Event

THURSDAY

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JULY 20

visual art/event

“The Art Don’t Stop”

With the help of local businesses and random pedestrians, Todd Berman will be “democratically creating” a collage Thursday, using the future of Sixth Street as a theme. Backlit and hanging in the windows of host gallery DA Arts will be recent paintings of and by neighborhood restaurant employees such as Mo from Chico’s Pizza who did an amazing portrait of … uh, Joe from Chico’s Pizza. (Justin Juul)

5:30-8:30 p.m.
DA Arts
135 6th St., SF
Free pizza, music, and art
(415) 595-0337
www.theartdontstop.org

MUSIC

Thievery Corporation

Listen to the lyrics of the last two original Thievery Corporation albums, and you might think they more closely resemble something out of the Free Speech Movement than Eighteenth Street Lounge. The opening track for last year’s The Cosmic Game (Eighteenth Street) begins, “Well let’s start by/ Making it clear/ Who is the enemy.” Don’t think this is some celebrity musician facade either; last September, Thievery Corporation’s Rob Garza and Eric Hilton performed at “Operation: Ceasefire,” a free concert-rally protesting the war in Iraq. (Kevin Lee)

9 p.m.
Concourse at SF Design Center
620 Seventh St., SF
$35
(415) 421-TIXS
www.thieverycorporation.com

AMLO Presidente!

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MEXICO CITY (July 19th) – The day before Andres Manuel Lopez Obrador (AMLO), the peppery Mexican left leader who insists he is the winner of the fraud-marred July 2nd election, summoned more than a million Mexicans to the great central Zocalo plaza to lay out plans for mass civil resistance to prevent right-winger Felipe Calderon from stealing the presidency, this reporter marched down from the neighboring Morelos state with a group of weather-beaten campesinos the color of the earth.

Saul Franco and his companeros farmed plots in the village of Anenecuilco, the hometown of revolutionary martyr Emiliano Zapata who gave his life to defend the community’s land from the big hacienda owners. “It is our obligation to fix this fraud and kick the rich out of power,” Saul explained. “If Zapata was still alive he would be with us today,” the 52 year-old farmer insisted, echoing the sentiment on the hand-lettered cardboard sign he carried.

But although Saul and his companions admired and supported Lopez Obrador, they were not so happy with AMLO’s party, the Party of the Democratic Revolution or PRD. “We had a PRD mayor and things went badly and we lost the next time around,” remembered Pedro, Saul’s cousin. Indeed, many PRD candidates are simply made-over members of the once-ruling (71 years) Institutional Revolutionary Party or PRI who have climbed on Lopez Obrador’s coattails to win public office. In 57% of all elections the PRD has won, the party has failed to win reelection.

Yet the farmers drew a clear distinction between AMLO’s “Party of the Aztec Sun” and Lopez Obrador himself. “Andres Manuel will never surrender. He is decided. He will never double-cross us or sell us out.” Saul was adamant.

It is that aura of dedication and combativeness and the belief that, in contrast with other leaders that have risen from the Mexican left, that AMLO cannot be bought or co-opted, that helped draw 1.1 million (police estimates) or 1.5 million (PRD estimates) Mexicans to the Zocalo, the political heart of the nation, July 16th.

The numbers of those in attendance – the line of march extended for 13 kilometers and moved continuously for five hours – are integral to AMLO’s notion that these are historic moments for Mexico. Only if this understanding is impressed upon the seven-judge electoral tribunal (TRIFE) that must decide who won the fiercely-contested July 2nd election will the panel order the opening of all 130,000 ballot boxes and allow a vote-by-vote recount.

Lopez Obrador is convinced that he has won the presidency of Mexico from his right-wing rival, Felipe Calderon of the National Action Party (PAN), who was awarded a severely critiqued 243,000-vote margin by the Federal Electoral Institute (IFE) on the basis of what now appear to be manipulated computer tallies.

The July 16th outpouring may or may not have been the largest political demonstration in Mexican history. AMLO himself set the previous record back in April 2005, when he put 1.2 million citizens into the streets of Mexico City to protest efforts by President Vicente Fox, a PANista like Calderon, to exclude him from the ballot. But what is most important in this numbers game is not how many were turned out at each event but the exponential growth of the gatherings. Back in 2005, AMLO called a rally in the Zocalo that drew 325,000 supporters. Two weeks later, he tripled the size of the turnout, forcing Fox to drop his scheme to prevent Lopez Obrador from running for president.

Six days after the July 2nd election, AMLO summoned a half million to an “informative assembly” in the vast Tienanmen-Square-sized plaza, and once again, if the PRD figures are to be accepted, tripled participation last Sunday. He is now calling for a third “informative assembly” July 30th which, given the statistical trend, should settle the question of which is the largest mass demonstration in Mexican political history.

The PAN and its now-ex-candidate Calderon consider these enormous numbers to be “irrelevant.” That’s how PAN secretary Cesar Nava labeled them.

What AMLO’s enemies – Fox, Calderon, the PAN, the now dilapidated PRI, the Catholic Church, the Media, Mexico’s avaricious business class, and the Bushites in Washington – do not get yet is that every time they level a blow at the scrappy “Peje” (for Pejelagarto, a gar-like fish from the swamps of AMLO’s native Tabasco) his popularity grows by leaps and bounds. The perception that, despite the vicious attacks of his opponents, he will never sell out is Lopez Obrador’s strongest suit – and he is always at the peak of his game when leading massive street protests.

Two weeks after the election that Felipe Calderon continues to claim he won, Andres Manuel Lopez Obrador is the pivotal figure in Mexican politics, dominating public discourse and even the media, which has so brutally excoriated and excluded him for years. Meanwhile, the PANista spends his days accepting congratulations from the world’s most prominent right-wingers including George Bush, an electoral pickpocket who is popularly thought to have stolen the U.S. presidency in 2000 and 2004, and Bush’s Senate majority leader Bill Frist, in addition to Bush poodle Tony Blair and Spain’s former Francisco-Franco-clone prime minister Jose Maria Aznar.

Calderon also enjoys the approbation of such U.S. right-wingers as Fox News commentator Dick Morris (a campaign consultant), the Miami Herald’s decrepit Latin America “expert” Andres Oppenheimer, and Ginger Thompson, the Condoleezza Rice of The New York Times whose estimates of crowd sizes missed the mark by a million marchers July 16th. Virtually every radio and television outlet in Mexico has endorsed Calderon’s purported victory – Televisa, the largest communication conglomerate in Latin America, which dominates the Mexican dial, refused to provide live coverage of the July 16th rally, perhaps the largest political demonstration in the nation’s history.

Although Felipe Calderon has announced his intentions of touring Mexico to thank voters for his disputed “triumph,” insiders report that the PAN brain trust has strongly advised against it, fearing that such a tour could trigger violent confrontations with AMLO supporters.

At this point, 16 days after the election, it is difficult to imagine how Calderon could govern Mexico if the TRIFE denies a recount and accepts the IFE numbers. A Calderon presidency would inherit a country divided in half geographically between north and south. Both the PAN and the PRD won 16 states a piece although AMLO’s turf contains 54% of the population and most of Mexico’s 70 million poor – an angry majority that will refuse to accept the legitimacy of a Calderon presidency for the next six years. Faced with a similar situation after he stole the 1988 election from leftist Cuauhtemoc Cardenas, Carlos Salinas had to call out the army.

Lopez Obrador has encouraged his supporters to reinforce encampments outside the nation’s 300 electoral districts to prevent the IFE from tampering with ballot boxes while the judges sort through the 53,000 allegations of polling place violations filed by AMLO’s legal team. The PRD charges that the IFE has already violated 40% of the boxes in a ploy to match ballot totals to its highly dubious computer count. The leftist’s call for peaceful mass civil resistance is bound to keep this nation’s teeth on edge until a judicial determination is reached in respect to a recount. A new president must be designated by September 6th.

Although tensions are running high, the country has been remarkably violence free since July 2nd — but a decision by the tribunal to uphold the IFE results could well be the point of combustion. Even should a recount be ordered, the question of who will do the counting — given the vehement distrust of the Federal Electoral Institute by AMLO’s supporters — is a potential flashpoint for trouble. Historically, when the electoral option has been canceled as a means of social change by vote fraud, the armed option gains adherents in Mexico.

Despite AMLO’s talents at exciting mass resistance and the number of times he can fill the Zocalo to bursting, the only numbers that really count are those inside the nation’s 130,000 ballot boxes. Will the justices satisfy Lopez Obrador’s demand for a vote-by-vote recount? All seven judges are in their final year on the TRIFE bench and at least three members are candidates to move up to the Supreme Court in the next administration. In the past, the judges, who decide by majority opinion, have been quite independent of political pressures, ordering annulments and recounts in two gubernatorial elections and in whole electoral districts – but have never done so in a presidential election. Forcing that historical precedent is what Lopez Obrador’s call for mass mobilizations is all about.

If AMLO’s foes are counting on a long, drawn-out legal tussle that will discourage the faithful and eventually reduce his support to a handful of diehard losers, they have grievously miscalculated the energy and breadth of the leftist’s crusade to clean up the 2006 election. This past weekend, as this senior citizen trudged the highway down from Zapata country to the big city, two police officers lounging outside the highway tollbooths gently patted me on the back and urged me on. “Animo!” they encouraged, “keep up the spirit!”

When even the cops are in solidarity with Lopez Obrador’s fight for electoral justice, the writing is on the wall for Calderon and his right-wing confederates. Indeed, the wall of the old stone convent around the corner from my rooms here in the old quarter says it quite clearly: “AMLO PRESIDENTE!”

John Ross’s “Zapatistas! Making Another World Possible – Chronicles of Resistance 2000-2006” will be published by Nation Books this October.

WEDNESDAY

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JULY 19

Event
Anarchy in Spain

Join AK Press for a celebration of the 70th anniversary of the Spanish Revolution, including a screening of Durruti, a short 1936 documentary made by the CNT trade union and talks by Lawrence Jarach, of Anarchy magazine, and Barry Pateman, editor of Chomsky on Anarchism, on different aspects of the revolution. (Deborah Giattina)

7 p.m.
AK Press Warehouse
674-A 23rd St., Oakl.
Free
(510) 208-1700, www.akpress.org

Event
“How to Impeach a President”

The first administration in history to admit to an impeachable offense – warrentless surveillance by the National Security Agency – seems to be unconcerned that most Americans do not want the man in the White House to stay there. Constitution Summer, the youth-<\h>oriented group behind Berkeley’s recent ballot initiative calling for impeachment, and Dr. Daniel Ellsberg, who called bullshit once before by releasing the Pentagon Papers in 1971, are giving them a reason to be concerned. Film screenings and teach-ins on the big “I” are happening in cities around the nation. (K. Tighe)

7 p.m.
Grand Lake Theater
3200 Grand, Oakl.
$10 donation requested,
no one turned away
(510) 816-0563
www.constitutionsummer.org

Continuing bike battles

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By Steven T. Jones
OK, this entry is just adding some touch-up work to the one below: “Bike battles continues.” I’ve heard some firsthand reports from last weekend’s mini-confrontation between Mayor Gavin Newsom and a bicycle community upset over how the Gav didn’t keep his promise to seek a compromise to the Healthy Saturdays measure he vetoed a couple months ago. Newsom won’t even meet with the bike people to discuss things (big surprise…we hear Newsom is checked out and has been cancelling his regular department head meetings and other gigs. Why? Well, there are nasty rumors about that, which I’ll try to share with y’all asap). But getting back on topic: bike activists gathered to ambush Newsom at the Conservatory of Flowers, where he was to be privately honored for his veto by Coalition for Park Access (ie access to the museums in the park by car, not the park itself). Apparently, the event was not meant for pubic consumption, but the Examiner somehow got it and printed it, much to the event organizers’ dismay. Newsom tried to sneak in a back door, but a camera wielding activist stopped him and got some great pictures (which we’re running in this week’s paper, check ’em out). “I don’t like photos,” our telegenic mayor reportedly said as he blocked the camera with his hand, Hollywood-style. Bike activist and SF Party Party member Ted Strawser summed it up this way: “We are still hoping for the Mayor to show some leadership on this important issue. However, Wednesday’s veto celebration, capping two months of silence, may not bode well. This may not be the last time that Park Advocates get a ‘tell it to the hand’ gesture from Mayor Newsom.”

Fire…cool

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By Scribe
Tis the season to burn bright, what with all the fire arts festivals and other events leading up to Burning Man’s 20th anniversary. And burners have definitely been stepping things up recently. A couple months ago, San Francisco and Black Rock LLC (the group that stages the event) teamed up to throw an amazing fire arts festival at Candlestick Park, going bigger than the Crucible in Oakland usually does for its annual Fire Arts Festival with a stage of great acts, cutting edge pyrotechnics, and, of course, amazing fire spewing contraptions. Well, Michael Sturtz and his Crucible crew accepted that challenge and blew up this weekend’s festival to crazy proportions. This place was just GOING OFF! San Francisco’s Flaming Lotus Girls showed why they’re still queen of the hill with the debut of their new project: Serpent Mother (OK, perhaps I’m a little biased). And the festival’s stage rocked with the Mutaytor, a fantastic entrance and performance by the Extra Action Marching Band, super fresh fire dancing by the San Francisco Fire Conclave, and Dr. Megavolt and friends rockin’ the Tesla coils. I was already excited about this year’s Burning Man — now, it’s all I can do to not want to flee to the desert immediately. The man burns in 48 days. How are your preparations going?

Bike battles continue

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By Steven T. Jones
It was two months ago this Saturday that Mayor Gavin Newsom vetoed Healthy Saturdays, which would have extended the Sunday Golden Gate Park road closures through the weekend. At the time, he did the political thing and said he was looking for a compromise. But since then, he’s done nothing to follow up or even agree to meet to bike advocates. Yet he did find time on Wednesday evening to get feted by opponents of the measure, who called strangely call themselves Coalition for Park Access, at the Conservatory of Flowers. A few bicyclists got wind of the event and showed up to protest, but their bigger effort will be tomorrow when they show up at the Conservatory of Flowers at 1:30 to educate parkgoers how the mayor is all talk when it comes to creating car-free reactional spaces.

P.S. Anti-bike zealot Rob Anderson — whose lawsuit challenging the city bike plan has temporarily halted most bike projects in the city — lost his mind when he heard about the Wednesday protest, calling on the mayor to remove Bike Coalition executive director Leah Shahum from her seat on the MTA board. Luckily, he was heckled down by members of the PROSF listserve, who informed him that MTA members serve fixed terms and can’t be booted simply for exercising the free speech rights that Anderson himself so often (and irritatingly) proclaims.

NOISE: Come in Debasement

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Radical queers? Radical sluts? Radical. It’s time to get out for Debasement, “a Radical Queer Social and Slut Dance” and benefit for Arab Queer groups ASWAT and Helem, on Friday, July 14.

babealiciousbarmaidssml.jpg
Your friendly waitstaff.

They sayeth:

“It’s time to debase Israeli Terror (and maybe even each other) at a radical queer dance party and sultry soiree. DEBASEMENT will happen at De Basement, a dark and sleazy subterranean speakeasy below the Baker’s
Dozen. Enjoy the sizzling sounds of your fave local DJs Gary Fembot (The Clap), Brontez (Gravy Train, Pussyboys) and Reaganomixxx (Pussyboys). Come thirsty, darling, because some of SF’s most babealicious barmaids have
concocted some delectable cocktails and mocktails for your enjoyment. We invite you to dress up, dress down, cruise, network, dance, prance, make out, and make trouble in support of Helem and ASWAT, two queer
organizations whose members have spoken out against the hypocritical World Pride event in Israeli Jerusalem this August. 9 p.m.-2 a.m. at 733 Baker St. at McAllister, SF. $5-$25.

You have been warned.

Nude awakening

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Anicca — at the Theater Artaud complex this week — is not exactly your everyday site-specific dance theater event. With the audience in tow, the piece makes its way from the Noh Space through internal hallways into Theater Artaud proper. Its 20 dancers (half professionals, half amateurs) all perform in the nude. Onstage. Outside. Foggy or not.
Eric Kupers, codirector of Dandelion Dancetheater, knows the risks of this kind of endeavor. Anicca, which means “the impermanence of all phenomena,” is but the latest work of his Undressed Project, which challenges us to look closely at what usually goes unacknowledged. Though we may no longer be shocked by naked bodies in public, for the most part this is still an uncomfortable experience for both viewer and dancer, particularly when the performers come in all sizes and shapes. Two of them have each lost a leg in a car accident.
“We have to accept the discomfort that comes with nudity,” says Kupers, who practices Buddhist mediation. “If we make room and embrace it, we can harness the energy that comes from relaxing with it.” At the very least, a project such as Anicca raises questions about vulnerability and voyeurism.
By exposing themselves the way they do, the dancers have to let go not only of the way they see themselves but also of the way they customarily present themselves to an audience. They put themselves into extreme, emotionally fragile positions. In doing so, they challenge perceptions of how identity is tied to the image we have of ourselves and of others. Still, Kupers was amused to see that while some dancers had no problem with being seen naked by hundreds of people, “they said they wouldn’t dance barefoot on cement.”
As for voyeurism, Kupers remembers that in the early days of the Undressed Project he would get audiences who were ready to ogle buffed and muscled bodies. That’s not what they got. Looking at the diverse bodies of his dancers — old, young, skinny, wrinkled, and big, as well as toned — raises questions. What does our gaze mean to us, to the dancers? Is there shame, embarrassment, titillation, curiosity, acceptance?
Anicca features a taped score and at least one live (naked) violinist. As they view the piece, audience members will be guided by members of Kupers’s Undressed Project workshop. “I think I’ll call them ‘naked rangers,’” Kupers concludes. (Rita Felciano)
ANICCA
Wed/12 and Fri/14, 7pm (also Fri/14, 10 p.m.);
Thurs/13 and Sat/15–Sun/16, 6 p.m. (also Sat/15, 10 p.m.)
Begins at Noh Space
2840 Mariposa, SF
$13–$18
(415) 863-9834
www.odctheater.org

A present from the past

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› johnny@sfbg.com
One of us is wearing green short-sleeved Lacoste, the other blue short-sleeved Sergio Tacchini. We’ve looked around his apartment, where he’s leaving behind one shoebox-size tranquil bedroom — he’s now restlessly moving his belongings between two larger sun-drenched spaces. He jokingly calls one a massage room and the other a museum and talks about the patterns of shadows through his windows — how there’s a shadow that looks like a dancing lady, and how the window that faces a church is both peaceful and a passage to a fantasy about priests. Then we walk down the 37-step staircase onto 23rd Street, and Colter Jacobsen and I start talking about his art.
One of Jacobsen’s first shows took place in the exact spot we’ve just left behind. “Woods in the Watchers,” featuring pencil renderings of nudes and seminude photos Jacobsen found at the shop known as the Magazine (on Larkin), was presented in and around his bedroom. “The funny thing is what instigated the whole project was Friendster,” he says as we begin an uphill trek. “I was obsessed with it for two weeks and just started seeing everybody as a personal page — as if when they were looking at you, they were clicking on you. It was kind of fucked up. My response was that I wanted something more tactile. The idea eventually came to be one-hour timed drawings of guys wearing watches.”
We pass a couple on a stairway taking pictures of each other — the man is shooting video, the woman taking digital snapshots. Jacobsen remarks that one irony of the “Watchers” drawings, which uncover a bygone snail mail universe of intimate connections, is that they’re back on the Internet, via the Web site of local press Suspect Thoughts. I say they remind me a bit of the late artist and writer Joe Brainard’s casually hot drawings for the book gAy BCs. “[Brainard’s] stuff is amazing, it’s intimidating to me,” says Jacobsen. “It’s gestural and quick. I use a mechanical pencil and just thinking about approaching a piece of paper without a pencil scares me a little.”
If so, he has little reason for apprehension. In “Watchers” and especially in a recent group exhibition at White Columns in New York (where New York Times critic Roberta Smith singled him out for praise), and now in “Your Future,” a show at Four Star Video’s attic space, Jacobsen displays a talent for drawing images in a low-key way that can still saturate the banal with potent emotion — a truly rare ability these days.
A Mormon upbringing and contemplative community college time in San Diego, where he took a single class on color, light, and theory three times, are a few extreme shorthand examples of what led Jacobsen to San Francisco and his current work. He counts fellow artist Donal Mosher and the writers Dodie Bellamy and Kevin Killian as friendly influences; in fact, he’s created a gridlike piece charting Bellamy’s and Killian’s use of color in their fiction. “From reading their writing and not knowing what’s fiction and what’s real, I’ve gone on all these mind trips,” Jacobsen admits, as we cross paths with a woman using her cell phone like a loudspeaker. “One time on the Fourth of July I totally thought they were going to kill me.”
Jacobsen’s favorite course at the SF Art Institute was a creative writing class taught by Bellamy. There, he wrote a story — O Rings, about a blind girl obsessed with the 1986 space shuttle Challenger explosion — that has somewhat eerily prefigured his current art and life. He’s worked at Lighthouse for the Blind and currently is a caregiver and driver for the blind and disabled.
The walk up 24th Street has led us to Grand View Avenue, where the view is indeed grand. As we climb the coiled freeway overpass, Jacobsen talks about the “memory drawings” featured in both the show at White Columns and in the current Four Star Video show in San Francisco. “When I try to find a photo to draw from — which takes a long time — it’s like me trying to predict what I’ll be meditating on for the next couple of weeks,” he says. “I don’t take it lightly, and it’s often related to something personal.”
The element of prediction might be what Jacobsen is referring to when he says that these drawings stemming from old photos “are about the future.” In Four Star Video’s attic, Jacobsen has painted the titular words of the show over a newspaper obit page and fixed it to the corner of a wall so it can also read “Our Future.” This melancholy verging on morbidity spills from some drawings, especially a truly great one of a waterfront snapshot that uses a film-frame crosscutting technique to convey romantic heartbreak.
The show’s staircase climb to a heavenly Four Star “Future” is typical of Jacobsen’s casual yet concise use of place, and there are many elements at play, some so understated that a viewer who isn’t attentive might not even notice. Two papier-mâché teardrops hide in a corner, near the store’s rare DVDs of Salo and Lilya 4-Ever. (Images are often presented in twos and fours and eights: “Eight is my favorite number,” says Jacobsen. “It’s like two circles or two eyes.”) A pair of found-object mock columns stand next to the store’s shelving units. In a practice that updates pop art chestnuts to the current moment, Jacobsen — who first used the technique while reeling from being “totally blind” about a guy he was in love with — uses Wite-Out to cover up most of Peanuts and other strips (including his least favorite, Family Circus) in a way that reveals the wartime aggression and tension seething beneath.
Though he uses newspaper “funnies,” Jacobsen refers to these works as his “Saddies.” “I just wanted to show what I was seeing,” he says as we travel back down 24th Street past some children. Another irony: This newspaper is a space to discuss the deathly element within Jacobsen’s use of newspapers as found material. “My friend Tariq [Alvi] sees paper as death, because he once saw a mummy and the quality of its skin was like paper,” Jacobsen says when I mention the current bicoastal interest in works — especially drawings — on found or old documents.
As we near the end of our stroll, I ask Jacobsen about another walk, one in which he led a group of people — half of them blindfolded and the other half accompanying those wearing blindfolds — during a Sunday evening this June. The walk spanned from one Mission laundromat to another and included Jacobsen’s discussion of the visual theories of physicist Joseph Plateau, who went blind from staring at the sun. The choice of the event’s landmarks stemmed partly from the laundry lectures of Portland-based artist Sam Gould of Red76 and partly from Plateau’s interest in bubbles. “Does that all relate somehow?” Jacobsen asks as he explains it. “I have trouble figuring out how one thing connects to the next.”
“Usually, where I start [with a project] is where I’m stupid or ignorant — which can be anywhere, really,” he admits with a laugh, after saying that he even counted the number of steps — 313 and 168 — between the two laundromats and the walk’s starting point. Right around then, we reach those 37 steps that lead back up to his apartment, the same staircase that Jacobsen’s friend and musical collaborator Tomo (of Hey Willpower and Tussle) climbs, carrying a column, in a drawing within the Four Star Video show. When I say that the staircase’s red steps are just two short of matching a certain famous 39 Steps, Jacobsen says Alfred Hitchcock is one of his favorite filmmakers. It’s funny how one thing connects to the next — and often beautiful when Jacobsen renders the connections. SFBG
“YOUR FUTURE”
Through July 31
Daily, noon to 10 p.m.
Attic, Four Star Video
1521 18th St., SF
Free
(415) 826-2900
www.4starsf.com

Verizon’s tubes

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› tubes@techsploitation.com
TECHSPLOITATION If you think I’m done making fun of Sen. Ted Stevens from Alaska, then you are sorely mistaken. I have only just begun to mock.
In a rousing speech about why he would be trashing network neutrality provisions in the Senate’s version of the new telecommunications bill, Stevens sagely pointed out that the Internet “is not something you just dump something on. It’s not a truck.” Instead, he explained, “it’s a series of tubes.” And those tubes get all gummed up with icky stuff like big movies and things. For example, Stevens said, “An Internet was sent by my staff at 10 o’clock in the morning on Friday, and I just got it yesterday. Why? Because it got tangled up with all these things going on the Internet.”
Ultimately, after worrying at length about how “your own personal Internet” is imperiled by “all these things,” Stevens concluded that there is no violation of network neutrality that “hits you and me.” And that’s why he’s pushing to keep net neutrality from being written into law. This is the sort of politician who is deciding the future of Internet regulation — a guy who thinks that he received “an Internet” yesterday, and that it was made of “tubes.”
What’s even worse is that Stevens’s main beef with the Internet is that it moves slowly, and this is a problem that will only be worsened when big companies like Verizon and Comcast start creating prejudiced pipes that privilege certain kinds of network traffic over others. You think your own personal Internet is slow now? Wait until Verizon starts making Disney movies travel faster than e-mail over its, um, tubes.
While Stevens is basing decisions that will affect the future of communications technology for decades to come on trucks and tubes, Verizon is covertly preparing its newest customers for a world without network neutrality. A few weeks ago the telecommunications giant announced it would be installing fancy new routers with its high-speed fiber-optic cable service known as FiOS. Available in only a few places across the United States, FiOS has been drooled over by tech-savvy blog Engadget and CNN alike. That’s because it can deliver a wide range of media (from movies to phone calls) much faster than its competitors — supposedly at a speed of up to 20 megabits per second, far faster than typical DSL’s 1.5.
Sounds great, right? Not so much. The router that comes with new installs of FiOS, according to Verizon’s press release, “supports remote management that uses new industry standards known as TR-069, enabling Verizon to perform troubleshooting without having to dispatch a technician.” Whenever I see the phrase “remote management,” I get antsy. That means Verizon can talk to your router from its local offices, which the company claims is all for the good of the consumer.
However, if you actually read the TR-069 standard, you’ll see that Verizon can do a lot more than just troubleshoot. It can literally reflash all the memory in your router, essentially reprogramming your entire home entertainment system. As a result, Verizon can alter its service delivery options at any time. Even if you’ve signed up for a network-neutral FiOS that sends you to whatever Web sites you like and routes your peer-to-peer traffic the same way it routes your e-mail, Verizon can change that on a whim. With one “remote management” event, the company can change the settings in your router to deliver Fox News faster than NPR. It can block all traffic coming from France or prevent you from using Internet phones that aren’t controlled by Verizon.
Verizon’s new router is also great news for anyone who wants to wiretap your Internet traffic. All a bad guy has to do is masquerade as the Verizon “remote manager” and he or she can fool your nifty router into sending all your data through his or her spy computer. The more people allow companies like Verizon to take arbitrary control of their “personal Internets,” the less freedom they’ll have — and the more vulnerable they’ll be.
Surely even the good Sen. Stevens can understand why Verizon’s antineutral router isn’t desirable. You see, it turns the Internet into a truck. A truck that doesn’t go. SFBG
Annalee Newitz is a surly media nerd who is powered by trucks.

{Empty title}

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› tredmond@sfbg.com
Wow: A little more drunkenness and a bit of public nudity, and San Francisco could have had a real world-class soccer party Sunday. As it was, things were pretty darn festive: I was too busy chasing the kids around and watching the game to get a good count, but I bet there were 15,000 people at Dolores Park, more than I’ve seen in one place in the Mission for anything short of a big antiwar rally. The sun was shining, the mood was upbeat, people waved French and Italian flags around and cheered when either side scored a goal… what a great event.
And it only happened because a German-born former teacher named Jens-Peter Jungclaussen, who is traveling around in a bus trying to bring the world to local kids, decided to get the permits, line up a big-screen TV and a huge forklift, and pull it off.
And as I stood there and marveled at how one motivated person could create a massive civic event, I had to wonder: Why can’t the Recreation and Park Department do stuff like this?
How hard would it have been for the city to rent the TV screen (or better, three or four screens; there were so many people the ones in the back could barely see), put out the word (Jungclaussen did, as far as I can tell, no advertising — the whole thing was by e-mail and word of mouth), and maybe even do this in half a dozen places around town?
It’s funny, when you think of it: So much of the fun stuff that happens in San Francisco is done by private groups. The street fairs, the festivals, the concerts… the city does almost none of this. Even the Fourth of July fireworks are run by the San Francisco Chronicle.
Rec-Park spends a lot of time pissing people off, making dumb rules about permits that make even the private events harder to finance. It’s a nest of bureaucrats without any vision.
This ought to be a wake-up call: There are all sorts of things that can bring people together. There are all sorts of ways to spend the public’s money helping the public have fun (and along the way, reminding people why we pay taxes).
You want to cough up extra money every year to pay someone to tell you that you can’t drink beer in North Beach? I don’t either — but a few events like Sunday’s impromptu festival in Dolores Park, and one of the most loathed agencies at City Hall could become one of the most loved.
Think about it, folks.
Now this: I think just about every Guardian reader in the world has noticed that we’ve had some serious Web problems in the past few weeks. We got hit with something — maybe an attack, we’re still not sure — on Election Day, and whatever it was pretty much fried sfbg.com, and we’ve been limping along ever since.
But we’re back now and way better with a bunch of big changes that we’d been planning anyway. Sfbg.com now has a new design, a (much, much) faster user interface — and several new blogs that will be updated daily and full of everything you need to know about politics, arts, culture, and the unconventional wisdom of San Francisco.
It’s still a work in progress, but it’s going to be a lot easier to tell us what you think. SFBG

“Come into my parlor, said the spider…etc.”

0

By Cheryl Eddy

Kudos to Peaches Christ and the Midnight Mass gang for, like, totally freaking us out with this past weekend’s excellently trashy Beyond the Valley of the Dolls event. (Read our breathless pre-show coverage here.)

The Whoa Nellies kicked off the show with Carrie Nations covers, including a smokin’ “Sweet Talkin’ Candy Man,” and Peaches’ Z-Man ensemble was to die for (and maybe even cut heads off for). In attendance: the quite well-preserved trio of Marcia “Petronella” McBroom, Erica “Roxanne” Gavin, and the original Z-Man himself, John La Zar (a San Francisco native, as it turns out).

The Friday night crowd was awesome, as Midnight Mass crowds always are…the film looked spectacular on the big screen, as it always does.

P.S. In case you were wondering (and you know you were), the most famous boobs ever to appear in a Russ Meyer movie — yep, Z-Man’s! — are now framed and hanging on McBroom’s NYC living room wall.

After the game

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By Steven T. Jones
I just wanted to throw in an “amen brother” to Tim’s post below about the great coming-together of community at Dolores Park yesterday for the World Cup finals. It was a glorious day and half the staff here have sunburns and hangovers from attending. It was the ideal antidote to the city’s recent crackdowns on public fun. But in addition to our German hosts and the hordes of happy fans, one other group deserves a shout-out: the Space Cowboys. They kept a party of thousands rocking for hours after the game ended, turning the park into a fun outdoor dance party and serving up a subtle reminder that it’s Burning Man season in San Francisco. Theme camp applications were due July 1, so much of the city’s counterculture has officially divided up into tribes working on building Black Rock City on the event’s 20th birthday in late August.
I’ll have more to come on Burning Man throughout the summer, so check back.

Commissioner Haaland

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By Tim Redmond

Not much daily press on this, but Robert Haaland, longtime LGBT and labor activist, is headed for a seat on the Board of Appeals. The San Francisco Sentinel story focuses on the triumph for the TG community and notes that this was the seat that Harvey Milk once held. But this is also excellent news for the overall progressive community, particularly for land-use activists: The Board of Appeals is a powerful body that deals with demolition permits, building permits, event permits, club permits and more. Robert will be a good vote.

SUNDAY

0

JUlY 9

SCREENING/TALK
Buyer Be Fair: The Promise of Certification
Watch Buyer Be Fair: The Promise of Certification at a screening sponsored by the Bay Area Fair Trade Coalition, followed by a discussion led by John De Graaf of TransFair USA. (Deborah Giattina)

7 p.m.
Artists’ Television Access
992 Valencia, SF
Free
(415) 824-3890, jwalsh@transfairusa.org (RSVP)

event
SF General Strike Walk
Steee-rrr-ike! I’ve done it before and could do it again, and I ain’t talking about throwing or missing a baseball. This morning, in conjunction with the mammoth and multifaceted LaborFest, [www.laborfest.net] International Longshore and Warehouse Union Local 10 member Jack Heyman leads a walk and history talk devoted to the famous 1934 West Coast longshore strike. Focusing on how the strike was organized and why it was successful, Heyman will include some key historical sites related to the police violence of Bloody Thursday and the effective protests (remember those?) that took place in its wake. (Johnny Ray Huston)

10:30 a.m.
Harry Bridges Plaza, front of Ferry Building
Embarcadero, SF
Free

WEDNESDAY

0

Ex-Boyfriends

Sobering up and tucking our rainbow gear safely away for next year, we should reflect on Pride’s flamboyant declarations of unconditional love and acceptance during a time of right-wing political backlash by thinking about the struggles that Bay Area queers are faced with on a daily basis – which are, of course, endless breakups and the makeups that follow. All drama aside, you can be sure that the trio of Colin, Chriso, and Peter is one set of Ex-Boyfriends that you’ll actually be happy to see in a bar with your new honey on your hip, as the boys return with their own special brand of “more-fuckable- than-thou” queer pop rock. (Jenny Miyasaki)

With Music for Animals and Sholi
9:30 p.m.
Cafe du Nord
2170 Market, SF
$8
(415) 861-5016

EVENT
LaborFest 2006 opening night
Come to the first event of LaborFest 2006, which celebrates laborers through film, art, tours, and talks. This year’s monthlong event focuses on the workers who rebuilt San Francisco after the 1906 earthquake, beginning with a reception for “1906/2006 Rebuilding: Then and Now Workers Building the Bay Area,” an exhibit of images from a new collection of photographs of the workers. (Deborah Giattina)

5 p.m.
San Francisco Arts Commission Gallery
City Hall, Lower Level
1 Dr. Carlton B. Goodlett Place, SF
Free
(415) 867-0628

FOURTH OF JULY

0

The Fourth of July listings were compiled by Joseph DeFranceschi and Duncan Scott Davidson. All events take place on July 4 unless otherwise noted.

Fireworks Dinner with Jazz Piano Top of the Mark, 999 California, SF; 392-3434, www.topofthemark.com. 7:30pm, $189 per couple. The music of jazz pianist Ricardo Scales and breathtaking views of the city’s fireworks display accompany this elegant dinner of a four-course fixed menu served with a complementary bottle of champagne.
Fourth of July Waterfront Festival Pier 39, Fisherman’s Wharf, Ghirardelli Square, The Cannery, SF; 705-5500, www.pier39.com. 1:30-10pm, free. This all-day fair featuring entertainment, arts and crafts, food, and American flags ends with the famed Municipal Pier Fireworks Extravaganza starting at about 9:30pm.
Hornblower Yacht Forth of July Cruises Pier 33, Embarcadero, SF; 1-800-467-6256, www.hornblower.com. Noon, $49; 6:30pm, $119–$219. Spend the afternoon out on the bay with Hornblower’s lunch cruise; or why not watch fireworks and enjoy a buffet dinner ($119), or an all-inclusive, four-course extravaganza ($219) on your evening voyage.
Kayak Trip to 4th of July Fireworks City Kayak, Pier 39, SF; 357-1010, www.citykayak.com. 6pm, $68. Paddle around with sea lions, enjoy the fireworks and sip champagne (included) from the best seat in the house on this unique aquatic experience.
Red and White Fleet Forth of July Fireworks Cruises Pier 43 1/2 at Fisherman’s Wharf, SF; 673-2900, www.redandwhite.com. 7:45pm, $45 ($25 for kids age 1-11). Red and White Fleet will send out four ships to cover this popular event so get your tickets early and don’t forget your Dramamine.
El Rio BBQ and Bandfest El Rio, 3158 Mission, SF; 282-3325, www.elriosf.com. 3-8pm, free admission. Come listen to rock music from the Birds and Batteries, Low Red Land, Mr. Divisadero, and Solar Powered People. Drink beer all day — it’s the American way.
BAY AREA
4th of July at the Berkeley Marina Berkeley Marina, 201 University, Berk; (510) 548-5335, www.ci.berkeley.ca.us. noon-9:30pm, free. Berkeley’s all day, alcohol-free, fair with entertainment, food, games, face painting, and giant waterslide is a great place for families and ends with, you guessed it, fireworks.
4th of July Celebration at Jack London Square Broadway at Embarcadero, Oakl; 1-866-295-9853, www.jacklondonsquare.com. 1-9:30pm, free. With international food, children’s activities, arts and crafts, and fireworks the real highlight of this event is a free two hour pops concert by the Oakland East Bay Symphony.
Fuck the 4th Sale AK Press, 674-A 23rd St., Oakl; (510) 208-1700, www.akpress.org. July 3, 4:10pm, free. In addition to 25 percent off everything in the warehouse (books, CDs, DVDs, clothing), and sale books for as low as $1, there will be entertainment, food, and an atmosphere of summer glee.
Oakland A’s Beer Festival McAfee Coliseum (East Side Club), 7000 Coliseum Way, Oakl; (510) 638-4627, oakland.athletics.mlb.com. Noon-2pm, ticket to the game needed for entry. Sample beers from over 30 breweries before enjoying America’s game on America’s day. Play ball!
Redwood City 67th Annual Independence Day Parade Brewster and Winslow, Redwood City; (650) 365-1825, www.parade.org. 10am, free. Redwood City hosts the country’s largest July 4th parade and their all-day festival features food, entertainment, vendors of all sorts, marching bands, and ends in traditional fashion with a fireworks display at around 9:30pm.
San Francisco Symphony Shoreline Amphitheatre, One Amphitheatre Pkwy, Mountain View; (650) 967-3000, www.livenation.com. 8pm, $15-28.50. You’ll soon forget that Mountain View’s beautiful outdoor amphitheater is built atop a garbage dump when guest conductor Randal Fleisher leads the San Francisco Symphony in a concert complete with fireworks. The program features music and clips from Disney film favorites.
USS Hornet 4th of July Party USS Hornet Museum, 707 W. Hornet, Pier 3, Alameda; (510) 521-8448, www.hornetevents.com. 10am-9:50pm, $20 ($5 for kids). View a F-14 Tomcat and Apollo space capsule among other items on a tour of this aircraft carrier which will have music, games, children’s activities, and a great view of the Bay Area fireworks.
The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. We cannot guarantee the return of photos, but enclosing an SASE helps. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone. SFBG

Pier review

0

This summer there are three giant additions to San Francisco’s Embarcadero and all three represent huge victories in uniting the city with its waterfront and artistic roots.
For the next six months, Passage — two 30-ft welded sculptures, representing a mother and child and covered with countless recycled metal objects, including horseshoes, herons, and even a kitchen sink—will grace the entrance to the newly dedicated Pier 14.
Orchestrated by the Black Rock Arts Foundation and the Port of San Francisco, the Passage installation is part of an ongoing attempt to bring the work of local artists into the city’s public spaces and people’s daily lives. First exhibited at last year’s Burning Man event, Passage also represents a cultural full circle, as it comes to rest on the very waterfront where Larry Harvey started the Burning Man tradition, some 20 years ago. And it is the third significant Burning Man piece to be temporarily placed in San Francisco in the last year, a new trend that all involved say they hope to continue.
As for Pier 14, which at $2.3 million for 637 ft. represents some of the most expensive sidewalk in the world, it allows the public to walk on water, as well as meditate on panoramic views of both city and bay from a snazzy set of swivel chairs.
Addressing a crowd of artists, city officials, and curious passersby on June 16, which happened to be his birthday, Board of Supervisors president Aaron Peskin dedicated the newly opened pier to former SF mayor Art Agnos for his “courage and commitment

Progressive power in Oakland

0

By G.W. Schulz

All of Alameda County’s precincts have now reported, but absentee and provisional ballots are still not counted. The Alameda County Registrar of Voters couldn’t confirm for us how many such ballots remained.

So we won’t know for a week or two whether or not there will be a runoff between former congressman Ron Dellums and Oakland city council president Ignacio De la Fuente for the mayor’s office. But the race hardly feels tight at this point. Nancy Nadel’s 13 percentage points would likely go to Dellums in the event of a runoff, and Dellums remains 17 points beyond De La Fuente with all precincts reporting.

Mayor Jerry Brown, who’s now on his way to a November election battle with unrivaled Republican primary winner Chuck Poochigian for the state attorney general’s office, rarely shied away from corporate developers in Oakland. Entire neighborhoods have been transformed in just a few years with swanky artist loft spaces and corporate box stores sprouting up everywhere.

De La Fuente was viewed as the candidate who would continue that trend. Dellums offers a very different vision.

Shoot for the contents

0

› a&eletters@sfbg.com

"Who is going to tell our stories if we don’t?" asks Madeleine Lim, founder and director of the Queer Women of Color Media Arts Project. She has a point. After wracking my brain to recall queer women or trans people of color who have graced a movie screen this year outside of a film festival, all I could come up with was Alice Wu’s Saving Face which certainly didn’t play at the multiplex. Lim firmly believes that "as long as we’re not in the studio systems writing, directing, and producing these films, we’re never going to see ourselves on the big screen." Her "little stab" at putting such stories front and center was creating the QWOCMAP program, which offers free digital filmmaking workshops to queer women and trans folks of color.

This weekend brings the Queer Women of Color Film Festival, an official event of the National Queer Arts Festival that Lim organizes and curates along with M??nica Enr??quez and Darshan Elena Campos. "Tender Justice," the first evening’s program (Thurs/8, 7 p.m.), showcases shorts by young women aged 18 to 25. Many deal with issues of violence and assault, some obliquely: In the experimental piece Messages, by Alyssa Contreras, a girl wanders through a surreal red-and-black nightmare listening to hateful cell phone messages left by various family members.

On the second evening, queer Latina filmmakers come together for "En Mi Piel: Borders Redrawn" (Fri/9, 7 p.m.). The event, which includes a panel discussion, is entirely bilingual: "It is political to reclaim spaces that are bilingual, in light of the immigration debate and the backlash and racism that it has generated," says cocurator Enr??quez. There are shorts by Bay Area and Los Angeles filmmakers, as well as a group of Mexican filmmakers who traveled here on a grant from the Global Fund for Women. One highlight is filmmaking collective Mujeres y Cultura Subterranea’s La Dimensi??n del Olvido, a gritty documentary that chronicles the lives of women and startlingly young girls who live on the streets in Mexico. Others include Liliana Hueso’s Las Mujeres de Mi Vida; Aurora Guerrero’s Pura Lengua, which skillfully handles a narrative about a Los Angeles Latina queer woman who deals with a horrific police assault; and Amy André’s En Mi Piel, in which an FTM half-white, half-Chicano trans man named Logan recalls his journey back to Mexico, the search for his roots becoming part of his new identity.

The third evening, "Heart of the Flame" (Sat/10, 7 p.m.), features works by students of Lim’s over the age of 25. One such is Kenya Brigg’s Forgiven, an autobiographical narrative about recognizing her grandmother’s strength of forgiveness, which she observes when the elderly African American woman uses a cake to bury the hatchet with a white neighbor who once signed a petition to keep her from buying a house in their Castro neighborhood. SFBG

QUEER WOMEN OF COLOR
FILM FESTIVAL

Thurs/8–Sat/10

SF LBGT Community Center,
Rainbow Room

1800 Market, SF

(415) 752-0868

Free

www.qwocmap.org

Party on

0

› amanda@sfbg.com

"San Franciscans will still be able to enjoy their beer in the park at the event," an elated Robbie Kowal told the Guardian on the afternoon of June 2, fresh out of a meeting in which the Mayor’s Office brokered a deal to save the North Beach Jazz Fest.

The event had been jeopardized by the May 30 decision by the Recreation and Park Commission to uphold a move by its staff and Operations Committee to deny the sale of alcohol in Washington Square Park. The San Francisco Examiner even erroneously declared the event dead on its June 1 cover.

But the Mayor’s Office intervened and hosted a long day of negotiations among the event organizers Kowal, Alistair Munroe, and John Miles and representatives from the commission, the Rec and Park staff, and the San Francisco Police Department.

In keeping with the commission’s May 30 decision, alcohol will not be sold in the park but on the street adjacent to the park in a gated beer garden. A portion of the park will be designated for people wishing to enjoy a glass of beer or wine while remaining near the live music.

"We’ve worked something out that allows everyone to move forward and the commission to stand by its policy," Yomi Agunbiade, general manager of the Rec and Park Department, told us.

"It doesn’t change the nature of the event," said Kowal, who had been concerned that a change in practice from minibars in the park to beer gardens in the streets would deter festivalgoers and detract from the general enjoyment of the event.

The organizers were prepared to fight for their vision of the festival and had filed an appeal with the commission to review the issue. Without the sale of alcohol, the festival anticipated losing between $20,000 and $40,000, enough to potentially necessitate calling the whole show off.

But after nearly four hours of public testimony at the last meeting about the jazz fest and the North Beach Festival, commissioners weren’t too excited about another round and were pushing for a compromise. "Everybody was interested in making sure the jazz festival folks knew the event was supported and that we wanted it to stay," said Agunbiade. "The right people were in the room."

Yet those not in the room were the North Beach NIMBYs who forced the booze ban, and it’s unclear how they’ll react to the decision. Event organizers around the city have been closely following the North Beach situation, concerned that it was the start of a conservative trend in policy and a new wave of intolerance for alcohol consumption in public (see "The Death of Fun," May 24).

Commissioner Jim Lazarus cited the inherent dangers of a hard-line policy, telling the Guardian, "The precedent could be very bad. I don’t know how we’re going to deal with it at other parks."

The San Francisco Outdoor Events Coalition, a newly formed group of events organizers and promoters, has been calling for a hold on radical changes in policy until after the summer festival season, and it seems as though that call has finally been answered at City Hall.

"What we all have learned from this process was we should have communicated earlier," Agunbiade said after the meeting. "What we will do after events are over this year is sit down and discuss any changes more in depth and evaluate how it went."

Agunbiade said they will be looking at each festival on a case-by-case basis and will try to work with the individual needs of the venues and events. He added that they plan to "communicate a lot sooner and a lot more often to make sure these kinds of situations don’t occur."

The compromise for the jazz fest has been extended to the North Beach Festival as well, but promoter Marsha Garland faces other obstacles. After the commission denied her festival a permit for booze sales in the park, Garland received permission from the Interdepartmental Staff Committee on Traffic and Transportation for additional beer gardens on the street.

But that decision has been appealed by Anthony Gantner, a local lawyer and president of the North Beach Merchants Association (rival to Garland’s North Beach Chamber of Commerce, which hosts the North Beach Festival).

Garland says she won’t breathe a sigh of relief until after the ISCOTT hearing June 8, just a week before the festival. SFBG

Cannes journal #1:

0

FEST REPORT The trip to Cannes always starts when I get on the plane in San Francisco looking to see if anyone I know is aboard. The 747 was huge, but full exploration didn’t reveal any obvious candidates for the festival.

Once in Paris things change. On the transfer to Nice I always run into several friends making the final leg of the journey to the south of France and 10 days of movies, morning till dawn. We compare stories about how much sleep we did or didn’t get, before leaving and on the plane. And make the inevitable jokes about being jet-lagged and surely taking naps in films.

Each year I also spot someone famous getting on my plane. One year I chatted with French superstar Jeanne Moreau. I had been involved in distributing a movie she directed, L’Adolescente. Another time, Michael Richards (Kramer on Seinfeld) was nervous about the trip. It was his first time in France, and he was appearing at the premiere of the movie Unstrung Heroes. He was a nervous wreck. He couldn’t figure out how to use the pay phones and was scared by security and certain he would never find his way to the right gate at De Gaulle (a reasonable worry). I befriended him and showed the way.

This year, as the long line waited to board the flight, Snakes on a Plane star Samuel L. Jackson was escorted to the front of the line. A member of the Cannes jury, he had a hat pulled down so he’d only be half-recognized. Someone in the line called out, "I’ll see you in Cannes," to make sure we all knew where they were both headed.

Arriving a day early has its benefits. The crowds haven’t assembled. One can take care of accreditation and press orientation and study the various program books. A press screening of The Da Vinci Code was the only scheduled event. I had already seen it and instead chose to have dinner with friends.

On the first day of the festival I saw three films, all of them official selections caught at press screenings. A good way to start off the morning was with something not too demanding: Paris Je T’Aime is a collection of 20 five-minute films by an eclectic group of international directors — including Gus Van Sant, the Coen Brothers, Walter Salles, Alfonso Cuar??n, Alexander Payne, Gurinder Chadha, Tom Tykwer, and Wes Craven — guiding a superstar cast that ranges from Natalie Portman to Gena Rowlands, Sergio Castellitto to Fanny Ardant. (Ben Gazzara, Juliette Binoche, Steve Buscemi, and Bob Hoskins are also featured.) Each piece is about love in Paris. They are like simple short stories; the best ones aren’t overly ambitious.

Next up was a film from Paraguay, Hamaca Paraguaya. At only 78 minutes, it was still not the kind of movie to see when jet-lagged. When the lights went up, I asked my neighbor, author Phillip Lopate, if I’d snored. He said I was a very considerate napper and wanted to know how he had done. Just fine, I guess, as he didn’t wake me up. I have no doubt it will be hailed as a work of art by someone.

Much better was Summer Palace, the first competition film. Director Lou Ye (Suzhou River, Purple Butterfly) has constructed a complex story of relationships, starting in 1989 China. A student leaves her small town and boyfriend to attend university in Beijing. She discovers both friendship and sex, with the pleasures and confusion they can bring. We journey through the political changes in China and Germany (where some of the characters go) over the next 15 years as the group of friends separate and rejoin. The result is often powerful, vibrant, and involving. The film overstays its welcome at 140 minutes; some careful editing will help make it even better.

Summer Palace is the only Asian film in the competition, and it arrives amid controversy. The Chinese government has complained that the producers didn’t get censorship approval and have broken the law by submitting it to Cannes. But the filmmakers claimed they didn’t submit it to Cannes — it must have been the sales agent in France. This won’t be the first time Chinese censorship has garnered attention here. The highest-profile case was with Zhang Yimou’s 1994 To Live.
My favorite overheard comment to date: Sitting in front of a sandwich stand, a young British woman told her companion that film sales have been tough and that the DVD market has slowed to practically nothing — "We are looking for video on demand, computer downloading," she said. "Anything where people don’t have to leave their homes." (Gary Meyer)

My crones sleep alone

0

› johnny@sfbg.com

Drop Marina (Marina Vochenko), one of the three main characters in Ilya Khrzhanovsky’s 4, into Eli Roth’s Hostel, and she’d be a Nameless Evil Whore, instead of a leather trench-coated weary Moscow hooker with a wryly crude sense of humor. It’s all a matter of perspective, and Roth’s even if lampooning American xenophobia is his excuse is boring.

Marina is the kind of woman whose night begins with an escape from a bed tangled with nude bodies, and ends with a trip to a desultory Edward Hopper’snightmare bar, where she trades bullshit stories with the only other customers, telling pretend cloning agent and real-life piano tuner Vladimir (Yuri Laguta) and phony KGB drone and real-life meat man Oleg (Konstantin Murzenko) that she works as an ad rep for a device that uses ions to make office workers think they’re happy.

If Marina’s next night began the same way, Khrzhanovsky’s movie would occupy a Russia not far from theatrical tradition, though a hell of a lot ruder and slapstick-happy than Chekhov’s. Screenwriter Vladimir Sorokin is notorious for pinpricking patriotic Soviets and gaseous political tyrants, and the Putins don’t escape his barroom monologues unscathed. But 4 sets its roving, raving sights on a societal vision far beyond if connected to some bleary-eyed urban rumination from the bottom of a vodka bottle. All it takes is one cell phone call informing Marina that her twin sister Zoya has died, and the previously stock-still or slowly creeping camera is soon accompanying her shoulder-side on a nightmarish train ride (another inversion of Roth’s Hostel, which 4 predates) and marathon walk through bombed-out, muddy industrial wastelands to Shutilovo. What awaits her there is home sour hell: a mondo bizarro village of raving boozy crones whose sole income stems from the creation of Hans Bellmerstyle dolls made up of "chewies" masticated chunks of moldy bread shaped like noses, dicks, and other body parts.

Turns out Marina’s sister died by choking on a chewy — a little fact we learn when Khrzhanovsky isn’t watching grannies sprint across the landscape to swig absinthe-green moonshine and wake up the few remaining youngsters for another round of graveside wailing. Marina happens to have two other sisters, also twins, which adds up to a foursome that backs up Vladimir’s supposed tall tales about whole towns populated by clones.

Motifs and metaphors run rampant through Sorokin’s screenplay, from its many animalist strains — dogs and pigs, bloody or ceramic — and its talk of a post-humanist Russia where cloning is an open secret, to its numerical obsession, which alternately affirms and subverts the titular figure, described as "the number the world rests on" by Vladimir. At times, this symbolism verges on overbearing, but Khrzhanovsky’s direction takes Sorokin’s playful written ideas into wholly bizarre visual realms. You could say these two are overjoyed to leap off the end of Russia together, and that the event takes place around the time that their heroine starts talking about using grenade launchers as a recreational drug or a psychiatric cure. SFBG

4

Open Fri/26

7 and 9:30 p.m. (also 2 and 4:30 p.m., Wed., Sat., and Sun.; no 7 p.m. show on Wed/31)

Roxie Film Center

3117 16th St., SF

(415) 863-1087

www.roxie.com

www.leisurefeat.com/four/index.html

Doing the Cannes-Cannes

0

Gary Meyer of the Balboa is at this year’s Cannes Film Festival. Here is the first of his reports from the Croisette and the theater trenches:

Getting there — No snakes on the plane
The trip to Cannes always starts when I board the plane in San Francisco, looking to see if anyone I know is aboard. The 747 was huge but full exploration didn’t reveal any obvious candidates for the Festival.
Once in Paris things change. On the transfer to Nice I always run into several friends making the final leg of our journey to the south of France and 10 days of movies, morning till dawn. We compare stories about how much sleep we did or didn’t get before leaving and on the plane. And the inevitable jokes about being jet-lagged and surely taking naps in films.
Each year I also spot someone famous getting on my plane. One year I chatted with French superstar Jeanne Moreau. I had been involved in distributing a movie she directed, L’Adolescente. Another time Michael Richards (Kramer on “Seinfeld”) was nervous about the trip. It was his first time in France and he was appearing at the premiere of the movie Unstrung Heroes. He was a nervous wreck. He couldn’t figure out how to use the pay phones, scared of the security and certain he would never find his way to the airport gate at DeGaulle (a reasonable worry). I befriended him and showed the way.
This year as the long line waited to board our flight, Snakes on a Plane‘s Samuel L. Jackson was escorted to the front of the line. A member of the Cannes Jury, he had a hat pulled down so he’d only be half recognized. Someone in the line called out, “I’ll see you in Cannes,” to make sure we all knew where they were both headed.

Opening night
Arriving a day early has it benefits. The crowds haven’t assembled. One can take care of accreditation, press orientation and study the various program books. A press screening of The Da Vinci Code was the only scheduled event. I had already seen it and chose to have dinner with friends.
Film festivals like to open with a high profile movie that is sure to attract big stars, tons of media attention and a major post-screening party that will last all-night. Allowing a film to open a festival, especially Cannes, is taking a big chance. The movie will come under extra heavy scrutiny from critics. The Da Vinci Code is a logical choice to open the 59th Cannes International Film Festival. It is based on a huge best-selling book and largely set in France. Starring a major American movie star, Tom Hanks, and one of France’s most popular actresses, Audrey Tautou, it also features numerous important European actors. As I write this, over my left shoulder I can see them walking up the red carpet for the opening night ceremonies. Thousands of people jam the streets in front of the Palais. TV cameras and photographers catch the face of every person who ascends the steps to make certain they don’t miss anyone of importance.
The press has now seen The Da Vinci Code. The response isn’t too good. But despite the criticism you will read, Columbia Pictures made the correct choice. Director Ron Howard’s last film, Cinderella Man, was invited in 2005 but the producers passed. And the film failed at the box office. This time they aren’t about to miss out on the glitzy stamp of approval that comes with opening the world’s most famous film festival.

Day one
I’ve seen three films the first day of the Festival — all official selections caught at press screenings. I’ll catch a few more tonight.
A good way to start off the morning is with something not too demanding. Paris je t’aime is a collection of 20 five-minute films by an eclectic group of international directors including Gus Van Sant, the Coen Brothers, Walter Salles, Alfonso Cuaron, Alexander Payne, Gurinda Chadha, Tom Twyker, Wes Craven and many more guiding a superstar cast from Natalie Portman to Gena Rowlands, Gerard Depardieu to Fanny Ardant. (Ben Gazzara, Juliette Binoche, Steve Buscemi, and Bob Hoskins also are featured.) Anthology films inevitably are a mixed bag. Each piece is about love in Paris. They are like simple short stories; the best ones aren’t overly ambitious. Paris looks lovely of course and I enjoyed most of it.
Next came a film from Paraguay, Hamaca Paraguaya. At only 78 minutes, this is the kind of movie not to see when still jet lagged. It is all voice-over dialogue (subtitled) with stagnant camera shots. When the lights went up, I asked my neighbor, author Phillip Lopate, if I snored. He said I was a very considerate napper and wanted to know how he did. Just fine, I guess, as he didn’t wake me up. I have no doubt it will be hailed as a work of art by someone.
Much better was Summer Palace, the first competition film. Director Lou Ye (Suzhou River, Purple Butterfly) has constructed a complex film of relationships starting in 1989 China. A student leaves her small town and boyfriend to attend university in Beijing. She discovers both friendship and sex, with the pleasures and confusion they can bring. We journey through the political changes in China and Germany (where some of the characters go) over the next 15 years as the group of friends separate and rejoin. The film is often powerful, vibrant and involving, if a bit difficult to follow at times. It overstays its welcome at 140 minutes; some careful editing would help it become even better.
Summer Palace is the only Asian film in the Competition. It arrives amidst controversy. The Chinese government has complained that the producers didn’t get censorship approval and have broken the law by submitting it to Cannes. But the filmmakers claimed they didn’t submit it to Cannes. (Must have been the sales agent in France.) The Chinese censors turned the film down. Some suspect it is for the highly erotic nature and political reasons. There have been reports that the film has been withdrawn and the director has returned to China. This won’t be the first time claims of censorship by China have garnered attention here. The highest profile case was Zhang Yimou’s To Live.

Overheard
Sitting in front of a sandwich stand a young British woman told her companion that film sales have been tough and that the DVD market has slowed to practically nothing: “We are looking for Video In Demand, computer downloading — anything where people don’t have to leave their homes.”