to spend their New Year’s Eves puttin’ the lime in the coconut and twistin’ it all up, General Patton has got you covered. Patton and the melodicidal miscreants of avant-garde metal quartet Fantômas invade the Great American Music Hall on a mission to decimate eardrums and bring aural beasts to life. The San Francisco supergroup — which includes Buzz Osborne of the Melvins, Trevor Dunn, formerly of Mr. Bungle, and Dave Lomabardo of Slayer — formed in 1988, and is Patton’s longest-running project. The resume of the king of musical ADHD reads like an major-indie label discography, but the workaholic always finds time to confound and bludgeon with Fantômas.

The group’s beauty lies in its ravenous experimentation and intensity — and in Osborne’s Don King hair. Over the course of their four LPs, they’ve mix electronic glitches; nonsensical and horrifying utterings; Lombardo’s mind-boggling drum dexterity, which roves from blastbeats to technical jazz; and King Buzzo’s gigantic sludge riffs to create controlled chaos in its most primitive, powerful form. They’ve covered The Godfather (1972), worked with free-jazz sicko John Zorn, and, most of all, done whatever they fucking wanted to. As long as they keep doing that, we’ll keep listening. (Daniel N. Alvarez)

Fantômas’ "The Director’s Cut" with Tipsy and Zach Hill. Dec. 31, 8 p.m., $45. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750, www.gamh.com

Here’s a very select blast of bubbly, DJ-driven New Years Eve parties. (Check the Guardian for more as the date approaches.) All events take place Wednesday, Dec. 31 — and those marked "late" go afterhours for your party-hopping pleasure.

Afrolicious


Feel a warm, wet vibe of the new with DJ Sabo of Sol Selectas, residents Pleasuremaker and Señor Oz, live percussionists, and hundreds of gyrating lovelies.

10 p.m., $20. Elbo Room, 647 Valencia, SF. www.elbo.com

Bootie Pirate Party


Arrrr — it’s 2k9! Swing from the mashup club’s mizzenmast with Smash-Up Derby live and DJs Adrian and Mysterious D, Party Ben, Dada, and Earworm.

9 p.m.–late, $25 advance. DNA Lounge, 375 11th St., SF. www.bootiesf.com

Booty Call NYE


Drag mother Juanita More, playboy Joshua J., DJ Initials P.B., performer Hoku Mama Swamp, and star photographer Brandon — look smart! — bring all the hot boys together to pop a few corks.

8:30 p.m., Check Web site for price. The Bar, 456 Castro, SF. www.juanitamore.com

Eclectic Fever Masquerade


Shake your feathers and bhangra in the new with the NonStop Bhangra dance troupe, and then get global with Sila and the Afrofunk Experience, Daronda, and DJ Felina.

9 p.m.–late, $55. Gift Center Pavilion, 888 Brannan, SF. www.eclecticfever.com

Imagine


Spundae and Mixed Elements explode with local house heroes Kaskade, Trevor Simpson, and baLi — plus, a jungle room and "shiny confetti rain."

8 p.m., $60 advance. Ruby Skye, 420 Mason, SF. www.rubyskye.com

Love Unlimited


Almost every fab disco crew — Gemini Disco, DJ Bus Station John, Honey Soundsystem, Ferrari, Beat Electric — comes together for this all-night beat blast with DJ Cosmo Vitelli.

9 p.m., $15 advance. Paradise Lounge, 308 11th St., SF. www.myspace.com/honeysoundsystem

Midnight


Dancehall, reggae, and classic hip-hop go boom with Ali Shaheed Muhammad of A Tribe Called Quest, Amp Live of Zion I live band Native Elements, Trackademicks, and Jah Warrior Shelter.

9 p.m.–late, $25 advance. Club Six, 60 Sixth St., SF. www.clubsix1.com

New Years’ Revolution


Banger, turbocrunk, and electro freaks unite under the sheer speaker-blowing awesomeness of Diplo, Jesse Rose, Ghislain Poirier, Plastician, and hundreds more.

9 p.m.–late, $55 advance. 1015 Folsom, SF. www.1015.com

Opel: Fire and Light


Wacky, burner-flavored breaks and bass from special guest DJs Lee Coombs and Blende, plus Mephisto Odyssey, Syd Gris + Aaron Jae, Jive, and more from the Opel crew.

9 p.m.–late, $25–<\d>$55. Mighty, 119 Utah, SF. www.opelproductions.com

Reveal


"Reveal your inner light" is the dress code at this glamorous Supperclub affair, with DJ love from Ellen Ferato, Liam Shy, and Michael Anthony — and tons of performers.

8 p.m.–late, $120. Supperclub, 657 Harrison, SF. www.supperclub.com

Sea of Dreams


The immense extravaganza is back, with a full live show by Thievery Corporation, beats whiz Bassnectar, circus stars The Mutaytor, and Brazilian soulsters Boca Do Rio.

9 p.m.–late, $79 advance. Concourse, 635 Eighth St., SF. www.blasthaus.com

Second Sunday NYE


The summer favorite lights up in winter with this special blowout, featuring Chi-Town house god DJ Derrick Carter, local legend DJ Dan, Jay Tripwire, and Sen-Sei.

8 p.m., $40 advance. Mission Rock Cafe, 817 Terry Francois Blvd., SF. www.2ndsunday.com

Temple NYE


Cryogenic fog! Whirling lasers! Sonic Enlightenment! "Optix stimuli!" Oh, and a host of rockin’ techno DJs like Paul Hemming, IQ!, and Ben Tom bring the party knowledge to Temple.

9 p.m., $80. Temple, 540 Howard, SF. www.templesf.com

Storyville NYE


Poleng Lounge shoots back to its past incarnation with a jazzy house and hip-hop extravaganza. DJs Lady Alma, Mark De Clive Lowe, and Daz-I-Kue take you there.

9 p.m., $25 advance. Poleng Lounge, 1751 Fulton, SF. www.polenglounge.com

You heard it here first

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› a&eletters@sfbg.com

The first time I noticed that my city of art and innovation was getting short shrift was when The New York Times started going on about "freak folk," Joanna Newsom, and Devendra Banhart and really, you know, getting rhapsodic about these baroquely retro space-folk flavors.

And somehow it never quite came up that these people are San Francisco people, and that their music is San Francisco music. I mean, yes, Banhart has a rep as being a bit of a drifter. Yes, Newsom is really from, you know, Nevada City … and yet, where else could they have first truly taken root, where else could they have first broken through the topsoil, drunk of the dew, and soaked up the dappled sunlight, except in the rich, loamy cultural compost heap that is San Francisco, the Bay Area, and its wooly NorCal surround?

This germination of culture, color, sound, and flavor is, in the most organic sense of it, completely cyclical. Ken Kesey’s garden parties put out roots and rhizomes and threw up spores that took hold almost immediately among music lovers in the region. The result was a distinctly American growth medium for the archetypes of Dionysus, Pan, and Astarte; for the mystic and mythic yearnings of the Victorians; and for the willful, self-starting proto-anarchism of the English Diggers. Cross-pollinate that with the intellectual and aesthetic rebellion of situationism and free jazz, borne in with the gusting, blowsy Beat generation, and you have yourself a rather fecund and folkloric little bramble — one that got even more biodiverse with all the punk rock springing up like weeds in the 1970s.

This polyglot epoch of musical discovery gave us so much. Not just the Dead’s first three records, the Airplane, or even David Crosby’s If I Could Only Remember My Name (Atlantic, 1971) — what about Blue Cheer, Moby Grape, Fifty Foot Hose, the Flamin’ Groovies, the Avengers, and the DKs? Rather a multifaceted mix, but relevant, because Bay Area bands like these set the pattern for divergent waves of underground music-making during the next three or four decades.

The last 15 years in particular have seen these retro sounds made new in the Bay Area and then breaking into the critical, and sometimes commercial, mainstream somewhere else. Usually New York is quickest to take all the credit. Like with that whole garage rock revival. Yeah, yeah, the Strokes, blah, blah, the latest in NYC retro-cool. It’s not that we were first, here in SF. It’s just that we’ve been playing that stuff on KUSF-FM for years, and fabulous local bands have been cranking out that sound for years, and suddenly the Big Apple is basking in the hipniz.

Or in the glorification of Williamsburg, which totally followed the Mission District in terms of exuberantly youthful, excruciatingly hip, oft-naïve, and fearlessly spasmodic creative gusto. Dang, before there was a TV on the Radio, Kyp Malone was working at the One World Cafe on McAllister and Baker streets, making music with Rocket Science and the Nigger-Loving Faggots and handing out fresh-pressed records to the community-radio DJ down the street. OK, so that’s not the Mission, but it sort of was a suburb of the Mission.

Or with the whole freak-folk thing. Back in 2004 or thereabouts The New York Times started noticing there were hairy kids playing spacey and folkoric acoustic sounds. They quickly championed the term "freak folk," and in 2006 even ran a big, lushly illustrated, front-page article in the "Sunday Arts & Leisure" section, Will Hermes’ "Summer of Love Redux," that curiously never once mentions San Francisco, despite bolting the whole thesis down with repeated references to Banhart, Newsom, Vetiver, Comets of Fire, the Six Organs of Admittance, and Jolie Holland.

Now we see, from the foggy depths, a new rising of fuzz and hair, the shambling and very organic children of Blue Cheer. Parchman Farm was an early bloomer, as was Comets on Fire, and now the Bay Area is throbbing with shaggy combos exploring the idiom. Assemble Head in Sunburst Sound, Sleepy Sun, and so many of those Frisco Freakout acts — how will these vibrations resonate across the nation over the next five years? And will New York City somehow take credit for that, too? I think not. They’re just too damn cool to grow out their bangs past the uncomfortable midlength stage.

Philly, though, which gave us Bardo Pond, Brother JT, Siltbreeze Records — there’s a hairy, done-it-all scene stealer I can live with.

JOSH WILSON’S TOP FIVE

1. Godwaffle Noise Pancakes closing show at the former ArtSF, Nov. 8

2. William Hooker, Hemlock Tavern, July 24

3. Heavy Metal (1981) and Conan the Barbarian (1982, with James Earl Jones and some other guy) at the Castro Theater’s "Analog Adventures" showcase

4. All Tomorrow’s Parties, Monticello, NY, Sept. 19-21

5. Expo for Independent Arts moves to Dolores Park and triples in size, Sept.

>>MORE YEAR IN MUSIC 2008

Budget funeral

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› amanda@sfbg.com

Hundreds of people gathered for a funeral among makeshift gravestones buried in the lawn of City Hall on Dec. 11. The tombstones marked some of the essential public health and community services laid to rest by mid-year budget cuts: health care for jail inmates, day services for the homeless, the SRO Collaborative, and the Laguna Honda adult day care center.

Collectively they amount to a $36 million thinning of an already stretched social safety net that is designed to catch the most vulnerable populations in San Francisco. Of the city’s $118 million projected deficit, about 30 percent will be recovered from the Department of Public Health, with cuts to care and counseling for the mentally ill, services for the elderly, and closing some medical respite housing. All these services — and more — have been suggested by the DPH in response to Mayor Gavin Newsom’s request for deep budget cuts.

But advocates and front-line workers say these cuts will only create a greater cost to the city over time, as people with acute illnesses and mental health and substance abuse problems lose their primary care and end up in the emergency room, potentially in worse condition, receiving more costly care.

"The cuts in services are going to cost," Marykate Connor, director of Caduceus Outreach Services, said at the rally. Cuts to nonprofit organizations that handle much of the city’s drop-in health services mean more ill people will end up at SF General.

But the city’s premier — and only — public hospital is already crunched. "It’s sort of crazy right now. Six to eight months from now if these cuts go through, it will get a lot crazier," said Ed Kinchley, an emergency room social worker.

In a memo to the Health Commission, DPH director Mitch Katz pointed to a higher-than-budgeted census at SF General, which provided a short-term boost in revenue but also stretched resources at the busy hospital and exacerbated its budget situation.

Kinchley, who’s been at General for 24 years (12 of them as a social worker), said part of his job is getting substance abusers and people with mental health out of the ER and into care programs. "It’s already hard for me to get someone in detox in a day," he said.

On a typical Friday afternoon, he’s successful with one in five people. Unfortunately, when someone comes in asking for detox is the time when it can do the most good, if it’s available. "It’s really crucial in that situation to seize the time," Kinchley said. Though they try to keep in touch with clients and get them in as beds become available, there’s high attrition on the waiting list. "They don’t have a hell of a lot of choices except to start drinking again that day."

Martha Hawthorne has spent 23 years as a public health nurse for DPH, working out of the Castro Mission clinic. She does targeted case management for high-risk mothers and their newborn babies — essentially making sure they’re connected with other health care workers who specialize in chronic problems such as diabetes, hypertension, and substance abuse. "I’m one of the people that sees the system from the patient’s point of view," she said.

She’s also able to illuminate how certain cuts can have spillover effects on a newborn baby. "There are five to six specialized, highly skilled RNs being eliminated. One is an expert in diabetes care for pregnant women," Hawthorne explained. If that nurse is cut, "the clinic will still exist, the patient will have five to 10 minutes with the doctor and receive instructions, but there will be very few people to teach her how to use insulin, to follow the instructions, to change her diet…. A woman without this care can have very sick babies. This is one little, little example of a staff cutback that has a direct effect on care."

Furthermore, the way the cuts are being exacted carves deeper into the social safety net than ever before. For example, Progress Foundation contracts with the city to do acute diversion and transitional housing and services for mentally ill people coming out of General’s emergency room. Its annual budget is roughly $14.8 million, mostly funded by Medi-Cal with matching state monies. A smaller amount of city money fills the gaps.

DPH has asked Progress, as well as many other nonprofit providers, for a 5 percent cut — but the cut is based on the entire foundation’s funding, not just what the city gives them. Executive director Steve Fields said that means closing two out of three acute diversion programs or four out of six transitional residential treatment programs.

"It ends up closing about $3 million in programs to save $700,000 [of city money] over the next 12 months," Fields said. "I’m sympathetic to the problem, but it just doesn’t make sense to give up that much [state and federal] money." He pointed out this represents 40 to 50 transitional beds or 20 acute diversion beds in facilities that have been licensed, permitted, received neighborhood approval, and have been functioning at 90 to 95 percent capacity. "Once you lose these beds, you don’t get them back."

And, he said, the real effects are felt on their clients. "However you look at it, the need will be there. They don’t leave town. We end up seeing them somewhere. They’re going to be in a hospital bed or they’re going to be in jail or they’re going to be in a longer-term skilled nursing facility" — all more expensive solutions to a chronic problem. "We may be making decisions that we may regret down the road because we’ve had to react so immediately to the crisis," Fields said.

"This is happening at a time when there’s all this increased need," said Jennifer Friedenbach, executive director of the Coalition on Homelessness.

The numbers for families, provided by Compass Community Services, are grim: between 2007 and 2008, the number of families seeking shelter jumped from 75 to 148. At the same time, the city has reduced family shelter beds by 20 percent, and the waiting list is now more than four months long — meaning families are waiting for shelter longer than they can actually stay in it.

"It’s a really brutal time to cut health and human services," said Friedenbach, whose group is advocating for an alternative list of cuts that incorporate some of the suggestions posed by SEIU and the Coalition to Save Public Health. They call for capping city salaries at $150,000 and letting go of all management staff brought in since a 2007 hiring freeze.

Hawthorne pointed out that while these cuts hit the neediest hardest, public health for everyone will suffer, pointing out that the city will be less prepared for a large-scale emergency or epidemic.

"SF General is a trauma center, and anybody who needs top-level trauma care is going to end up there. If it’s crowded with people who don’t need that level of trauma care, their response will be slower," said Hawthorne, adding that all emergency rooms in public and private hospitals are ultimately affected by cuts to clinics and nonprofit services.

"On a hopeful note, there’s huge potential as people realize the depth of these cuts," Hawthorne said. "The public needs to demand the human right to health care."

Street Threads: What the heck are you wearing?

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Guardian photographer Ariel Soto continues her quest to capture the chilly San Francisco streetwear moment.

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Kat, Dolores Park

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Najine and Sori, 24th St. and Noe

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Lucifer, Castro and Market

Streetlight serenade

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› kimberly@sfbg.com

SONIC REDUCER ‘Tis the season to max out with shopping merriment, and San Francisco still being a record-picking spot of worldwide renown, it’s bittersweet to flip through this year’s handsome UK gifty-paperback, Old Rare New: The Independent Record Shop (Black Dog), and spy the "hi-de-ho"-ing Cab Calloway logo of the late, lamented Village Music in Mill Valley. Such an overflowing vinyl goldmine till it shuttered last year — another victim of high rents and a wildly fluctuating music marketplace. The book is far from perfect: was Amoeba Music ever called Amoeba Records, and why isn’t Grooves listed in the US store directory?

But Old Rare New has its heart in the right place in its offhand celebration of brick ‘n’ mortar music trolling, filled out with short Q&As with collector-head artists like Chan Marshall, Quiet Village’s Joel Martin, and Cherrystones’ Gareth Goddard. It’s refreshing to get an eyeball of Byron Coley’s contrarian ‘tude: if independent music stores are going bye-bye, he writes, "Don’t blame me or my record scum buddies. We’re still as idiotically interested in fetishizing vinyl product as we ever were, but we’re all getting goddamned old, and we’re not being replaced in a fast and timely manner."

Nonetheless, it’s sad to see Open Mind Music in the US store directory, still listed at 342 Divisadero even though owner Henry Wimmer closed that locale long ago, reopened at 2150 Market, and then — argh! — closed that storefront at the end of October to concentrate on online sales (a small Open Mind record enclave, however, remains within the collective-run Other Shop II at 327 Divisadero). Also not listed — and why not with such reissue jewels as Brigitte Fontaine and Areski Belkacem’s L’Incendie (Byg, 1974) and Humble Pie’s Town and Country (Immediate, 1969)? — is Streetlight Records in Noe Valley, set to close on Jan. 31.

Codgers in the know will recall the days when Aquarius sat a few doors down from Streetlight, making the spot a twofer destination for serious LP trawling. Streetlight took up the indie and avant slack in the area when Aquarius moved to Valencia Street: amid its substantial vinyl selection, you can dig up Les Georges Leningrad’s Deux Hot Dogs Moutarde Chou (Les Records Coco Cognac, 2002) on red vinyl and TITS’ and Leopard Leg’s estrogen-athon split-LP Throughout the Ages (Upset the Rhythm, 2006). Deals can be had with the 10 percent-off-everything sale that kicked off on Black Friday.

The ever-increasing gentrification of the street — the mob in front of Starbucks was nutty on a recent Sunday morn — has definitely had an impact on the shop, according to manager Sunlight Weismehl, who has worked at the 32-year-old flagship store for more than two decades. "I believe over the years the area has become a destination for high-end houses," he says, "and the artists and working class have been pushed aside as they have in many neighborhoods. Because of that we don’t get as many people coming in during the day." The San Jose and Santa Cruz Streetlights are doing fine, and the Streetlight at Market and Castro reaps the benefit of better foot traffic.

One twist concerning the 24th Street store’s demise: Streetlight isn’t getting kicked out by greedy out-of-town landlords — they’re closing themselves down. Streetlight owner Robert Fallon owns the Noe Valley shop’s building. "I believe he feels that the rent in the neighborhood is higher than what we’re paying," explains Weismehl.

In an effort to stay afloat and pay its way, the manager says the store tried to "touch on everything. We certainly tried to have strong international, jazz, and roots sections and to try to serve the neighborhood as much as possible. Half crazy obscure things and half whatever the neighborhood is looking for."

And Noe Valley music mavens have reacted in kind. "We’ve been getting a lot of responses ranging from writing letters to the owner to just saying they’ll be sad when we’re gone. Some say it’s the last thing they came down to the street for," Weismehl says, adding that with Real Foods gone and the neighboring video store closed, "it’s a question of how much [the remaining] shops serve the neighborhood." Not to mention the fact that there’s one less accommodating spot that will keep on a touring musician: Weismehl recalls such staffers as Rova’s Bruce Ackley, Comets on Fire’s Noel Harmonson, Sebadoh’s and Everest’s Russ Pollard, and Unwritten Law’s Pat Kim. And after Jan. 31? I’m going to have borrow a baby stroller to feel even remotely at home in the hood.

LET THE GAMES BEGIN

NO AGE AND TITUS ANDRONICUS


ShockHound music site parties up its launch with a free show by the LA noise duo and the Glen Rock, N.J., rock five-piece, now signed to XL. Thurs/4, 7 p.m., free with RSVP at www.shockhound.com. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com

A FOGGY HOLIDAY 2008


SF indies give it up for this Talking House CD of carols. With the Trophy Fire, the Heavenly States, and more. Fri/5, 8:30 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

MURS


Expect a jammed club for the prescient Murs for President MC. Fri/5, 10 p.m., $15–<\d>$20. Shattuck Down Low, 2284 Shattuck, Berk. www.shattuckdownlow.com

SOULFUL HOLIDAY PARTY


The now-NorCal-dwelling soul-OG Darondo is spreading the deep magic. With Wallpaper and Nino Moschella. Fri/5, 9 p.m., $16–<\d>$21. Slim’s, 333 11th St., SF. www.slims-sf.com

ENERGY ANNIVERSARY BLAST


Energy 92.7’s takes off for the fourth year with Cyndi Lauper, Michelle Williams, Lady GaGa, Morgan Page, and others. Sat/6, 8 p.m., $36–<\d>$46. Grand Ballroom at Regency Center, 1300 Van Ness, SF. www.ticketmaster.com

HANK IV AND MAYYORS


The SF garage-punk scrappers return from their luminary-littered East Coast tour and join the souped-up Sacto rock unit. With Traditional Fools. Sat/6, 9 p.m., $7. El Rio, 3158 Mission, SF. www.elriosf.com

RAILCARS


Xiu Xiu’s Jamie Stewart produced the SF band’s Cities vs. Submarines EP (Gold Robot) in his kitchen. With Religious Girls and Halcyonaire. Tues/9, 9 p.m., $8. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

Comrade Newsom slices and dices

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By Steven T. Jones

After watching Mayor Gavin Newsom’s virtual State of the City speeches (delivered on You Tube rather than the traditional venue of City Hall) – and reading the criticism of them today in both the Chronicle and the Examiner, even from Newsom’s two BFF columnists – I’m torn between two metaphors.

In the first few minutes, Newsom seemed like a salesman in a late night infomercial, telling me how I could get a complete set of Ginsu knives for just $19.99. “But wait, there’s more,” Newsom seems to say, if I order now then he’ll throw in a comprehensive climate change plan, absolutely free, the first city in the country to make an offer like this. Operators are standing by.

But then it just went on and on and on (there are almost eight hours of this stuff being rolled out this week) until Newsom seemed to morph into Fidel Castro or some other Soviet Bloc dictator, just droning on endlessly about the glories of the State (or in this case, The City) with the self-assuredness and lack of self-censorship that flow from feeling omnipotent and beloved by subservient subjects.

And to add to the surreal nature of this strange exercise in over-inflated egoism, Newsom flacks Nathan Ballard and Eric Jaye (apparently the brainchildren – so to speak – behind this fiasco) are trying to cast this cyber-lecture as facilitating a dialogue with the community (even though they turned off the comments section on the You Tube posting).

We’ve long argued that Newsom is overdue for some real dialogue, particularly with progressives and the city’s legislative branch, which was why the city charter called for an annual State of the City address in the first place. So if Newsom now prefers the online world to the real one, please use our comments section to place your orders or offer dear leader some healthy feedback.

Tale of the city

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If last week’s extensive Guardian coverage didn’t convince you, here’s my two cents: see Milk. Not that you may have needed convincing; seems like everyone in San Francisco is stoked to see Gus Van Sant’s political biopic, with Sean Penn starring as the first openly gay man elected to public office in America. If you live here, it’s impossible to separate yourself completely from the story — even if you’re too young to remember the history firsthand –- since so much of it is already familiar. There’s City Hall, Milk’s "theater" and the site of his 1978 assassination, along with Mayor George Moscone, by fellow supe Dan White; the Castro District, meticulously made over to mimic Milk’s 1970s; a dog-poopy moment in Duboce Park; and references to everything from district elections to this very newspaper.

Still, even out-of-towners, except bigoted ones, will be moved by Milk. Milk’s experiences allow the film to take a personal look at the struggle for LGBT civil rights in America, with a particular focus on Anita Bryant’s cross-country hate crusade. Scenes showing the triumphant defeat of Prop. 6 — a 1978 proposal to fire all gay teachers and those who supported them — are bittersweet in the wake of the passage of Prop. 8. At times, Van Sant’s film feels eerily timely, down to the spontaneously assembled protests on Castro at Market, and its focus on a politico who believed in hope despite the odds.

But Milk is more than its message — despite its many sober moments, it also manages to be an entertaining film. Thank Van Sant’s steady direction, which (mostly) avoids melodrama and integrates archival footage with seamless ease, and a Penn performance that feels remarkably natural even though he clearly obsessed over perfecting Milk’s voice and mannerisms. Among the supporting players, Emile Hirsch (funny and energetic as activist Cleve Jones) and Josh Brolin (fumbling and creepy as killer White) are standouts. Less successful is Diego Luna as Milk’s needy lover Jack Lira, though it’s not really Luna’s fault; the Lira subplot comes across as distracting, adding unnecessary drama to a story already brimming with compelling conflict. Look for Penn to scoop up mad awards-season praise, all the more deserved if his inspiring turn fires up a new generation to follow in Milk’s footsteps.

Milk opens Wed/26 at the Castro Theatre.

Meister: ‘Homosexuals need not apply’

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By Dick Meister

The media coverage of the anniversary of the Milk/Moscone killings and hoopla over the new movie “Milk” reminded me of a TV news report I did from Milk’s Castro Street camera shop 0n Sept. 17, 1974. It was part of one of the nightly half-hour TV newscasts on “Newsroom of the Streets” that we reporters on “Newsroom” did on a public access channel from various Bay Area locations during our strike against KQED from September ’74 through January ’75. As often was the case with “Newsroom” stories, it was on an issue generally ignored by the commercial media — in this instance, employment discrimination against gays.

Milk and blood: Visions of St. Harvey

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By Marke B.

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This week, as part of our Milk Issue, dedicated to the political memory of Harvey Milk, I take a look at some of the ways Harvey has been transformed into an icon of queer martyrdom — for good or ill. I cheekily reference the extremely moving 2004 “Saint Harvey: The Life and Afterlife of a Modern Gay Martyr” show at the GLBT Historical Society, which will also open a temporary exhibit about Harvey on the Castro beginning November 26, in conjunction with the nationwide release of the Milk movie.

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From “Saint Harvey: The Life and Afterlife of a Modern Gay Martyr.”

I also talk about influential young photographer Leo Herrera from queer collective Homochic‘s appropriation of the suit that Harvey was shot in. He displayed his impressionistic shots of that precious relic in his 2007 “San Francisco: Sex & Icons” show at Magnet in the Castro, and also assembled them in a short film titled My Name is Harvey Milk, whose soundtrack is Harvey’s recording of his own will right before he was murdered. I asked him to share some of his thoughts via email from his temporary base in NYC about his show, about Harvey as icon, and also Harvey’s “martyrdom” status.

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Harvey suit image (and all images below) by Leo Herrera

Leo Hererra: Basically I went to the Martyr exhbit at the GLBT Historical Society in ’04 and saw the suit for the first time with my brother Allan and my mother. I was completely floored not only by the way the suit was exhibited but also by the humble surroundings of the Historical Society itself. I approached them and told them that I wanted to work with them in any capacity that they needed, and they let me know that they could use a lot of help, especially from people my age. I told them I wanted to do a series of images based on gay culture and they arranged for me to shoot whatever I wanted.

Allan and I arrived and shot a lot of the relics that they have there, and I finally got the balls to ask them to shoot the suit.*

Soooo, imagine Allan and I opening up the box and there it was. The whole thing is really scary because the box had all of what he was wearing the night of his assassination, including his socks and tie. I shot some images but they weren’t coming out right, and our hands were shaking the whole time. Finally I told Allan that if we were going to do this right, we better not be afraid to touch it and we finally picked it up. And flakes of gore came off of it because it’s so bloody and gory and they fell on our arms and it went downhill from there, but I remember feeling this really intense creativity and really the spirit of gay culture in many ways.

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We laid the suit on top of a light box and the bullet holes from the shots that went through his back shone through, we also put a lamp behind where his heard would be, and did all sorts of arty shit. The funny part was, I really didn’t relate to the images as I shot them and didn’t understand them because I was using a very different aesthetic. I put the images away for a couple of years and when I pulled them out, I realized that the aesthetic of the images was really something more sophisticated than I was used to at the time and that it really matched what I was working with now, they were somehow more mature. So in a way, I had shot the images to be used four years after the fact.

It was all real arty hipster shit.

Hot flash gallery

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> johnny@sfbg.com

It was the summer of 1974, when shy, skinny, cute Daniel Nicoletta first stepped through the doors of Castro Camera into adulthood and history. His parents were snapshot enthusiasts. In his words, he had grown up "surrounded by Instamatic moments." But he was about to enter the time of his life. "I stopped in to determine where I would be developing my Super 8 film," he remembers. "I couldn’t get over how friendly the two guys [Harvey Milk and Scott Smith] were. I was 19 years old — I had no idea what cruising was at that point. Of course, within two months I was completely up to speed."

Nicoletta immediately captured the speed of life. His vérité photos of Milk, Smith, and San Francisco from the mid-1970s onward are often great and sometimes iconic. He soon sold his first photo out of Boys in the Sand (1971)and Bijou (1972), filmmaker Wakefield Poole’s hair salon-toy store-art gallery Hot Flash. A regular "Mr. Multimedia," Nicoletta was as interested in half-inch Portapak video as he was in still photography. In 1977, using Castro Camera as one of his chief meeting spots, he worked with David Waggoner and Marc Huestis to found the Gay Film Festival of Super 8 Films, an event now popularly known as the Frameline festival.

Nicoletta’s role in Milk’s life and role in queer film history provide some of the subtler facets of Gus Van Sant’s new film Milk. Those viewers familiar with Van Sant’s earlier work know of his focus on the photographic process: for example, a significant sequence within his 2003 film Elephant is spent in the darkroom, observing the efforts of a young photographer who may as well be a 21st century version of the young Nicoletta. "Even though I don’t say a lot, Lucas [Grabeel, who plays Nicoletta in the film] is a constant presence throughout Milk," Nicoletta notes, when asked about the interplay between his life and Van Sant’s moviemaking. "Gus keeps me there in the film as a cultural observer. In life, Gus has an eye for the role of still photography in culture, and he used my entity as a way of cross-referencing that."

Some of Nicoletta’s photos of Milk and Smith inform or inspire the look of particular scenes in Milk, such as a pie fight between Smith and Milk. "The art department was immersed in stills of all kinds," says Nicoletta, who switched to digital photography to document the making of the film. "I was impressed with all the things pinned up to their walls — the checkerboard analysis was lovely to look at." Nicoletta also lent his copy of the August 1974 San Francisco issue of the barely-subtextual gay culture magazine After Dark — a publication partly defined by the studio portraiture of East Coast gay photographers such as Ken Duncan and Jack Mitchell — to Milk‘s costume designer, Danny Glicker. "He [Glicker] creamed himself over that," Nicoletta says with an affectionate laugh. "There’s a postage stamp-sized photo of Victor Garber [who plays George Moscone in Milk] in it. I’d never noticed, but it took Danny Glicker a second to zero in on that. It was hilarious."

The Milk crew’s devotion to verisimilitude extended to Nicoletta’s camera — and to one of Milk’s two main cameras, one of the first Nikons ever made, which Nicoletta now owns. "They literally had me take jpgs of my camera and Harvey’s camera so they could cast those instruments to the letter," he says. "Harvey’s camera has his name engraved on the bottom. Scott’s [Smith] mom gave it to me when Scott passed away. It’s a real treasure. I never use it, but I saw him use it. Harvey and Scott also had a second Nikon that was their primary camera, and I did use that one quite a bit. We both passed film through the same camera, which was kind of cool — kind of incestuous."

This radical sense of brotherhood informed both Nicoletta and Milk’s photography. "Harvey took great joy in photographing people," Nicoletta observes, noting that a chance to take aerial photos of Christo’s Running Fence was one of Milk’s artistic and free-spirited moments as his political duties increased. "If you look at Harvey’s body of work, one thing that comes through with political potency is that a presiding aesthetic in his life was male-to-male love. You can then zoom out even further and say that the stimulus for his political activism was the sanctification and preservation of male-to-male love."

It’s characteristically modest of Nicoletta to turn an interview about his photography into a discussion of Milk’s endeavors with a camera — everything he says about Milk’s photos is true of his own work, which captures Milk and Smith’s relationship, for instance, with great warmth. He gives vivid background to some of his best-known Milk photos, such as an image of the inaugural walk to City Hall in January 1978. "We were just arriving at the steps," he remembers. "What’s great about that photo is that it’s just one of so many details of the history of the queer community that have unfolded on those very steps. I think I could do a whole book on the steps of City Hall at this point."

The prospect of a Nicoletta monograph is something to savor, even if he jokes that his friends "all roll their eyes to the back of their head and say, ‘There she goes again about her book’," whenever he mentions the prospect. As a documentarian of history, Nicoletta understands the necessity and gravity of a book of his work. He has other excellent ideas, such as an era-based collection that would bring in stylized images by Steven Arnold — like him, one of the chief people to visually capture queer artistic forces such as the Cockettes and Angels of Light. "I loved working with Reggie [of the Cockettes] because the first photo I ever saw of him was in Gilles Larrain’s [1973] Idols," Nicoletta says. "That book just rocked my world. I thought, ‘Who are these people, and where can I find them?’ And I found them."

Nicoletta found those people — the evidence is in books such as Gay by the Bay and Adrian Brooks’ new Flights of Angels (Arsenal Pulp Press, 224 pages, $24.95), and in the photo collection of the San Francisco Public Library. As a chronicler of gay life, he can be seen as a West Coast public counterpart to East Coast photographers such as Peter Hujar, Mark Morrisroe, and David Armstrong, and Nan Goldin. "In a sense I’ve sort of stayed provincial. That’s a little bit self-preservationist," he says, after mentioning the direct influence of the Bay Area studio photographer Crawford Barton on his work. "It’s so great to have a 30-year arc and be mindful of where you are and grateful for things like the mentorship of people like Harvey Milk and Scott Smith, and the inspiration of people like the Angels of Light. I’m for slow growth."

>>Back to the Milk Issue

Political Theater

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› kimberly@sfbg.com

Pair an effusive and extroverted, larger-than-life politico like Harvey Milk — complete with community-forging charisma, panoramic outlook, and labyrinthine City Hall machinations — with a reserved, perpetually-outside-looking-in independent, à la director Gus Van Sant? That feature-film odd-coupling might have understandably strained some brains in Hollywood. Making the seldom-seen moments of otherwise-secret or neglected lives visible has seemingly been Van Sant’s calling, and his most memorable films — 1985’s Mala Noche, 1989’s Drugstore Cowboy, 1991’s My Own Private Idaho, 2003’s Elephant, and even the Oscar-gathering 1997 Good Will Hunting — have relied on his coolly unblinking, surprisingly cerebral yet gently empathetic eye, whether focused on Mexican immigrants, ’70s-era oblivion-seekers, Northwestern hustlers, a hidden savant, or disaffected teenagers.

Still, those leitmotifs — entwined with Van Sant’s terrible, tangible sense of romance with his outsiders, artists, and lost souls, as well as the way his camera seems to fall head over heels for his characters — made Van Sant a natural to make Milk, after Oliver Stone’s aborted feature-film attempt to tell the slain San Francisco supervisor’s story. "There is always that question: why I haven’t done a film like this earlier," Van Sant confessed, clearing his throat for the umpteenth time while agreeing that he hasn’t ever quite done a film like Milk. "Yeah, I hadn’t done a big movie, so there were people around who were like, ‘Can you handle it? Can it be done?’ They think that way. Since there was no business model, they were like, ‘No, he can’t, because he makes these scruffy, little movies. Too big a gamble, you know.’

"That’s a part of Hollywood, but it’s kind of like safe bets: it can make bad stuff happen as easily as good stuff, and it has its own closed policies like the old conservative City Hall-type policies. ‘New supervisors who haven’t handled the job before are incapable and they’re screwing things up.’"

Thankfully the gamble paid off and the tale of California’s first openly gay politician has been told with elegance, poetry, and not a little heart-stirring, inspirational grace, by the man whom biographer James Robert Parish describes as "the standard bearer of America’s ‘queer cinema’" — one who fuses extreme close-ups, handheld shots, and found footage in a collaborative, textural approach that lends a Kodachrome pop-culty feel to his films. The process makes for "beautiful pictures every time," as a windblown Sean Penn put it at a Ritz Carlton press conference after Milk‘s Oct. 28 world premiere at the Castro Theatre.

Seated at the middle of a long table between Penn and Josh Brolin, who portrays Milk’s killer Dan White, as they traded friendly jabs, Van Sant remained mostly silent — physically at the center, but an observer apart at the same time. Later in a hotel suite, face to face with a single interviewer, the director seemed equally out of place, folded uncomfortably into a plush chair, arms tightly crossed over a tan jeans jacket sporting a "No on 8" sticker, with a small, nylon, bright-blue dollar-store-style backpack by his side. He more closely resembles a 56-year-old teacher or elder-care worker than a Hollywood insider.

The latter role is evidently still alien to him. His first brush with Milk came in 1978 while he was driving across the country and heard on the radio that the supervisor was shot. Though he later saw the 1984 documentary The Times of Harvey Milk, it never occurred to him to make a film about the politician. "It seemed like a very big story," Van Sant said. Mala Noche and Drugstore Cowboy "were stories that were devised to be made with really low budgets, like $20,000. So it was never like, ‘Oh, we can make a story about City Hall with $20,000.’ I guess I was always coming at filmmaking from not really being in the business, but knowing that I could get a hold of or save up my own money to the point where I’d have $20,000 and I could actually make a feature."

In the process of making Milk, the filmmaker admitted that he had to leave out many details that "I really like and things that sort of explain the situation. We suggest things. We explain this new law that enabled people to elect their supervisors from their districts, but we didn’t explain that the people up to that point that had to run city-wide resembled a different and maybe more antiquated type of politician. They were more, I guess, conservative. They were more business-oriented."

If San Francisco is palpable as a character in Milk, then City Hall is that elegantly shambolic figure’s brain, and Van Sant effectively used the Beaux Arts space, which harks back to classical forms, to his own dramatic ends. A down-the-rabbit-hole corridor leading to supervisors’ chambers becomes a pulsing nerve center visually rhyming with the characters’ stratagems. The sweeping staircase and balconies become the backdrop for Milk’s and White’s clashing trajectories, and the building itself becomes the spotless stage for Milk’s political birth and death.

"What I usually try and do, in general, is to connect the characters to a timeless quality, so it’s not necessarily situated in the specific time they’re in," said Van Sant. "So if they’re in City Hall and there’s a beaux-arts classical relief on the ceiling, if you frame it correctly, they can kind of look like Roman senators. You can get this timeless quality of people trading votes and betraying each other for as long as there’s been a forum and a senate.

"There were certain things in the script and in Harvey’s life — the famous line is ‘How do you like my new theater,’ which is what he says to Cleve [Jones, played by Emile Hirsch]: ‘Always take the stairs, never dress up, never blend in, make a show of it, use the whole space.’ I thought of that as a centerpiece of the whole film. That scene is one of my favorites because it was kind of like Harvey, who was a stage manager and was in theater. This was his new forum, his new theater, his new proscenium, with which to create new stuff — in this case, gay rights and other things that he thought were important, like education and help for minorities and seniors."

The question that arises so often among those who care about gay rights is: Why wasn’t Milk released before the Nov. 4 election, when it might have energized voters to shut down Proposition 8, a battle so similar to Milk’s charge against Proposition 6? As Milk screenwriter Dustin Lance Black said, "I didn’t know this [movie] would be about Prop. 8, but I don’t think this fight is over."

"I don’t really decide when movies should come out," said Van Sant. "The distributors came up with that." He spelled out some of the thoughts behind the Nov. 26 theatrical release: worries included "whether or not the elements of the story were so like the political moment that the film wouldn’t have a life after the election," and "whether people are too busy with the election to go see the movie. Are people overtaxed with politics to go see a political movie?" As a compromise, the late-October Castro Theatre premiere was arranged to get Milk and its overall message into the media eye, while still opening it into November through January, the Academy campaign season.

"Yeah, I didn’t make the call," repeats Van Sant, somewhat regretfully and shedding perhaps a smidge of that cherished detachment. "Harvey would have opened it in October."

Milk opens Wed/26 at the Castro Theatre, with additional Bay Area openings Fri/28 and Dec. 5.


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Where’s Harry?

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History is written by the winners, the survivors — and sometimes the people who try the hardest. And while Milk hews pretty closely to reality, some of the people who lived through the story say a few key pieces are missing.

On the night Sup. Harvey Milk was assassinated, for example, a crowd gathered in the Castro for a march to City Hall. In the movie, the key protagonists — Cleve Jones and Anne Kronenberg — pull the spontaneous event together. Sup. Tom Ammiano, who was there, remembers it a bit differently.

"The whole thing started at Harry Britt’s house," Ammiano told us.

Britt, who was appointed as Milk’s successor on the board, "lived at 16th and Castro, and we were all gathered there on his steps" Ammiano said. "I asked what I could do, and he told me to run out and get some black ribbons. So I went to Cliff’s Hardware and bought out every black ribbon in the place.

"Harry was the focal point. It all started with him."

But Britt — one of Milk’s confidants and by any standard one of the most important gay politicians in the city’s history — isn’t mentioned in the movie.

There are, of course, plenty of events and people left out of what could only be, at best, a snapshot of history. Milk isn’t a documentary; it’s a feature film. Jones, who served as a script consultant, told us that "the hardest decision was what to cut…. There were a lot of people close to Harvey who didn’t make it."

It’s no secret that Jones and Britt are not close, and that the former supervisor has been out of the political limelight for years. He told me this week that he doesn’t want to talk about the film. ("I had the privilege to know Harvey myself, and I don’t want to see him through someone else’s eyes," he said.) But still, the absence of Britt, who picked up and carried Milk’s torch for many long years, is striking.

Ammiano, who loved the movie overall, agreed that it was odd not to see Britt depicted in any of the key scenes. "It’s funny when you live through history, when you were there, and then to see how it’s reported," he said. "History is written by he or she who tells it."

And while, to a certain extent, the movie feels like the Cleve Jones Show (and Jones happily told me he feels like he’s becoming "the most famous homosexual you know"), Ammiano credited Jones with pushing to make the film happen.

"Cleve wanted the story told, and for 15 years he’s been pushing it," Ammiano said. "It’s a huge personal accomplishment for him, and this is his reward."

Past, present, future

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> johnny@sfbg.com

REVIEW As a programming move, the Roxie Theater’s decision to screen Rob Epstein’s classic 1984 documentary The Times of Harvey Milk is both a no-brainer and a bit of casual brilliance. It’s a no-brainer because of Milk mania. It’s a little stroke of genius because this great documentary’s return, one week before the theatrical premiere of Gus Van Sant’s feature at the Castro, provides plentiful compare-and-contrast opportunities for all those wise enough to know that they need to see both. This isn’t the first time that the Roxie — which presented Tsai Ming-liang’s homage to movie theaters Goodbye, Dragon Inn during the Castro’s days of turmoil in 2004 — has chimed in like a smart kid brother.

Epstein’s movie is a classic partly because of its historical contents, but there’s a definite mastery to the way in which he assembles and presents that material — if today’s makers of stylized docs haven’t learned from his command, that command has at least influenced Van Sant. The Times of Harvey Milk doesn’t dig into day-to-day San Francisco politics with the same relish or perhaps even specificity of the Van Sant movie (which recalls Barbet Schroeder’s 1990 Reversal of Fortune in its affection for scenes of creative, energetic groupthink). But journeying through candlelight vigil and through riot, it remains the most dramatically powerful response to Harvey Milk. His life and death were the stuff of great drama as well as of history.

The time for The Times of Harvey Milk is now, once again: more than a number connects and separates Proposition 6 of Milk’s era with Proposition 8 today. Thanks to Epstein’s compassionate documentary eye, his talking heads are fully realized human characters, with a range of personalities: the fervor of Tom Ammiano, the gruff candor of union machinist Jim Elliot (who thought the police raids on gay bars were fine until he met Milk), the contemplative sadness and strength of Sally M. Gearhart. Other touches, such as Harvey Fierstein’s uncharacteristically stoic voice-over, are surprising. And Epstein doesn’t glorify or beatify Milk when presenting the relationship between Milk and Dan White — his look at their interactions shows the sharp, competitive edges of Milk’s humanism.

The 2004 anniversary edition of the Times of Harvey Milk DVD is a treasure trove of material providing greater insight into Dan White. But it’s important to revisit this movie outside of the isolated home box office. There are generations of people who, if they’ve seen it, have only seen The Times of Harvey Milk on video at home. Like the man at the core of its subject, Epstein’s documentary thrives in a public, theatrical setting. The events it collects and captures are still relevant to all the random people who will find themselves united by a decision to watch this movie in a cinema — people who will step outside of the Roxie into a city and a world not that different from the one where Harvey Milk died and lived, one that is demanding collective action, and his spirit, once again.

THE TIMES OF HARVEY MILK

Opens Fri/21, $5–$10

Roxie Theater

3117 16th St., SF

(415) 431-3611

www.roxie.com


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Politics behind the picture

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The new Harvey Milk movie, which opens later this month, begins as a love story, a sweet love story about two guys who meet in a subway station and wind up fleeing New York for San Francisco. But after that, the movie gets political — in fact, by Hollywood standards, it’s remarkably political.

The movie raises a lot of issues that are alive and part of San Francisco politics today. The history isn’t perfect (see sidebar), but it is compelling. And while we mourn Milk and watch Milk, we shouldn’t forget what the queer hero stood for.

Milk started out as something of a pot-smoking hippie. “The ’70s were a hotbed of everything,” Sup. Tom Ammiano remembered. “Feminism, civil rights, antiwar.” Milk’s early campaigns grew out of that foment. “Sure, he wanted to be elected,” Ammiano told us. “But the main ingredient was courage. He was fighting with the cops when they raided the bars … what he did was dangerous.”

Milk never would have been elected supervisor without district elections — and the story of district elections, and community power, ran parallel to Milk’s own story, for better and for worse.

Milk tried twice to win a seat on the at-large Board of Supervisors and never made the final cut. But in the mid-1970s, a coalition of community leaders, frustrated that big money controlled city policy, began organizing to change the way supervisors were elected. The shift from an at-large system to a district one in 1976 was a transformational moment for the city.

“I think that San Francisco doesn’t always appreciate the sea change that district elections brought,” Cleve Jones, a queer activist and friend of Milk who helped Dustin Black write the script for Milk, told us. “It wasn’t just important to the various communities that had been locked out of power at City Hall — it was the glue that began to grow the coalitions.”

Milk was elected as part of what became the most diverse board in the city’s history, with Asian, black, and gay representatives who came out of community organizations. The board, of course, also included Dan White, a conservative Irish Catholic and former cop. And it was the assassination of Milk and Mayor George Moscone by Sup. White — and the civic heartbreak, chaos, and confusion that followed — that allowed downtown forces to repeal district elections in 1980. That gave big money and big business control of the board for another 20 years, a reign that ended only when district elections returned in 2000.

Milk was a gay leader, but he was also a tenant activist, public power supporter, advocate for police reform, supporter of commuter taxes on downtown workers, and coalition-builder who helped bring together the labor movement and the queer community. It started, ironically, with the Teamsters.

“Those of us who came out of the antiwar movement remembered that the Teamsters supported Richard Nixon until the very last moment,” Jones said. “And they were seen as one of the most homophobic of all the unions.”

But in the 1970s, the Teamsters were at war with the Coors Brewing Company, and trying to get San Francisco bars to stop serving Coors beer. Allan Baird, a Teamsters leader who lived in the Castro District, saw an opportunity and contacted Milk, who agreed to help — if the Teamsters would start hiring gay truck drivers.

“It wasn’t just San Francisco and California,” Jones recalled. “We got Coors beer out of every gay bar in North America.” And gays started driving beer trucks.

Today, the queer-labor alliance is one of the most powerful, effective, and lasting political forces in San Francisco.

Milk was never popular among the wealthier and more established sectors of the gay community; he believed in a populist brand of politics that wasn’t afraid to take the fight to the streets — and beyond San Francisco. A central theme of the film is the fight against Proposition 6, a 1978 measure by conservative state Sen. John Briggs that would have barred homosexuals from teaching the public schools.

Milk, defying the mainstream political strategists, insisted on debating Briggs in some of the most right-wing parts of the state. He refused to downplay the gay-rights issues. And when Prop. 6 went down, it was the end of that particular homophobic crusade.

Milk was always an outsider, and he ran for office as a foe of the Democratic Party machine. “His campaign for state Assembly was all about Harvey vs. the machine,” former Sup. Harry Britt told us. “His main supporter was [Sup.] Quentin Kopp. He didn’t run as the liberal in the race; he ran against the machine.” And for much of the next 20 years, progressives in San Francisco found themselves fighting what became the Brown-Burton machine, controlled by Willie Brown and John Burton.

It’s too bad the movie wasn’t released early enough to have had an impact on Prop. 8, the anti same-sex marriage measure that just passed in California. Some critics of the No on 8 campaign say the message was far too soft, and that a little Harvey-Milk-style campaigning might have helped.

But for us, one of the most striking things about the movie is the fact that Milk and his lover, Scott Smith, were able to leave New York with very little money, arrive in San Francisco, rent an apartment on their unemployment checks, and open a camera store. That wouldn’t be possible today; the Harvey Milks of 2008 can’t live in the Castro — and many can’t live anywhere in San Francisco. The city is too expensive.

In fact, for all the victories Milk won, for all the successes of the movement he helped to build, much of his agenda is still unfulfilled, even in his hometown.

The first time Harvey Milk gives a public speech in the film, he’s standing on a soapbox … literally. He brings out a box with “soap” written on the side; a funny gag, but a serious and telling moment for him and San Francisco.

The issues that Milk spoke so passionately about in that speech included police reform, ending the war on drugs, protecting tenants and controlling rents, and improving parks and protecting people’s rights to use them liberally — all issues with as much resonance today as they had back then.

The movie leaves us with a painful question. For all the celebration of Milk’s legacy by San Franciscans of various political stripes, why have we made so little progress on some of his signature issues? We celebrate the martyr — but often forget what the man really advocated.

Support for gay rights is de rigueur for anyone who aspires to public office in San Francisco. But a quarter of city residents still voted to take away same-sex marriage rights in this election. Many older gay men today are barely able afford their AIDS medication and rent. And transgender people and other nontraditional types are still ostracized, unable to get good jobs, and sometimes treated contemptuously when they seek help from their government.

Sure, marijuana is supposedly legal for medical uses in California and pot clubs proliferate around San Francisco. But even these sick patients are still targeted by the federal government and its long arms in San Francisco, including former US Attorney Kevin Ryan, whom Mayor Gavin Newsom named his top crime advisor and who is now seeking to crackdown on the pot clubs. Why, 30 years after Milk was shot, does one have to claim an ailment or illness to smoke a joint in this town?

Two-thirds of city residents are renters, a group Milk championed with gusto, but we barely beat a state initiative in June that would have abolished rent control. Housing is getting steadily more expensive. And in this election, Newsom and his downtown allies opposed Proposition B, an affordable housing measure, and Proposition M, a common sense measure to prohibit landlords from harassing their tenants. Such harassment is a common tactic to force tenants from rent-controlled units, even though the City Attorney’s Office is currently suing the city’s biggest landlord, Skyline Realty, for its well-documented history of harassment. Newsom may be the champion of same-sex marriage, but when it comes to issues like tenants’ rights, we suspect that Milk would be appalled at Newsom’s gall.

Ted Gullicksen of the San Francisco Tenants Union noted that in the wake of Milk’s death and before the repeal of district elections, San Francisco established rent control and limits on condo conversions. The tenant movement has grown steadily stronger and more sophisticated, he said, as it had to in order to counter increasing economic and political pressures and creative gambits by landlords.

“The city has gentrified phenomenally since that time, and that’s put tremendous pressure on tenants and on condo conversions,” Gullicksen told us. “It continues to be a real struggle.”

Police reform was also a huge issue for Milk and his gay contemporaries, who suffered more than most groups from the behavior of thuggish cops protected by weak oversight rules and a powerful union. And today, the Police Officers Association is stronger and meaner than ever, but the oversight has improved little, as both the Guardian and San Francisco Chronicle have explored with investigations in recent years.

And in our public parks, San Francisco officials in recent years have banned smoking cigarettes, drinking alcohol, playing amplified music, and even gathering in large numbers without expensive, restrictive permits. Even in the Castro, where Milk and his allies took it as a basic right to gather in the streets, Newsom and the NIMBYs unilaterally cancelled Halloween celebrations and used police to chase away citizens with water trucks.

Is this really the city Harvey Milk was trying to create? In the film, he talks about transforming San Francisco into a vibrant, tolerant beacon that would set an example for the rest of the country, telling his compatriots, “We have got to give them hope.”

Well, with hope now making a comeback, perhaps San Francisco can finally follow Milk’s lead on the issues he cared about most.

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Holiday Guide 2008: Graphic gifts

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Unless you’ve been living under a rock, you’re aware that the last few years have seen an impressive flowering of graphic novels and comic book art. These days, every self-respecting, well-read person should have a graphic novel or two on the shelf — and that makes this the perfect moment to give your fave loved one a comic as a holiday gift. If a picture is worth a thousand words, how about a present with both?

FOR THE SMARTY-PANTS IN UNDEROOS


Watchmen changed the world of comic books when it debuted in 1986, ushering in an era of more serious and ambitious storytelling. Written by the revered Alan Moore, Watchmen uses the trope of superheroes to examine American culture. It won the Hugo Award that year (the first time a comic book had ever won a major literary award in America), was later named one of Time Magazine‘s "Best 100 Books of All Time" (the only comic book on the list), and is now being made into an movie. Watchmen dissects the superhero, revealing the elements of fascism, nihilism, and sexual obsession inherent in the genre, while always maintaining a sense of empathy for its characters’ humanity. It is beautiful, incredibly dense and intricate, and profoundly moving.

Watchmen: The Absolute Edition (DC Comics, 2008, 436 pages, $39.99) is a magnificent large-format reissue that beautifully shows off illustrator Dave Gibbon’s meticulous art, is completely re-colored, and has plenty of additional material. This is something that any geek would be proud to own.

FOR THE TWEEN WHO STILL BELIEVES IN MAGIC


Forget Harry Potter, Bone (Cartoon Books, 2004, 1300 pages, $39.95) is the bomb! Jeff Smith’s magnum opus is something truly rare in comics — a fully realized, all-ages fantasy story that balances thrilling adventure, humor, and lovable characters that develop and grow.

Three cousins stumble into a new land complete with dragons, a super-strong grandma, a princess with a destiny, a terrifying lord of locusts, and stupid rat creatures. As in the Harry Potter series, Bone becomes darker and more serious as the story progresses, but it never loses a delightful playfulness, both in the moments of comic relief and in Smith’s light, masterful brushwork. Bone can be found either as a single volume in its original black-and-white form, or as a set of color books from Scholastic Press.

FOR SCI-FI FANS WITH POST-APOCALYPTIC DAYDREAMS


Perhaps the best science fiction comic book ever produced starts off the way the best sci-fi stories do, with a simple premise that creates a ripple-effect of expanding consequences. In Y: The Last Man, all the males on the planet except for two die off from a sudden, horrifying plague, leaving poor Yorick and his pet monkey Ampersand the last creatures alive with Y chromosomes.

Writer Brian K. Vaughn, one of the best of a new generation of comics writers and one of the principle writers for TV’s Lost, cut his teeth creating the Y saga, which has been seeping out in one-volume installments since 2003. He imagines a world without men in fascinating ways, but never lets the setting get in the way of a gripping, fast-paced story. Pia Guerra’s art is competent and engaging, and propels the story along at the same clip as the writing. The entire breathtaking story comes in 10 soft-cover volumes from publisher Vertigo for around $13–<\d>$15 each. A just-published comprehensive deluxe edition (Vertigo, 2008, 256 pages, $29.99) comprises the first five volumes, with the second installation scheduled to come out in May 2009.

FOR TORTURED, BEAUTIFUL SOULS


There is a long, venerable history to comics biographies and autobiographies, from Art Spiegleman’s Maus to Marjane Satrapi’s Persepolis and Alison Bechdel’s Fun Home (fabulous gifts all). I want, however, to point out an often-overlooked book that deserves its place in the canon, Phoebe Gloeckner’s Diary of a Teenage Girl (Frog Books, 2002, 312 pages, $22.95), which is one of the most compelling accounts of a troubled childhood that I’ve ever read.

Diary is not just a comic book. It weaves together graphic chapters with diary-form prose and illustrations to tell the story of Minnie Goetze, a 15-year-old girl who has an affair with her mother’s boyfriend before spiraling downward into drugs and abusive relationships.

It all takes place in 1970s San Francisco, and the city is an integral part of the story, from Minnie’s home in a Victorian flat in Laurel Heights to the world of gay hustlers and runaways on Polk Street.

FOR ROCKET-POWERED LOVERS


Have someone on your gift list who loves the magical realism, multigenerational storylines, and fantastic characters of Gabriel García Márquez? How about someone who can’t get enough of cool-ass, punk-rock dykes? Well, I have the perfect graphic novels for you: Gilbert Hernandez’s Palomar: The Heartbreak Soup Stories (Fantagraphics, 2003, 512 pages, $39.95), which chronicles the adventures of the denizens of a fictional Central American village, and Locas: The Maggie and Hopey Stories (Fantagraphics, 2004, 712 pages, $49.95) by Jaime Hernandez, which centers around two punk girls in the Mexican barrios of Los Angeles.

Both collect stories originally serialized in what is arguably the greatest American comic ever produced, Love and Rockets (and yes, that’s where the band got its name), which has been published somewhat consistently since 1981.

FOR EPIC MEDICAL DRAMA QUEENS


Ode to Kirihito (Vertical, 2006, 832 pages, $24.95) will blow your mind. Created in 1969 by the stellar Osama Tezuka, godfather of manga and anime (Japanese comics and cartoons), it was markedly more sophisticated and accomplished than anything coming out of the United States at the time. In fact, American popular culture is only now catching up to Tezuka — we’re just now getting translations of his works. Luckily, the new American versions are well designed and nimbly translated.

Kirihito tells the story of a plague that turns people into doglike creatures, and reads like a combination of a medical drama (Tezuka was trained as a physician), a panoramic 19th-century novel, and an existentialist treatise à la Albert Camus. Maybe your loved ones think that manga is all melodramatic kids with big eyes, spiky hair, and cute pets that shoot lightning? Ode to Kirihito will expand their view.

FOR YOUR FAVORITE PERVERT


Best Erotic Comics 2008 (Last Gasp, 2008, 200 pages, $19.95) is trying to fill an important, ahem, hole in the world of alternative comics. As the current comics renaissance gains steam, it is becoming curiously less and less sexual. Compared to the wild antics of the underground cartoonists of the 1960s, today’s indie comics tend to be flaccid fare.

BEC 2008 aims to change all that, as the first of an annual series of anthologies devoted to showcasing the best of comics erotica and restoring sexuality as a centerpiece of the indie comics sensibility. Last Gasp, a venerable San Francisco–based comics and alt-media publisher and distributor, is putting out the series.

Impressively diverse on all levels, BEC 2008 features a young dyke’s first encounter with a vibrator, a dominatrix who hires a gay masseur to fuck her boyfriend, King Kong and Godzilla getting it on … there’s a little something here for every proud pervert to treasure. That’s the magic of the holiday season! 2

WHERE TO GET YOUR GIFTS

Isotope Comics 326 Fell, SF. (415) 621-6543, www.isotopecomics.com

Al’s Comics 1803 Market, SF. (415) 861-1220, www.alscomicssf.com

Whatever 548 Castro, SF. (415) 861-9428, www.whateverstoreonline.com

Comix Experience 305 Divisadero, SF. (415) 863-9258, www.comixexperience.com

Comic Relief 2026 Shattuck, Berk. (510) 843-5002, www.comicrelief.net

Justin Hall is a San Francisco–based comics artist and owner of All Thumbs Press (www.allthumbspress.com).

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Holiday Guide 2008: Guilt-free gifts

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It’s that time of year again: stores are hanging up wreaths of holly, people are stringing Christmas lights and taking their menorahs out of storage, and you’re scrambling around the city, without enough money or time, trying to find the perfect gift for everyone on your list and cursing mindless consumption. Before you renounce all things holiday themed and decide to hide under the covers until January, though, check out our ideas below, which include small local businesses, nonprofits, charities, and other organizations that give back to society. As corny as it sounds, by shopping at any of the places listed below, you’re not just giving to your friends and family; you’re giving to the community as a whole — while reducing your own consumerist guilt. And after all, isn’t feeling good about giving what the holidays are really all about? (Well, that and copious amounts of eggnog.)

FROG HOLLOW FARM


If you love supporting local farmers but hate jostling your way through the crowds at the Ferry Plaza Farmers Market, why not order a package of Black Forest ham and Gruyère turnovers ($24 for six) or a seasonal fruit sampler ($38 for six pounds of hand-selected fruit) straight from Frog Hollow Farm’s Web site? An organic farm just an hour outside San Francisco, Frog Hollow will ship baskets of fresh fruit, olive oil, chutneys, and pastries to whoever your lucky recipient may be — a friend, a family member, or even just you (now that I know I can get cherry galettes and pear, Gorgonzola, and walnut tartlets delivered straight to my house, I’m not sure I’ll have enough money to send any packages out this year). Plus, this way you won’t feel guilty for forgetting to bring your reusable canvas bag to the market, again.

www.froghollow.com

SAN FRANCISCO ZOO


Don’t lie: your childhood dream of having an elephant or a monkey for a pet never completely went away. Unfortunately, it’s illegal in the state of California to own such exotic animals, but that doesn’t mean you can’t adopt! The San Francisco Zoo offers Adopt-an-Animal gift certificates, which include a personalized certificate, a framed photo, information about your adoptee, and an invitation for two to the zoo’s annual Zoo Parent Day. The recipient gets to select his or her own animal, with options ranging from the traditional (polar bear, alligator, penguin) to the unique (laughing kookaburra, Nigerian dwarf goat, Mexican red-kneed tarantula) to the endangered (snow leopard, Magellanic penguin, Siberian tiger). All animal adoptions cost $50, which helps support all zoo residents of that species for a year.

(415) 753-7117, www.sfzoo.org

CREATIVITY EXPLORED’S ANNUAL HOLIDAY ART SALE


If you’re gifting an art lover but lack the cash to buy a piece from an expensive gallery, visit the Annual Holiday Art Sale at Creativity Explored, San Francisco’s premier gallery showing work by artists with developmental disabilities. These virtuosos, whose work has been called some of the most imaginative, original, and sophisticated art in San Francisco, include not only painters and sculptors but also T-shirt designers and pillow makers. And even if you have less than 10 bucks to spend, you’ll walk away with something special. Check out the selection of blank note cards, which come in sets of six or eight, cost between $7 and $12, and have names like "San Francisco Icons," "The Sky Is Falling," and "Bottlecap Ferris Wheel." Half of the proceeds go directly to the artist, so no need to feel guilty when you tell your significant other that his or her new piece of artwork is "priceless" — it may have been cheap, but it was for a great cause.

Dec. 5–30. Opening-weekend hours: Dec. 5, 6–9 p.m.; Dec. 6–7, 1–6 p.m. Regular gallery hours: Mon.–Fri., 10 a.m.–3 p.m.; Sat., 11 a.m.–6 p.m. Creativity Explored, 3245 16th St., SF. (415) 863-2108, www.creativityexplored.org

KITTINHAWK


Everyone has that one annoyingly hip fashionista friend who’s impossible to shop for. Surprise yours this holiday season with a piece of jewelry from Kittinhawk, a one-of-a-kind clothing and jewelry line handmade from vintage and recycled materials. Designer Allysun Dutra describes her wares as perfect for "people who love to be extravagant and fancy while still being conscious of the environment." Whether you decide on a pair of dangly feathered earrings, a choker adorned with pearls and vintage keys, or a whimsical charm bracelet, there’s no doubt it will be your friend’s favorite new statement piece.

Bell Jar, 187 16th St., S.F. (415) 626-1749, www.kittinhawk.com

ECO HOLIDAY SF


As painful as shopping malls are during the holidays, there’s something to be said for the convenience of doing all your gift buying under one roof. Still, who wants to deal with pushy fellow shoppers, corny decorations, and gross food court cuisine? This year, check out the first annual Eco Holiday SF, presented by the Urban Alliance for Sustainability, a nonprofit co-op in San Francisco. This localism extravaganza (all products will be from within 100 miles of the city) will offer items like earth-friendly RocknSocks slippers, handmade jewelry, and organic fair-trade chocolate truffles. The celebration will also feature the Bio-Shuttle, a bus service to and from BART; valet bike parking; "healing spaces"; healthy food; and cocktails. Hopefully some Macy’s representatives can drop by and take a tip or two.

Dec. 14, 11:11 a.m.–8:08 p.m., the Galleria, San Francisco Design Center, 101 Henry Adams, S.F. (415) 255-8411, www.ecoholidaysf.com

MARRIAGE EQUALITY USA; HUMAN RIGHTS CAMPAIGN


Show your opposition to the passing of Proposition 8 by giving your loved ones marriage-equality–themed presents this holiday season. Oakland-based Marriage Equality USA will be selling holiday CDs ($20) featuring slightly altered versions of your seasonal favorites. Expect lyrics like "Wedding bells ring / Are you listening / No more second class citizens, / We’re happy tonight / Our goal is in sight / 1100 federal marriage rights." Order the CD on the Web site or stop by Union Square, where MEUSA employees will be caroling throughout the holiday season. You can also pick up locally made equality- and Castro-themed T-shirts, as well as Christopher Radko–designed holiday ornaments, at the Human Rights Campaign’s San Francisco store. Regardless of what gift you choose, your money will be going to a great and important cause.

Marriage Equality USA, www.marriageequalityusa.org. HRC Action Center and Store, 600 Castro, SF. (415) 431-2200, hrccornerstore.myimagefirst.com/store *

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Pics: No on 8 Impact rally brings chills, tears

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Text by Marke B., photos by David Schnur

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Some thousands of amped-up queers hit the streets last Saturday for the huge No on 8 “Join the Impact” rally in the Civic Center, and subsequent march up Market Street. “Join the Impact” — started by a lowly viral email from one friend to another in Seattle — fabulously grew to encompass hundreds more cities, and brought out the crem de la creme of queer intelligentsia. Several speakers highlighted the diversity of the movement, including the controversial Rev. Amos Brown, who brought the crowd to tears and chills with an incredibly stirring call to solidarity between the gay and African American communities — and Carole Migden who, in a slightly insane rant, called for California to be split in two, one part for queers and the other for bigots. I think she was joking, but who the hell knows? Anyway, it was a beautiful day. The next “Join the Impact” action will be Wednesday, December 10’s “Day Without a Gay” — call in “gay” to work to show the world the biggest bad hair day EVER.

Also, there were lots of hot boys there. You really need to go to the next rally if you missed this one. Total radical yummy. Another also: I know we’re angry, and I’m the last one to say chill out when christianist freaks come into the neighborhood, but the alleged violence in the Castro this weekend, if it happened (I wasn’t there), isn’t very helpful.

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Clubs: Diamond Daggers — disco turkey basters

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By Marke B.

It occurs to me — your nightlife numbskull, your good-times guide — that my Super Ego column this week and its bloggy follow-up, which focussed on some of my fave queer clubs, was a tad phallocentric. Dykes are HOTTT! Including the invisible ones. Here’s an especially lovely lesbian hoedown coming up, with more dyke nightlife delights to come.

Diamond Daggers Disco Thanksgiving

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The enormously talented and flexible all-queer-women burlesque troop Diamond Daggers blew naughty minds at the Castro Street Fair and have been perfoming monthly at Fat City lately. Who can deny their death-defying feats of daring dykeness? Not me. This time around, on Sat Nov. 22, they’re presenting a “Disco Thanksgiving” for all you polyester turkeys stuffed with shards of mirror ball and platform giblets.

Oh yes, there’s an especially all-star lineup for this one as well: dark god Vinsantos, “princess of pork” drag superstar Glamamore, fabulously nimble SF Boylesque troupe, local cabaret starlet and “Oakland’s Chocolate Kisses of Burlesque” Alotta Boutte, drag king singer Leigh Crow aka Elvis Herselvis, and many, many more than listable in this infinite webspace. The disco part will be provided by girl-about-town DJ Campbell and the mysterious C’est Jille. C’est chic! Let’s freak!

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Diamond Daggers Disco Thanksgiving
Sat/22, doors 9pm, show 10:30pm
$12-$20 sliding scale
Fat City
314 11th St., SF.
www.myspace.com/DiamondDaggersBurlesque

Last stand at the Harding Theater!

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Richard Reineccius says “Don’t mourn, renovate the Harding” theater and save this historic landmark

By Bruce B. Brugmann

Well, hopefully this isn’t the last stand for the Harding Theater in the Western Addition. But I wanted to use the line that we used for years in the passionate and unending battle to save the Goodman Building off of Van Ness Ave.

The battle was lost to save the original building but there was a complicated deal done in which the people in the Goodman Building ended up in the Thick Description Theater Building at 1695 l8th st. on Potrero Hill.
The theater is the lineal descendant of the old Julian theater, one of the city’s finest and most avant garde neighborhood theaters founded by Richard Reineccius and Doug Giebel.

It most fitting that Richard is now a leader in the fight to save the Harding theater. Here’s his call to arms on a hearing for the latest proposal to demolish the building at a hearing on Thursday (11/13/08) before the city planning commission.

A FULL HEARING FOR THE HARDING

by Richard Reineccius

The SF City Planning Commission will this week hear the latest proposal for demolishing much of an historic theater at 616 Divisadero Street, erecting a multi-story apartment building plus retail space on the premises. The hearing will be on Thursday afternoon 11/13, Room 400 City hall. (www.sfgov.org/planning)

The Harding Theater in SF’s once artistically vibrant and stylish Western Addition hasn’t seen audiences for live performances or films in a number of years, but is an excellent candidate for saving, not only as an arts space but as a development catalyst for the neighborhood. While not currently listed as a historic landmark, it in fact is one, being the last intact theater remaining in the city designed by the famous Reid Brothers firm (Fairmont Hotel, Grand Lake Theater in Oakland, SF’s Roosevelt and Castro Theaters, Byron Hot Springs Spa Hotel, more)

The people’s election

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› news@sfbg.com

By midnight Nov. 4, the drama was long over: John McCain had conceded, Barack Obama had delivered his moving victory speech — declaring that “change has come to America” — and the long national nightmare of the Bush years was officially headed for the history books.

But in San Francisco, the party was just getting started.

Outside of Kilowatt, on 16th Street near Guerrero, the crowd of celebrants was dancing to the sounds of a street drummer. In the Castro District, a huge crowd was cheering and chanting Obama’s name. And on Valencia and 19th streets, a spontaneous outpouring of energy filled the intersection. Two police officers stood by watching, and when a reporter asked one if he was planning to try to shut down the celebration and clear the streets, he smiled. “Not now,” he said. “Not now.”

Then, out of nowhere, the crowd began to sing: O say can you see /By the dawn’s early light …

It was a stunning moment, as dramatic as anything we’ve seen in this city in years. In perhaps the most liberal, counterculture section of the nation’s most liberal, counterculture city, young people by the hundreds were proudly singing The Star Spangled Banner. “For the first time in my life,” one crooner announced, “I feel proud to be an American.”

Take that, Fox News. Take that Sean Hannity and Rush Limbaugh and Sarah Palin and the rest of the right-wing bigots who have tried to claim this country for themselves. On Nov. 4, 2008, progressives showed the world that we’re real Americans, too, proud of a country that has learned from its mistakes and corrected its course.

President Obama will let us down soon enough; he almost has to. The task at hand is so daunting, and our collective hopes are so high, that it’s hard to see how anyone could succeed without a few mistakes. In fact, Obama already admitted he won’t be “a perfect president.” And when you get past the rhetoric and the rock star excitement, he’s taken some pretty conservative positions on many of the big issues, from promoting “clean coal” and nuclear power to escautf8g the war in Afghanistan.

But make no mistake about it: electing Barack Obama was a progressive victory. Although he never followed the entire progressive line in his policy positions, he was, and is, the creature of a strong progressive movement that can rightly claim him as its standard-bearer. He was the candidate backed from the beginning by progressives like Supervisors Chris Daly and Ross Mirkarimi (a Green). And only after his improbable nomination did moderates like Mayor Gavin Newsom and Sen. Dianne Feinstein jump on the bandwagon.

From the start, the young, activist, left wing of the Democratic Party was the driving force behind the Obama revolution. And while he has always talked to the Washington bigwigs — and will populate his administration with many of them — he would never have won without the rest of us. And that’s a fact of political life it will be hard for him to ignore, particularly if we don’t let him forget it.

For a few generations of Americans — everyone who turned 18 after 1964 — this was the first presidential election we’ve been able to get truly excited about. It was also the first presidential election that was won, to a significant extent, on the Internet, where progressive sites like dailykos.com raised millions of dollars, generated a small army of ground troops, and drove turnout in both the primaries and the general election. The movement that was built behind Obama can become a profound and powerful force in American politics.

So this was, by any reasonable measure, the People’s Election. And now it’s the job of the people to keep that hope — and that movement — alive, even when its standard-bearer doesn’t always live up to our dreams.

The evidence that this was the People’s Election wasn’t just at the national level. It showed up in the results of the San Francisco elections as well.

This was the election that would demonstrate, for the first time since the return of district elections, whether a concerted, well-funded downtown campaign could trump a progressive grassroots organizing effort. Sure, in 2000, downtown and then-Mayor Willie Brown had their candidates, and the progressives beat them in nearly every race. But that was a time when the mayor’s popularity was in the tank, and San Franciscans of all political stripes were furious at the corruption in City Hall.

“In 2000, I think a third of the votes that the left got came from Republicans,” GOP consultant Chris Bowman, who was only partially joking, told us on election night.

This time around, with the class of 2000 termed out, a popular mayor in office and poll numbers and conventional wisdom both arguing that San Franciscans weren’t happy with the current Board of Supervisors (particularly with some of its members, most notably Chris Daly), many observers believed that a powerful big-money campaign backing some likable supervisorial candidates (with little political baggage) could dislodge the progressive majority.

As late as the week before the election, polls showed that the three swings districts — 1, 3, and 11 — were too close to call, and that in District 1, Chamber of Commerce executive Sue Lee could be heading for a victory over progressive school board member Eric Mar.

And boy, did downtown try. The big business leaders, through groups including the Committee on Jobs, the Chamber, the Association of Realtors, Plan C, the newly-formed Coalition for Responsible Growth, and the Building Owners and Managers Association, poured more than $630,000 into independent expenditures smearing progressive candidates and promoting the downtown choices. Newsom campaigned with Joe Alioto, Jr. in District 3 and Ahsha Safai in District 11. Television ads sought to link Mar, John Avalos, and David Chiu with Daly.

Although the supervisors have no role in running the schools, the Republicans and downtown pushed hard to use a measure aimed at restoring JROTC to the city’s high schools as a wedge against the progressives in the three swing districts. They also went to great lengths — even misstating the candidates’ positions — to tar Mar, Chiu, and Avalos with supporting the legalization of prostitution.

And it didn’t work.

When the votes were counted election night, it became clear that two of the three progressives — Avalos and Chiu — were headed for decisive victories. And Mar was far enough ahead that it appeared he would emerge on top.

How did that happen? Old-fashioned shoe leather. The three campaigns worked the streets hard, knocking on doors, distributing literature, and phone banking.

“I’ve been feeling pretty confident for a week,” Avalos told us election night, noting his campaign’s strong field operation. As he knocked on doors, Avalos came to understand that downtown’s attacks were ineffective: “No one bought their horseshit.”

A few weeks earlier, he hadn’t been so confident. Avalos said that Safai ran a strong, well-funded campaign and personally knocked on lots of doors in the district. But ultimately, Avalos was the candidate with the deepest roots in the district and the longest history of progressive political activism.

“This is really about our neighborhood,” Avalos told us at his election night party at Club Bottom’s Up in the Excelsior District. “It was the people in this room that really turned it around.”

The San Francisco Labor Council and the tenants’ movement also put dozens of organizers on the ground, stepping up particularly strongly as the seemingly coordinated downtown attacks persisted. “It was, quite literally, money against people, and the people won,” Labor Council director Tim Paulson told us.

Robert Haaland, a staffer with the Service Employees International Union and one of the architects of the campaign, put it more colorfully: “We ran the fucking table,” he told us election night. “It’s amazing — we were up against the biggest downtown blitz since district elections.”

The evidence suggests that this election was no anomaly: the progressive movement has taken firm hold in San Francisco, despite the tendency of the old power-brokers — from Newsom to downtown to both of the city’s corporate-owned daily newspapers — to try to marginalize it.

Political analyst David Latterman of Fall Line Analytics began the Nov. 5 presentation at the San Francisco Planning and Urban Research Association election wrap-up by displaying an ideologically-coded map of San Francisco, drawing off of data from the Progressive Voter Index that he developed with San Francisco State University political science professor Rich de Leon. The PVI is based on how San Francisco residents in different parts of the city vote on bellwether candidates and ballot measures.

“Several of the districts in San Francisco discernibly moved to the left over the last four to eight years,” Latterman told the large crowd, which was made up of many of San Francisco’s top political professionals.

The two supervisorial districts that have moved most strongly toward the progressive column in recent years were Districts 1 (the Richmond) and 11 (the Excelsior), which just happened to be two of the three swing districts (the other being District 3–North Beach and Chinatown) that were to decide the balance of power on the Board of Supervisors this election.

Latterman said Districts “1, 3, and 11 went straight progressive, and that’s just the way it is.”

In fact, in many ways, he said this was a status-quo election, with San Francisco validating the progressive-leaning board. “A lot of people in the city didn’t see it as a chance for a drastic change citywide.”

In other words, keeping progressives in City Hall has become a mainstream choice. Whatever downtown’s propaganda tried to say, most San Franciscans are happy with a district-elected board that has brought the city a living-wage law and moved it a step toward universal health insurance.

The fate of the local ballot measures was another indication that Newsom, popular as he might be, has little ability to convince the voters to accept his policy agenda.

Voters rejected efforts by Newsom to consolidate his power, rejecting his supervisorial candidates, his Community Justice Center (as presented in Measure L), and his proposed takeover of the Transportation Authority (soundly defeating Proposition P) while approving measures he opposed, including Propositions M (protecting tenants from harassment) and T (Daly’s guarantee of substance abuse treatment on demand).

Asked about it at a post-election press conference, Newsom tried to put a positive spin on the night. “Prop. A won, and I spent three years of my life on it,” he said. “Prop B. was defeated. Prop. O, I put on the ballot. I think it’s pretty small when you look at the totality of the ballot.” He pointed out that his two appointees — Carmen Chu in District 4 and Sean Elsbernd in District 7 — won handily but made no mention of his support for losing candidates Lee, Alicia Wang, Alioto, Claudine Cheng, and Safai.

“You’ve chosen two as opposed to the totality,” Newsom said of Props. L and P. “Prop. K needed to be defeated. Prop. B needed to be defeated.”

Yet Newsom personally did as little to defeat those measures as he did to support the measures he tried to claim credit for: Measures A (the General Hospital rebuild bond, which everyone supported) and revenue-producing Measures N, O, and Q. In fact, many labor and progressives leaders privately grumbled about Newsom’s absence during the campaign.

Prop. K, which would have decriminalized prostitution, was placed on the ballot by a libertarian-led signature gathering effort, not by the progressive movement. And Prop. B, the affordable housing set-aside measure sponsored by Daly, was only narrowly defeated — after a last-minute attack funded by the landlords.

All three revenue-producing measures won by wide margins. Prop. Q, the payroll tax measure, passed by one of the widest margins — 67-33.

Latterman and Alex Clemens, owner of Barbary Coast Consulting and the SF Usual Suspects Web site, were asked whether downtown might seek to repeal district elections, and both said it didn’t really matter because people seem to support the system. “I can’t imagine, short of a tragedy, district elections going anywhere,” Latterman said.

Clemens said that while downtown’s polling showed that people largely disapprove of the Board of Supervisors — just as they do most legislative bodies — people generally like their district supervisor (a reality supported by the fact that all the incumbents were reelected by sizable margins).

“It ain’t a Board of Supervisors, it is 11 supervisors,” Clemens said, noting how informed and sophisticated the San Francisco electorate is compared to many other cities. “When you try to do a broad-based attack, you frequently end up on the wrong end (of the election outcome).”

We had a bittersweet feeling watching the scene in the Castro on election night. While thousands swarmed into the streets to celebrate Obama’s election, there was no avoiding the fact that the civil-rights movement that has such deep roots in that neighborhood was facing a serious setback.

The Castro was where the late Sup. Harvey Milk started his ground-breaking campaign to stop the anti-gay Briggs Initiative in 1978. Defying the advice of the leaders of the Democratic Party, Milk took on Briggs directly, debating him all over the state and arguing against the measure that would have barred gay and lesbian people from teaching in California’s public schools.

The defeat of the Briggs Initiative was a turning point for the queer movement — and the defeat of Prop. 8, which seeks to outlaw same-sex marriage, should have been another. Just as California was the most epic battle in a nationwide campaign by right-wing bigots 30 years ago, anti-gay marriage measures have been on the ballot all over America. And if California could have rejected that tide, it might have taken the wind out of the effort.

But that wasn’t to be. Although pre-election polls showed Prop. 8 narrowly losing, it was clear by the end of election night that it was headed for victory.

Part of the reason: two religious groups, the Catholics and the Mormons, raised and spent some $25 million to pass the measure. Church-based groups mobilized a reported 100,000 grassroots volunteers to knock on doors throughout California. Yes on 8 volunteers were as visible in cities throughout California as the No on 8 volunteers were on the streets of San Francisco, presenting a popular front that the No on 8 campaign’s $35 million in spending just couldn’t counter — particularly with so many progressive activists, who otherwise would have been walking precincts to defeat Prop. 8, fanned out across the country campaigning for Obama.

“While we knew the odds for success were not with us, we believed Californians could be the first in the nation to defeat the injustice of discriminatory measures like Proposition 8,” a statement on the No on Prop. 8 Web site said. “And while victory is not ours this day, we know that because of the work done here, freedom, fairness, and equality will be ours someday. Just look at how far we have come in a few decades.”

San Francisco City Attorney Dennis Herrera, joined by Los Angeles City Attorney Rocky Delgadillo and Santa Clara County Counsel Ann C. Raven, filed a legal challenge to Prop. 8, arguing that a ballot initiative can’t be used to take away fundamental constitutional rights.

“Such a sweeping redefinition of equal protection would require a constitutional revision rather than a mere amendment,” the petition argued.

“The issue before the court today is of far greater consequence than marriage equality alone,” Herrera said. “Equal protection of the laws is not merely the cornerstone of the California Constitution, it is what separates constitutional democracy from mob rule tyranny. If allowed to stand, Prop. 8 so devastates the principle of equal protection that it endangers the fundamental rights of any potential electoral minority — even for protected classes based on race, religion, national origin, and gender.”

That may succeed. In fact, the state Supreme Court made quite clear in its analysis legalizing same-sex marriage that this was a matter of fundamental rights: “Although defendants maintain that this court has an obligation to defer to the statutory definition of marriage contained in [state law] because that statute — having been adopted through the initiative process — represents the expression of the ‘people’s will,’ this argument fails to take into account the very basic point that the provisions of the California Constitution itself constitute the ultimate expression of the people’s will, and that the fundamental rights embodied within that Constitution for the protection of all persons represent restraints that the people themselves have imposed upon the statutory enactments that may be adopted either by their elected representatives or by the voters through the initiative process.

As the United States Supreme Court explained in West Virginia State Board of Education vs. Barnette (1943) 319 U.S. 624, 638: ‘The very purpose of a Bill of Rights was to withdraw certain subjects from the vicissitudes of political controversy, to place them beyond the reach of majorities and officials and to establish them as legal principles to be applied by the courts. One’s right to life, liberty, and property, to free speech, a free press, freedom of worship and assembly, and other fundamental rights may not be submitted to vote; they depend on the outcome of no elections.'”

As Board of Supervisors President Aaron Peskin told the Guardian later that week: “Luckily, we have an independent judiciary, because the voters of California have mistakenly taken away a class of civil rights.”

But if that legal case fails, this will probably wind up on the state ballot again. And the next campaign will have to be different.

There already have been many discussions about what the No on 8 campaign did wrong and right, but it’s clear that the queer movement needs to reach out to African Americans, particularly black churches. African Americans voted heavily in favor of Prop. 8, and ministers in many congregations preached in favor of the measure.

But there are plenty of black religious leaders who took the other side. In San Francisco the Rev. Amos Brown, who leads the Third Baptist Church, one of the city’s largest African American congregations, spoke powerfully from the pulpit about the connections between the civil rights struggles of the 1960s and the fight for same-sex marriage.

The next time this is on the ballot, progressive and queer leaders will need to build a more broad-based movement. That is not only possible, but almost inevitable.

The good news — and it’s very good news — is that (as Newsom famously proclaimed) same-sex marriage is coming, whether opponents like it or not. That’s because the demographics can’t be denied: the vast majority of voters under 30 support same-sex marriage. This train is going in only one direction, and the last remaining issue is how, and when, to make the next political move.

The progressives didn’t win everything in San Francisco. Proposition H, the Clean Energy Act, was taken down by one of the most high-priced and misleading campaigns in the city’s history. Pacific Gas and Electric Co. spent more than $10 million telling lies about Prop. H, and with the daily newspapers virtually ignoring the measure and never challenging the utility’s claims, the measure went down.

“This was a big, big, big money race,” Latterman said. “In San Francisco, you spend $10 million and you’re going to beat just about anything.”

But activists aren’t giving up on pushing the city in the direction of more renewable energy (see Editorial).

Latterman said the narrow passage of Prop. V, which asked the school board to consider reinstating JROTC, wasn’t really a victory. “I would not call this a mandate. I worked with the campaign, and they weren’t looking for 53 percent. They were looking for 60-plus percent,” Latterman said. “I think you’ll see this issue just go away.”

Neither Latterman nor Clemens would speculate on who the next president of the Board of Supervisors will be, noting that there are just too many variables and options, including the possibility that a newly elected supervisor could seek that position.

At this point the obvious front-runner is Ross Mirkarimi, who not only won re-election but received more votes than any other candidate in any district. Based on results at press time, more than 23,000 people voted for Mirkarimi; Sean Elsbernd, who also had two opponents, received only about 19,000.

Mirkarimi worked hard to get Avalos, Chiu, and Mar elected, sending his own volunteers off to those districts. And with four new progressives elected to the board, joining Mirkarimi and veteran progressive Chris Daly, the progressives ought to retain the top job.

Daly tells us he won’t be a candidate — but he and Mirkarimi are not exactly close, and Daly will probably back someone else — possibly one of the newly elected supervisors.

“It’s going to be the most fascinating election that none of us will participate in,” Clemens said.

The danger, of course, is that the progressives will be unable to agree on a candidate — and a more moderate supervisor will wind up controlling committee appointments and the board agenda.

One of the most important elements of this election — and one that isn’t being discussed much — is the passage of three revenue-generating measures. Voters easily approved a higher real-estate transfer tax and a measure that closed a loophole allowing law firms and other partnerships to avoid the payroll tax. Progressives have tried to raise the transfer tax several times in the past, and have lost hard-fought campaigns.

That may mean that the anti-tax sentiment in the city has been eclipsed by the reality of the city’s devastating budget problems. And while Newsom didn’t do much to push the new tax measures, they will make his life much easier: the cuts the city will face won’t be as deep thanks to the additional $50 million or so in revenue.

It will still be a tough year for the new board. The mayor will push for cuts that the unions who supported the newly elected progressives will resist. A pivotal battle over the city’s future — the eastern neighborhoods rezoning plan — will come before the new board in the spring, when the recent arrivals will barely have had time to move into their offices.

Obama, of course, will face an even tougher spring. But progressives can at least face the future knowing that not only could it have been a lot worse; for once things might be about to get much better.

Amanda Witherell and Sarah Phelan contributed to this report.

Editor’s Notes

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The Castro District on election night was filled with joy and excitement as people poured out into the streets to celebrate the Obama victory. Three nights later, the streets were filled with people protesting, not reveling. That was the weird thing about being a San Franciscan this past week: we won a world-changing victory in the presidential race, and won most of the key races locally — but on same-sex marriage, we lost.

There are plenty of reasons for that, and we talk about some of them in this issue. There have been protests at Mormon churches and at some Catholic churches, as there should be, since those two religious groups raised most of the Yes on Proposition 8 money. (And can you imagine how many low-income Catholic-school kids could have been educated and how many hungry people could have been fed for the more than $25 million these folks spent trying to keep people from getting married?)

But if San Francisco really wants a poster boy for the attack on same-sex marriage, a local symbol of bigotry, he’s right in front of us: Archbishop George Niederauer.

Now, if you’re a Catholic archbishop, you kind of have to accept the church’s dogma, which says that marriage is a sacrament that can only be bestowed on a man and a woman. Whatever — he can believe and preach what he wants.

But if you’re the archbishop of San Francisco, you don’t have to mount a major political campaign against same-sex marriage. You could decide to use the church’s influence and money helping the poor, for example, which is pretty much what Jesus did. I might have missed that lesson in Catholic school, but I don’t remember the Big J ever saying a word about gay marriage.

Instead, Niederauer and his colleagues made Prop. 8 a huge issue. A flyer produced by the archbishop and handed out widely contained some glaring, inaccurate homophobic crap, including this: "If the Supreme Court ruling stands, public schools may have to teach children that there is no difference between traditional marriage and ‘gay marriage.’"

That infuriated Matt Dorsey, a gay Catholic who is active in Most Holy Redeemer Church. "Far worse than mere falsehood," he said, "is that the claim deliberately plays to the most hateful, vicious stereotypes and fears about gays and lesbians — that they are out to recruit (and perhaps even seduce) children."

Dorsey told me that this was part of a clear political campaign. "I would argue that the Catholic bishops in California made a cold, calculated, Karl Rovian decision that they were going to put a lot of skin in the game, so to speak, to beat gays and lesbians," he said, "even to the exclusion of prevailing on, say, Prop. 4 about parental notification for abortion. One would assume abortion is still opposed by Catholic bishops, right? Well, one would hardly have known it by this election. Gays and lesbians were the archbishop’s enemy this year, and abortion got a pass."

Again: I don’t expect the Catholic church to change its position and start marrying same-sex couples, not any time soon, anyway. And Niederauer can’t be expected to openly break with the Vatican. But for the archbishop of a city like San Francisco — a church leader who has a surprising number of queers and same-sex couples in his flock — to put so many resources into going after people with such an un-Christian hatred was over-the-top unnecessary. And by the way, this guy never talks to the press and won’t return my phone calls.

The good news, of course, is that the archbishop and his colleagues are on the losing side of history. Catholics voted for Prop. 8 by a 64 percent margin — but people under 30 (of all faiths and ethnic groups) voted against it by about the same percentage. Same-sex marriage is going to be part of the nation’s future, whether Niederauer likes it or not.