Energy

Live Shots: Queens of the Stone Age, Fox Theater, 4/11/11

Andrew Lam
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Racing up and down the pavement on Telegraph Avenue, the scalpers were grinding hard outside the Fox Theater on Monday night, perhaps with an inkling that the venue might not be standing by the time the Queens of the Stone Age left the stage in a few hours. True to form, Josh Homme and crew all but blew the Fox to pieces with a monstrous rendering of their debut album, as well as two hefty encores that showcased the stoner age rock royalty in all of their primal glory.

Winding down a ferocious “Walkin’ on the Sidewalks” behind their Mongol-on-a-warpath drummer Joey Castillo, keyboardist Dean Fertita (recently of Dead Weather fame) dialed up the intro for Homme to lay into the sleazy start-and-stop riff of “You Would Know.”  They were barely a half dozen songs in, but it was apparent that the juggernaut assault of the Queens’ self-titled debut was offering the audience a glimpse into the band’s nerve center, to the raw and infectious source of one of the best rock outfits of the past decade.

Though his has been dubbed stoner rock, Homme seems to have delved deeply into his Southern California music environment, with traces of Jane’s Addiction-channeling-Zeppelin against Hollywood glam and a dark dose of Doors psychedelia. Songs like “Mexicola” and “You Can’t Quit Me Baby” matched live wire energy against stunning musicianship. 

The following encores included a great cross section of the band’s more recent material, with radio hits “Little Sister” and “Go With the Flow” receiving the biggest ovations. But it was a pair of fan favorites – “Better Living Through Chemistry” and “Song for the Dead” – that capped off the performance with proper might, and caused you to wonder why so few live shows these days ever achieve such sonic magnitudes.

The crowd spilt out of the theater half dazed and nearly deaf, but mostly satisfied. Although this show at the Fox showcased the Queens at their beginning, it left you anxious for what they will do next.

 

Setlist:

Regular John

Avon

If Only

Walkin’ on the Sidewalks

You Would Know

How to Handle a Rope

Mexicola

Hispanic Impressions

The Bronze

Give the Mule What He Wants

I was a Teenage Hand Model

You Can’t Quit Me Baby

 

Encore:

Monster in the Parasol

Burn the Witch

Make It Wit Chu

Little Sister

 

Encore 2:

Better Living Through Chemistry

Go With the Flow

A Song For the Dead

 

New school

Andrew Lam
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New school

CAREERS AND ED You don’t need a degree, or even the patience to sift through US Census Bureau reports on educational attainment, to know that each year this nation graduates more students from institutions of higher ed — public and private universities, colleges, junior colleges, and professional schools — than it did the year before. San Francisco is second only to Seattle in the number of papered persons running around, and statistics say that they, in turn, are more likely to raise little educational overachievers of their own. With this glut of matriculation on the horizon, it’s hard not to ponder the degree programs of the future: an associate’s in astrotourism? A bachelor’s of biosynthetic anatomy? A PhD of P4TA? (That’s “preparing for the apocalypse” for the cyber-stupid.) Hard to say. But before we get carried away, here’s a sampling of programs fit for a brave new world that can be found in the here and now.

 

SOLAR PHOTOVOLTAIC DESIGN AND INSTALLATION

California South Bay University sits smack-dab in the center of Silicon Valley, so it’s no surprise that the offerings are high-tech. The larger California zeitgeist seems to be rolling in on the San Francisco fog, though, and interesting patterns — like a master’s of science in green energy technology — have emerged. But the university really takes advantage of the Santa Clara Valley sunshine (and billowing demand for sustainable energy) with its Interstate Renewable Energy Council-accredited certificate program in solar photovoltaics, the science of connecting the two. If a full-fledged degree isn’t in your forecast, the school offers two 40-hour courses that might be a perfect fit.

California South Bay University, 1107 North Fair Oaks, Sunnyvale. (408) 400-9008, www.csbu.us

 

INTERACTION DESIGN

Degrees in video-game design and Web programming are old hat, but California College of the Arts takes the idea of the user interface beyond the screen, and plugs it back into real life. The school’s focus on design that users can interact with includes classes on platforms from cell phone to sculpture, game console to gallery, preparing students to “create meaningful and innovative designed experiences in the realms of work, lifestyle, and play.” Vague? Yes. Useful? Possibly. That three-dimensional holographic surround-sound computer interface that Tom Cruise uses in Minority Report? Get your virtual-reality gloves out ’cause it’s on its way …

California College of the Arts, 1111 Eighth St., SF. 1-800-477-1278, www.cca.edu

 

LANDSCAPE HORTICULTURE

Horticulture goes high-tech at Merritt College. The school claims to have all the most up-to-date equipment in the field, and with 5,000 square feet of computerized greenhouses, a 5,000-square-foot lath house, a floral and drafting lab, and disciplines such as “turf management,” we doubt anyone would argue. And to think, we were still relying on dirt, sun, and water to do our growing.

Merritt College, 12500 Campus Drive, Oakl. (510) 531-4911, www.merritt.edu

 

BOOK ART AND CREATIVE WRITING

This master’s program allows students to develop as writers and visual artists simultaneously, and encourages a “deep exploration of the book form in both content and materiality.” The interplay of form and content is not a new academic trope, but given that physical codices may soon be obsolete, taking a moment to ponder the book as object might not be a bad idea — lest future generations wonder why we wrote all over our toilet paper. Literary artifacts? Worth checking out!

Mills College, 5000 MacArthur Blvd., Oakl. (510) 430-2255, www.mills.edu

 

GREEN AND SUSTAINABLE TRAVEL

Tourists looking for a tequila sunrise and a tan may not realize that the pool they’re baking beside used to be a jungle. Each year, sensitive wildlife areas the world over are steamrolled under hotel strips. At the same time, environmentally-conscious tourism has become a booming industry. Given the facts, a student could do worse than this City College Business School program. The quickie certificate takes just a year — not a bad thing, considering ecotourism’s popularity and the rapidly decreasing availability of stuff left to tour.

City College of San Francisco, Ocean Campus, 50 Phelan, SF. (415) 239-300, www.ccsf.edu

 

HIV/STI PREVENTION

With a focus on risk reduction counseling, data collection, and outreach strategies, this one-year certificate in HIV/STI prevention studies from City College’s health education department just seems like a really good plan to bring a brighter future to all.

City College of San Francisco, Ocean Campus, 50 Phelan, SF. (415) 239-3000, www.ccsf.edu

 

FOLKLORE

Preparing for the future is all about remembering the past … or so might say a folklorist with a master’s or doctorate from UC Berkeley. An interdisciplinary degree from the department of anthropology, folkloristics (that’s the term) provide a new spin on the studies of ethnicity, nationality, gender, and sexuality, as well as the chance to revive vernacular tales, customs, beliefs, and plain ol’ stories from days gone by.

UC Berkeley, 318 Sproul Hall No. 5900, Berk. (510) 642-7405, www.berkeley.edu

 

RAZA STUDIES

That “melting pot” we all learned about in grade school is on the boil — bubbling with a range of issues both sweet and spicy, and some we haven’t even tasted yet. As our country continues to diversify, equity, social justice, and community empowerment will only become more important. San Francisco State University’s B.A. in raza studies seeks to offer future leaders the knowledge, skills, and social consciousness necessary to navigate an increasingly complex social landscape.

San Francisco State University, 1600 Holloway Ave., SF. (415) 338-1111, www.sfsu.edu

 

TAXATION

If everything else on this list is just a bit too futuristic and far out, Golden Gate University offers one of the country’s oldest and best-respected graduate programs in taxation. Looking for the ultimate in job security? This is your best bet since the San Francisco College of Mortuary Sciences closed in 2002. Death … and taxes. Golden Gate University School of Taxation, 536 Mission, SF. (415) 442-7880, www.ggu.edu

The failed experiment

Andrew Lam
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The failed experiment

news@sfbg.com

For three decades we have conducted a massive economic experiment, testing a theory known as supply-side economics. The theory goes like this: Lower tax rates will encourage more investment, which in turn will mean more jobs and greater prosperity — so much so that tax revenues will go up, despite lower rates.

The late Milton Friedman, the libertarian economist who wanted to shut down public parks because he considered them socialism, promoted this strategy. Ronald Reagan embraced Friedman’s ideas and made them into policy when he was elected president in 1980.

For the past decade, we have doubled down on this theory of supply-side economics with the tax cuts sponsored by President George W. Bush in 2001 and 2003, which President Barack Obama has agreed to continue for two years.

You would think that whether this grand experiment worked would be settled after three decades. You would think the practitioners of the dismal science of economics would look at their demand curves and the data on incomes and taxes and pronounce a verdict, the way Galileo and Copernicus did when they showed that geocentrism was a fantasy because the Earth revolves around the sun (known as heliocentrism). But economics is not like that. It is not like physics with its laws and arithmetic with its absolute values.

Tax policy is something the framers of the Constitution left to politics. And in politics, the facts often matter less then who has the biggest bullhorn.

The Mad Men who once ran campaigns featuring doctors extolling the health benefits of smoking are now busy marketing the dogma that tax cuts mean broad prosperity, no matter what the facts show.

As millions of Americans prepare to file their annual taxes, they do so in an environment of media-perpetuated tax myths. Here are a few points about taxes and the economy that you may not know, to consider as you prepare to file your taxes. (All figures are inflation adjusted.)

1. Poor Americans do pay taxes.

Gretchen Carlson, the Fox News host, said last year “47 percent of Americans don’t pay any taxes.” John McCain and Sarah Palin both said similar things during the 2008 campaign about the bottom half of Americans.

Ari Fleischer, the former Bush White House spokesman, once said “50 percent of the country gets benefits without paying for them.”

Actually, they pay lots of taxes — just not lots of federal income taxes.

Data from the Tax Foundation shows that in 2008, the average income for the bottom half of taxpayers was $15,300.

This year the first $9,350 of income is exempt from taxes for singles and $18,700 for married couples, just slightly more than in 2008. That means millions of the poor do not make enough to owe income taxes.

But they still pay plenty of other taxes, including federal payroll taxes. Between gas taxes, sales taxes, utility taxes and other taxes, no one lives tax free in America.

When it comes to state and local taxes, the poor bear a heavier burden than the rich in every state except Vermont, the Institute on Taxation and Economic Policy calculated from official data. In Alabama, for example, the burden on the poor is more than twice that of the top 1 percent. The one-fifth of Alabama families making less than $13,000 pay almost 11 percent of their income in state and local taxes, compared with less than 4 percent for those who make $229,000 or more.

2. The wealthiest Americans don’t carry the burden.

This is one of those oft-used canards. Senator Rand Paul, the tea party favorite from Kentucky, told David Letterman recently that “the wealthy do pay most of the taxes in this country.”

The Internet is awash with statements that the top 1 percent pays, depending on the year, 38 percent or more than 40 percent of taxes.

It’s true that the top 1 percent of wage earners paid 38 percent of the federal income taxes in 2008 (the most recent year for which data is available). But people forget that the income tax is less than half of federal taxes and only one-fifth of taxes at all levels of government.

Social Security, Medicare, and unemployment insurance taxes (known as payroll taxes) are paid mostly by the bottom 90 percent of wage earners. That’s because, once you reach $106,800 of income, you pay no more for Social Security, though the much smaller Medicare tax applies to all wages. Warren Buffett pays the exact same amount of Social Security taxes as someone who earns $106,800.

3. In fact, the wealthy are paying less taxes.

The Internal Revenue Service issues an annual report on the 400 highest income-tax payers. In 1961, there were 398 taxpayers who made $1 million or more, so I compared their income tax burdens from that year to 2007.

Despite skyrocketing incomes, the federal tax burden on the richest 400 has been slashed, thanks for a variety of loopholes, allowable deductions and other tools. The actual share of their income paid in taxes, according to the IRS, is 16.6 percent. Adding payroll taxes barely nudges that number.

Compare that to the vast majority of Americans, whose share of their income going to federal taxes increased from 13.1 percent in 1961 to 22.5 percent in 2007.

(By the way, during seven of the eight Bush years, the IRS report on the top 400 taxpayers was labeled a state secret, a policy that the Obama overturned almost instantly after his inauguration.)

4. Many of the very richest pay no current income taxes at all.

John Paulson, the most successful hedge fund manager of all, bet against the mortgage market one year and then bet with Glenn Beck in the gold market the next. Paulson made himself $9 billion in fees in just two years. His current tax bill on that $9 billion? Zero.

Congress lets hedge fund managers earn all they can now and pay their taxes years from now.

In 2007, Congress debated whether hedge fund managers should pay the top tax rate that applies to wages, bonuses and other compensation for their labors, which is 35 percent. That tax rate starts at about $300,000 of taxable income; not even pocket change to Paulson, but almost 12 years of gross pay to the median-wage worker.

The Republicans and a key Democrat, Sen. Charles Schumer of New York, fought to keep the tax rate on hedge fund managers at 15 percent, arguing that the profits from hedge funds should be considered capital gains, not ordinary income, which got a lot of attention in the news.

What the news media missed is that hedge fund managers don’t even pay 15 percent. At least, not currently. So long as they leave their money, known as “carried interest,” in the hedge fund, their taxes are deferred. They only pay taxes when they cash out, which could be decades from now for younger managers. How do these hedge fund managers get money in the meantime? By borrowing against the carried interest, often at absurdly low rates — currently about 2 percent.

Lots of other people live tax-free, too. I have Donald Trump’s tax records for four years early in his career. He paid no taxes for two of those years. Big real-estate investors enjoy tax-free living under a 1993 law President Clinton signed. It lets “professional” real-estate investors use paper losses like depreciation on their buildings against any cash income, even if they end up with negative incomes like Trump.

Frank and Jamie McCourt, who own the Los Angeles Dodgers, have not paid any income taxes since at least 2004, their divorce case revealed. Yet they spent $45 million one year alone. How? They just borrowed against Dodger ticket revenue and other assets. To the IRS, they look like paupers.

In Wisconsin, Terrence Wall, who unsuccessfully sought the Republican nomination for U.S. Senate in 2010, paid no income taxes on as much as $14 million of recent income, his disclosure forms showed. Asked about his living tax-free while working people pay taxes, he had a simple response: everyone should pay less.

5. And (surprise!) since Reagan , only the wealthy have gained significant income.

The Heritage Foundation, the Cato Institute, and similar conservative marketing organizations tell us relentlessly that lower tax rates will make us all better off.

“When tax rates are reduced, the economy’s growth rate improves and living standards increase,” according to Daniel J. Mitchell, an economist at Heritage until he joined Cato. He says that supply-side economics is “the simple notion that lower tax rates will boost work, saving, investment, and entrepreneurship.”

When Reagan was elected president, the marginal tax rate for income was 70 percent. He cut it to 50 percent and then 28 percent starting in 1987. It was raised by George H.W. Bush and Clinton and then cut by George W. Bush. The top rate is now 35 percent.

Since 1980, when President Reagan won election promising prosperity through tax cuts, the average income of the vast majority — the bottom 90 percent of Americans — has increased a meager $303, or 1 percent. Put another way, for each dollar people in the vast majority made in 1980, in 2008 their income was up to $1.01.

Those at the top did better. The top 1 percent’s average income more than doubled to $1.1 million, according to an analysis of tax data by economists Thomas Piketty and Emmanuel Saez. The really rich, the top 10th of 1 percent, each enjoyed almost $4 in 2008 for each dollar in 1980.

The top 300,000 Americans now enjoy almost as much income as the bottom 150 million, the data show.

6. When it comes to corporations, the story is much the same — less taxes.

Corporate profits in 2008, the latest year for which data is available, were $1.8 billion, up almost 12 percent from $1.6 billion in 2000. Yet even though corporate tax rates have not been cut, corporate income-tax revenues fell to $230 billion from $249 billion — an 8 percent decline, thanks to a number of loopholes. The official 2010 profit numbers are not added up and released by the government, but the amount paid in corporate taxes is: in 2010 they fell further, to $191 billion — a decline of more than 23 percent compared with 2000.

7. Some corporate tax breaks destroy jobs.

Despite all the noise that America has the world’s second highest corporate tax rate, the actual taxes paid by corporations are falling because of the growing number of loopholes and companies shifting profits to tax havens like the Cayman Islands.

And right now America’s corporations are sitting on close to $2 trillion in cash that is not being used to build factories, create jobs or anything else, but act as an insurance policy for managers unwilling to take the risk of actually building the businesses they are paid so well to run. That cash hoard, by the way, works out to nearly $13,000 per taxpaying household.

A corporate tax rate that is too low actually destroys jobs. That’s because a higher tax rate encourages businesses (who don’t want to pay taxes) to keep the profits in the business and reinvest, rather than pull them out as profits and have to pay high taxes.

The 2004 American Jobs Creation Act, which passed with bipartisan support, allowed more than 800 companies to bring profits that were untaxed but overseas back to the United States. Instead of paying the usual 35 percent tax, the companies paid just 5.25 percent.

The companies said bringing the money home — “repatriating” it, they called it — would mean lots of jobs. Sen. John Ensign, the Nevada Republican, put the figure at 660,000 new jobs.

Pfizer, the drug company, was the biggest beneficiary. It brought home $37 billion, saving $11 billion in taxes. Almost immediately it started firing people. Since the law took effect, it has let 40,000 workers go. In all, it appears that at least 100,000 jobs were destroyed.

Now Congressional Republicans and some Democrats are gearing up again to pass another tax holiday, promoting a new Jobs Creation Act. It would affect 10 times as much money as the 2004 law.

8. Republicans like taxes too.

President Reagan signed into law 11 tax increases, targeted at people down the income ladder. His administration and the Washington press corps called the increases “revenue enhancers.” Among other things, Reagan hiked Social Security taxes so high that by the end of 2008, the government had collected more than $2 trillion in surplus tax.

George W. Bush signed a tax increase, too, in 2006, despite his written ironclad pledge to never raise taxes on anyone. It raised taxes on teenagers by requiring kids up to age 17, who earned money, to pay taxes at their parents’ tax rate, which would almost always be higher than the rate they would otherwise pay. It was a story that ran buried inside The New York Times one Sunday, but nowhere else.

In fact, thanks to Republicans, one in three Americans will pay higher taxes this year than they did last year.

First, some history. In 2009, President Obama pushed his own tax cut—for the working class. He persuaded Congress to enact the Making Work Pay Tax Credit. Over the two years 2009 and 2010, it saved single workers up to $800 and married heterosexual couples up to $1,600, even if only one spouse worked. The top 5 percent or so of taxpayers were denied this tax break.

The Obama administration called it “the biggest middle-class tax cut” ever. Yet last December the Republicans, poised to regain control of the House of Representatives, killed Obama’s Making Work Pay Credit while extending the Bush tax cuts for two more years — a policy Obama agreed to.

By doing so, Congressional Republican leaders increased taxes on a third of Americans, virtually all of them the working poor, this year.

As a result, of the 155 million households in the tax system, 51 million will pay an average of $129 more this year. That is $6.6 billion in higher taxes for the working poor, the nonpartisan Tax Policy Center estimated.

In addition, the Republicans changed the rate of workers’ FICA contributions, which finances half of Social Security. The result:

If you are single and make less than $20,000, or married and less than $40,000, you lose under this plan.

But the top 5 percent, people who make more than $106,800, will save $2,136 ($4,272 for two-career couples).

9. Other countries do it better.

We measure our economic progress, and our elected leaders debate tax policy, in terms of a crude measure known as gross domestic product. The way the official statistics are put together, each dollar spent buying solar energy equipment counts the same as each dollar spent investigating murders.

We do not give any measure of value to time spent rearing children or growing our own vegetables or to time off for leisure and community service.

And we do not measure the economic damage done by shocks, such as losing a job, which means not only loss of income and depletion of savings, but loss of health insurance, which a Harvard Medical School study found results in 45,000 unnecessary deaths each year

Compare this to Germany, one of many countries with a smarter tax system and smarter spending policies.

Germans work less, make more per hour and get much better parental leave than Americans, many of whom get no fringe benefits such as health care, pensions or even a retirement savings plan. By many measures the vast majority live better in Germany than in America.

To achieve this, single German workers on average pay 52 percent of their income in taxes. Americans average 30 percent, according to the Organizations for Economic Cooperation and Development.

At first blush, the German tax burden seems horrendous. But in Germany (as well as Britain, France, Scandinavia, Canada, Australia, and Japan), tax-supported institutions provide many of the things Americans pay for with after-tax dollars. Buying wholesale rather than retail saves money.

A proper comparison would take the 30 percent average tax on American workers and add their out-of-pocket spending on health care, college tuition, and fees for services and compare that with taxes that the average German pays. Add it all up and the combination of tax and personal spending is roughly equal in both countries, but with a large risk of catastrophic loss in America, and a tiny risk in Germany.

Americans take on $85 billion of debt each year for higher education, while college is financed by taxes in Germany and tuition is cheap to free in other modern countries. While soaring medical costs are a key reason that since 1980 bankruptcy in America has increased 15 times faster than population growth, no one in Germany or the rest of the modern world goes broke because of accident or illness. And child poverty in America is the highest among modern countries — almost twice the rate in Germany, which is close to the average of modern countries.

On the corporate tax side, the Germans encourage reinvestment at home and the outsourcing of low-value work, like auto assembly, and German rules tightly control accounting so that profits earned at home cannot be made to appear as profits earned in tax havens.

Adopting the German system is not the answer for America. But crafting a tax system that benefits the vast majority, reduces risks, provides universal health care and focuses on diplomacy rather than militarism abroad (and at home) would be a lot smarter than what we have now.

Here is a question to ask yourself: We started down this road with Reagan’s election in 1980 and upped the ante in this century with George W. Bush.

How long does it take to conclude that a policy has failed to fulfill its promises? And as you think of that, keep in mind George Washington. When he fell ill his doctors followed the common wisdom of the era. They cut him and bled him to remove bad blood. As Washington’s condition grew worse, they bled him more. And like the mantra of tax cuts for the rich, they kept applying the same treatment until they killed him.

Luckily we don’t bleed the sick anymore, but we are bleeding our government to death.

 

ABOUT THE AUTHOR:

David Cay Johnston is a columnist for tax.com and teaches the tax, property, and regulatory law of the ancient world at Syracuse University College of Law and Whitman School of Management. He has also been called the “de facto chief tax enforcement officer of the United States” because his reporting in The New York Times shut down many tax dodges and schemes, just two of them valued by Congress at $260 billion.

Johnston received a 2001 Pulitzer Prize for exposing tax loopholes and inequities. He wrote two bestsellers on taxes, Perfectly Legal and Free Lunch. Later this year David Cay Johnston will be out with a new book, The Fine Print, revealing how big business, with help from politicians, abuses plain English to rob you blind.

 

Psychic Dream Astrology

Maria Poblet
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April 13-19

Mercury is still retrograde — communicate extra clearly!

ARIES

March 21-April 19

Pursue actions that bring forth joyfulness, Aries. With this many planets in your neck of the woods, your energy is high and your touch golden. Clarify your objectives this week for best results.

TAURUS

April 20-May 20

Setting healthy limits is a great first step, Taurus, but it ain’t enough. You have to enforce them with your behavior. Don’t take on the confusion created by other people’s needs as you strive to figure out your own.

GEMINI

May 21-June 21

Failure to take responsibility for your own needs in relationships will blow up in your face, Twin Star. Don’t wallow in guilt or blame — just get real about where and how things have gone wrong so that you can fix them.

CANCER

June 22-July 22

Rise to the occasion, no matter how stymieing it may be! This week it’s not your situation but how you deal with it that really matters. Regain balance in your life by realigning with your priorities.

LEO

July 23-Aug. 22

You have to make a change, Leo. You’ve been long holding onto something like grim death and it’s been holding you back. Let go before you have to, because letting go feels worse when you don’t have a choice.

VIRGO

Aug. 23-Sept. 22

If you don’t know what to do, then do nothing. If you don’t know how you feel, then take time to connect with yourself and strive to find out. The worst thing you can do this week is let your impatience drive you.

LIBRA

Sept. 23-Oct. 22

It’s break-up time. Whether you need to cut the cord to a person, habit, or attitude the less time you spend lamenting over your loss and the more time you spend taking care of your heart the better. Skip the pity party.

SCORPIO

Oct. 23-Nov. 21

When you don’t know what to do, butter your bread with tender loving’ kindness, Scorpio. You need an attitude adjustment that will help you see things from a fresh perspective, and a touch of nice will help you get there.

SAGITTARIUS

Nov. 22-Dec. 21

Low self-esteem and too much processing over the same point can mess with your view of the overall picture. Reconnect with your vision for yourself and make sure that your actions match your intentions.

CAPRICORN

Dec. 22-Jan. 19

Bring your relationships to the next level without fixating on what that has to look like. You are ready to invest, but don’t confuse that with manipulating the outcome of things. Actively go with the flow.

AQUARIUS

Jan. 20-Feb. 18

Love is in the air, but so are your control issues. Follow your heart without pushing yourself or others around. Love follows laws of alchemy, not Rubik’s cube.

PISCES

Feb. 19-March 20

The best way to screw up a good thing is to let your anxieties get a hold of it. Allow things to develop without the need for reassurance or proof to consistently present itself. You’re on the right track. 

Jessica Lanyadoo has been a psychic dreamer for 16 years. Check out her website at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com.

 

Avalos for mayor? He’s talking about it

Zelda Bronstein
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Avalos for mayor? He’s talking about it

The San Francisco mayor’s race is taking a new twist: Sup. John Avalos — one of the best, most consistent and productive progressives on the board — is looking at running.


Avalos told me he wasn’t interested in the interim mayor job and “this was never on my mind when I ran for supervisor.” But the process of selecting an interim mayor and the politics of Sup. David Chiu’s re-election as board president left him deeply disturbed. “I was blown away by how the process was perverted into a backroom deal based on personal ambition,” he said. “The side of the progressive movement that’s about good government and transparency was lost.”


So he’s been meeting with potential supporters and discussing what an Avalos for Mayor campaign would look like.


Although he’s only been in office two years, Avaos has been Budget Committee chair and has a solid and impressive legislative record (the local hire law being his most recent accomplishment). He has as much experience as Matt Gonzalez did when he ran for mayor (and, obvioulsy, as much experience as Chiu, who is also running.)


He makes the case that the progressive movement is better off in the long term if there’s a strong progressive in the race: “If we don’t have someone running, we won’t do as well in district elections next time,” he said, noting that the progressive victories in 2000 and 2004 were helped by the energy generated by Tom Ammiano’s mayoral campaign in 1999 and the Gonzalez campaign in 2003.


Not everyone in progresive poltics agrees with that analysis; I’ve heard from a number of community leaders who question whether what everyone agrees would be a longshot mayoral campaign is the best use if prorogressive resources right now.
But Avalos, to his immense credit, isn’t going to do this on his own. “I don’t believe in just announcing one day,” he told me. “I’m going to talk to people, and if there’s enough support for me, fine, and if there isn’t, I won’t run.”


That’s a sharp contrast to Chris Daly, who has pretty much announced that if no other progressive runs, he will. And with all due respect to the former District 6 supervisor — who has done a tremendous amount of good for the city, and I mean that with all sincerity — Daly’s not the right person to carry the progressive standard in the November mayor’s race.

First Thursday: Deathly portraits, cubic rams, smudgy painted mutts, and Aids 3-D

John Elberling
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First Thursday: Deathly portraits, cubic rams, smudgy painted mutts, and Aids 3-D

April is usually one of the liveliest months for the make-your-own-maze blitz of art openings that is “first Thursday,” and this year is no exception. One highlight is definitely the debut solo show by Dean Dempsey, who graced the cover of the 2010 Photo Issue of the Guardian, and was interviewed on the Pixel Vision blog. Dempsey has since relocated to New York, and “Selected Works” at Togonon Gallery offers a new glimpse into his idiosyncratic “pictorial sculpture” take on portraiture. Speaking of which, glitter painter Jamie Vasta invokes Caravaggio in a new show at Patricia Sweetow Gallery. More about hers and other openings after the jump.

In “After Caravaggio,” 2007 Guardian “Flaming Creator” Vasta gathers friends and associates as subjects for a take on the master painter that coincides with the 400th anniversary of his death. There’s a deathly presence in more than one or two first Thursday shows, from Dempsey’s and Vasta’s to the X-ray images in Guardian Photo Issue alum David Maisel’s “History’s Shadow” at Haines Gallery, a logically dis-ease oriented extension of his recent large-scale renderings of rusty urns containing the ashes of anonymous mental institution patients.

Other first Thursday shows, works, and exhibitions of note: Aids 3-D (Daniel Kollar and Nik Kosmas) bring audience-energy solar panels to Altman Siegel Gallery; Shawn Smith serves up a colorful cubic ram at Cain Schulte Contemporary Art; Eric Zener presents emotionally evocative tree paintings at Hespe Gallery; Eric Ginsberg’s smudgy mutts and other dogs find a home at Mina Dresden; and Fauxnique talks about performance at Gallery 16.

Snap Sounds: Beach Fossils

John Elberling
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Snap Sounds: Beach Fossils

BEACH FOSSILS
What a Pleasure
(Captured Tracks)

Beach Fossils’ music possesses a brisk energy that — while sonically akin to great ’80s records on labels such as Postcard and Sarah — feels contemporary, or at least youthful. The group lost a guitarist after its debut album last year, yet its guitar sound remains its strong point: the jangly melodicism of this eight-song EP’s title track is early Johnny Marr-caliber, and the harmonic momentum of “Fall Right In” results in maybe the best Beach Fossils track to date, a declaration of affection that’s winning in its simplicity.

After “Out in the Way,” a plainly lovely rendering of abandonment that includes an instrumental contribution from Wild Nothing’s Jack Tatum, the latter half of What a Pleasure strays into darker terrain, exploring melancholy and, as the title of the last song puts it, adversity. The sighing, rolling pattern of the EP’s instrumental opener creeps into the conclusion of “Adversity,” bringing a suggestive a hint of nostalgia as well as hypnotic suggestion (is it time to start all over again from track one?) to the song’s languor. There’s an urge to look backward while moving forward through life, and it suits the band’s sound.

Beach Fossils, “Fall Right In”:

http://www.youtube.com/watch?v=Kb4WkuCVFSI

Beach Fossils, “Out in the Way”:

http://www.youtube.com/watch?v=001nD9NP2a4

 

Working on it

Andrew Lam
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4
Working on it

caitlin@sfbg.com

GREEN ISSUE With the recession fast seeping into the everyday fabric of American life (or at least Monday through Friday’s fabric), the enthusiasm that the term “green jobs” generates can be well understood. But can we really call a $10 hourly pay rate for installing solar panels sustainable? And what would be the bigger of the two triumphs: creating a carbon-free country or a more equitable nation? With partnerships springing up across the country like the Blue Green Alliance, created by the United Steelworkers and the Sierra Club, maybe the two goals aren’t so separate after all. Here are some West Coast organizations fighting to make sure that the environmentally-friendly jobs that do exist — and have yet to be created — pay a decent wage.

 

OAKLAND GREEN JOBS CORPS

Created by the long-time civil rights champions at the Ella Baker Center and other community partners, this program recruits poor young adults to a 38-week course of study that recognizes what it takes to break the cycle of unemployment. Participants begin with classes in basic job skills, literacy, and substance abuse counseling, then continue on to classes at Laney College in basic construction skills, eco-literacy, and specialized green building practices. At graduation, participants are hooked up with well-paying jobs in the green construction sector or traditional building trade union apprenticeships — where their newfound environment-saving skills will make them leaders in the years to come.

www.ellabakercenter.org

 

CALIFORNIA INTERFAITH POWER AND LIGHT

Pray for change — or change the way you pray? Created 10 years ago in SF, CIPL, whose work has since spread to 38 state affiliates, aides faith communities of all denominations in greening their place of worship. Greatest hits include installing a geothermal heating system in a Berkeley synagogue, work on First Chinese Baptist Church in San Francisco, and tricking out a Bayview-Hunters Point church with solar panels on the congregation’s extremely limited budget. Workers hired to make the holy places sing a song of sustainability are usually sourced from organizations like Richmond Build, which provides training to many people living in public housing and with criminal records.

www.interfaithpower.org

 

APOLLO ALLIANCE

Apollo Alliance, another nationwide coalition-building organization that got its start in SF, is making green jobs happen in Los Angeles — with or without federal dollars. The group sponsored the city’s Green Retrofit and Workforce ordinance, which required that municipal buildings achieve LEED certification at the silver level or higher, prioritizing updates on the buildings that were near areas with low income and high unemployment rates. Linked directly to workforce training programs, the ordinance is already under attack in Washington by H.R.1, a bill that would strip its funding. But L.A. is making the first move on the threat — the city is hoping to fund the successful program through energy conservation bonds.

www.apolloalliance.org

 

GREEN FOR ALL

Erstwhile Obama appointee, environmental rock star, and Ella Baker Center founder Van Jones started this organization in 2008 to place the war on poverty at the heart of the sustainability movement. Sure, with offices around the country, it’s not exactly local. But the group plays an important role supporting nationwide policies that will make green jobs fair and just for workers. Plus, it led the charge against last year’s Prop. 23 challenge to the growth of green technologies, taking to the road in a bus that interviewed community members and green energy experts in 10 Californian cities. Plus, it kicked ass with a media campaign smart enough to best the bummers at PG&E and other public utilities.

www.greenforall.org

 

Green days

Andrew Lam
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0
Green days

news@sfbg.com

1892: The Sierra Club is established by John Muir and a group of professors from UC Berkeley and Stanford in San Francisco. In its first conservation campaign, the club leads efforts to defeat a proposed reduction in the boundaries of Yosemite National Park.

1902: After two years of intense lobbying and fundraising, the Sempervirens Club, the first land conservation organization on the west coast, is successful in establishing Big Basin Redwoods State Park — the first park established in California under the new state park system.

1910: The first municipally owned and operated street car service commences in San Francisco.

1918: Save the Redwoods League is established in San Francisco. A leader in proactive land conservation, SRL would go on to assist in the purchase of nearly 190,000 acres to protect redwoods and help develop more than 60 redwood parks and reserves that old these ancient trees in California.

1934: The East Bay Regional Park is established as the first regional park district in the nation. This radical Depression-era idea would much set the tone as the Bay Area land conservation vision expanded.

1934: The Marin Conservation League is founded by wealthy Republican women. Three years later, at the league’s behest, the Marin County Board of Supervisors adopts the first county zoning ordinance in the state in 1937. Over the next 10 years, the league helps create State Parks at Stinson Beach, Tomales Bay, Samuel P. Taylor, Angel Island, and expand Mt Tamalpais State Park.

1956: San Francisco activists, led in party by Sue Bierman, launch a campaign to stop a freeway that would have run through Golden Gate Park. It marks the first time city residents successfully block a freeway project and launches the urban environmental movement in America.

1958: Citizens for Regional Recreation and Parks is founded. It becomes People for Open Space in 1969 and morphs in 1987 into the Greenbelt Alliance. Their efforts lead to the creation of the Mid-Peninsula Open Space District in 1972 and Suisun Marsh in 1974.

1960: Sierra Club Executive Director David Brower launches a brand new organizing and educational concept, the exhibit format “coffee table” book series, with This Is the American Earth, featuring photos by Ansel Adams and Nancy Newhalland. These elegant coffee-table books introduced the Sierra Club to a wide audience. Fifty thousand copies are sold in the first four years, and by 1960 sales exceed $10 million. The environmental coffee table book emerged as part of a campaign to persuade Congress to enact the Wilderness Bill, legislation that would guarantee the permanence of the nation’s wild places.

1961: Save San Francisco Bay Association is founded by Sylvia McLaughlin, Kay Kerr and Ester Gulick to end unregulated filling of San Francisco Bay and to open up the Bay shoreline to public access.

1961: Pacific Gas and Electric Co. announces plans to build a nuclear power plant at Bodega Bay. Rancher Rose Gaffney, UC Berkeley professor Joe Neilands and others mount what will become the first citizen movement in the country to stop a nuclear plant. The Bodega Bay campaign marks the birth of the antinuclear movement.

1965: Responding to Bay Area citizens’ demands for protection of the bay’s natural environment, the California state legislature passes the McAteer-Petris Act, which establishes the San Francisco Bay Conservation and Development Commission (BCDC) and charges it with preparing a plan for the long-term use and protection of the Bay and with regulating development in and around it.

1965: Fred Rohe opens New Age Natural Foods on Stanyan Street in San Francisco. He goes on to open the first natural foods restaurant in 1967, Good Karma Cafe on Valencia Street. Rohe would go on to open the first natural foods distribution company in Northern California, New Age Distributing in San Jose in 1970 and found Organic Merchants (OM), the first natural foods retailer trade group.

1967: The Human Be-in is held Jan. 14 in Golden Gate Park (as a prelude to the Summer of Love) with as a major theme higher consciousness, ecological awareness, personal empowerment, cultural and political decentralization.

1967: Alan Chadwick comes to UC Santa Cruz and establishes the Student Garden Project and training program, which would train hundreds of today’s organic farmers.

1968: The Whole Earth Catalogue, published by the Point Foundation and edited by Stewart Brand out of Gate 5 Road in Sausalito is introduced, providing tools, philosophy, and reviews to the growing back-to-the-land movement, helping promote ecological living and culture alternative sustainable culture decades before those words became mainstream.

1969: Brower, after losing his job at the Sierra Club in part because of his opposition to the Diablo Canyon nuclear power plant, founds Friends of the Earth, the cutting edge activist group that would eventually have affiliates in 77 nations around the globe and become the world’s largest grassroots environmental network.

1970: Peninsula resident Neil Young writes and sings the lyrics “Look at Mother Nature on the Run in the 1970s.”

1970: Berkeley Ecology Center opens.

1971: Sierra Club Legal Defense Fund is established, marking the beginning of an explosion in environmental law.

1971: Alice Waters opens Chez Panisse, serving up California Cuisine and altering the Bay Area diet helping to create a market for local fresh organic fruits and vegetables. 1971: Berkeley resident Francis Moore Lappé publishes her best-selling book Diet for a Small Planet. Two million copies are sold and as the first book to expose the enormous waste built into U.S. grain-fed meat production, for her a symbol of a global food system creating hunger out of plenty; her effort alters millions of diets.

1971: San Francisco dressmaker Alvin Duskin launches a campaign to limit high-rise office development in San Francisco, creating new allies and a new coalition for urban environmentalism.

1972: The Trust for Public Land, a national, nonprofit land conservation organization that conserves land for people to enjoy as parks, gardens, historic sites, and rural lands, is founded by Huey Johnson, Doug Ferguson and Marty Rosen in San Francisco. TPL would go on to protect 2.8 million acres of land and is key in getting land trusts started in Napa, Sonoma, Marin, Big Sur, and around the state.

1972: The Don Edwards San Francisco Bay National Wildlife Refuge, first urban wildlife refuge in the United States, is established, encompassing 30,000 acres of open bay, salt pond, salt marsh, mudflat, upland and vernal pool habitats located in South Bay.

1972: The Save Our Shores campaign, developed in part by Bay Area residents, results in a state initiative, the Coastal Act of 1972, which is passed by the voters and establishes the first comprehensive coastal watershed policy in the nation.

1974: Berkeley Ecology Center starts the first curbside recycling approach in California, one of first such programs in the nation.

1974: The Farallones Institute in Berkeley begins building the first urban demonstration of an ecological living center with the Integral Urban House, a converted Victorian using solar and wind technologies, a composting toilet, extensive gardens, and energy and resource conservation features. It serves as an early model for the emerging Appropriate Technology Movement.

1975: Berkeley resident Ernest Callenbach self publishes Ecotopia after a round of rejections from New York publishers; it ultimately sells more than a million copies and becomes an environmental classic.

1975: San Francisco’s first community gardens are established at Fort Mason and elsewhere.

1975: The Marine Mammal Center, a nonprofit veterinary research hospital and educational center dedicated to the rescue and rehabilitation of ill and injured marine mammals, primarily elephant seals, harbor seals, and California sea lions, is established in the Marin Headlands.

1978: Raymond Dasmann and Peter Berg coin the term Bioregionalism in the publication of Reinhabiting a Separate Country, published by Berg’s Planet Drum Foundation in San Francisco. It represents a fresh, comprehensive way of defining and understanding the places where we live, and of living there sustainably and respectfully through ecological design.

1979 Greens Restaurant opens at Fort Mason in San Francisco and quickly establishes itself as a pioneer in promoting vegetarian cuisine in the United States.

1980: The Marin Agricultural Land Trust is established by Wetland Biologist Phyllis Faber and diary farmer Ellen Straus.

1980: Berkeley resident Richard Register coins the term “depave” — to undo the act of paving, to remove pavement so as to restore land to a more natural state. Depaving begins to spread to create many inner city urban gardening projects.

1981-82: Register and other activists, bring about the first urban day lighting of a creek in Berkeley’s Strawberry Creek Park where a 200-foot section of the creek is removed from a culvert beneath an empty lot and transformed into the centerpiece of a park.

1982: Earth First, a radical environmental group founded by Dave Foreman and Mike Roselle, sponsors the first demonstration against Burger King in San Francisco for using beef grown on land hacked out of rain forests. The demonstrations spread, turn in to a boycott, and after sales drop 12 percent, Burger King cancels $35 million worth of beef contracts in Central America and announces it will stop importing rainforest beef.

1983: Local residents Randy Hayes and Toby Mcleod release the documentary film The Four Corners, A National Sacrifice Area? , which conveys the cultural and ecological impacts of coal strip-mining, uranium mining, and oil shale development in Utah, Colorado, New Mexico, and Arizona — homeland of the Hopi and Navajo. The film wins an Academy Award and illustrates serious environmental justice issues 10 years before that term is coined.

1985: The Rainforest Action Network, established in San Francisco, emerges from the Burger King action.

1986: Fifteen years after Duskin’s first anti-high-rise initiative efforts, San Francisco finally passes Prop. M, the nation’s most important sustainable growth law.

1988: Register invents a stencil to be used next to street storm drains that says “don’t dump — drains to bay.” The wastewater pollution mitigation education concept spreads around the region and nation and then becomes an international volunteer effort to lessen pollution in urban runoff, which generally flows untreated into creeks and saltwater.

1989: Carl Anthony, Karl Linn, and Brower establish the Urban Habitat Program in San Francisco, one of the first environmental justice organizations in the country.

1989: Laurie Mott of the National Resource Defense Council’s SF office rattles the apple industry by engineering a suspension of the use of the pesticide Alar by the Environmental Protection Agency. A national debate ensues.

1992: Berkeley writer Theodore Roszak coins both the term and field of ecopsychology in his book The Voice of the Earth. The movement he helps found asks if the planetary and the personal are pointing the way forward to some new basis for a sustainable economic and emotional life.

1992: The first Critical Mass bike ride (initially called a “Commute Clot”) is held in San Francisco. Similar rides, typically held on the last Friday of every month, began to take place in more than in over 300 cities around the world.

1993: The U.S. Green Building Council is founded by David Gottfriend in Oakland. The council becomes the most important environmental trade organization in the world. In 1998, the council develops the LEED (Leadership in Energy and Environmental Design) Green Building Rating System, which provides a suite of standards for environmentally sustainable construction and design.

1995: The Edible Schoolyard is established by Chez Panisse Foundation at Martin Luther King Jr. Middle School in Berkeley. It serves as a model for similar programs in New Orleans and Brooklyn, and inspires garden programs at other schools across the country.

1999: The Green Resource Center starts as a joint project of the City of Berkeley, the Northern California Chapter of Architects, Designers and Planners for Social Responsibility (ADPSR), and the Sustainable Business Alliance.

2000: Wendy Kallins, working with the Marin Bicycle Coalition, begins a Safe Route to Schools program in Marin to encourage students to walk or bicycle to school. The program is so successful that Congress allocates more than $600 million for similar efforts across the country.

2001: The first Green Festival is held in San Francisco.

2001: Berkeley becomes first city in nation with curbside recycling trucks powered by recycled vegetable oil, thanks to a campaign by the Berkeley Ecology Center.

2002: San Francisco adopts a greenhouse gas reduction initiative that aims to reduce the city’s greenhouse gas emissions to 20 percent below 1990 levels by 2012.

2003: Bay Area Build It Green is formed by a number of local and regionally focused public agencies, building industry professionals, manufactures, and suppliers. Its activities are focused on increasing the supply of green homes, raising consumer awareness about the benefits of building green, and providing Bay Area consumers and residential building industry professionals a trusted source of information.

2005: San Francisco passes the Precautionary Principle Purchasing Ordinance, which requires the city to weigh the environmental and health costs of its $600 million in annual purchases — for everything from cleaning

supplies to computers.

2006: Bay Localize is launched in the East Bay with the aim to work to build a cooperative, inclusive movement toward regional self-reliance and increase community livability and local resilience for all while decreasing fossil fuel use.

2007: In an effort to meet the challenges of global warming, carbon pollution and job creation, East Bay activist Van Jones declares that the nation is going to have to weatherize millions of homes and install millions of solar panels. His best-selling book, The Green Collar Economy, stimulates a national movement and a new organization, Green For All.

2007: San Francisco begins collecting fats, oils and grease from residential and commercial kitchens, for free, to recycle into biofuel for the city’s municipal vehicles, the largest biofuel-powered municipal fleet in the United States.

2008: San Francisco becomes the first U.S. city to establish green building standards.

2010: The Green Building Opportunity Index names San Francisco and Oakland the top two cities in the nation for green buildings.

2010: San Francisco becomes home to the Sunset Reservoir Solar Project, the largest solar-powered municipal installation in California.

 

Editor’s notes

Andrew Lam
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0
Editor’s notes

tredmond@sfbg.com

The American environmental movement emerged out of the late 1800s, when a few visionaries like Gifford Pinchot, John Muir, and Teddy Roosevelt decided that America’s mad rush to tame the wilderness and conquer the continent from sea to shining sea had gone too far. They weren’t always in synch, the early conservationists — Muir thought wilderness should be left alone, and Pinchot, the first director of the National Forest Service, thought forests should be managed to improve the lives of people. But the early battles all followed a basic underlying theme: it was about taking land out of private hands and putting it into the public sector.

They didn’t always talk about it that way, but when you follow the great philosophical and political arguments of the day, that’s what it came down to. The mining, logging, and ranching interests (and land speculators, like Pinchot’s father) wanted the federal government to keep its nose out of the great forests, plains, mountains, and deserts. Roosevelt realized that the only way the land would be preserved for future generations was to nationalize it — and he fought mightily to do it. (In 1907, Roosevelt designated 16 million acres of land as national forests minutes before Congress voted to suspend all future acquisitions.)

That’s something the modern environmental movement has lost sight of in the past couple of decades. Some major enviro groups in California supported energy deregulation in the 1990s, arguing that the private sector could do a better job of managing sustainable electricity generation (that worked out well). Respected green leaders like Adam Werbach argue that they can convince giant corporations to make the planet more sustainable. When you hear about solar energy projects at the governmental level these days, the discussion is all about public-private partnerships.

Now, I’m not going to argue that all business is evil, or that there’s no way to combine profit and environmental consciousness. But in the end, economist Robert Reich is correct: private corporations are accountable to their shareholders and the bottom line — not to the public good. That’s how it’s always going to be.

Which means that, in the end, saving the planet is going to be a public-sector responsibility. It’s going to be about strict regulations, about public control of essential resources, about changing the way we think about energy (it’s now a commodity to be sold instead of a public service), and about maintaining and increasing the amount of land that’s permanently owned and operated by the public.

That’s my message for Earth Day 2011.

 

Alerts

Maria Poblet
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0

ALERTS

By Jackie Andrews

alert@sfbg.com

WEDNESDAY, APRIL 6

 

Considering death penalty

Join San Francisco for Democracy in a conversation about California’s death penalty and various upcoming legislation on the issue. Speakers include Darryl Stalworth of Death Penalty Focus, and others to be announced.

7–9 p.m., free

Northern District Police Station

1125 Fillmore, SF

www.sf4democracy.com

THURSDAY, APRIL 7

 

Filming the diaspora

Enjoy a complimentary screening of Amreeka, a film about the Palestinian diaspora that chronicles the adventures of a single mother and her teenage son as they head to their new Promised Land, which happens to be a small town in Illinois.

7:30–9:30 p.m., $6 suggested donation

Artists’ Television Access

992 Valencia, SF

wsww.answersf.org

FRIDAY, APRIL 8

 

System change, not climate change

Join Chris Williams, author, environmental activist, and professor of physics and chemistry at Pace University, as he discusses nuclear energy in light of the devastating current events in Japan.

7–9 p.m., free

Modern Times Bookstore

888 Valencia, SF

www.norcalsocialism.org

SATURDAY, APRIL 9

 

Eyewitness Wisconsin

Attend this community forum and an eyewitness report back from Wisconsin, and hear about the fight against an ongoing national movement to strip workers of their rights. Panelists include union members from here and all across the country.

6 p.m., $5–$10 suggested donation

2969 Mission, SF

www.answersf.org

 

Eco-crisis dissected

Join the discussion about the current ecological crisis, as experts Anuradha Mittal and Chris Roberts talk about the dangers of fossil fuels, risky alternatives like nuclear power, and what real solutions can look like.

5–-6:30 p.m., free

Ecology Center

www.ecologycenter.org

SUNDAY, APRIL 10

 

Antiwar rally

Sponsored by the United National Antiwar Committee and endorsed by hundreds of social justice organizations, the purpose of this peaceful assembly is to rally against the wars at home and abroad. Topics range from attacks on our liberties and other injustices here, the wars in Iraq and Afghanistan, and sanctions imposed on other countries.

11 a.m.–2 p.m., free

Dolores Park

18th St. and Valencia, CA

www.unacpeace.org

 

Walk against genocide

April is Genocide Awareness and Prevention Month, so take part in the first symbolic event of its kind in the Bay Area. Walk en masse to show support, hear community leaders and genocide survivors as they speak out against the atrocities of war, and learn how to be an effective community leader and advocate.

12–3 p.m., free

Lake Merritt

MacArthur and Grand, Oakland

ww.walkagainstgenocide.org

MONDAY, APRIL 11

 

Celebrate Breast Cancer heroes

Put on your Sunday best and attend this year’s annual gala and benefit for the Breast Cancer Fund. This inspiring evening celebrates the groundbreaking work being done to eliminate the environmental causes of breast cancer, as well as the many heroes who are working hard for more solutions. Following an award ceremony will be an organic buffet and an ecofriendly marketplace.

6–9:30 p.m., $200

Yerba Buena Center for the Arts

701 Mission, SF

www.breastcancerfund.org

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Music Listings

Maria Poblet
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0

Music listings are compiled by Cheryl Eddy. Since club life is unpredictable, it’s a good idea to call ahead to confirm bookings and hours. Prices are listed when provided to us. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 6

ROCK/BLUES/HIP-HOP

Ani DiFranco Fillmore. 8pm, $33.50.

Fences, Rin Tin Tiger, Passenger and Pilot Rickshaw Stop. 8pm, $10.

Emma Jean Foster and Glide Gospel 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Aaron Glass and friends, Mowgli’s, Sufis Elbo Room. 9pm, $8.

A Rocket to the Moon, Valencia, Anarbor, Runner Runner Bottom of the Hill. 7pm, $15.

Spider Heart Submission, 2183 Mission, SF; www.sf-submission.com. 10pm, $5.

JAZZ/NEW MUSIC

Cosmo Alleycats Le Colonial, 20 Cosmo, SF; www.lecolonialsf.com. 7pm.

Dink Dink Dink, Gaucho, Michael Abraham Amnesia. 7pm, free.

Ben Marcato and the Mondo Combo Top of the Mark. 7:30pm, $10.

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

Denise Perrier Rrazz Room. 8pm, $30.

DANCE CLUBS

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

Buena Onda Little Baobab, 3388 19th St., SF; (415) 643-3558. 10pm, $3. Soul, funk, swing, and rare grooves with residents Dr. Musco and DJB.

Cannonball Beauty Bar. 10pm, free. Rock, indie, and nu-disco with DJ White Mike.

Jam Fresh Wednesdays Vessel, 85 Campton, SF; (415) 433-8585. 9:30pm, free. With DJs Slick D, Chris Clouse, Rich Era, Don Lynch, and more spinning top40, mashups, hip hop, and remixes.

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

No Room For Squares Som., 2925 16th St, SF; (415) 558-8521. 6-10pm, free. DJ Afrodite Shake spins jazz for happy hour.

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

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

THURSDAY 7

ROCK/BLUES/HIP-HOP

Dark Star Orchestra Great American Music Hall. 9pm, $35.

Dodos, Reading Rainbow Fillmore. 8pm, $18.50.

Futur Skullz, Blown to Bits, Trouble Kidz, Born Uglies Eagle Tavern. 9:30pm, $7.

Heavy Metal Kings, Danny Diablo Slim’s. 8:30pm, $18.

Hydrophonic, Burn River Burn, Electric Shepherd Bottom of the Hill. 9pm, $8.

Loto Ball, Moira Scar, Tunnel Hemlock Tavern. 9pm, $7.

Peelander-Z, Anamanaguchi, Glowing Stars DNA Lounge. 8pm, $16.

Ron Sexsmith, Caitlin Rose Café Du Nord. 9pm, $16.

“Shock and Roll Therapy” Stud. 8pm, free. With Havarti Party, Poor Sons, Narooma, and Cool Ghouls.

Society 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Sounds, K.Flay, DJ Aaron Axelsen, Miles the DJ Rickshaw Stop. 9pm, $14.

Tycho, Inu, Soma FM DJs Independent. 8pm, $20. SOMA FM 11th anniversary party.

JAZZ/NEW MUSIC

“Activating the Medium XIV: Radio: Chapter One” San Francisco Museum of Modern Art, 151 Third St, SF; www.sfmoma.org. 7pm, $10. With Richard Garet and Jim Haynes and Allison Holt.

Raul Midion Yoshi’s San Francisco. 8pm, $28.

Organsm featuring Jim Gunderson and “Tender” Tim Shea Bollyhood Café. 6:30-9pm, free.

Stompy Jones Top of the Mark. 7:30pm, $10.

FOLK/WORLD/COUNTRY

Bill Monroe Tribute Band Atlas Café. 8-10pm, free.

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

Rafael and Ingrid Red Poppy Art House. 7pm, $12.

“Twang! Honky Tonk” Fiddler’s Green, 1330 Columbus, SF; www.twanghonkytonk.com. 5pm.

DANCE CLUBS

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

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

Club Jammies Edinburgh Castle. 10pm, free. DJs EBERrad and White Mice spinning reggae, punk, dub, and post punk.

Culture Corner Koko Cocktails, 1060 Geary, SF; www.kokococktails.com. 10pm, free. Roots reggae, dub, rocksteady, and classic dancehall with DJ Tomas’ Bunny Wailer and Big Youth Birthday Celebration.

Diapers, Binkies, and Friends Knockout. 9:30pm, free. Dad-to-be Jamie Jams spins baby-themed jams with DJs Stab Master Arson and DJ Eli Glad.

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

Electric Feel Lookout, 2600 16th St, SF; www.fringesf.com. 9pm, $2. Indie music video dance party with subOctave and Blondie K, plus guest DJ Candy.

80s Night Cat Club. 9pm, $6 (free before 9:30pm). Two dance floors bumpin’ with the best of 80s mainstream and underground with Dangerous Dan, Skip, Low Life, and guests.

Wolfgang Gartner Ruby Skye. 9pm, $25.

Guilty Pleasures Gestalt, 3159 16th St, SF; (415) 560-0137. 9:30pm, free. DJ TophZilla, Rob Metal, DJ Stef, and Disco-D spin punk, metal, electro-funk, and 80s.

Holy Thursday Underground SF. 10pm, $5. Bay Area electronic hip hop producers showcase their cutting edge styles monthly.

Jivin’ Dirty Disco Butter, 354 11th St., SF; (415) 863-5964. 8pm, free. With DJs spinning disco, funk, and classics.

Lacquer Beauty Bar. 10pm-2am, free. DJs Mario Muse and Miss Margo bring the electro.

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

1984 Mighty. 9pm, $2. The long-running New Wave and 80s party has a new venue, featuring video DJs Mark Andrus, Don Lynch, and celebrity guests.

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

Thursday Special Tralala Revolution Café, 3248 22nd St, SF; (415) 642-0474. 5pm, free. Downtempo, hip-hop, and freestyle beats by Dr. Musco and Unbroken Circle MCs.

FRIDAY 8

ROCK/BLUES/HIP-HOP

Bryan Adams Warfield. 9pm, $25-85.

Akron/Family, Delicate Steve, Honeymoon, DJ Britt Govea Independent. 9pm, $15.

Buxter Hoot’n, Devotionals, Nick Jaina Café Du Nord. 9:30pm, $10.

Danielson, Battlehooch, Half-handed Cloud Bottom of the Hill. 10pm, $13.

Dark Star Orchestra Great American Music Hall. 9pm, $35.

Fiver Brown and the Good Sinners 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Larry Graham and Graham Central Station Yoshi’s San Francisco. 8 and 10pm, $30-38.

Hillside Fire, Narwhal Brigade, Ayurveda, Sandy Greenfield Band Kimo’s. 9pm.

Hot Lunch, Blank Stares, Pre-Legendary and the Dreamers Hemlock Tavern. 9:30pm, $7.

Mantles, Wrong Words, Lenz, Wet Illustrated Knockout. 9pm, $7.

Or the Whale, Chamberlin, Steve Taylor Rickshaw Stop. 8:30pm, $12.

Protest the Hero, Maylene and the Sons of Disaster, TesseracT Slim’s. 8:30pm, $17.

Volbeat, Damned Things Fillmore. 7pm, $22.50.

JAZZ/NEW MUSIC

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

Empty Space Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Madeleine Peyroux Palace of Fine Arts, 3301 Lyon, SF; www.sfjazz.org. 8pm, $30-75.

Redshift, Rootstock Community Music Center, 544 Capp, SF; www.sfcmc.org. 8pm, $10.

FOLK/WORLD/COUNTRY

“Cowpokes, Gunslingers, and Outlaw Country” Red Devil Lounge. 9pm, $12. With Good Luck Thrift Store Outfit, Whisky Richards, Tiny Television, and Preservation.

Tito y Su Son De Cuba Quinteto Red Poppy Art House. 8pm, $12-15.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Bass Time Continuum Session 4 Club Six. 9pm, $5. With Lotus Drops, Energy Alchemist, Bitch Plz, Benito, and Mr. Rise.

Blow Up DNA Lounge. 10pm, $10-15. “Miss Blow Up USA Pageant” with Jeffrey Paradise.

Cartagena! CD release party   Elbo Room. 10pm, $5. Cumbia with DJs Beto, Vinnie Esparza, and B. Cause.

Deeper 222 Hyde, 222 Hyde, SF; (415) 345-8222. 9pm, $10. With rotating DJs spinning dubstep and techno.

Dirty Rotten Dance Party Madrone Art Bar. 9pm, $5. With DJs Morale, Kap10 Harris, and Shane King spinning electro, bootybass, crunk, swampy breaks, hyphy, rap, and party classics.

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

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

Fubar Fridays Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5. With DJs spinning retro mashup remixes.

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

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

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

Some Thing Stud. 10pm, $7. VivvyAnne Forevermore, Glamamore, and DJ Down-E give you fierce drag shows and afterhours dancing.

Vintage Orson, 508 Fourth St, SF; (415) 777-1508. 5:30-11pm, free. DJ TophOne and guest spin jazzy beats for cocktalians.

SATURDAY 9

ROCK/BLUES/HIP-HOP

Jeff Beck, Imelda May Fillmore. 8pm, $75.

Danger Babes 50 Mason Social House, 50 Mason, SF; www.50masonsocialhouse.com. 9pm, free.

Dark Star Orchestra Great American Music Hall. 9pm, $35.

Deskonocidos, Criaturas, Needles, Ruleta Rusa Knockout. 10pm, $7.

Funk Bros Revolution Café, 3248 22nd St, SF; (415) 642-0474. 9pm, free.

Larry Graham and Graham Central Station Yoshi’s San Francisco. 8 and 10pm, $38.

Jesse Morris and the Man Cougars Riptide Bar. 9pm, free.

Papercuts, Banjo or Freakout Café Du Nord. 9:30pm, $14.

Pollux, Bonnie Dune, Lite Brite Bottom of the Hill. 10pm, $12.

Rise Against, Bad Religion, Four Year Strong Bill Graham Civic Auditorium, 99 Grove, SF; www.ticketmaster.com. 7:30pm, $32.50.

Shearing Pinx, Continues, Victory and Associates Hemlock Tavern. 9:30pm, $7.

Submarines, Nik Freitas Slim’s. 9pm, $16.

FOLK/WORLD/COUNTRY

Hypnotist Collectors, Shareef Ali and the Radical Folksonomy, Fancy Dan Band, Slow Motion Cowboys Hotel Utah. 8pm, $8.

Mamacoatl Red Poppy Art House. 8pm, $15.

Craig Ventresco and Meredith Axelrod Atlas Café. 4pm, free.

DANCE CLUBS

Afro Bao Little Baobab, 3388 19th St, SF; (415) 643-3558. 10pm, $5. Afro and world music with rotating DJs including Stepwise, Steve, Claude, Santero, and Elembe.

Bootie SF: Halloween in April DNA Lounge. 9pm, $6-12. Who says Halloween only comes once a year? Mash it up with DJs Adrian and Mysterious D, guest Faroff, and more.

Club Gossip Cat Club. 9pm, $5-8. Pay tribute to Janet Jackson and other 80s ladies at this party guest-hosted by the Bay Area Flash Mob.

New Wave City New Order Tribute Mezzanine. 9pm, $7-12. Celebrate “Blue Monday” on a Saturday with DJ Shindog, guest Andy T, and more.

Rock City Butter, 354 11th St., SF; (415) 863-5964. 6pm, $5 after 10pm. With DJs spinning party rock.

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

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

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

Tormenta Tropical Elbo Room. 10pm. Electro cumbia with Chancha Via Circuito, El G, and DJs Shawn Reynaldo and Oro 11.

SUNDAY 10

ROCK/BLUES/HIP-HOP

Band of Heathens Slim’s. 7:30pm, $15.

Let the Night Roar, Pigs Hemlock Tavern. 9pm, $6.

G. Love and Special Sauce, Belle Brigade Fillmore. 8pm, $25.

Mark Growden and His Tucson String Band, Conspiracy of Venus Amnesia. 9pm, $10.

John Mellencamp Warfield. 7pm, $49.50-130.

Sleepytime Gorilla Museum, Now You, Listo Independent. 8pm, $18.

Whiskerman, 7 Orange ABC, Magic Leaves Bottom of the Hill. 9pm, $8.

David Wilcox Yoshi’s San Francisco. 7pm, $25.

JAZZ/NEW MUSIC

Assad Brothers Palace of Fine Arts, 3301 Lyon, SF; www.sfjazz.org. 7pm, $25-60.

John Santos Bliss Bar, 4026 24th St., SF; www.blissbarsf.com. 4:30pm, $10.

Tom Lander Duo Medjool, 2522 Mission, SF; www.medjoolsf.com. 6-9pm, free.

FOLK/WORLD/COUNTRY

Family Folk Explosion Revolution Café, 3248 22nd St, SF; (415) 642-0474. 8:30pm, free.

Jenny Lynn and Her Gone Daddies Thee Parkside. 4pm, free.

“San Francisco Festival of the Mandolins” Croatian American Cultural Center, 60 Onondaga, SF; www.croatianamericanweb.org. 10am-5pm, $15.

DANCE CLUBS

Batcave Cat Club. 10pm, $5. Death rock, goth, and post-punk with Steeplerot Necromos and c_death. Dub Mission Elbo Room. 9pm, $6. Dub, roots, and classic dancehall with DJ Sep, Vinnie Esparza, and guest Adam Twelve.

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

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

La Pachanga Blue Macaw, 2565 Mission, SF; www.thebluemacawsf.com. 6pm, $10. Salsa dance party with live Afro-Cuban salsa bands.

MONDAY 11

ROCK/BLUES/HIP-HOP

Elephant and Castle, Pixel Memory, Butterfly Bones Elbo Room. 9pm, $5.

Moon Duo, Royal Baths, Lilac Bottom of the Hill. 9pm, $10.

Scala and Kolacny Brothers Independent. 8pm, $25.

JAZZ/NEW MUSIC

Broun Fellinis Yoshi’s San Francisco. 8pm, $25.

Lavay Smith Orbit Room, 1900 Market, SF; (415) 252-9525. 7-10pm, free.

DANCE CLUBS

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

Krazy Mondays Beauty Bar. 10pm, free. With DJs Ant-1, $ir-Tipp, Ruby Red I, Lo, and Gelo spinning hip hop.

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

Network Mondays Azul Lounge, One Tillman Pl, SF; www.inhousetalent.com. 9pm, $5. Hip-hop, R&B, and spoken word open mic, plus featured performers.

Sausage Party Rosamunde Sausage Grill, 2832 Mission, SF; (415) 970-9015. 6:30-9:30pm, free. DJ Dandy Dixon spins vintage rock, R&B, global beats, funk, and disco at this happy hour sausage-shack gig.

Skylarking Skylark. 10pm, free. With resident DJs I & I Vibration, Beatnok, and Mr. Lucky and weekly guest DJs.

TUESDAY 12

ROCK/BLUES/HIP-HOP

Olof Arnalds Café Du Nord. 9:30pm, $15.

Amee Chapman, Jenny Kerr, Sugarplums Club Waziema, 543 Divisadero, SF; (415) 356-6641. 8pm, free.

Ms. Lauryn Hill Warfield. 8pm, $59.50-90.

Omar Rodriguez Lopez Group, Zachs Marquise Great American Music Hall. 8pm, $21.

Haroula Rose, TD Lind Hotel Utah. 8pm, $8.

Rural Alberta Advantage, Lord Huron, Vandella Bottom of the Hill. 9pm, $14.

Scala and Kolacny Brothers Independent. 8pm, $25.

Sydney Ducks, Something Fierce Hemlock Tavern. 9pm, $6.

DANCE CLUBS

Boomtown Little Baobab, 3388 19th St, SF; www.bissapbaobab.com. 9pm, free. DJ Mundi spins roots, ragga, dancehall, and more.

Eclectic Company Skylark, 9pm, free. DJs Tones and Jaybee spin old school hip hop, bass, dub, glitch, and electro.

Share the Love Trigger, 2344 Market, SF; (415) 551-CLUB. 5pm, free. With DJ Pam Hubbuck spinning house.

 

The Performant: The Empire has no clothes

Andrew Lam
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The Performant: The Empire has no clothes

Adventures in Naked Empire’s bouffonery

An evening spent in the presence of the Naked Empire Bouffon Company is always an unsettling experience. It can be difficult sometimes to assess who is actually performing for whom, as bouffons are wickedly adept at reading individuals and pulling them however briefly into the spotlight not as props, but as human beings with something to hide.

Unlike clowns, who often devise situations during which the oddience may laugh at them, bouffons laugh at the oddience from a position of almost comically aggressive power. It can be as simple as an offhand observation (“recently dyed,” one bouffon sniffed at a blonde streak) or a direct poke at a cultural or time-sensitive taboo (“surely it’s still too early to be referencing radiation in Japan”), but once they’ve got you in the crosshairs of their uniquely confrontational form of physical theatre, a bouffon shoots straight from the hip.

“As a citizen I am consistently impressed by how much of the “unsayable” the bouffon is allowed to say and by how well people hear it,” writes Naked Empire artistic director Nathaniel Justiniano. Justiniano first experienced the art form at the Dell’Arte International School of Physical Theatre and was immediately attracted to its audacious commitment to the truth.

“(It’s) a corkscrew type of energy…boring into the audience and sniffing out the muck we try to hide.” But despite the element of improv, Bouffon performance is also tightly scripted, allowing the performers a tightly structured framework to work within, and break out from when it becomes relevant to do so.

Performing as part of the Home Theatre festival in an artist’s warehouse dubbed the Main Street Theatre, Justiniano and company member Ross Travis performed two solo shows starring their Bouffon alter egos: Zooka Splat and Cousin Cruelty. 

Nathanial Justiniano’s Cousin Cruelty addresses his audience. Photo by Ross Travis 

Ross as Zooka burst into the room, screaming a war cry and dressed in tattered camouflage. He circled the crowd knowingly, leaping on the backs of the sofas they sat in, leering at their shock. Like a one-man Mad Max, he ably deconstructed the post-apocalypse genre of action films and doomsayer surrender in a series of vignettes that mapped out the bizarre terrains of alien abduction, zombie uprisings, nuclear holocaust, and macho bullshit. 

Justiniano’s Cousin Cruelty, a lewd giggling juggernaut of murderous impulse and fart jokes bounded out, shopping bag in hand, looking for trouble. Trouble came in the form of an orgy of mimed bloodshed — until from the shopping bag, a querulous puppet demanded to be released. 

Between the puppet’s script – a passionate, twelve-minute long speech denouncing the death penalty, delivered by Orson Welles in the 1959 film “Compulsion”— and Cousin Cruelty’s gleefully chaotic depictions of the origins and implications of violence, the oddience would have been pushed out of their “theatre-going” comfort zone even without the addition of the personal attentions bestowed on them by puppet and puppet-master alike. 

The laughter these twisted creatures provoked was genuine, but with an edge of unease, which is exactly the effect Justiniano is looking for.

“This laughter is uncomfortable….(It’s) the laughter that humans tend to find comforting when the silence or truth is too heavy.”

Intrigued by buffoonery? Check Naked Empire’s website for upcoming classes in this uncomfortable art

 

25 Lusk

Jesse Hawthorne Ficks
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25 Lusk

paulr@sfbg.com

DINE If you don’t know where Lusk Street is or have never even heard of it, please take a number and step to the back of the line. The name isn’t a joke, although it does sound as if the words “lust” and “luxe” collided on some drunken voluptuary’s lips. The street itself (right off Townsend between Third and Fourth streets) isn’t even a street, exactly; more like an alley. In an odd way it reminded me of Downing Street, in Whitehall, central London (home of the PM): a stub of pavement with no through traffic, lots of shiny black cars, and a strong sense of occasion. The occasion here would be the new restaurant 25 Lusk, whose big white neon signage glows brightly into the night. Nothing like it at Number 10.

Not since the advent of Bix, more than 20 years ago, has a restaurant brought such panache to an urban alley. And the resemblances run deeper: both restaurants have a strong vertical dimension inside: Bix its aerie-like mezzanine and soaring ceiling, 25 Lusk its main dining floor floating over a lounge that feels like a cross between Studio 54 and a ski lodge. (The building was once a meat-packing plant.) And both seem to attract high rollers. Indeed, my mole assured me that 25 Lusk was full of VC (venture capitalists) having expensive bottles of wine decanted while they sat around discussing what to do with the pots of money he’s sure they’ve been sitting on for the past three years.

I didn’t notice any obvious VC. The crowd reminded me of Boulevard’s, maybe slightly younger and hipper — except for the downstairs lounge, which was raucous with a definite whiff of pick-up scene with people laughing too loud and the odd shriek). All this is as it should be, because the restaurant is in the middle of a rising neighborhood, run by an in-their-prime duo (Chad Bourdon and Matthew Dolan) who are taking their first crack at running their own place on a theory of “approachable fine dining” — nice phrase, with an implicit condemnation of the other, stuffy kind.

Dolan’s food conforms to the familiar tropes of “seasonally driven” and “new American,” but mostly it struck me as intensely plated, meaning, a good deal of thought and energy got spent on presenting things. One advantage of this, apart from the aesthetic pleasure, is transparency: you can see everything. The disadvantage is that dishes are apt to be deconstructed to a greater or lesser degree, which can leave the bringing-together of flavors and effects in the diner’s hands.

The Sonoma foie gras torchon ($16), for instance, looked like a contemporary art display, with its block of paté, heap of spiced peanuts, stack of toast squares, scattering of roasted grapes, and dramatic smear of blueberry banyuls sauce across a quarter of the rectangular white plate. But … how to eat it gracefully? The toasts were of little use; they were like people who couldn’t bend their knees. The asparagus terrine ($14) too, was underconstructed, with a stack of beet-cured gravlax slices sitting at the side of the plate like gawkers.

Potato gnocchi ($14), nicely browned cylinders about the size of thumbnails, were a little easier to handle. They came in a shallow dish and were bolstered by braised, boneless short rib, which (with manchego cheese shavings) provided a nice glueyness. You do need binders for this kind of style. The grilled prawns ($26) — four sizable prawns neatly lined up like soldiers being reviewed — benefited from a berm of carrot puree as well as a thick bed of fabulously fragrant Japanese pepper grits, like lemony polenta.

The roasted quail ($26) was substantial and bolstered by a sauté of arugula and haricots verts that looked like a neglected garden being overrun by trailing vines. And Oregon steelhead ($26) featured a lovely slaw of shredded fennel root marinated in citrus along with lobster beignets, mysterious little fritters with no detectable taste of lobster. I add them to my growing dossier of proofs that lobster is overrated.

One item on the dessert menu neatly reprised, for me, my sense of 25 Lusk: the medjool date cake ($10) served with a pat of apricot ice cream and small thatch of candied ginger. The cake itself was splendid and datey, the ice cream intensely apricoty and not very sweet, and the candied ginger sublime. But they each stood apart on the plate, like young teenagers at a party, segregated by sex. “Go forth and mingle!” I longed to cry, before giving a lusty shove with my fork.

25 LUSK

Dinner: Sun.–Thurs., 5:30–10 p.m.;

Fri.–Sat., 5:30–11 p.m.

Brunch: Sun., 11 a.m.–2 p.m.

25 Lusk, SF

(415) 495-5875

www.25lusk.com

Full bar

AE/DS/MC/V

Loud

Wheelchair accessible (elevator)

 

Film Listings

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

OPENING

*The Elephant in the Living Room Or, the mountain lion in the kitchen. The gaboon viper in the garage. Americans are crazy enough without needing to keep dangerously exotic pets, but keep them they do, as director Michael Webber discovers in this surprisingly emotional documentary. The film focuses on a pair of Ohio men: the fearless, big-hearted Tim Harrison, a cop and firefighter who’s also the point person when a cast-off or escaped pet’s in a jam; and Terry Brumfield, weakened by depression and the effects of a lingering truck accident, who keeps a pair of fully-grown lions in a dilapidated cage in his junk-strewn yard. As Tim tends to his real-life superhero duties (including going incognito to an exotic pet show and purchasing the deadliest snake on offer, then taking it to a venom lab where it’s put to work saving lives), Terry worries over the continued care of his prized pets, who he sees as family members. The two men inevitably meet, and their relationship is the heart of Webber’s film, which touches on the more sensational aspects of wild-animal ownership via news reports (remember that chimpanzee who ate that woman’s face off?) while never making Terry out to be a villain. On a more selfish note, here’s hoping any puff adder habitats in my neighborhood remain securely latched. (1:43) Four Star. (Eddy)

Hop Comedy about a live-action guy tangling with an animated Easter bunny, from the same director who made Alvin and the Chipmunks (2007) and Garfield: A Tail of Two Kitties (2006). (1:30) Presidio, Shattuck.

Insidious Saw (2004) and Paranormal Activity (2007) creators join forces for this PG-13 horror movie about a family whose young son is menaced by evil spirits. (1:42)

Miral Slumdog Millionaire (2008) beauty Freida Pinto stars in Julian Schnabel’s drama about an orphan girl growing up amid Israel-Palestine unrest. (1:42) Embarcadero.

*Orgasm, Inc. Liz Canner’s doc begins as she’s hired to do some editing work for a drug company in need of a loop of erotic videos to excite the women who’re testing its latest invention: a cream targeting so-called “Female Sexual Dysfunction.” As it turns out, basically everyone with a lab is frantically trying to develop a female Viagra; potential profits could rake in billions. Canner’s intrigued enough to leave the porn-editing bay and further investigate the race to scientifically calculate exactly what women need to achieve orgasm. Of course, it’s not as simple as what men need — though that doesn’t stop pharmaceutical giants from pushing potentially harmful drugs, inventors from convincing women to get invasive operations to test something called the “Orgasmatron” (note: Woody Allen not included), surgeons from pimping scary “genital reconstruction surgery,” or TV doctors from defining what a “normal” woman’s sex life should be. San Francisco’s own Dr. Carol Queen is among the inspiring experts interviewed to help cut through all the big-money bullshit; she’ll be part of a panel discussion after the film’s Monday, April 4, 6:45 p.m. show. Director Canner will appear Saturday, April 2, from 8:30-9:30 p.m. at Good Vibrations (www.goodvibes.com) on Valencia Street. (1:19) Roxie. (Eddy)

Potiche When we first meet Catherine Deneuve’s Suzanne — the titular trophy wife (or potiche) of Francois Ozon’s new airspun comedy — she is on her morning jog, barely breaking a sweat as she huffs and puffs in her maroon Adidas tracksuit, her hair still in curlers. It’s 1977 and Suzanne’s life as a bourgeois homemaker in a small provincial French town has played out as smoothly as one of her many poly-blend skirt suits: a devoted mother to two grown children and loving wife who turns a blind eye to the philandering of husband Robert (Fabrice Luchini), Suzanne is on the fast track to comfortable irrelevance. All that changes when the workers at Robert’s umbrella factory strike and take him hostage. Suzanne, with the help of union leader and old flame Babin (Gerard Depardieu, as big as a house), negotiates a peace, and soon turns around the company’s fortunes with her new-found confidence and business savvy. But when Robert wrests back control with the help of a duped Babin, Suzanne does an Elle Woods and takes them both on in a surprise run for political office. True to the film’s light théâtre de boulevard source material, Ozon keeps things brisk and cheeky (Suzanne sings with as much ease as she spouts off Women’s Lib boilerplate) to the point where his cast’s hammy performances start blending into the cheery production design. Satire needs an edge that Potiche, for all its charm, never provides. (1:43) Clay, Shattuck, Smith Rafael. (Sussman)

*Rubber This starts out just on the right side of self-conscious prank, introducing a droll fourth-wall-breaking framework to a serenely surreal central conceit: An old car tire abandoned in the desert miraculously animates itself to commit widespread mayhem. Credit writer-director-editor-cinematographer-composer Quentin Dupieux for an original concept and terrific execution, as our initially wobby antihero wends its way toward civilization, discovering en route it can explode (or just crush) other entities with its “mind.” Which this rumbling black ring of discontent very much enjoys doing, to the misfortune of various hapless humans and a few small animals. Rubber is an extended Dadaist joke that has adventurous fun with filmic and genre language. Beautifully executed as it is, the concept tires (ahem) after a while, reality-illusion games and comedic flair flagging by degrees. Still, it’s so polished and resourceful a treatment of an utterly peculiar idea that no self-respecting cult film fan will want to say they didn’t see this during its initial theatrical run. (1:25) Lumiere. (Harvey)

*Source Code A post-9/11 Groundhog Day (1993) with explosions, Inception (2010) with a heart, or Avatar (2009) taken down a notch or dozen in Chicago —whatever you choose to call it, Source Code manages to stand up on its own wobbly Philip K. Dick-inspired legs, damn the science, and take off on the wings of wish fulfillment. ‘Cause who hasn’t yearned for a do-over — and then a do-over of that do-over, etc. We could all be as lucky — or as cursed — as soldier Colter Stevens (Jake Gyllenhaal), who gets to tumble down that time-space rabbit hole again and again, his consciousness hitching a ride in another man’s body, while in search of the bomber of a Chicago commuter train. On the upside, he gets to meet the girl of his dreams (Michelle Monaghan) — and see her getting blown to smithereens again and again, all in the service of his country, his commander-cum-link to the outside world (Vera Farmiga), and the scientist masterminding this secret military project (Jeffrey Wright). On the downside, well, he gets to do it over and over again, like a good little test bunny in pinball purgatory. Fortunately, director Duncan Jones (2009’s Moon) makes compelling work out of the potentially ludicrous material, while his cast lends the tale a glossed yet likable humanity, the kind that was all too absent in Inception. (1:33) Marina. (Chun)

Super Naive, vaguely Christian, and highly suggestible everyman Frank (Rainn Wilson) snaps when his wife (Liv Tyler) is seduced away by sleazy drug dealer Jacques (Kevin Bacon). With a little tutoring from the cute girl at the comic store, Libby (Ellen Page), he throws together a pathetically makeshift superhero costume and equally makeshift persona as the Crimson Bolt. Time to dress up and beat down local dealers, child molesters, and people who cut in line with cracks like, “Shut up, crime!” Frank’s taking stumbling, fumbling baby steps toward rescuing his lady love, but it becomes more than simply his mission when Libby discovers his secret and tries to horn in on his act as his kid sidekick Boltie. Alas, what begins as a charming, intriguing indie about dingy reality meeting up with violent vigilantism goes full-tilt Commando (1985), with all the attendant gore and shocks. In the process director James Gunn (2006’s Slither) completely squanders his chance to peer more deeply into the dark heart of the superhero phenom, topping off this vaguely Old Testament reading of good and evil with an absolutely incoherent ending. (1:36) Embarcadero, California. (Chun)

ONGOING

The Adjustment Bureau As far as sci-fi romantic thrillers go, The Adjustment Bureau is pretty standard. But since that’s not an altogether common genre mash-up, I guess the film deserves some points for creativity. Based on a short story by Philip K. Dick, The Adjustment Bureau takes place in a world where all of our fates are predetermined. Political hotshot David Norris (Matt Damon) is destined for greatness — but not if he lets a romantic dalliance with dancer Elise (Emily Blunt) take precedence. And in order to make sure he stays on track, the titular Adjustment Bureau (including Anthony Mackie and Mad Men‘s John Slattery) are there to push him in the right direction. While the film’s concept is intriguing, the execution is sloppy. The Adjustment Bureau suffers from flaws in internal logic, allowing the story to skip over crucial plot points with heavy exposition and a deus ex machina you’ve got to see to believe. Couldn’t the screenwriter have planned ahead? (1:39) Four Star, 1000 Van Ness, Piedmont, Presidio, SF Center, Shattuck, Sundance Kabuki. (Peitzman)

*Battle: Los Angeles Michael Bay is likely writhing with envy over Battle: Los Angeles; his Transformers flicks take a more, erm, nuanced view of alien-on-human violence. But they’re not all such bad guys after all; these days, as District 9 (2009) demonstrated, alien invasions are more hazardous to the brothers and sisters from another planet than those trigger-happy humanoids ready to defend terra firma. So Battle arrives like an anomaly — a war-is-good action movie aimed at faceless space invaders who resemble the Alien (1979) mother more than the wide-eyed lost souls of District 9. Still reeling from his last tour of duty, Staff Sergeant Nantz (Aaron Eckhart) is ready to retire, until he’s pulled back in by a world invasion, staged by thirsty aliens. In approximating D-Day off the beach of Santa Monica, director Jonathan Liebesman manages to combine the visceral force of Saving Private Ryan (1998) with the what-the-fuck hand-held verite rush of Cloverfield (2008) while crafting tiny portraits of all his Marines, including Michelle Rodriguez, Ne-Yo, and True Blood‘s Jim Parrack. A few moments of requisite flag-waving are your only distractions from the almost nonstop white-knuckle tension fueling Battle: Los Angeles. (1:57) 1000 Van Ness, Shattuck. (Chun)

*Black Swan “Lose yourself,” ballet company head Thomas (Vincent Cassel) whispers to his leading lady, Nina (Natalie Portman), moments before she takes the stage. But Nina is already consumed with trying to find herself, and rarely has a journey of self-discovery been so unsettling. Set in New York City’s catty, competitive ballet world, Black Swan samples from earlier dance films (notably 1948’s The Red Shoes, but also 1977’s Suspiria, with a smidgen of 1995’s Showgirls), though director Darren Aronofsky is nothing if not his own visionary. Black Swan resembles his 2008 The Wrestler somewhat thematically, with its focus on the anguish of an athlete under ten tons of pressure, but it’s a stylistic 180. Gone is the gritty, stripped-down aesthetic used to depict a sad-sack strongman. Like Dario Argento’s 1977 horror fantasy, the gory, elegantly choreographed Black Swan is set in a hyper-constructed world, with stabbingly obvious color palettes (literally, white = good; black = evil) and dozens of mirrors emphasizing (over and over again) the film’s doppelgänger obsession. As Nina, Portman gives her most dynamic performance to date. In addition to the thespian fireworks required while playing a goin’-batshit character, she also nails the role’s considerable athletic demands. (1:50) Red Vic. (Eddy)

*Carancho What Psycho (1960) did for showers this equally masterful, if far more bloody, neo-noir is bound to do for crossing the street at night. Argentine director Pablo Trapero has spun his country’s grim traffic statistics (the film’s opening text informs us that more than 8,000 people die every year in road accidents at a daily average of 22) into a Jim Thompson-worthy drama of human ugliness and squandered chances. Sosa (Ricardo Darín of 2009’s The Secret in Their Eyes) is the titular “carancho,” or buzzard, a disbarred lawyer-turned-ambulance chaser who swoops down on those injured in road accidents on behalf of a shady foundation that fixes personal injury lawsuits. It’s only a matter of time before he crosses paths with and falls for Lujan (a wonderful Martina Gusman, also of Trapero’s 2008 Lion’s Den), a young ambulance medic battling her own demons and a grueling work schedule. A May-December affair begins to percolate until Sosa botches a job and incurs the wrath of the foundation, kicking off a chain reaction that only leads to further tragedy for him and his newfound love. Trapero keeps a steady hand at the wheel throughout, deftly guiding his film through intimate scenes that lay bare Lujan’s quiet desperation and Sosa’s moral ambivalence as well as genuinely shocking moments of violence. The Academy passed over Carancho as one of this year’s nominees for Best Foreign Language Film, but Hollywood would do well to learn from talent like Trapero’s. (1:47) Lumiere, Shattuck. (Sussman)

*Cedar Rapids What if The 40 Year Old Virgin (2005) got so Parks and Rec‘d at The Office party that he ended up with a killer Hangover (2009)? Just maybe the morning-after baby would be Cedar Rapids. Director Miguel Arteta (2009’s Youth in Revolt) wrings sweet-natured chuckles from his banal, intensely beige wall-to-wall convention center biosphere, spurring such ponderings as, should John C. Reilly snatch comedy’s real-guy MVP tiara away from Seth Rogen? Consider Tim Lippe (Ed Helms of The Hangover), the polar opposite of George Clooney’s ultracompetent, complacent ax-wielder in Up in the Air (2009). He’s the naive manchild-cum-corporate wannabe who never quite graduated from Timmyville into adulthood. But it’s up to Lippe to hold onto his firm’s coveted two-star rating at an annual convention in Cedar Rapids. Life conspires against him, however, and despite his heartfelt belief in insurance as a heroic profession, Lippe immediately gets sucked into the oh-so-distracting drama, stirred up by the dangerously subversive “Deanzie” Ziegler (John C. Reilly), whom our naif is warned against as a no-good poacher. Temptations lie around every PowerPoint and potato skin; as Deanzie warns Lippe’s Candide, “I’ve got tiger scratches all over my back. If you want to survive in this business, you gotta daaance with the tiger.” How do you do that? Cue lewd, boozy undulations — a potbelly lightly bouncing in the air-conditioned breeze. “You’ve got to show him a little teat.” Fortunately Arteta shows us plenty of that, equipped with a script by Wisconsin native Phil Johnston, written for Helms — and the latter does not disappoint. (1:26) California, Four Star, Sundance Kabuki. (Chun)

Certified Copy Abbas Kiarostami’s beguiling new feature signals “relationship movie” with every cobblestone step, but it’s manifestly a film of ideas — one in which disillusionment is as much a formal concern as a dramatic one. Typical of Kiarostami’s dialogic narratives, Certified Copy is both the name of the film and an entity within the film: a book written against the ideal of originality in art by James Miller (William Shimell), an English pedant fond of dissembling. After a lecture in Tuscany, he meets an apparent admirer (Juliette Binoche) in her antique shop. We watch them talk for several minutes in an unbroken two-shot. They gauge each other’s values using her sister as a test case — a woman who, according to the Binoche character, is the living embodiment of James’ book. Do their relative opinions of this off-screen cipher constitute characterization? Or are they themselves ciphers of the film’s recursive structure? Kiarostami makes us wonder. They begin to act as if they were married midway through the film, though the switch is not so out of the blue: Kiarostami’s narrative has already turned a few figure-eights. Several critics have already deemed Certified Copy derivative of many other elliptical romances; the strongest case for an “original” comes of Roberto Rossellini’s Voyage to Italy (1954). The real difference is that while Rossellini’s masterpiece realizes first-person feelings in a third-person approach, Kiarostami stays in the shadow of doubt to the end. (1:46) Embarcadero, Shattuck, Smith Rafael. (Goldberg)

Desert Flower Based on the best-selling “model memoir,” Desert Flower spins the remarkable tale of Waris Dirie, who fled across the Somalian desert as a young teen to escape an arranged marriage. The marriage was not the most cruel tradition to be imposed on the girl, however — as a toddler, she’d been circumcised, and the crude operation (designed to keep her “pure” until marriage) caused her pain for years after. Waris (played as an adult by Ethiopian supermodel Liya Kebede) eventually makes her way to London, where she’s discovered by a top photographer (Timothy Spall) while mopping floors at a fast-food restaurant. Part culture-clash drama, part girl-power success story (Waris befriends a spunky Topshop clerk, played by Sally Hawkins), Desert Flower is directed (by Sherry Hormann) with the heavy-handedness of a TV movie. But the film does a powerful job drawing attention to a subject not often discussed — despite the efforts of activists like the real-life Dirie, female circumcision still affects some 6,000 girls a day — and for that it cannot be faulted. (2:00) Sundance Kabuki. (Eddy)

Diary of a Wimpy Kid: Rodrick Rules (1:36) 1000 Van Ness.

Even the Rain It feels wrong to criticize an “issues movie” — particularly when the issues addressed are long overdue for discussion. Even the Rain takes on the privatization of water in Bolivia, but it does so in such an obvious, artless way that the ultimate message is muddled. The film follows a crew shooting an on-location movie about Christopher Columbus. The film-within-a-film is a less-than-flattering portrait of the explorer: if you’ve guessed that the exploitation of the native people will play a role in both narratives, you’d be right. The problem here is that Even the Rain rests on our collective outrage, doing little to explain the situation or even develop the characters. Case in point: Sebastian (Gael García Bernal), who shifts allegiances at will throughout the film. There’s an interesting link to be made between the time of Columbus and current injustice, but it’s not properly drawn here, and in the end, the few poignant moments get lost in the shuffle. (1:44) Balboa, Opera Plaza. (Peitzman)

I Am File in the dusty back drawer of An Inconvenient Truth (2006) wannabes. The cringe-inducing, pretentious title is a giveaway — though the good intentions are in full effect — in this documentary by and about director Tom Shadyac’s search for answers to life’s big questions. After a catastrophic bike accident, the filmmaker finds his lavish lifestyle as a successful Hollywood director of such opuses as Bruce Almighty (2003) somewhat wanting. Thinkers and spiritual leaders such as Desmond Tutu, Howard Zinn, UC Berkeley psychology professor Dacher Keltner, and scientist David Suzuki provide some thought-provoking answers, although Shadyac’s thinking behind seeking out this specific collection of academics, writers, and activists remains somewhat unclear. I Am‘s shambling structure and perpetual return to its true subject — Shadyac, who resembles a wide-eyed Weird Al Yankovic — doesn’t help matters, leaving a viewer with mixed feelings, less about whether one man can work out his quest for meaning on film, than whether Shadyac complements his subjects and their ideas by framing them in such a random, if well-meaning, manner. And sorry, this film doesn’t make up for Ace Ventura: Pet Detective (1994). (1:16) Shattuck. (Chun)

*The Illusionist Now you see Jacques Tati and now you don’t. With The Illusionist, aficionados yearning for another gem from Tati will get a sweet, satisfying taste of the maestro’s sensibility, inextricably blended with the distinctively hand-drawn animation of Sylvain Chomet (2004’s The Triplets of Belleville). Tati wrote the script between 1956 and 1959 — a loving sendoff from a father to a daughter heading toward selfhood — and after reading it in 2003 Chomet decided to adapt it, bringing the essentially silent film to life with 2D animation that’s as old school as Tati’s ambivalent longing for bygone days. The title character should be familiar to fans of Monsieur Hulot: the illusionist is a bemused artifact of another age, soon to be phased out with the rise of rock ‘n’ rollers. He drags his ornery rabbit and worn bag of tricks from one ragged hall to another, each more far-flung than the last, until he meets a little cleaning girl on a remote Scottish island. Enthralled by his tricks and grateful for his kindness, she follows him to Edinburgh and keeps house while the magician works the local theater and takes on odd jobs in an attempt to keep her in pretty clothes, until she discovers life beyond their small circle of fading vaudevillians. Chomet hews closely to bittersweet tone of Tati’s films — and though some controversy has dogged the production (Tati’s illegitimate, estranged daughter Helga Marie-Jeanne Schiel claimed to be the true inspiration for The Illusionist, rather than daughter and cinematic collaborator Sophie Tatischeff) and Chomet neglects to fully detail a few plot turns, the dialogue-free script does add an intriguing ambiguity to the illusionist and his charge’s relationship — are they playing at being father and daughter or husband and wife? — and an otherwise straightforward, albeit poignant tale. (1:20) Four Star, Opera Plaza. (Chun)

Inside Job Inside Job is director Charles Ferguson’s second investigative documentary after his 2007 analysis of the Iraq War, No End in Sight, but it feels more like the follow-up to Alex Gibney’s Enron: The Smartest Guys in the Room (2005). Keeping with the law of sequels, more shit blows up the second time around. As with No End in Sight, Ferguson adeptly packages a broad overview of complex events in two hours, respecting the audience’s intelligence while making sure to explain securities exchanges, derivatives, and leveraging laws in clear English (doubly important when so many Wall Street executives hide behind the intricacy of markets). The revolving door between banks, government, and academia is the key to Inside Job‘s account of financial deregulation. At times borrowing heist-film conventions (it is called Inside Job, after all), Ferguson keeps the primary players in view throughout his history so that the eventual meltdown seems anything but an accident. The filmmaker’s relentless focus on the insiders isn’t foolproof; tarring Ben Bernanke, Henry Paulson, and Timothy Geithner as “made” guys, for example, isn’t a substitute for evaluating their varied performances over the last two years. Inside Job makes it seem that the entire crisis was caused by the financial sector’s bad behavior, and this too is reductive. Furthermore, Ferguson does not come to terms with the politicized nature of the economic fallout. In Inside Job, there are only two kinds of people: those who get it and those who refuse to. The political reality is considerably more contentious. (2:00) Opera Plaza. (Goldberg)

*Jane Eyre Do we really need another adaptation of Jane Eyre? As long as they’re all as good as Cary Fukunaga’s stirring take on the gothic romance, keep ’em coming. Mia Wasikowska stars in the titular role, with the dreamy Michael Fassbender stepping into the high pants of Edward Rochester. The cast is rounded out by familiar faces like Judi Dench, Jamie Bell, and Sally Hawkins — all of whom breathe new life into the material. It helps that Fukunaga’s sensibilities are perfectly suited to the story: he stays true to the novel while maintaining an aesthetic certain to appeal to a modern audience. Even if you know Jane Eyre’s story — Mr. Rochester’s dark secret, the fate of their romance, etc. — there are still surprises to be had. Everyone tells the classics differently, and this adaptation is a thoroughly unique experience. And here’s hoping it pushes the engaging Wasikowska further in her ascent to stardom. (2:00) Albany, Embarcadero, Piedmont, Sundance Kabuki. (Peitzman)

Kill the Irishman If you enjoy 1970s-set Mafia movies featuring characters with luxurious facial hair zooming around in Cadillacs, flossing leather blazers, and outwitting cops and each other — you could do a lot worse than Kill the Irishman, which busts no genre boundaries but delivers enjoyable retro-gangsta cool nonetheless. Adapted from the acclaimed true crime book by a former Cleveland police lieutenant, the film details the rise and fall of Danny Greene, a colorful and notorious Irish-American mobster who both served and ran afoul of the big bosses in his Ohio hometown. During one particularly conflict-ridden period, the city weathered nearly 40 bombings — buildings, mailboxes, and mostly cars, to the point where the number of automobiles going sky-high is almost comical (you’d think these guys would’ve considered taking the bus). The director of the 2004 Punisher, Jonathan Hensleigh, teams up with the star of 2008’s Punisher: War Zone, Ray Stevenson, who turns in a magnetic performance as Greene; it’s easy to see how his combination of book- and street smarts (with a healthy dash of ruthlessness) buoyed him nearly to the top of the underworld. The rest of the cast is equally impressive, with Vincent D’Onofrio, Val Kilmer, Christopher Walken, and Linda Cardellini turning in supporting roles, plus a host of dudes who look freshly defrosted from post-Sopranos storage. (1:46) SF Center. (Eddy)

The King’s Speech Films like The King’s Speech have filled a certain notion of “prestige” cinema since the 1910s: historical themes, fully-clothed romance, high dramatics, star turns, a little political intrigue, sumptuous dress, and a vicarious taste of how the fabulously rich, famous, and powerful once lived. At its best, this so-called Masterpiece Theatre moviemaking can transcend formula — at its less-than-best, however, these movies sell complacency, in both style and content. In The King’s Speech, Colin Firth plays King George VI, forced onto the throne his favored older brother Edward abandoned. This was especially traumatic because George’s severe stammer made public address tortuous. Enter matey Australian émigré Lionel Logue (Geoffrey Rush, mercifully controlled), a speech therapist whose unconventional methods include insisting his royal client treat him as an equal. This ultimately frees not only the king’s tongue, but his heart — you see, he’s never had anyone before to confide in that daddy (Michael Gambon as George V) didn’t love him enough. Aww. David Seidler’s conventionally inspirational script and BBC miniseries veteran Tom Hooper’s direction deliver the expected goods — dignity on wry, wee orgasms of aesthetic tastefulness, much stiff-upper-lippage — at a stately promenade pace. Firth, so good in the uneven A Single Man last year, is perfect in this rock-steadier vehicle. Yet he never surprises us; role, actor, and movie are on a leash tight enough to limit airflow. (1:58) Empire, 1000 Van Ness, Piedmont, Shattuck, Sundance Kabuki. (Harvey)

*Last Lions It’s hard being a single mom. Particularly when you are a lioness in the Botswana wetlands, your territory invaded and mate killed by an invading pride forced out of their own by encroaching humanity. Add buffalo herds (tasty yes, but with sharp horns they’re not afraid to use) and crocodiles (no upside there), and our heroine is hard-pressed to keep herself alive, let alone her three small cubs. Derek Joubert’s spectacular nature documentary, narrated by Jeremy Irons (in plummiest Lion King vocal form) manages a mind-boggling intimacy observing all these predators. Shot over several years, while seeming to depict just a few weeks or months’ events, it no doubt fudges facts a bit to achieve a stronger narrative, but you’ll be too gripped to care. Warning: those kitties sure are cute, but this sometimes harsh depiction of life (and death) in the wild is not suitable for younger children. (1:28) Opera Plaza. (Harvey)

*Limitless An open letter to the makers of Limitless: please fire your marketing team because they are making your movie look terrible. The story of a deadbeat writer (Bradley Cooper) who acquires an unregulated drug that allows him to take advantage of 100 percent of his previously under-utilized brain, Limitless is silly, improbable and features a number of distracting comic-book-esque stylistic tics. But consumed with the comic book in mind, Limitless is also unpredictable, thrilling, and darkly funny. The aforementioned style, which includes many instances of the infinite regression effect that you get when you point two mirrors at each other, and a heavy blur to distort depth-of-field, only solidifies the film’s cartoonish intentions. Cooper learns foreign languages in hours, impresses women with his keen attention to detail, and sets his sights on Wall Street, a move that gets him noticed by businessman Carl Van Loon (Robert DeNiro in a glorified cameo) as well as some rather nasty drug dealers and hired guns looking to cash in on the drug. Limitless is regrettably titled and masquerades in TV spots as a Wall Street series spin-off, but in truth it sports the speedy pacing and tongue-in-cheek humor required of a good popcorn flick. (1:37) 1000 Van Ness, Presidio, SF Center. (Galvin)

*The Lincoln Lawyer Outfitted with gym’d-tanned-and-laundered manly blonde bombshells like Matthew McConaughey, Josh Lucas, and Ryan Phillippe, this adaptation of Michael Connelly’s LA crime novel almost cries out for an appearance by the Limitless Bradley Cooper — only then will our cabal of flaxen-haired bros-from-other-‘hos be complete. That said, Lincoln Lawyer‘s blast of morally challenged golden boys nearly detracts from the pleasingly gritty mise-en-scène and the snappy, almost-screwball dialogue that makes this movie a genre pleasure akin to a solid Elmore Leonard read. McConaughey’s criminal defense attorney Mickey Haller is accustomed to working all the angles — hence the title, a reference to a client who’s working off his debt by chauffeuring Haller around in his de-facto office: a Lincoln Town Car. Haller’s playa gets truly played when he becomes entangled with Louis Roulet (Phillippe), a pretty-boy old-money realtor accused of brutally attacking a call girl. Loved ones such as Haller’s ex Maggie (Marisa Tomei) and his investigator Frank (William H. Macy) are in jeopardy — and in danger of turning in some delightfully textured cameos — in this enjoyable walk on the sleazy side of the law, the contemporary courtroom counterpart to quick-witted potboilers like Sweet Smell of Success (1957). (1:59) Balboa, Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

Mars Needs Moms (1:28) 1000 Van Ness.

The Music Never Stopped Based on a Dr. Oliver Sacks case history, this neurological wild-ride focuses on the generation gap in extremis: after a ’60s teenage son rebels against his parents, staying incommunicado in the interim, he resurfaces over two decades later as a disoriented, possibly homeless patient they’re called to identify at a hospital. He’s had a benign brain tumor removed — yet it had grown so large before surgery that it damaged gray-matter areas including those handling recent memory. As a result, Gabriel (Lou Taylor Pucci) relates to Mr. (J.K. Simmons) and Mrs. Sawyer (a terrific but underutilized Cara Seymour) as if they were still his upstate NY domestic keepers. A radiant Julia Ormond plays the music therapist who convinces them Gabe might respond to music, which had helped serially glue and sever the father-son bond decades earlier. This is an inherently fascinating psychological study. But director Jim Kohlberg and his scenarists render it placidly inspirational, with too little character nuance, scant period atmosphere (somewhat due to budgetary limitations), and weak homage to the Grateful Dead (ditto) rendering an unusual narrative oddly formulaic. (1:45) Shattuck, Sundance Kabuki. (Harvey)

*Of Gods and Men It’s the mid-1990s, and we’re in Tibhirine, a small Algerian village based around a Trappist monastery. There, eight French-born monks pray and work alongside their Muslim neighbors, tending to the sick and tilling the land. An emboldened Islamist rebel movement threatens this delicate peace, and the monks must decide whether to risk the danger of becoming pawns in the Algerian Civil War. On paper, Of Gods and Men sounds like the sort of high-minded exploitation picture the Academy swoons over: based on a true story, with high marks for timeliness and authenticity. What a pleasant surprise then that Xavier Beauvois’s Cannes Grand Prix winner turns out to be such a tightly focused moral drama. Significantly, the film is more concerned with the power vacuum left by colonialism than a “clash of civilizations.” When Brother Christian (Lambert Wilson) turns away an Islamist commander by appealing to their overlapping scriptures, it’s at the cost of the Algerian army’s suspicion. Etienne Comar’s perceptive script does not rush to assign meaning to the monks’ decision to stay in Tibhirine, but rather works to imagine the foundation and struggle for their eventual consensus. Beauvois occasionally lapses into telegraphing the monks’ grave dilemma — there are far too many shots of Christian looking up to the heavens — but at other points he’s brilliant in staging the living complexity of Tibrihine’s collective structure of responsibility. The actors do a fine job too: it’s primarily thanks to them that by the end of the film each of the monks seems a sharply defined conscience. (2:00) Albany, Lumiere. (Goldberg)

Paul Across the aisle from the alien-shoot-em-up Battle: Los Angeles is its amiable, nerdy opposite: Paul, with its sweet geeks Graeme (Simon Pegg) and Clive (Nick Frost), off on a post-Comic-Con pilgrimage to all the US sites of alien visitation. Naturally the buddies get a close encounter of their very own, with a very down-to-earth every-dude of a schwa named Paul (voiced by Seth Rogen), given to scratching his balls, spreading galactic wisdom, utilizing Christ-like healing powers, and cracking wise when the situation calls for it (as when fear of anal probes escalates). Despite a Pegg-and-Frost-penned script riddled with allusions to Hollywood’s biggest extraterrestrial flicks and much 12-year-old-level humor concerning testicles and farts, the humor onslaught usually attached to the two lead actors — considered Lewis and Martin for pop-smart Anglophiles — seems to have lost some of its steam, and teeth, with the absence of former director and co-writer Edgar Wright (who took last year’s Scott Pilgrim vs. the World to the next level instead). Call it a “soft R” for language and an alien sans pants. (1:44) 1000 Van Ness. (Chun)

*Phil Ochs: There But For Fortune When Phil Ochs was at his peak, he was one of the finest polemical folksingers to come out of the ’60s, and when he tumbled from those heights, the fall was terrible: he lost more than friends and fame — he appeared to completely lose himself, to substance abuse and mental illness. Director Kenneth Bowser does the singer-songwriter justice with this documentary, threading to-the-ramparts tunes like “Hazard, Kentucky,” questioning numbers a la “Love Me, I’m a Liberal,” and achingly beautiful songs such as “Jim Dean of Indiana” throughout political events of the day, scenes from a protest movement that were inextricably entangled with Ochs’ oeuvre. Along with the many clips of Ochs in performance are interviews with the artist’s many friends, cohorts, and fans including Van Dyke Parks (who is becoming a Thurston Moore-like go-to for a generation’s damaged voices), brother (and music archivist) Michael Ochs, Joan Baez, Tom Hayden, Peter Yarrow, Billy Bragg, daughter Meegan Ochs, and Ed Sanders. Expect an education in Ochs’ art, but also, perhaps more importantly (to the singer-songwriter), a glimpse into a time and place that both fed, fueled and bestowed meaning on his songs. Bowser succeeds in paints the portrait of a performer that was both idealistic and careerist, driven to fight injustice yet also propelled to explore new creative avenues (like recording with local musicians in Africa). Did Ochs fall — by way of drink, drugs, and mental illness — or was he pushed, as the artist claimed when he accused CIA thugs of destroying his vocal chords? The filmmaker steps back respectfully, allowing us to draw our own conclusion about this life lived fully. (1:38) Balboa, Smith Rafael. (Chun)

*Queen of the Sun: What Are the Bees Telling Us? There are plenty of docs out there detailing the slow decline of the human race — self-inflicted decline, that is, thanks to our disregard for long-term environmental damage caused by our greedy, polluting ways. But unlike the recent Carbon Nation (2010), for example, which took a broad look at renewable energy, Queen of the Sun studies a far more specific issue. A tiny one, in fact: the size of a honeybee. Of course, as the movie points out, this honeybee-sized disaster is actually a global disaster in the making. The latest from Taggart Siegel, director of 2005’s The Real Dirt on Farmer John, investigates the global bee crisis, talking to numerous beekeepers and scientists to discover why bees are disappearing, how their mass-vanishing act affects the food chain, and what (if anything) can be done before it’s too late. Creative animation and quite a few characters (including a shirtless French guy who tickles his hive with his graying mustache) keep Queen of the Bees from feeling too much like a lecture; in fact, it’s quite an eye-opener. You’ll think twice before ever swatting another bee. (1:23) Roxie. (Eddy)

Rango (1:47) Empire, Presidio, 1000 Van Ness, Sundance Kabuki.

Red Riding Hood In order to appreciate a movie like Red Riding Hood, you have to be familiar with the teen supernatural romance genre. Catherine Hardwicke’s sexy reinterpretation of the fairy tale is not high art: the script is often laughable, the acting flat, and the werewolf CGI embarrassing. But there’s something undeniably enjoyable about Red Riding Hood, especially in the wake of the duller, more sexually repressed Twilight series. Amanda Seyfried stars as Valerie, a young woman living in a village of werewolf cannon fodder. She’s torn between love and duty — or, more accurately, Peter (Shiloh Fernandez) and Henry (Max Irons). Meanwhile, a vicious werewolf hunter (Gary Oldman) has arrived to overact his way into killing the beast. It’s a silly story with plenty of hamfisted references to the original fairy tale, but if you can embrace the camp factor and the striking visuals, Red Riding Hood is actually quite fun. Though, to be fair, it might help if you suffer through Beastly first. (1:38) 1000 Van Ness, SF Center. (Peitzman)

Sucker Punch If steampunk and Call of Duty had a baby, would it be called Baby Doll? That seems to be the question posed by director-cowriter Zack Snyder with his latest edge-skating, CGI-laden opus. Neither as saccharine and built-for-kids as last year’s Legend of the Guardians, nor as doomed and gore-besotted as 2006’s 300, Sucker Punch instead reads as a grimy Grimm’s fairy tale built for girls succored on otaku, Wii, and suburban pole dancing lessons. Already caught in a thicket of storybook tropes, complete with a wicked stepfather and vulnerable younger sister, Baby Doll (Emily Browning) is tossed into an asylum for wayward girls, signed up for a lobotomy that’s certain to put her in la-la land for good. Fortunately she has a great imagination — and a flair for disassociating herself from the horrors around her —and the scene suddenly shifts to a bordello-strip club populated by such bad-girls-with-hearts-of-gold as Sweet Pea (Abbie Cornish) and sister Rocket (Jena Malone). There Baby Doll discovers yet another layer in the gameplay: like a prospective hoofer in Dancing with the Stars, she must dance her way to the next level or next prize — while deep in her imagination, she sees herself battling giant samurai, robot-zombie Nazis, dragons, and such, assisted by the David Carradine-like, cliché-spouting wise man (Scott Glenn) and accompanied by an inspiring score that includes Björk’s “Army of Me” and covers of the Pixies and Stooges. Things take a turn for the girl gang-y when she recruits Sweet Pea, Rocket, and other random stripper-‘hos (Vanessa Hudgens and Real World starlet Jamie Chung) in her scheme to escape. Why bother, one wonders, since Baby Doll seems to be a genuine escape artist of the mind? The ever-fatalistic Snyder obviously has affection for his charges: when the shadows inevitably close in, he delicately refrains from the arterial spray as the little girls bite the dust in what might be the closest thing to a feature-length anime classic that Baz Luhrmann would give his velvet frock coat to make. (2:00) Empire, 1000 Van Ness, Presidio. (Chun)

*Win Win Is Tom McCarthy the most versatile guy in Hollywood? He’s a successful character actor (in big-budget movies like 2009’s 2012; smaller-scale pictures like 2005’s Good Night, and Good Luck; and the final season of The Wire). He’s an Oscar-nominated screenwriter (2009’s Up). And he’s the writer-director of two highly acclaimed indie dramas, The Station Agent (2003) and The Visitor (2007). Clearly, McCarthy must not sleep much. His latest, Win Win, is a comedy set in his hometown of New Providence, N.J. Paul Giamatti stars as Mike Flaherty, a lawyer who’s feeling the economic pinch. Betraying his own basic good-guy-ness, he takes advantage of a senile client, Leo (Burt Young), when he spots the opportunity to pull in some badly-needed extra cash. Matters complicate with the appearance of Leo’s grandson, Kyle (newcomer Alex Shaffer), a runaway from Ohio. Though Mike’s wife, Jackie (Amy Ryan), is suspicious of the taciturn teen, she allows Kyle to crash with the Flaherty family. As luck would have it, Kyle is a superstar wrestler — and Mike happens to coach the local high school team. Things are going well until Kyle’s greedy mother (Melanie Lynskey) turns up and starts sniffing around her father’s finances. Lessons are learned, sure, and there are no big plot twists beyond typical indie-comedy turf. But the script delivers more genuine laughs than you’d expect from a movie that’s essentially about the recession. (1:46) Bridge, California, SF Center. (Eddy)

Winter in Wartime (1:43) Embarcadero, Shattuck, Smith Rafael.

REP PICKS

Fat, Sick & Nearly Dead Joe Cross appears in person for a special screening of his weight-loss documentary; visit www.balboamovies.com for details and advance tickets. (1:40) Balboa.

*Some Girls Do, The President’s Analyst This last double bill in the Vortex Room’s March of vintage espionage offers something silly and something sublime. The former is journeyman U.K. director Ralph Thomas’ 1969 feature, a slick 007 knockoff with Richard Johnson — a homelier Sean Connery lookalike — being pursued far and wide by foes of “the world’s first supersonic airliner.” Plus a lot of sexy girls, natch, including Ohio-born starlet Synde Rome — whose stunning filmography would include roles opposite Marty Feldman, David Bowie, and The Pumaman (1960), not to mention a Polanski movie — as miniskirted twit “Flicky,” and Israeli bombshell Daliah Lavi. The semi-spoof no doubt taxed the finances of Rank Organization, that British studio remembered for its muscleman-striking-gong logo, which had missed out on the Bond bonanza. It’s enjoyably dated disposable entertainment. By contrast, 1967’s The President’s Analyst by writer-director Theodore J. Flicker, whose non-promotion to the status of Woody Allen or Mel Brooks deprived us of unimaginable comic gold, is possibly the greatest of all 1960s movie satires. A marvelous James Coburn plays the title figure, whose privileged access to the Oval Office results in tracking by assassins worried he “knows too much,” to the free world’s peril. Parodying everything from spy flicks to emergent hippie culture, it’s an undervalued classic you’ll remain unacquainted with at your peril. Vortex Room. (Harvey)

 

Understanding radiation

Mary Magee
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41

The Bradbury Science Museum in Los Alamos, New Mexico contains a bunch of exhibits about the history of Los Alamos National Laboratory and its science and research work. And with alarm bells continuing to sound around the world in light of Japan’s troubled efforts to contain a nuclear contamination crisis at its Fukushima Daiichi plant, (and folks on the West Coast and beyond stockpiling potassium iodide for fear of exposure to drift) I found myself drawn to the “Understanding Radiation” display during a recent visit to the museum, which includes a chart to help folks calculate their annual radiation dose (scroll down to the end of this post to figure out your own personal annual dose.)

The display notes that the three main sources of radiation for folks in the United States are from outer space, fallout from past nuclear testing and nuclear power plants.

“Exposure doesn’t make you radioactive but can cause biological harm measured in units called rems,” the display stated, noting that our exposure to ionizing radiation is measured by a unit called a rem.
“On average, each of us receives a total dose of about one-third of a rem (362 millirem) per year, from all sources,” the display notes.

The average American receives about 360 millirems in one year, according to the Bradbury Science Museum, and the display includes a pie chart that shows that the biggest slice of our annual dose comes from natural sources, starting with radon gas, which is present in most rocks and soil and building materials, is produced in small amounts in buildings, and can build up indoors, especially in basements and tightly sealed buildings.

The second highest source is a combination of natural cosmic radiation (the dose you receive from the sun and outer space) and terrestrial radiation (the dose you receive from the ground).

The third largest dose comes from medical and dental procedures, including X-rays.

That’s followed by internal radiation (what comes from our bodies), consumer products, other sources, and lastly, an average annual but very small dose from Los Alamos National laboratory activities.

UPDATE: A spokesperson for the Los Alamos National Laboratory clarified that the small dose from the lab’s activities opnly applies to folks living in the immediate area. “Our exhibit notes that Laboratory activities contribute about 1/10 millirem to the public – to a person who lives in Los Alamos year-round,” they clarified. “ It doesn’t apply to someone living in say, the Bay Area, let alone a person who lives in the Bay Area and doesn’t visit Los Alamos (or the nearby Lawrence Livermore National Laboratory for that matter).” [So, my apologies for my misinterpretation, and thanks for the clarification!]

Now, maybe, like me, you did not pay attention/or did not retain the information from your chemistry classes on nuclear fission, fusion and fallout. If so, what follows could be of interest to you.

And if you did pay attention, rest assured that I’m trying to figure out if folks will need to start factoring in a new annual dose level related to leaks from the Fukushima Daiichi plant. (Today’s news is all about how marine life faces a threat from the runoff: high levels of radioactive cesium have been detected in seawater near the damaged nuclear reactors, and this is raising the disturbing prospect that radiation could enter the food chain. Cesium 137 levels have been detected at 20 times the normal level at 1,000 ft from the effluent at the plant. These levels are far less than the iodine 131, which has been found spilling from the plant at concentrations of more than 1,150 times the maximum allowable levels. But the problem is that unlike iodine 131 which degrades relatively quickly, (it becomes half as potent every 8 days), cesium 137 has a half life of 30 years and is absorbed by marine plants, which are eaten by fish, and tends to bioaccumulate (become more concentrated) as it moves up the food chain (as big fish eat smaller fish).

Anyways, I’ll update this post, when we get more information about the size and nature of the leaks, which are thought to have occurred when seawater was dumped on the overheating reactors. (The idea is that the seawater picked up the radiation before it washed back out to sea, but other sources are also thought to be possible).

In the meantime, read on if you want to brush up your understanding of radiation/or better understand the sources of your annual personal radiation dose:

“Radiation is energy in the form of waves or particles,” the BSM display observes. “Radiation is energy traveling at the speed of light. It makes up familiar parts of our world, such as visible light, ultraviolet light and infrared light, radio and television waves, X-rays and microwaves.”

That said, the display goes on to explain that the problem is with ionizing radiation.

“Is radiation harmful?” the display asks. “Most radiation is not, but some radiation carries enough energy to separate molecules or remove electrons from atoms and this can damage living tissue. This type of radiation is called ionizing radiation. It includes particles and energy emitted from radioactive elements and the X-rays used in medicine or at airports. A less energetic form of radiation, ultraviolet rays from the sun, can burn our skin.”

So, how can we protect ourselves from ionizing radiation?
“We can protect ourselves from the effect of ionizing radiation by applying three principles: time, distance and shielding,” the display states.

“We use time to allow a radioactive material to decay and thus decrease its radioactivity. Or we limit the amount of time we are exposed to the source of radiation.”

“We use distance between us and the source to decrease the likelihood it will reach us.”

“We use shielding between us and the source of radiation to absorb or stop radiation before it reaches us.”

“We can protect ourselves from the effects of ionizing radiation from internal hazards (inhaling or ingesting radioactive material) through the use of engineered controls (like containment and ventilation) and personal protective equipment (like anti-contamination clothing and respirators).

Ionizing radiation comes in two forms: a) Waves or rays and b) particles.

One type is similar to visible light and occurs as waves or rays, e.g. gamma rays, X-rays. And, as the museum explains, gamma radiation and X-rays can easily penetrate our bodies and so are external hazards. They can be stopped by dense material such as lead, concrete and steel. Examples of gamma-emitting radionuclides are cesium-137 and cobalt-60, uranium-235 and plutonium-239, in addition to being alpha-emitters, also emit gamma radiation.

The other type of ionizing radiation is known as alpha, beta and neutron radiation and is produced by energetically charged particles.

Alpha radiation
Alpha particles (two protons and two neutrons) can be stopped by a single sheet of paper and cannot penetrate clothing or the outer layer of skin. So externally, alpha radiation is not a hazard. But if alpha particles enter your body by breathing and eating, then they can be an internal hazard. [Examples of alpha-emitting radionuclides are Uranium-235 and plutonium-239. And as recent reports from Japan have explained, plutonium has been found at the Fukushima Daiichi plant. While the source is currently not clear, the reactors could be a source, as could tests of tests of nuclear weapons in the atmosphere, because even though these ended in 1980, they left trace amounts of plutonium around the world. This is worrying because Plutonium-239 has a half-life of 24,000 years and can cause healthy tissue to turn cancerous if it gets deep inside the body.)

Beta radiation:
Most beta particles are negatively charged and have a short range in air and cannot penetrate other substances very deeply. But if beta radiation has enough energy, it can penetrate your skin, so it’s considered an external hazard. It can be stopped by plastic, aluminum, wood, and clothing. Examples are phosphorous-32 and hydrogen-3 (tritium) which is deemed to be a very low hazard.

Neutron radiation
Neutrons are neutrally charged, subatomic particles emitted during a nuclear reaction in radiation-generating devices like accelerators and nuclear power plants.
They are also emitted by special radionuclides like californium-252 or by ionization of materials like plutonium plus berrylium. Highly penetrating, water, concrete and hydrogen-rich materials make effective shields.”

How to measure your exposure
Our exposure to ionizing radiation is measured by a unit called a rem.
“On average, each of us receives a total dose of about one-third of a rem (362 millirem) per year, from all sources,” the museum display notes.

How to calculate your personal annual radiation dose.

1.    Calculate your Cosmic radiation level
The level of cosmic radiation depends on your altitude:
If you live at sea level, you receive 26 millirem, a year.
If you live at 0-1,000 ft above sea level, it’s 28 millirem.
If you live at 1,001-2,000 ft, it’s 31 millirem.
If you live at 2,001-3000 ft,  it’s 35 millirem.
If you live at 3,001-4,000 ft, it’s 41 millirem.
If you live at 4,001-5,000 ft, it’s 47 millirem.
If you live at 5,001-6,000 ft, it’s 52 millirem.
If you live at 6,001-7,000 ft, it’s 66 millirem.
If you live at 7,001-8.000 ft, it’s 79 millirem.
If you live at 8,001 ft and plus, it’s 96 millirem.

2.    Now add the terrestrial radiation, the dose you receive from the ground:
If you live closest to the Atlantic Coast, add 23 mrem.
If you live closest to the Gulf of Mexico, add 23 mrem.
If you live closest to Colorado Plateau (AZ, Utah, Colorado, New Mexico) add 90 mrem.
If you live closest to the MidWest, add 46 mrem.
If you live closest to the Pacific Coast, add 46 mrem.
If you live closest to Alaska, add 46 mrem.
If you live closest to Hawaii, add 46 mrem.

3.    Add your radon gas dose
Add 200 mrem (the U.S. Average) for radon gas we breathe.

4.    Add natural radiation dose for food and water
Add 40 mrem for average natural radiation from food we eat and water we drink.

5.    Fallout from past atmospheric testing of nuclear devices
Add 0.5 mrem for fallout from past atmospheric testing of nuclear devices.

6.    Occupational exposure
Add 44 mrem if you work at the Los Alamos National Laboratory as a radiation worker, or your occupational dose from your job.

7.    Radiation from different medical treatments
If you have X-rays of the arm, hand, foot, or leg, add 1 mrem.
If you have Xrays of the chest, add 6 mrem.
If you have X-rays of the pelvis/hip, add 65 mrem.
If you have X-rays of the skull/neck, add 20 mrem.
If you have barium enemas, add 405 mrem.
If you have upper gastrointestinal tract radiography,    add 245 mrem.
If you have dental X-rays, add 2 mrem.
If you have CT (computed tomography) scans, add 110 mrem.
If you have a plutonium-powered pacemaker, add 100 mrem.
If you have a thyroid scan, add 14 mrem.
If you have porcelain crowns or false teeth, add 0.07 mrem.

8.    Depending on your lifestyle, place of residence, here are more factors to add:

If you travel by air plane, add 0.5 mrem per hour in air.
If your luggage is inspected, add 0.002 mrem.
If you live within 50 miles of a coal-fired electric utility plant, add 0.03 mrem.
If you live within 50 miles of a nuclear reactor, add 0.01 mrem (not counting Japan).
If you smoke 1/2 pack of cigarettes per day, add 500 mrem.
If you smoke 1 pack of cigarettes per day, add 1,000 mrem.
If you smoke 11/2 packs per day, add 1,500 mrem.
If you smoke 2 packs per day, add 2,000 mrem.
If you have a smoke detector, add 0.008 mrem.
If you live in a stone, adobe, brick, or concrete building, add 7 mrem.
If you wear a luminous wristwatch, add 0.06 mrem.
If you use a gas compression lantern, add 6.2 mrem.

9.    Average annual dose from the Los Alamos National Laboratory, add O.1 mrem.
 
The museum notes that this dose is, “a small fraction of the amount the public receives from some consumer products and our natural environment.” And it clarifies that a mrem, or millirem, is one thousandth of a rem.

So, you’ve added up your annual dose, but what does this mean in terms of health?

“Radioactive materials give off ionizing radiation that can alter the chemical makeup of human tissue,” the museum display notes. ‘The amount of damage depends  on the amount of radioactivity.” (And the time, distance and shielding involved, see above).

‘It’s clear that very high exposures such as those experienced at Chernobyl can be fatal,” the display continues, noting that 31 people died within the first few weeks at Chernobyl after receiving radiation doses in excess of 1,000 rems, and that many others, who were exposed to doses of 100 rems, have a 1 in 100 chance of developing cancer.

“It’s very difficult to determine at exactly what level exposure to radioactivity becomes dangerous,” the display states, noting that worldwide the number of fatalities over the next 50 years were estimated to be as high as 17,000. (Again, this was before the March 2011 triple disaster in Japan.)

The display observes that a 1991 study by the International Atomic Energy Agency measured no increase in any radiation-related illnesses in villages near the site.
“But the study did not look at the highest-risk populations closest to the site,” the display added, noting that there were no fatalities in 1979 at Three Mile Island, when reactor failure allowed “small amounts of radioactive water and steam to be released from the containment structure.”

“Exposure levels to folks nearby were less than 100 millirem per year, which is about one third of the normal background yearly dose,” the display observed.

It also noted that strontium and radium are biologically active, which means they can migrate to bone tissue and stay there a long time. And that radioactive iodine can replace the stable iodine which is very important to human health. “Radioactive iodine is taken up by the thyroid and can pose a significant health risk.” (Hence the rush on potassium iodine, even though radioactive iodine degrades fairly fast, and the radioactive risk can be combated by banning fishing and the consumption of seafood for a period of time as Japan is already doing.)

The display clarifies that exposure doesn’t make you radioactive, but it can cause biological harm, and that medical X-rays are by far the largest artificial source of radiation for the average American.

For more information, you can also check this chart from the Public Domain here

Live Shots: Naughty By Nature at Yoshi’s San Francisco, 3/24/11

Andrew Lam
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2

Everyone get ready for a blast from the past — and the sudden realization that maybe we’re getting old. That’s right, turning into real fogies. That’s how it goes down when you’re at the concert of a group you listened to when you were young and sprightly and they keep throwing words out like “time machine” and “1989” — it’s like, wow, I’m at a 20th anniversary reunion concert for a band I actually like. Weird.

Luckily, Naughty by Nature, the award-winning hip-hop trio from New Jersey, don’t look like they’ve aged a bit and they’ve definitely still got the same contagiously groovin’ energy that made us love them so much in the first place, way back when.

But I was there to take photos, which you can read as dancing like a fool while snapping pics — precarious, but how could I stop myself when NBN is singing “OPP” right in front of me? And they were truly giving their fans their all. There was major sweat dripping on stage only two songs in, proof of their unfaltering commitment to genuine hip-hop-hooray.

Time to go find my Walkman and mix tapes, pull on a pair of stirrup leggings and spend the rest of the day soaking up the nostalgia. Hey! Ho! Hey! Ho!

You know you still jam this

Alerts

Jesse Hawthorne Ficks
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0

alert@sfbg.com

WEDNESDAY, MARCH 23

 

Margaret Randall gets radical

Author, activist, and poet Margaret Randall talks with historian Roxanne Dunbar-Ortiz and reads from her book To Change the World: My Years in Cuba. Randall will discuss her life in Cuba during the 1970s and the relationship between women’s liberation and other revolutionary movements. No need to get a sitter for this event — childcare is provided by request.

7–9 p.m., $15

La Pena Cultural Center

3105 Shattuck, Berk.

www.lapena.org

THURSDAY, MARCH 24

 

An evening with Michael Pollan

Journalist Michael Pollan, best-selling author of The Omnivore’s Dilemma, explains how food policy is a cornerstone of the three major crises facing our society: energy, climate, and healthcare. He proposes a “Sun Food Agenda” that involves change at the level of the farm, marketplace, and culture to improve our health, reduce dependence on fossil fuels, and help redirect climate change. The event benefits Marin Organic.

7–8 p.m., $20–$75

Marin Center

10 Avenue of the Flags, San Rafael

www.marincenter.org

(415) 499-6800

 

Government surveillance in a digital world

Explore law and technology of digital surveillance in the United States with the Electronic Frontier Foundation, whose representatives explain how digital technology is changing the way we communicate and interact, often resulting in the unprecedented exposure of our personal details.

7 p.m., $5–$10

Intersection 5M

925 Mission. SF

www.theintersection.org

www.surveillance.eventbrite.com

SUNDAY, MARCH 27

 

Benefit for Lyon Martin

Help raise money for Lyon Martin Health Services, the only community clinic in California that emphasizes queer women and transgender healthcare, at a fundraiser and party featuring an art auction, good music, friendly faces, and fun. Proceeds go straight to Lyon Martin.

1–3 p.m., $10–$100 donation

El Rio

3158 Mission, SF

www.lyon-martin.org

SATURDAY, MARCH 26

 

Fundraiser for Peace and Justice Center

Help raise money for the Mount Diablo Peace and Justice Center at this live, silent auction for art, fine jewelry, weekend getaways, and more. Help the center continue to offer cultural programs to the Bay Area for a 43rd year.

11 a.m.–3 p.m., $5–$10 suggested donation

St. Paul’s Episcopal Church

1924 Trinity, Walnut Creek

www.mtdpc.org

TUESDAY, MARCH 29

 

Cesar Chavez celebration

Enjoy a day of performances, spoken word, and live music to celebrate the legacy of Cesar Chavez and the United Farm Workers. On the bill are Nina Serrano, Makru, Capoiera UCA, Cuahtli Mitotiani Mexica, and much more. BAHIA, Just Food, and others will also be on hand to provide information about green living.

3:30–7 p.m., free

Berkeley farmer’s market

Derby Street at Martin Luther King, Berk.

www.ecologycenter.org 2

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Smart meters, stupid company

Jesse Hawthorne Ficks
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9
Smart meters, stupid company

news@sfbg.com

Smart meters seemed like a good idea at first glance — a little wireless device that, unlike it’s dumb analogous predecessor, would track precise readings of household energy usage in real time, identifying wasteful activities and helping consumers make informed choices about conservation and consumption.

Considered a crucial first step in enabling a smart grid that would modernize the existing power grid for the information age, the technology was touted as offering potential benefits such as cheaper service, fewer new power plants and transmission lines, cleaner air, and more reliable services.

But Pacific Gas & Electric Co.’s $2.2 billion program for installing smart meters has now become the subject of caustic criticism by thousands of customers and activists as the culprit for skyrocketing rates, adverse health effects, and threats to privacy.

Since deployment began in California in 2009, consumers have mobilized to halt the spread of the devices, demanding further studies of the technology and options for those who don’t want to join the rush toward a wireless world. Thirty-three local governments have called for moratoriums on the installation of the devices.

The California Public Utilities Commission, which in 2006 authorized the state’s investor-owned utility companies to install more than 10 million meters in California, has done little to quell the storm of protests and concerns. But that began to change March 10 when CPUC President Michael Peevey announced that the agency would require PG&E to develop an opt-out proposal for consumers within two weeks.

Prefacing the decision with an observation that almost every speaker against smart meters the CPUC heard from was a PG&E customer, Peevey called out Northern California residents as the main opponents to the program.

“I am directing PG&E to prepare a proposal for our consideration that will allow some form of opt-out for customers who object to these devices, at a reasonable cost to be paid by the customers who choose to opt-out,” Peevey said at the hearing. “Obviously I cannot prejudge how this commission will evaluate any such proposal by PG&E, nor can I predict what PG&E itself will propose. But I think it’s clear the time has come for some kind of movement in the direction of customer opt-outs.”

But the announcement did little to quell the opposition by the scores of customers, local governments, health professionals, and advocacy groups that claim it undercuts the true concerns while simultaneously opening another avenue the utility behemoth could profit from.

“Admitting to the problem is the first step to resolving it,” says Joshua Hart, executive director of grassroots organization Stop Smart Meters!, which has been at the forefront of the rebellion. “But we obviously think a ton of things were left out of this.”

The makeup of the meter haters spans interests and ideals, from Tea Party conservatives to liberal environmentalists. Their unifying trenchant criticism of Peevey, who was president of Edison International and Southern California Edison Company until 1995, has only increased with each meter installed. PG&E has already replaced 74 percent of its analog electrical meters and 83 percent of its gas meters.

Resolutions critical of PG&E’s smart meter deployment have been passed by many Bay Area cities and the counties of Santa Cruz and San Luis Obispo. Assemblymember Jared Huffman (D-San Rafael) introduced a bill in December 2010 that would create a statewide system for opting out.

Although PG&E officials didn’t return repeated Guardian calls about the controversy, they have told other media outlets that the meters are completely safe and installation is continuing as scheduled, despite the growing furor.

 

BABY STEPS

A total of 670,000 meters are planned for San Francisco, and installation has already begun in the Marina and Richmond districts, much to the dismay of many residents. During a series of public meetings at the CPUC since 2010, dozens of people regularly line up to ask for alternative options and conclusive, third-party studies on the technology.

Speakers mainly consist of those claiming to suffer from exposure to electromagnetic fields, a condition known as electrohypersensitivity (EHS) that causes headaches, nausea, fatigue, and ringing in the ears. Sufferers liken themselves to canaries in coal mines and say smart meters are just one aspect of larger problem: understudied, overhyped wireless technology.

“The bottom line is it’s a debacle that been rolled out without any public input, without any long-term study,” Hart said. “This is the wireless technology industry being too greedy and going too far.”

Smart meters emit less powerful electromagnetic fields than many smart phones, but activists worry about the effects, both cumulative and on those with EHS, a condition recognized by the Swedish government. But here in the United States, few experts outside of holistic and alternative health circles take it seriously as a health threat.

Hart pointed to the recent publication of a study by the National Institutes of Health finding cell phone emissions affect brain activity, calling it the “smoking gun.” But most scientists found the report inconclusive about how that stimulation affects the brain.

Yet the activists have held regular protests lambasting PG&E for endangering their health and invading their privacy. “This is forced installation of untested devices on an unwilling public,” Carol Page of Marin County told us at a large Feb. 24 protest outside the CPUC meeting in San Francisco. “It’s time this commission stopped enabling and started regulating.”

CPUC officials have said there was no need for additional analysis of the program, arguing that the meters are safe and that installation is a routine procedure allowed under existing utility contracts.

But the venerable consumer watchdog The Utility Reform Network (TURN) has long-opposed the program, focusing primarily on its cost and privacy threats from the data that is being transmitted. Hundreds of customers have contacted TURN to complain about the meters, and the group says Peevey’s policy change misses the mark.

“It’s certainly a step in the right direction, but the devil is going to be in the details,” TURN spokesperson Mindy Spatt told us. “We would review any proposal to charge customers very carefully. We don’t want to see them have pay again.”

She said PG&E’s consumer outreach efforts have been “abysmal,” and TURN supports a moratorium on smart meter installation.

“We are not hearing from any people who are benefiting from it,” Spatt said. “We are hearing from people who are upset about it, and we remain unconvinced that these meters offer any benefits commensurate with their costs.”

TURN’s website offers a flyer that reads “Do Not Install,” which customers can print and place on their analog meter. Wellington Energy, the company performing installations, has respected the signs, Spatt said.

“The flyer is still getting tons and tons of play,” Spatt said. “PG&E has done nothing to address customers who say that the smart meter is unwanted and unwelcome. We are very anxious to see what sort of an opt-out they can offer.”

Although the flyer conveyed a direct message to utilities, some chose the more radical route of blocking installation physically. In January, two women, one a grandmother, were arrested in Rohnert Park for blocking a Wellington truck carrying a load of smart meters.

Sandi Maurer, founder of the EMF Safety Network, believes the movement from the CPUC falls short of taking real action addressing the threat of harmful electromagnetic frequencies to the environment and human health.

“We really need a moratorium while we study the health impacts and have evidentiary hearings where we could determine whether they are safe,” she said. In December 2010, the EMF Safety Network’s request for the CPUC to open an investigation into smart meters was denied.

 

CUSTOMER DISSERVICE

One smart meter claim the CPUC did investigate was the allegation that the new meters weren’t accurate, following up on more than 600 complaints from customers that their energy bills shot up after the new meters were installed.

The Structure Group, a Houston-based consulting company, tested 750 smart meters and 147 electromechanical meters and concluded that they worked fine. But the study also found that PG&E didn’t properly handle the complaints.

“PG&E’s process did not address the customer concerns associated with the new equipment and usage changes,” the report said. “Some customers interviewed during this assessment did not consider their complaint resolved, despite indications from PG&E and the CPUC that the customer agreed with the resolution.”

As a demonstration of how the program could have been rolled out differently, one needs only to look up the road to Sacramento. The publicly owned Sacramento Municipal Utilities District has installed 184,000 meters and encountered little opposition.

“I’ve seen what’s happening in the Bay Area and we haven’t seen anything like that whatsoever,” SMUD spokesperson Chris Capra said. “I’m amazed at the difference in our customers compared with customers around the country. “

Capra credits the relative embrace of the meters to the method SMUD used to mobilize them. Before installing any meters, SMUD build its wireless network. Then SMUD installed 78,000 trial meters in two separate areas — one in close-quartered downtown and one in suburban areas — to see how the meters behaved under topographical and proximity challenges. Then it led the meters through automated trials doubled with traditional manual reads and found that they were 99 percent accurate.

“We wanted to be certain before we began with full deployment,” Capra said. “We had estimated reads, manual reads, and made sure everything is functional. “

But some problems go beyond customer service. Along with health and safety concerns, critics remain unconvinced that the smart meters live up to their purported benefits to consumers, even though they’re the ones paying for the program.

“If I wanted to monitor my usage, I could go buy an in-home electricity monitor myself and just plug it in,” Maurer said. “For utilities to say we absolutely need this technology to reduce energy costs is false.”

Privacy advocates warn the meters could erode the privacy of daily life unless regulators limit data collection and disclosure. In a joint filing in March 2010, the Center for Democracy and Technology and the Electronic Frontier Foundation urged the CPUC to adopt rules to protect consumer’s energy usage information.

“Smart meters generate more information in formats easier to share and analyze, which is part of the future of energy utilization,” said Jim Dempsey, vice president of public policy at CDT. “That being said, some significant questions remain.”

Smart meters collect 750 to 3,000 data points a month per household. This detailed energy usage data can indicate whether someone is at home or out, how many people are in the house, and if they are using particular appliances. In effort to stave off data mining by marketers or hackers, CDT and EFF urged the CPUC to adopt comprehensive privacy standards for the collection, retention, use and disclosure of consumers’ household energy data.

Smart meters represent a worst case scenario in terms of security, Dempsey warned. Not only do they lack sufficient power to execute strong security software, they are easily accessible and installed in numbers large enough that a few may not be missed if they are stolen. The safest way to protect cyber security is to assume from the outset that they will be attacked.

“You are not going to stop technology and the benefits,” said Dempsey. “It’s hard to say we should not take advantage of something that gives us more information, but you need corresponding security. It’s not too late to adopt the privacy rules, and we certainly hope that the commission will do that soon.”

CDT and EFF say that utilities collecting the data from smart meters must set rules specifying in advance how data will be used. Disclosing information to marketers and government agencies should be restricted.

“Smart meters really do penetrate into the ways we live in ways that no other technology is doing now,” said Lee Tien, senior staff attorney at EFF. “It’s a special circumstance because there isn’t anything else like this that is in everyone’s home.”

 

STUDYING METERS

As opposition increased along with the installations, further requests for investigation into the program were filed. In July 2010, Huffman asked the California Center for Science and Technology to analyze whether the federal safety standards were sufficiently protective of public health, a move that was supported by fellow Assemblymember Bill Monning (D-Carmel) and the City of Mill Valley.

In December, Huffman also introduced Assembly Bill 37, directing the CPUC to offer an opt out alternative to customers who did not want smart meters and to disclose important information to the public. However, like the ordinances passed throughout the state, the move was largely symbolic and wouldn’t be implemented until the time most installations would have been completed in 2012.

The report released by the CCST in January analyzed the threat posed by smart meters, concluding that additional research was needed to accurately gauge the potential threat and had found “no clear evidence that additional standards were needed to protect the public from smart meters or other common household devices.”

The report has since served as a reference point for both PG&E and the CPUC as evidence of safety of the meters. Nevertheless, consumer groups dispute the findings.

“We need investigations from a truly independent third party, not an industry-promoting group hired by PG&E,” Maurer said. “We need evidentiary hearings on the health impacts of microwave facilities. Every time someone buys a new wireless router on a cell phone, it’s a drop in the bucket of more wireless technology. But [with smart meters] we’re talking about a massive increase of the density of these wireless emissions.”

The CPUC’s Division of Ratepayer Advocates was also unconvinced by the CCST’s conclusion. It noticed that the report did not fully explore issues related to cumulative exposure or from multiple co-located meters, as would be the case on apartment buildings and close quarters typical in San Francisco.

A California Senate bill imposing restrictions and revisions on utilities regarding their handling of smart meter information passed in February 2010, and in June the CPUC announced it had adopted a framework requiring utilities to modernize security standards, but details on upgrades have not appeared.

For now, protesters remain focused on pressuring regulators to stop the installation and they plan to keep up the fight for as long as needed.

“It is shock and awe to get the meters installed before people figure out that they are being scammed,” Hart said. “Until there is a moratorium called, we are urging people to resist. Stopping smart meters is just one part of the battle against the telecommunications companies.”

Our weekly Picks: March 23-29, 2011

Jesse Hawthorne Ficks
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THURSDAY 24

MUSIC

Music For Animals

The catchy tunes of the self-proclaimed “cult” Music For Animals — San Francisco quartet Nick Bray (guitar), Jay Martinovich (vocals), Eli Meyskens (bass guitar), and Ryan Malley (drums) — evoke 1980s classic pop rock while simultaneously embodying the twee music of the here-and-now. While comparisons have been drawn to other electropop acts like the Killers and Kaiser Chiefs, Music for Animals’ neon-retro fans have embraced the band as its own indie rock entity. Its high-energy shows can include wacky antics, making for a perfect opportunity to bust a move. Join the cult! (Jen Verzosa)

With Foreign Resort and Matinees

9 p.m., $8

Hemlock Tavern

1131 Polk, SF

www.hemlocktavern.com

 

FILM

Disposable Film Festival

Hollywood churns out a huge number of what you might call disposable films (Drive Angry 3D: use once and destroy). San Francisco’s Disposable Film Festival applies the adjective instead to the technology used to create each of its entries: readily available and often handheld devices like cell phones, point-and-shoot cameras, webcams, and so on. Celebrate the all-access-ness of 21st century filmmaking by checking out tonight’s always-popular competitive shorts program; weekend events include an industry panel entitled “How to Become A Disposable De Palma,” a spotlight on filmmaker Christopher McManus, a concert and workshop with YouTube music-video darlings Pomplamoose, and more. (Cheryl Eddy)

Through Sun/27

Competitive shorts night tonight, 8 p.m., $12

Castro Theatre

429 Castro, SF

www.disposablefilmfest.com

 

EVENT

Neil Strauss

I’m not sure what I like most about Neil Strauss. A six-time New York Times best-selling author and contributing editor at Rolling Stone, he coauthored memoirs with Jenna Jameson and Mötley Crüe. He lived with Dave Navarro for a year and went undercover in the “seduction community” to write about pick-up artists. He was in Beck’s gloriously goofy “Sexx Laws” video. His new book of celebrity chatter, Everyone Loves You When You’re Dead: Journeys Into Fame and Madness, features pop culture personalities from Britney Spears to Stephen Colbert. But his 227 “moments of truth” aren’t in-depth, traditional Q&A pieces. Instead, Strauss wove together the most intriguing few minutes of each interview. Huh? How? Ask him yourself. (Kat Renz)

7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com

 

MUSIC

Phantom Kicks

Taking after the Grizzly Bear-meets-Radiohead, now-disbanded Raised By Robots, the San Francisco-based trio of Tanner Pikop (guitar-vocals-keyboard), Phil Pristia (guitar-vocals), and Mike Rieger (drums) — better known as Phantom Kicks — is experimental, ethereal post-punk born of white space à la the xx. Even without an album, Phantom Kicks’ eerie electro pop has garnered notoriety throughout the Bay Area after gigs at numerous local venues and festivals, sharing the bill with other local indie greats like My First Earthquake, the Dont’s, Skeletal System, and Sunbeam Rd. And its days as a live-only entity are soon to end: Phantom Kicks’ debut EP, Tectonics, is due in April. (Verzosa)

With Adventure and Exray’s

8 p.m., $6

Milk Bar

1840 Haight, SF

www.milksf.com

 

FILM

San Francisco Dance Film Festival

Now in its second year, the San Francisco Dance Film Festival, presented by Motion Pictures and the Ninth Street Independent Film Center, features three evenings of screenings as well as workshops on shooting and editing dance footage. In addition to selections of work by local and international dance filmmakers, Friday night’s lineup includes the San Francisco premiere of NY Export: Opus Jazz, a reimagining of Jerome Robbins’ 1958 “ballet in sneakers” danced by members of the New York City Ballet. This is the first return of Robbins’ choreography to the streets of New York City since the 1961 movie version of West Side Story. (Julie Potter)

Through Sat/26

6:30, 8, and 9:15 p.m., $10

Ninth Street Independent Film Center

145 Ninth St., SF

(415) 625-6100

www.sfdancefilmfest.org

 

FRIDAY 25

PERFORMANCE

Free: Voices from Beyond the Curbside

Destiny Arts Center in Oakland has been around so long — it was founded in 1988 — that you tend to take it for granted. Better stop doing that, especially in this climate of shrinking resources for socially-engaged arts programs. Destiny provides a safe place, activities, and role models during after school, weekend, and summer programs. Students ages three to 18 learn martial arts, dance (modern, hip-hop, and aerial), theater, self-defense, and conflict resolution. All these elements come into play one more time during this year’s Destiny Youth Company’s big-time production at Laney College. Created by the students with the guidance of adult artist-teachers, Free explores concepts of personal and social freedom (and the lack thereof). The program also features documentary filmmaker David Collier’s video of the process that made Free possible. (Rita Felciano)

Through April 3

Fri.–Sat., 7:30 p.m. (also April 2–3, 2 p.m.), $6–$25

Laney College

900 Fallon, Oakl.

1-800-838-3006

www.brownpapertickets.com

 

ROCK

Vastum

Vastum, from the Latin vastus: immense. Empty. Wasted. It’s easy to feel that way bumbling home from a dime-a-dozen metal show — depthless, bored, and boozed. But the three times I’ve seen Vastum, I almost pissed myself with joy: my fingers can form horns again, my head bangs rather than bobbles, my tired faith is revived. With members from two stalwart San Francisco bands, Saros and Acephalix, the five-piece delivers precision death metal with a little punk, classically fast and aggressive with none of the cheesiness often befalling the genre. The venue’s a gem, too: an all-ages Oakland warehouse run by an old-school artist and a gargantuan raptor. (Renz)

With Embers, Atriarch, and Headless Lizzy and Her Icebox Pussy

9 p.m., $6

First Church of the Buzzard

2601 Adeline, Oakland

Facebook: Vastum

 

MUSIC

Wye Oak

Rock duos tend to strive toward sounding greater than their parts. Wye Oak, composed of Baltimore-based musicians Jenn Wasner and Andy Stack, are no exception. Rather than pure bombast, the two play into the contradiction of expectations on almost every track. Wasner’s guitar and lyricism are the initial focus, typically heavily folk-influenced backed by true multi-instrumentalist Stack, who plays drums and keyboard at the same time. As the melodic verses build into the explosive choruses, so do the 1990s alternative rock influences, recalling Yo La Tengo, Sonic Youth, and My Bloody Valentine. It’s an attention-grabbing effect and in a smaller venue should be impossible to ignore. (Ryan Prendiville)

With Callers and Sands

10 p.m., $12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

 

SATURDAY 26

DANCE

“Pilot 58: Fight or Flight”

It may not take a village to produce a dance concert, but a collective of choreographers sure makes the process more creative and exciting. Or at least that’s the lesson gleaned from the participants in Pilot, ODC’s self-producing incubator that selects six dance artists to work together on a shared bill. Known as a springboard for emerging choreographers, Pilot showcases new and under-the-radar dance from fresh choreographic voices: Raisa Punkki, Byb Chanel Bibene, Bianca Cabrera, Katharine Hawthorne, Ashley Johnson, and Erica Jeffrey. Arriving at choreography through notably different experiences, the evening brings a host of ideas to the table, from moving light sources to little dance cartoons. (Potter)

Sat/26–Sun/27, 8 p.m. (also Sun/27, 4 p.m.), $12

ODC Studio B

351 Shotwell, SF

(415) 863-6606

www.odcdance.org

 

SUNDAY 27

MUSIC

Rotting Christ

Though not as famed as other loci of Lucifer, Greece has a long and distinguished black metal history. Delightfully named Rotting Christ was founded in 1987 by brothers Sakis and Themis Tolis, who have been plying their blast-beaten trade ever since, much to the dismay of born-again Christian headbanger Dave Mustaine of Megadeth, who refused to play at a Greek music festival once he learned that Rotting Christ was on the bill. The hellbound Hellenic quartet is joined on its current tour by cult favorites Melechesh, a “Mesopotamian” metal band — composed of Israeli expatriates based in Amsterdam — whose distinctive sound combines razor-wire riffing with idiosyncratic Middle Eastern harmonies and rhythms. On a more somber note, this show will be the last promoted by Shawn “Whore for Satan” Phillips, whose retirement will be a deeply-felt loss for metal, both in San Francisco and elsewhere. (Ben Richardson)

With Melechesh, Hate, Abigail Williams, and Lecherous Nocturne

7:30 p.m., $25

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

 

MONDAY 28

MUSIC

Röyksopp

Fame can go in divergent ways. For Norwegian electronic duo Röyksopp, the breakthrough was “Remind Me,” a catchy 2002 cut featuring vocals from Kings of Convenience’s Erlend Øye. In the U.K. it picked up Best Video at the Europe Music Awards that year. In the U.S., however, a version of the song is associated with a Geico commercial featuring a caveman. Look past that though, as the pair of musicians have otherwise proven themselves as standouts on the electronic scene, releasing ethereal downtempo compositions. Live, their performances are more amped up and free-ranging, involving unexpected covers like Queens of the Stone Age’s “Go With The Flow.” (Prendiville)

With Jon Hopkins

8 p.m., $30

Regency Ballroom

1300 Van Ness, SF

1-800-745-3000

www.theregencyballroom.com


TUESDAY 29

DANCE

Alvin Ailey American Dance Theater

Under the directorship of Judith Jamison, Alvin Ailey American Dance Theater became the country’s most popular dance troupe, with an impressive infrastructure and a $3 million budget. Now it will be up to Robert Battle, its new artistic director, to build a repertoire that matches the troupe’s organizational achievements. His appointment was something of a surprise; he never danced with Ailey and, at 37. he is young to assume that kind of responsibility. (Jamison was 43). Programs A and C on this year’s Zellerbach schedule each feature one of his choreographies. Whatever he does in terms of programming, he is not likely to offer fewer glimpses of Revelations, the company’s bread and butter. But how about presenting it with live music? The Bay Area has some excellent gospel choirs. (Felciano)

March 29–April 2, 8 p.m. (also April 2, 2 p.m.);

April 3, 3 p.m., $34–$62

8 p.m., $34–$62

Zellerbach Hall

Bancroft at Telegraph, Berk.

(510) 642-9988

www.calperformances.org 

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Film Listings

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

OPENING

The Beaver Jodie Foster directs and co-stars in this film about a man (Mel Gibson) who communicates using a hand puppet. No word if said hand puppet calls anyone “sugar tits.” (1:30)

*Carancho What Psycho (1960) did for showers this equally masterful, if far more bloody, neo-noir is bound to do for crossing the street at night. Argentine director Pablo Trapero has spun his country’s grim traffic statistics (the film’s opening text informs us that more than 8,000 people die every year in road accidents at a daily average of 22) into a Jim Thompson-worthy drama of human ugliness and squandered chances. Sosa (Ricardo Darín of 2009’s The Secret in Their Eyes) is the titular “carancho,” or buzzard, a disbarred lawyer-turned-ambulance chaser who swoops down on those injured in road accidents on behalf of a shady foundation that fixes personal injury lawsuits. It’s only a matter of time before he crosses paths with and falls for Lujan (a wonderful Martina Gusman, also of Trapero’s 2008 Lion’s Den), a young ambulance medic battling her own demons and a grueling work schedule. A May-December affair begins to percolate until Sosa botches a job and incurs the wrath of the foundation, kicking off a chain reaction that only leads to further tragedy for him and his newfound love. Trapero keeps a steady hand at the wheel throughout, deftly guiding his film through intimate scenes that lay bare Lujan’s quiet desperation and Sosa’s moral ambivalence as well as genuinely shocking moments of violence. The Academy passed over Carancho as one of this year’s nominees for Best Foreign Language Film, but Hollywood would do well to learn from talent like Trapero’s. (1:47) Lumiere, Shattuck. (Sussman)

Desert Flower Based on the best-selling “model memoir,” Desert Flower spins the remarkable tale of Waris Dirie, who fled across the Somalian desert as a young teen to escape an arranged marriage. The marriage was not the most cruel tradition to be imposed on the girl, however — as a toddler, she’d been circumcised, and the crude operation (designed to keep her “pure” until marriage) caused her pain for years after. Waris (played as an adult by Ethiopian supermodel Liya Kebede) eventually makes her way to London, where she’s discovered by a top photographer (Timothy Spall) while mopping floors at a fast-food restaurant. Part culture-clash drama, part girl-power success story (Waris befriends a spunky Topshop clerk, played by Sally Hawkins), Desert Flower is directed (by Sherry Hormann) with the heavy-handedness of a TV movie. But the film does a powerful job drawing attention to a subject not often discussed — despite the efforts of activists like the real-life Dirie, female circumcision still affects some 6,000 girls a day — and for that it cannot be faulted. (2:00) (Eddy)

Diary of a Wimpy Kid: Rodrick Rules Sequel to last year’s hit comedy based on the best-selling YA books by Jeff Kinney. (1:36)

Kill the Irishman If you enjoy 1970s-set Mafia movies featuring characters with luxurious facial hair zooming around in Cadillacs, flossing leather blazers, and outwitting cops and each other — you could do a lot worse than Kill the Irishman, which busts no genre boundaries but delivers enjoyable retro-gangsta cool nonetheless. Adapted from the acclaimed true crime book by a former Cleveland police lieutenant, the film details the rise and fall of Danny Greene, a colorful and notorious Irish-American mobster who both served and ran afoul of the big bosses in his Ohio hometown. During one particularly conflict-ridden period, the city weathered nearly 40 bombings — buildings, mailboxes, and mostly cars, to the point where the number of automobiles going sky-high is almost comical (you’d think these guys would’ve considered taking the bus). The director of the 2004 Punisher, Jonathan Hensleigh, teams up with the star of 2008’s Punisher: War Zone, Ray Stevenson, who turns in a magnetic performance as Greene; it’s easy to see how his combination of book- and street smarts (with a healthy dash of ruthlessness) buoyed him nearly to the top of the underworld. The rest of the cast is equally impressive, with Vincent D’Onofrio, Val Kilmer, Christopher Walken, and Linda Cardellini turning in supporting roles, plus a host of dudes who look freshly defrosted from post-Sopranos storage. (1:46) (Eddy)

*Queen of the Sun: What Are the Bees Telling Us? There are plenty of docs out there detailing the slow decline of the human race — self-inflicted decline, that is, thanks to our disregard for long-term environmental damage caused by our greedy, polluting ways. But unlike the recent Carbon Nation (2010), for example, which took a broad look at renewable energy, Queen of the Sun studies a far more specific issue. A tiny one, in fact: the size of a honeybee. Of course, as the movie points out, this honeybee-sized disaster is actually a global disaster in the making. The latest from Taggart Siegel, director of 2005’s The Real Dirt on Farmer John, investigates the global bee crisis, talking to numerous beekeepers and scientists to discover why bees are disappearing, how their mass-vanishing act affects the food chain, and what (if anything) can be done before it’s too late. Creative animation and quite a few characters (including a shirtless French guy who tickles his hive with his graying mustache) keep Queen of the Bees from feeling too much like a lecture; in fact, it’s quite an eye-opener. You’ll think twice before ever swatting another bee. (1:23) Roxie. (Eddy)

Sucker Punch From what I can tell, Sucker Punch is Zach Snyder’s remake of his 300 (2006), except with jailbait instead of Spartans. (2:00) Presidio.

*Win Win See “#Winning.” (1:46) Bridge.

Winter in Wartime A 13-year-old boy joins the resistance movement in 1945 Nazi-occupied Holland. (1:43) Embarcadero, Shattuck, Smith Rafael.

ONGOING

The Adjustment Bureau As far as sci-fi romantic thrillers go, The Adjustment Bureau is pretty standard. But since that’s not an altogether common genre mash-up, I guess the film deserves some points for creativity. Based on a short story by Philip K. Dick, The Adjustment Bureau takes place in a world where all of our fates are predetermined. Political hotshot David Norris (Matt Damon) is destined for greatness — but not if he lets a romantic dalliance with dancer Elise (Emily Blunt) take precedence. And in order to make sure he stays on track, the titular Adjustment Bureau (including Anthony Mackie and Mad Men‘s John Slattery) are there to push him in the right direction. While the film’s concept is intriguing, the execution is sloppy. The Adjustment Bureau suffers from flaws in internal logic, allowing the story to skip over crucial plot points with heavy exposition and a deus ex machina you’ve got to see to believe. Couldn’t the screenwriter have planned ahead? (1:39) Marina, 1000 Van Ness, Piedmont, SF Center, Shattuck, Sundance Kabuki. (Peitzman)

*Battle: Los Angeles Michael Bay is likely writhing with envy over Battle: Los Angeles; his Transformers flicks take a more, erm, nuanced view of alien-on-human violence. But they’re not all such bad guys after all; these days, as District 9 (2009) demonstrated, alien invasions are more hazardous to the brothers and sisters from another planet than those trigger-happy humanoids ready to defend terra firma. So Battle arrives like an anomaly — a war-is-good action movie aimed at faceless space invaders who resemble the Alien (1979) mother more than the wide-eyed lost souls of District 9. Still reeling from his last tour of duty, Staff Sergeant Nantz (Aaron Eckhart) is ready to retire, until he’s pulled back in by a world invasion, staged by thirsty aliens. In approximating D-Day off the beach of Santa Monica, director Jonathan Liebesman manages to combine the visceral force of Saving Private Ryan (1998) with the what-the-fuck hand-held verite rush of Cloverfield (2008) while crafting tiny portraits of all his Marines, including Michelle Rodriguez, Ne-Yo, and True Blood‘s Jim Parrack. A few moments of requisite flag-waving are your only distractions from the almost nonstop white-knuckle tension fueling Battle: Los Angeles. (1:57) California. (Chun)

Biutiful Uxbal (Javier Bardem) has problems. To name but a few: he is raising two young children alone in a poor, crime-beset Barcelona hood. He is making occasional attempts to rope back in their bipolar, substance-abusive mother (Maricel Álvarez), a mission without much hope. He is trying to stay afloat by various not-quite legal means while hopefully doing the right thing by the illegals — African street drug dealers and Chinese sweatshop workers — he acts as middleman to, standing between them and much less sympathetically-inclined bossmen. He’s got a ne’er-do-well brother (Eduard Fernandez) to cope with. Needless to say, with all this going on (and more), he isn’t getting much rest. But when he wearily checks in with a doc, the proverbial last straw is stacked on his camelback: surprise, you have terminal cancer. With umpteen odds already stacked against him in everyday life, Uxbal must now put all affairs in order before he is no longer part of the equation. This is Alejandro González Iñárritu’s first feature since an acrimonious creative split with scenarist Guillermo Arriaga. Their films together (2006’s Babel, 2003’s 21 Grams, 2000’s Amores Perros) have been criticized for arbitrarily slamming together separate baleful storylines in an attempt at universal profundity. But they worked better than Biutiful, which takes the opposite tact of trying to fit several stand-alone stories’ worth of hardship into one continuous narrative — worse, onto the bowed shoulders of one character. Bardem is excellent as usual, but for all their assured craftsmanship and intense moments, these two and a half hours collapse from the weight of so much contrived suffering. Rather than making a universal statement about humanity in crisis, Iñárritu has made a high-end soap opera teetering on the verge of empathy porn. (2:18) Shattuck. (Harvey)

*Black Swan “Lose yourself,” ballet company head Thomas (Vincent Cassel) whispers to his leading lady, Nina (Natalie Portman), moments before she takes the stage. But Nina is already consumed with trying to find herself, and rarely has a journey of self-discovery been so unsettling. Set in New York City’s catty, competitive ballet world, Black Swan samples from earlier dance films (notably 1948’s The Red Shoes, but also 1977’s Suspiria, with a smidgen of 1995’s Showgirls), though director Darren Aronofsky is nothing if not his own visionary. Black Swan resembles his 2008 The Wrestler somewhat thematically, with its focus on the anguish of an athlete under ten tons of pressure, but it’s a stylistic 180. Gone is the gritty, stripped-down aesthetic used to depict a sad-sack strongman. Like Dario Argento’s 1977 horror fantasy, the gory, elegantly choreographed Black Swan is set in a hyper-constructed world, with stabbingly obvious color palettes (literally, white = good; black = evil) and dozens of mirrors emphasizing (over and over again) the film’s doppelgänger obsession. As Nina, Portman gives her most dynamic performance to date. In addition to the thespian fireworks required while playing a goin’-batshit character, she also nails the role’s considerable athletic demands. (1:50) Shattuck. (Eddy)

*Cedar Rapids What if The 40 Year Old Virgin (2005) got so Parks and Rec‘d at The Office party that he ended up with a killer Hangover (2009)? Just maybe the morning-after baby would be Cedar Rapids. Director Miguel Arteta (2009’s Youth in Revolt) wrings sweet-natured chuckles from his banal, intensely beige wall-to-wall convention center biosphere, spurring such ponderings as, should John C. Reilly snatch comedy’s real-guy MVP tiara away from Seth Rogen? Consider Tim Lippe (Ed Helms of The Hangover), the polar opposite of George Clooney’s ultracompetent, complacent ax-wielder in Up in the Air (2009). He’s the naive manchild-cum-corporate wannabe who never quite graduated from Timmyville into adulthood. But it’s up to Lippe to hold onto his firm’s coveted two-star rating at an annual convention in Cedar Rapids. Life conspires against him, however, and despite his heartfelt belief in insurance as a heroic profession, Lippe immediately gets sucked into the oh-so-distracting drama, stirred up by the dangerously subversive “Deanzie” Ziegler (John C. Reilly), whom our naif is warned against as a no-good poacher. Temptations lie around every PowerPoint and potato skin; as Deanzie warns Lippe’s Candide, “I’ve got tiger scratches all over my back. If you want to survive in this business, you gotta daaance with the tiger.” How do you do that? Cue lewd, boozy undulations — a potbelly lightly bouncing in the air-conditioned breeze. “You’ve got to show him a little teat.” Fortunately Arteta shows us plenty of that, equipped with a script by Wisconsin native Phil Johnston, written for Helms — and the latter does not disappoint. (1:26) California, Empire, Sundance Kabuki. (Chun)

Certified Copy Abbas Kiarostami’s beguiling new feature signals “relationship movie” with every cobblestone step, but it’s manifestly a film of ideas — one in which disillusionment is as much a formal concern as a dramatic one. Typical of Kiarostami’s dialogic narratives, Certified Copy is both the name of the film and an entity within the film: a book written against the ideal of originality in art by James Miller (William Shimell), an English pedant fond of dissembling. After a lecture in Tuscany, he meets an apparent admirer (Juliette Binoche) in her antique shop. We watch them talk for several minutes in an unbroken two-shot. They gauge each other’s values using her sister as a test case — a woman who, according to the Binoche character, is the living embodiment of James’ book. Do their relative opinions of this off-screen cipher constitute characterization? Or are they themselves ciphers of the film’s recursive structure? Kiarostami makes us wonder. They begin to act as if they were married midway through the film, though the switch is not so out of the blue: Kiarostami’s narrative has already turned a few figure-eights. Several critics have already deemed Certified Copy derivative of many other elliptical romances; the strongest case for an “original” comes of Roberto Rossellini’s Voyage to Italy (1954). The real difference is that while Rossellini’s masterpiece realizes first-person feelings in a third-person approach, Kiarostami stays in the shadow of doubt to the end. (1:46) Clay, Shattuck, Smith Rafael. (Goldberg)

Even the Rain It feels wrong to criticize an “issues movie” — particularly when the issues addressed are long overdue for discussion. Even the Rain takes on the privatization of water in Bolivia, but it does so in such an obvious, artless way that the ultimate message is muddled. The film follows a crew shooting an on-location movie about Christopher Columbus. The film-within-a-film is a less-than-flattering portrait of the explorer: if you’ve guessed that the exploitation of the native people will play a role in both narratives, you’d be right. The problem here is that Even the Rain rests on our collective outrage, doing little to explain the situation or even develop the characters. Case in point: Sebastian (Gael García Bernal), who shifts allegiances at will throughout the film. There’s an interesting link to be made between the time of Columbus and current injustice, but it’s not properly drawn here, and in the end, the few poignant moments get lost in the shuffle. (1:44) Opera Plaza, Shattuck. (Peitzman)

*Heartbeats Twenty-one-year-old French Canadian Xavier Dolan — who wrote, directed, and starred in 2009’s I Killed My Mother — returns with the romantic farce Heartbeats, a film peppered with homages to the films, art, and literature that inspired it. While the story is simple — friends Francis (Dolan) and Marie (Monia Chokri) both fall for stunning stranger Nicolas (Niels Schneider) — Dolan’s visual references give his film weight. As with his first movie, he draws from his own life, though Heartbeats is more an amalgamation of stories than Dolan’s singular experience. (1:35) Lumiere. (Peitzman)

*The Human Resources Manager What happens when a nameless, faceless “human resource” begin to resolve into a palpably real being with hopes, fears, loved ones, a hometown, a past? The harried Human Resources Manager of a big Jerusalem bakery finds out when one of his employer’s foreign workers is killed in a suicide bombing. After her body remains unclaimed in a city morgue, his employer is tagged with callous indifference, and it’s up to the beleaguered HR Manager (Mark Ivanir) — already suffering from something of an existential crisis — to undertake damage control. That task turns out to be absurdly above and beyond the ordinary when he retraces his late charge’s footsteps and tracks down her family in Romania, dogged by a meddling reporter (Guri Alfi). Back in the bleak old country, “neither east nor west,” as he’s constantly reminded, the HR Manager encounters a suitably salty, strange array of characters — the earthy Consul (Rozina Cambos) and the deceased’s divorced husband (Reymond Amsalem) and her feral son (Noah Silver) — though who can actually claim the lady’s remains? The troublesome chore turns into a journey about reconnecting with the people the HR Manager stopped seeing as full-fledged, complicated beings. Working from A.B. Yehoshua’s 2006 novel, A Woman in Jerusalem, director Eran Riklis deigns to give his characters names, apart from the dead, and instead focuses on crafting a carefully balanced, altogether enjoyable and accessible black comedy, rendering it all with a delicate touch that Anton Chekhov might have approved of. (1:43) Opera Plaza. (Chun)

I Am File in the dusty back drawer of An Inconvenient Truth (2006) wannabes. The cringe-inducing, pretentious title is a giveaway — though the good intentions are in full effect — in this documentary by and about director Tom Shadyac’s search for answers to life’s big questions. After a catastrophic bike accident, the filmmaker finds his lavish lifestyle as a successful Hollywood director of such opuses as Bruce Almighty (2003) somewhat wanting. Thinkers and spiritual leaders such as Desmond Tutu, Howard Zinn, UC Berkeley psychology professor Dacher Keltner, and scientist David Suzuki provide some thought-provoking answers, although Shadyac’s thinking behind seeking out this specific collection of academics, writers, and activists remains somewhat unclear. I Am‘s shambling structure and perpetual return to its true subject — Shadyac, who resembles a wide-eyed Weird Al Yankovic — doesn’t help matters, leaving a viewer with mixed feelings, less about whether one man can work out his quest for meaning on film, than whether Shadyac complements his subjects and their ideas by framing them in such a random, if well-meaning, manner. And sorry, this film doesn’t make up for Ace Ventura: Pet Detective (1994). (1:16) Shattuck. (Chun)

*The Illusionist Now you see Jacques Tati and now you don’t. With The Illusionist, aficionados yearning for another gem from Tati will get a sweet, satisfying taste of the maestro’s sensibility, inextricably blended with the distinctively hand-drawn animation of Sylvain Chomet (2004’s The Triplets of Belleville). Tati wrote the script between 1956 and 1959 — a loving sendoff from a father to a daughter heading toward selfhood — and after reading it in 2003 Chomet decided to adapt it, bringing the essentially silent film to life with 2D animation that’s as old school as Tati’s ambivalent longing for bygone days. The title character should be familiar to fans of Monsieur Hulot: the illusionist is a bemused artifact of another age, soon to be phased out with the rise of rock ‘n’ rollers. He drags his ornery rabbit and worn bag of tricks from one ragged hall to another, each more far-flung than the last, until he meets a little cleaning girl on a remote Scottish island. Enthralled by his tricks and grateful for his kindness, she follows him to Edinburgh and keeps house while the magician works the local theater and takes on odd jobs in an attempt to keep her in pretty clothes, until she discovers life beyond their small circle of fading vaudevillians. Chomet hews closely to bittersweet tone of Tati’s films — and though some controversy has dogged the production (Tati’s illegitimate, estranged daughter Helga Marie-Jeanne Schiel claimed to be the true inspiration for The Illusionist, rather than daughter and cinematic collaborator Sophie Tatischeff) and Chomet neglects to fully detail a few plot turns, the dialogue-free script does add an intriguing ambiguity to the illusionist and his charge’s relationship — are they playing at being father and daughter or husband and wife? — and an otherwise straightforward, albeit poignant tale. (1:20) Opera Plaza. (Chun)

Inside Job Inside Job is director Charles Ferguson’s second investigative documentary after his 2007 analysis of the Iraq War, No End in Sight, but it feels more like the follow-up to Alex Gibney’s Enron: The Smartest Guys in the Room (2005). Keeping with the law of sequels, more shit blows up the second time around. As with No End in Sight, Ferguson adeptly packages a broad overview of complex events in two hours, respecting the audience’s intelligence while making sure to explain securities exchanges, derivatives, and leveraging laws in clear English (doubly important when so many Wall Street executives hide behind the intricacy of markets). The revolving door between banks, government, and academia is the key to Inside Job‘s account of financial deregulation. At times borrowing heist-film conventions (it is called Inside Job, after all), Ferguson keeps the primary players in view throughout his history so that the eventual meltdown seems anything but an accident. The filmmaker’s relentless focus on the insiders isn’t foolproof; tarring Ben Bernanke, Henry Paulson, and Timothy Geithner as “made” guys, for example, isn’t a substitute for evaluating their varied performances over the last two years. Inside Job makes it seem that the entire crisis was caused by the financial sector’s bad behavior, and this too is reductive. Furthermore, Ferguson does not come to terms with the politicized nature of the economic fallout. In Inside Job, there are only two kinds of people: those who get it and those who refuse to. The political reality is considerably more contentious. (2:00) Lumiere. (Goldberg)

*Jane Eyre Do we really need another adaptation of Jane Eyre? As long as they’re all as good as Cary Fukunaga’s stirring take on the gothic romance, keep ’em coming. Mia Wasikowska stars in the titular role, with the dreamy Michael Fassbender stepping into the high pants of Edward Rochester. The cast is rounded out by familiar faces like Judi Dench, Jamie Bell, and Sally Hawkins — all of whom breathe new life into the material. It helps that Fukunaga’s sensibilities are perfectly suited to the story: he stays true to the novel while maintaining an aesthetic certain to appeal to a modern audience. Even if you know Jane Eyre’s story — Mr. Rochester’s dark secret, the fate of their romance, etc. — there are still surprises to be had. Everyone tells the classics differently, and this adaptation is a thoroughly unique experience. And here’s hoping it pushes the engaging Wasikowska further in her ascent to stardom. (2:00) Albany, Embarcadero, Piedmont, Sundance Kabuki. (Peitzman)

The King’s Speech Films like The King’s Speech have filled a certain notion of “prestige” cinema since the 1910s: historical themes, fully-clothed romance, high dramatics, star turns, a little political intrigue, sumptuous dress, and a vicarious taste of how the fabulously rich, famous, and powerful once lived. At its best, this so-called Masterpiece Theatre moviemaking can transcend formula — at its less-than-best, however, these movies sell complacency, in both style and content. In The King’s Speech, Colin Firth plays King George VI, forced onto the throne his favored older brother Edward abandoned. This was especially traumatic because George’s severe stammer made public address tortuous. Enter matey Australian émigré Lionel Logue (Geoffrey Rush, mercifully controlled), a speech therapist whose unconventional methods include insisting his royal client treat him as an equal. This ultimately frees not only the king’s tongue, but his heart — you see, he’s never had anyone before to confide in that daddy (Michael Gambon as George V) didn’t love him enough. Aww. David Seidler’s conventionally inspirational script and BBC miniseries veteran Tom Hooper’s direction deliver the expected goods — dignity on wry, wee orgasms of aesthetic tastefulness, much stiff-upper-lippage — at a stately promenade pace. Firth, so good in the uneven A Single Man last year, is perfect in this rock-steadier vehicle. Yet he never surprises us; role, actor, and movie are on a leash tight enough to limit airflow. (1:58) Embarcadero, Empire, 1000 Van Ness, Piedmont, Shattuck, Sundance Kabuki. (Harvey)

*Last Lions It’s hard being a single mom. Particularly when you are a lioness in the Botswana wetlands, your territory invaded and mate killed by an invading pride forced out of their own by encroaching humanity. Add buffalo herds (tasty yes, but with sharp horns they’re not afraid to use) and crocodiles (no upside there), and our heroine is hard-pressed to keep herself alive, let alone her three small cubs. Derek Joubert’s spectacular nature documentary, narrated by Jeremy Irons (in plummiest Lion King vocal form) manages a mind-boggling intimacy observing all these predators. Shot over several years, while seeming to depict just a few weeks or months’ events, it no doubt fudges facts a bit to achieve a stronger narrative, but you’ll be too gripped to care. Warning: those kitties sure are cute, but this sometimes harsh depiction of life (and death) in the wild is not suitable for younger children. (1:28) Opera Plaza, Shattuck. (Harvey)

*Limitless An open letter to the makers of Limitless: please fire your marketing team because they are making your movie look terrible. The story of a deadbeat writer (Bradley Cooper) who acquires an unregulated drug that allows him to take advantage of 100 percent of his previously under-utilized brain, Limitless is silly, improbable and features a number of distracting comic-book-esque stylistic tics. But consumed with the comic book in mind, Limitless is also unpredictable, thrilling, and darkly funny. The aforementioned style, which includes many instances of the infinite regression effect that you get when you point two mirrors at each other, and a heavy blur to distort depth-of-field, only solidifies the film’s cartoonish intentions. Cooper learns foreign languages in hours, impresses women with his keen attention to detail, and sets his sights on Wall Street, a move that gets him noticed by businessman Carl Van Loon (Robert DeNiro in a glorified cameo) as well as some rather nasty drug dealers and hired guns looking to cash in on the drug. Limitless is regrettably titled and masquerades in TV spots as a Wall Street series spin-off, but in truth it sports the speedy pacing and tongue-in-cheek humor required of a good popcorn flick. (1:37) 1000 Van Ness, Presidio, SF Center. (Galvin)

*The Lincoln Lawyer Outfitted with gym’d-tanned-and-laundered manly blonde bombshells like Matthew McConaughey, Josh Lucas, and Ryan Phillippe, this adaptation of Michael Connelly’s LA crime novel almost cries out for an appearance by the Limitless Bradley Cooper — only then will our cabal of flaxen-haired bros-from-other-‘hos be complete. That said, Lincoln Lawyer‘s blast of morally challenged golden boys nearly detracts from the pleasingly gritty mise-en-scène and the snappy, almost-screwball dialogue that makes this movie a genre pleasure akin to a solid Elmore Leonard read. McConaughey’s criminal defense attorney Mickey Haller is accustomed to working all the angles — hence the title, a reference to a client who’s working off his debt by chauffeuring Haller around in his de-facto office: a Lincoln Town Car. Haller’s playa gets truly played when he becomes entangled with Louis Roulet (Phillippe), a pretty-boy old-money realtor accused of brutally attacking a call girl. Loved ones such as Haller’s ex Maggie (Marisa Tomei) and his investigator Frank (William H. Macy) are in jeopardy — and in danger of turning in some delightfully textured cameos — in this enjoyable walk on the sleazy side of the law, the contemporary courtroom counterpart to quick-witted potboilers like Sweet Smell of Success (1957). (1:59) Marina, 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

Mars Needs Moms (1:28) 1000 Van Ness, SF Center.

The Music Never Stopped Based on a Dr. Oliver Sacks case history, this neurological wild-ride focuses on the generation gap in extremis: after a ’60s teenage son rebels against his parents, staying incommunicado in the interim, he resurfaces over two decades later as a disoriented, possibly homeless patient they’re called to identify at a hospital. He’s had a benign brain tumor removed — yet it had grown so large before surgery that it damaged gray-matter areas including those handling recent memory. As a result, Gabriel (Lou Taylor Pucci) relates to Mr. (J.K. Simmons) and Mrs. Sawyer (a terrific but underutilized Cara Seymour) as if they were still his upstate NY domestic keepers. A radiant Julia Ormond plays the music therapist who convinces them Gabe might respond to music, which had helped serially glue and sever the father-son bond decades earlier. This is an inherently fascinating psychological study. But director Jim Kohlberg and his scenarists render it placidly inspirational, with too little character nuance, scant period atmosphere (somewhat due to budgetary limitations), and weak homage to the Grateful Dead (ditto) rendering an unusual narrative oddly formulaic. (1:45) Shattuck, Sundance Kabuki. (Harvey)

*Of Gods and Men It’s the mid-1990s, and we’re in Tibhirine, a small Algerian village based around a Trappist monastery. There, eight French-born monks pray and work alongside their Muslim neighbors, tending to the sick and tilling the land. An emboldened Islamist rebel movement threatens this delicate peace, and the monks must decide whether to risk the danger of becoming pawns in the Algerian Civil War. On paper, Of Gods and Men sounds like the sort of high-minded exploitation picture the Academy swoons over: based on a true story, with high marks for timeliness and authenticity. What a pleasant surprise then that Xavier Beauvois’s Cannes Grand Prix winner turns out to be such a tightly focused moral drama. Significantly, the film is more concerned with the power vacuum left by colonialism than a “clash of civilizations.” When Brother Christian (Lambert Wilson) turns away an Islamist commander by appealing to their overlapping scriptures, it’s at the cost of the Algerian army’s suspicion. Etienne Comar’s perceptive script does not rush to assign meaning to the monks’ decision to stay in Tibhirine, but rather works to imagine the foundation and struggle for their eventual consensus. Beauvois occasionally lapses into telegraphing the monks’ grave dilemma — there are far too many shots of Christian looking up to the heavens — but at other points he’s brilliant in staging the living complexity of Tibrihine’s collective structure of responsibility. The actors do a fine job too: it’s primarily thanks to them that by the end of the film each of the monks seems a sharply defined conscience. (2:00) Albany, Embarcadero. (Goldberg)

Paul Across the aisle from the alien-shoot-em-up Battle: Los Angeles is its amiable, nerdy opposite: Paul, with its sweet geeks Graeme (Simon Pegg) and Clive (Nick Frost), off on a post-Comic-Con pilgrimage to all the US sites of alien visitation. Naturally the buddies get a close encounter of their very own, with a very down-to-earth every-dude of a schwa named Paul (voiced by Seth Rogen), given to scratching his balls, spreading galactic wisdom, utilizing Christ-like healing powers, and cracking wise when the situation calls for it (as when fear of anal probes escalates). Despite a Pegg-and-Frost-penned script riddled with allusions to Hollywood’s biggest extraterrestrial flicks and much 12-year-old-level humor concerning testicles and farts, the humor onslaught usually attached to the two lead actors — considered Lewis and Martin for pop-smart Anglophiles — seems to have lost some of its steam, and teeth, with the absence of former director and co-writer Edgar Wright (who took last year’s Scott Pilgrim vs. the World to the next level instead). Call it a “soft R” for language and an alien sans pants. (1:44) California, Four Star, 1000 Van Ness, Presidio. (Chun)

*Phil Ochs: There But For Fortune When Phil Ochs was at his peak, he was one of the finest polemical folksingers to come out of the ’60s, and when he tumbled from those heights, the fall was terrible: he lost more than friends and fame — he appeared to completely lose himself, to substance abuse and mental illness. Director Kenneth Bowser does the singer-songwriter justice with this documentary, threading to-the-ramparts tunes like “Hazard, Kentucky,” questioning numbers a la “Love Me, I’m a Liberal,” and achingly beautiful songs such as “Jim Dean of Indiana” throughout political events of the day, scenes from a protest movement that were inextricably entangled with Ochs’ oeuvre. Along with the many clips of Ochs in performance are interviews with the artist’s many friends, cohorts, and fans including Van Dyke Parks (who is becoming a Thurston Moore-like go-to for a generation’s damaged voices), brother (and music archivist) Michael Ochs, Joan Baez, Tom Hayden, Peter Yarrow, Billy Bragg, daughter Meegan Ochs, and Ed Sanders. Expect an education in Ochs’ art, but also, perhaps more importantly (to the singer-songwriter), a glimpse into a time and place that both fed, fueled and bestowed meaning on his songs. Bowser succeeds in paints the portrait of a performer that was both idealistic and careerist, driven to fight injustice yet also propelled to explore new creative avenues (like recording with local musicians in Africa). Did Ochs fall — by way of drink, drugs, and mental illness — or was he pushed, as the artist claimed when he accused CIA thugs of destroying his vocal chords? The filmmaker steps back respectfully, allowing us to draw our own conclusion about this life lived fully. (1:38) Smith Rafael. (Chun)

Rango (1:47) Empire, Presidio, 1000 Van Ness, Sundance Kabuki.

Red Riding Hood In order to appreciate a movie like Red Riding Hood, you have to be familiar with the teen supernatural romance genre. Catherine Hardwicke’s sexy reinterpretation of the fairy tale is not high art: the script is often laughable, the acting flat, and the werewolf CGI embarrassing. But there’s something undeniably enjoyable about Red Riding Hood, especially in the wake of the duller, more sexually repressed Twilight series. Amanda Seyfried stars as Valerie, a young woman living in a village of werewolf cannon fodder. She’s torn between love and duty — or, more accurately, Peter (Shiloh Fernandez) and Henry (Max Irons). Meanwhile, a vicious werewolf hunter (Gary Oldman) has arrived to overact his way into killing the beast. It’s a silly story with plenty of hamfisted references to the original fairy tale, but if you can embrace the camp factor and the striking visuals, Red Riding Hood is actually quite fun. Though, to be fair, it might help if you suffer through Beastly first. (1:38) 1000 Van Ness, Shattuck, SF Center. (Peitzman)

*True Grit Jeff Bridges fans, resist the urge to see your Dude in computer-trippy 3D and make True Grit your holiday movie of choice. Directors Ethan and Joel Coen revisit (with characteristic oddball touches) the 1968 Charles Portis novel that already spawned a now-classic 1969 film, which earned John Wayne an Oscar for his turn as gruff U.S. Marshall Rooster Cogburn. (The all-star cast also included Dennis Hopper, Glen Campbell, Robert Duvall, and Strother Martin.) Into Wayne’s ten-gallon shoes steps an exceptionally crusty Bridges, whose banter with rival bounty hunter La Boeuf (a spot-on Matt Damon) and relationship with young Mattie Ross (poised newcomer Hailee Steinfeld) — who hires him to find the man who killed her father — likely won’t win the recently Oscar’d actor another statuette, but that doesn’t mean True Grit isn’t thoroughly entertaining. Josh Brolin and a barely-recognizable Barry Pepper round out a cast that’s fully committed to honoring two timeless American genres: Western and Coen. (1:50) Shattuck. (Eddy)

Unknown Everything is blue skies as Dr. Martin Harris (Liam Neeson) flies to Germany for a biotech conference, accompanied by lovely wife Elizabeth (January Jones in full Betty Draper mode). Landing in Berlin things quickly become grey, as he’s separated from his wife and ends up in a coma. Waking in a hospital room, Harris experiences memory loss, but like Harrison Ford he’s getting frantic with an urgent need to find his wife. Luckily she’s at the hotel. Unluckily, so is another man, who she and everyone else claims is the real Dr. Harris. What follows is a by-the-numbers thriller, with car chases and fist fights, that manages to entertain as long as the existential question is unanswered. Once it’s revealed to be a knock-off of a successful franchise, the details of Unknown‘s dated Cold War plot don’t quite make sense. On the heels of 2008’s Taken, Neeson again proves capable in action-star mode. Bruno Ganz amuses briefly as an ex-Stasi detective, but the vacant parsing by bad actress Jones, appropriate for her role on Mad Men, only frustrates here. (1:49) 1000 Van Ness, SF Center. (Ryan Prendiville)

You Won’t Miss Me Look at this fucking hipster: dour, aimless Shelly (Stella Schnabel, daughter of Julian) has her own New York City apartment (plus access to a country home, the ability to travel to Atlantic City on a whim, etc.) despite having no apparent source of income. Shelly drifts, going on auditions to further her as-yet unsuccessful acting career; leaving monotone voice mails for her mother; visiting her therapist; hooking up with assorted unwashed dudes; and hanging out with her insipid friends, one of whom helps our hapless 21st century protagonist set up her very first email account. That Shelly is depressed is a given; why anyone would choose to watch this drag of a film is a mystery. Director Ry Russo-Young aims to break up the angst by deploying an array of formats — from Super 8 to Flip — but no amount of artsy quirks (or cameos recognizable only to mumblecore enthusiasts) can make up for You Won’t Miss Me‘s uninvolving plot and unsympathetic characters. For a less painful (though by no means pain-free) experience, seek out last year’s similar Tiny Furniture instead. (1:21) Roxie. (Eddy)

REP PICKS

Dimension 5 and ESPY The Vortex Room March series of vintage espionage obscurities continues with this double bill of two particularly off-radar relics. First up is a 1966 U.S. B-flick that was one of a gazillion cheap James Bond imitations flooding the market at the time. It stars Jeffrey Hunter — a fading late 50s movie star who this same year made the mistake of surrendering Star Trek‘s Kirk role to William Shatner. He’s Justin Power, a big swingin’ dick type who works for “Espionage, Inc.,” surrounded by a bevy of pantingly available female assistants. He discovers a “fantastic Red plot” to “destroy Los Angeles unless all Allied forces are withdrawn from Southeast Asia” being executed by Bond villain Harold “Oddjob” Sakata, who shows off his wrestling physique in a wheelchair and barks things (obviously dubbed by another actor) like “You?! Attack me?! Your superior?!?!” Our hero is thrown a “horizontal curve” by the “curious cat” Kitty (France Nguyen of 1958’s South Pacific and 1993’s Joy Luck Club), an ally with her own hidden agenda. The cheesy big gimmick is Power’s use of a “time travel belt,” but the main attraction today is the film’s occasionally jaw-dropping sexist and racist condescensions. More overtly fantasy-oriented is 1974’s Japanese ESPY from director Jun Fukuda, a veteran of Toho Godzilla epics. Gifted with telekinetic powers, racecar driver Miki (handsome ex-model Masao Kusakari, still active in movies and TV) is drafted into a organization of similar extra-normal abilities to avert international crisis — unknown forces are assassinating world leaders attempting to negotiate peace in various trouble spots. Turns out “superhumans” living among us want to winnow the “weak” human race. It’s good mutants vs. these bad mutants in a globe-trotting adventure that anticipates elements of X-Men (2000), The Fury (1978), Scanners (1981), and even Team America: World Police (2004) while hovering on the borders of spy, kung fu, disaster flick, and (briefly but memorably) sexploitation … with a very groovy 70s soundtrack to boot. Vortex Room. (Harvey)<\!s>2

 

Psychic Dream Astrology

Maria Poblet
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0

March 23-29

ARIES

March 21-April 19

No matter how much you feel that you deserve to get what you want, you don’t deserve anything more than the next fella. Work on your emotions for best results this week instead of pushing hard to get your will satisfied.

TAURUS

April 20-May 20

No matter how excited you are or how pressing your circumstances, make sure you pace yourself. You run the risk of moving too fast, getting overwhelmed, and shutting down. Adopt a pace you can sustain.

GEMINI

May 21-June 21

Passion, daring, and adventure are on the menu for you, Twin Star! Only trouble is, you have to discern where the creative potential lies in those thing versus straight-up drama. Follow and care for your heart.

CANCER

June 22-July 22

You really need to make some changes, Cancer. The best bet for you is to focus on changing yourself and on shifting your attitudes as much as your actions. Your life is ready to integrate transformation — bring it.

LEO

July 23-Aug. 22

There are always going to be troubles in intimate relationships, because they are like mirrors reflecting your issues back to you. Accept the problems in your interactions so you can deal with them directly and start healing.

VIRGO

Aug. 23-Sept. 22

You seem to believe that you need something or someone you really don’t need, Virgo. Trust your own virility instead of placing that confidence outside yourself all the time. Find strength within.

LIBRA

Sept. 23-Oct. 22

No matter how revved up you are, there is no road for your souped-up Libramobile that doesn’t require gas in the tank. If you don’t have confidence, your energy won’t last. Priority one: replenish your insides.

SCORPIO

Oct. 23-Nov. 21

Open your perceptions as wide as you can. The universe wants you to see things as they really are instead of through the dizzying haze of your emotions. Be willing to see old things in new ways this week.

SAGITTARIUS

Nov. 22-Dec. 21

Hopeful thinking is tops, a real gift-giver! But it would be a mistake to confuse positive thoughts with the promise of an ideal reality. Prepare for all outcomes — just in case, Sagittarius.

CAPRICORN

Dec. 22-Jan. 19

Fretful thinking and worried projections can’t replace the wisdom of an open heart, Capricorn. Know your mental shenanigans and the games they play. If there’s no mortal danger, don’t duck for cover.

AQUARIUS

Jan. 20-Feb. 18

You need to change some pretty deep stuff inside you, and it requires introspection and a willingness to work. The worst thing you can do this week is create a self-fulfilling prophecy of failure by overwhelming yourself.

PISCES

Feb. 19-March 20

Patience and perseverance are the keys that will unlock the door to your next phase. Be willing to see how your own choices and actions have brought you where you are. Change is yours — if you’re willing to make it. *

Jessica Lanyadoo has been a psychic dreamer for 16 years. Check out her website at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com.

 

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