Events

Reclaiming San Francisco — from cars

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› news@sfbg.com

GREEN CITY On Sunday, Aug. 31, the Mayor’s Office and several community groups join forces to bring San Francisco into an international movement to increase physical activity, break down invisible borders, and make scenic space available to all during the city’s first ciclovia.

More than 4.5 miles of streets will be closed to cars that day from 9 a.m. to 1 p.m. for Sunday Streets, the first of two ciclovias scheduled this summer. The idea of the ciclovia — which is Spanish for "cycle way" or "bike path" — was conceived in Bogotá, Colombia, during the mid-1990s and has since spread throughout the world.

The concept is to take existing roads — the province of cars — and turn them into temporary paths for walking, jogging, cycling, and other physical activity.

"I think it really helps us re-imagine our city streets as places of safe, non-auto physical activity," said Wade Crowfoot, Mayor Gavin Newsom’s director of global climate change. "From an environmental perspective, it’s time we re-imagine our space and our streets, and to make streets accessible to everyone."

The route extends from Bayview Opera House, up Illinois Street to the Embarcadero, along the waterfront, and across Washington Street into Chinatown. Five activity pods will feature dance classes, yoga, hopscotch, jump rope, and more, and participants are encouraged to explore as much of the route as they can. The Giants’ stadium will be open to pedestrians and bikers who want to run the bases, and event facilitators say they hope this 4.5-mile stretch will grow into something bigger.

"We hope this is just the beginning, and that it succeeds all over the city," said Andy Thornley, program director of the San Francisco Bicycle Coalition.

The man largely credited with starting the ciclovia is Gil Penalosa, who implemented the idea as Bogotá’s commissioner of parks and recreation in 1995. Penalosa now runs a nonprofit called Walk and Bike for Life that promotes the ciclovia and other forms of active living.

San Francisco’s event is modest: Bogotá closes off more than 80 miles of looping streets every Sunday and on holidays. More than 1.5 million people turn out each week, according to the Walk and Bike for Life Web site. Ottawa closes more than 30 miles of space on Sundays from May to September, and events have taken place all over Europe in addition to the American continents.

The ciclovia is also part of the car-free movement, an international effort to promote alternatives to car dependence and automobile-based planning.

Besides saving energy and promoting fitness, event planners at ciclovias in Bogotá noticed the events were causing a cultural shift. The Christian Science Monitor reported in an Aug. 18 article that residents from different neighborhoods began interacting as never before. Indian residents of poorer neighborhoods used to halt at the imaginary dividing lines of the more affluent European neighborhoods, and vice versa, but now people mingle freely.

San Francisco organizers hope to use Sunday Streets to create a similar effect here.

"We deliberately chose the route that connects the Bayview to Chinatown, two communities that are historically disconnected," said Susan King, the event’s organizer. "We want people to go to Hunters Point and Chinatown and see what’s out there, with the hope that people will see things they want to come back to."

King also noted that these two neighborhoods lack adequate open space. "We want people in those communities to experience what people who live adjacent to Golden Gate Park and the Presidio get to experience on a regular basis — an opportunity to exercise and not worry about getting hit by cars," King said.

Another international trend that Sunday Streets continues is the reclaiming of waterfront space. Tom Radulovich, executive director of Livable City, said he recently visited Vancouver and experienced its 28 miles of bicycle and pedestrian paths along the water. Paris also has a ciclovia every summer that closes a major expressway and creates a beachfront and promenade along the Seine.

"[The Embarcadero] — that big, dangerous roadway — cuts the city off from the waterfront," Radulovich said. "We want to think about the possibility of reclaiming the water space more successfully for San Franciscans."

One of the few voices of opposition to Sunday Streets came from a group of Pier 39 merchants who worried about the economic impact.

The Board of Supervisors voted Aug. 5 not to delay the event until an economic impact report had been released, but Crowfoot said traffic impact analyses will be done this weekend so that there will be better understanding of the impact of any future events. But many ciclovias have actually increased business because people are more prone to stop and look in stores when they walk by instead of just driving past them.

Fall Arts Preview 2008

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> johnny@sfbg.com

I don’t know about you, but I hear something is happening in early November. Since I can’t quite identify exactly what it is, let’s focus on all the events around it this fall — especially the spaces on stages and screens and pages and in museum and gallery rooms.

A little birdie tells me this fall will be propagandized, rather than purely politicized, into infinity. In times like these, it helps to have art that finds a realm outside the false promises, a place from which to look back at our society — including the politicians who try to rule it — and say: you better perform!

That’s the case this week’s fab four cover stars, Guillermo Gómez Peña, Mattilda Bernstein Sycamore, JoAnn Selisker, and Tim Sullivan. This quartet of singular creative forces is united in using imaginative performance to reject inhibiting norms.

Gómez Peña and his group La Pocha Nostra are bringing Mapa/Corpo 3 — an interactive ritual involving "political acupuncture" that was banned in the United States for three years — to Theater Artaud as part of Litquake and the Living Word Festival. At SF Camerawork, they’ll also be trying out what they call performance karaoke, which is sort of an aesthetic, political, and ethical update on the popular game Twister. There, they are part of "I Feel That I Am Free But I Know I Am Not," an extended exhibition (curated by Chuck Mobley) that also includes some live video by Sullivan, whose photographic and video work looks at everyday imagery and familiar pop iconography from new and sometimes hilarious angles.

New views of everyday pop banality are also JoAnn Selisker’s forte. Presented by Litquake and ODC, her latest piece, Off Leash: Who’s a Good Girl? uses text and dance to explore the relationship between dogs and their best frenemy, humans. Everything goes full circle with Mattilda Bernstein Sycamore — you can see some of Gómez Peña’s flair for radical sexual and political performance in his past activism with Gay Shame, and like Sullivan and Selisker, his image doesn’t come from Macy’s. In his new novel, So Many Ways to Sleep Badly (City Lights, 256 pages, $15.95), he shows readers a San Francisco that Frommer’s doesn’t know about.
This fall, Gómez Peña, Bernstein Sycamore, Selisker, and Sullivan are just part of a blitz that’s bringing everything from multiple Chinese art exhibitions and film programs to the premiere of Gus Van Sant’s Milk. Fasten your seatbelts, it’s going to be a bumpy season.


>>Connect four
Cover stars: A quartet of our favorite artists and performers sounds off


>>Diverse moments
Dance: Highlights run from modern to the Bard
By Rita Felciano


>>Curtain calls
Stage: Theater gets political, playful, potent
By Robert Avila


>>Vizzy with the possibilities
Visual Art: We scope out the promising shows
By Katie Kurtz, Kimberly Chun, and Johnny Ray Huston


>>Sino the times
Visual Art: Bay Area museums and galleries home in on Asia
By Glen Helfand


>>Olympic disc toss
Music: Will these new music releases go far or fall flat?
By Kimberly Chun and Johnny Ray Huston


>>Stage names
Concerts: Got live if you want it — and you do
Johnny Ray Huston and Kimberly Chun


>>“Daughter” goes to the opera
Classical: Amy Tan revamps her bestseller. Plus, more classical picks
By Ching Chang


>>Forecast: blackout
Clubs: The season’s prime parties offer plenty to fall down about
By Marke B.


>>Autumn reels
Film: 10 big-screen release dates to remember — for better and worse
By Cheryl Eddy


>>Cinemania
Film: 50 ways to rep film this fall
By Johnny Ray Huston


>>Notes of a dirty old man
Lit: Or, a portion from a wine-stained notebook
By Charles Bukowski

>>FALL FAIRS AND FESTIVAL GUIDE
More festive events than you can shake a bare tree at
By Duncan Scott Davidson, Kat Renz, and Ian Ferguson

Comic drama

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Rock me, sexy Jesus — I mean, sexy, sniffle-y Steve Coogan. With a little luck, the British actor’s latest comedy will soon place those lyrics on the lips of teenaged malcontents — the same ilk that Coogan’s hemorrhoid-commercial thespian and high school drama theater Dana Marschz haplessly mentors in Hamlet 2. As a parody of inspirational teacher flicks, Hamlet 2 (see our review) is a rousing success — the type Mr. Holland would toss his opus for. It’s almost completely due to Coogan. In contrast to his brief, blotto turn through that other cinematic lampoon in the theaters, Tropic Thunder, he klutzes, kibitzes, and futzes, hilariously, through nearly every frame.

Hamlet 2 finds Coogan playing an American mired in a monochromatic Albuquerque. Marschz is a pathetic synthesis of ditziness, show-must-go-on hope, and ambition — writing Hamlet 2 seems the perfect way for him to exorcise his own fatherly ghosts and put a feel-good spin on that downer play. Yet it was the character’s bare-faced vulnerability that Coogan — known in the United Kingdom for his TV commentator Alan Partridge and stateside as an independent actor who has appeared in films by Michael Winterbottom, Jim Jarmusch, and Sofia Coppola — found most daunting.

"I think I’m going to fall flat on my face in everything I do, really," allows the actor, congested and "bunged-up" during the San Francisco stop of a press tour. "I’m used to playing comic characters who are often unpleasant people and who you somehow have some kind of empathy for. This guy isn’t awful or nasty. He’s vulnerable and foolish and slightly self-delusional. I could see how you could make him funny. [The trick is to make sure] the audience would care enough about him to see it through to the end. That was the tough thing."

Coogan meets the challenge. Now perhaps kids in music stores will call out for the actor’s drama geek or rocker Christ figure as much as his smirking, überhipster version of Tony Wilson in 2002’s 24 Hour Party People. "I feel very, very close to that film," Coogan says of Wilson, partly because he grew up in Manchester, where he often slipped into Wilson’s Hacienda nightclub. "All the events in that movie, I witnessed as a young teenager. When I did the movie, I felt like I was reliving my youth — except I was playing the guy at the center of the events, rather than the spectator."

The trip

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Everyone I tell about my project thinks I’m nuts. Maybe they’re right. But many progressives have been pushed to the brink of madness by what this country is becoming. Besides, it’s too late to turn back now, so I’m going to take the trip and try to drag all of you along with me.

The basic plan is to drive from San Francisco to Denver in a rented Chevy Impala, stopping by Burning Man on the way there and back, covering the Democratic National Convention in the middle, reporting and posting to the Guardian‘s Politics blog the whole way, and then producing a cover story by the end.

What do these two epic events have in common besides synchronicity? For starters, they each have strong roots in San Francisco and will be disproportionately peopled by Bay Area residents. And this year’s Burning Man art theme — American Dream — is an obvious effort to achieve sociopolitical relevance. These two great American pageants are promoting similar goals from opposite directions.

"Burning Man doesn’t mean anything unless it affects the way we live our lives back home," event founder Larry Harvey told me earlier this year as we chatted in his rent-controlled apartment on Alamo Square. "That city is connecting to itself faster than anyone knows. And if they can do that, they can connect to the world. That’s why for three years I’ve done these sociopolitical themes, so they know they can apply it. Because if it’s just a vacation," he said, pausing to choose his next words carefully, "we’ve been on vacation long enough."

Liberal Democrats also feel they’ve been lost in the political wilderness for long enough, and they hope Barack Obama is the one to lead them out of the desert and into power. And I’ll be chronicling their launch, from when I pick up my convention press credentials the morning of Aug. 25 to when Obama addresses 75,000 people in Mile High Stadium four days later, on the 45th anniversary of Martin Luther King Jr.’s "I Have a Dream" speech. Then it’s back to the playa for the big freakout.

If truth be told, which is my intention, I don’t know what I’ll write. I’ll embrace the chaos and let the road provide the narrative. But expect insightful juxtaposition of two realms I’ve covered extensively over the past two decades — the political culture and the counterculture — peppered with perspective from my yin-yang travel mates: Democratic Party bigwig Donnie Fowler and performer Kid Beyond, a.k.a. Andrew Chaikin.

This is a story of who we are and what we may become. I hope you’ll join the journey.

You’ve got a friend

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Intimacy, immediacy, personal takes on today’s headlines, and unpredictably fresh new twists — it’s all there when it comes to surfing the current, almost-overwhelming wave of singer-songwriters. On the occasion of the first Outside Lands Music and Arts Festival — and what better way to scope out the gentle folk with guitars than amid the leafy fields and glades of Golden Gate Park — we take look at some of the singer-songwriters shining through at this historic gathering, scope out the current state of the woman songwriter, and contemplate a few of our favorites.

For more information and a complete schedule of artists and events at Outside Lands, go to www.sfoutsidelands.com


>>The circle game
Parsing the return of the singer-songwriter in a superficial age
By Kimberly Chun


>>No borders!
Rupa Marya leads the charge toward boundary-busting pop
By Todd Lavoie


>>From Silicon Valley to “City Hall”
Vienna Teng finds inspiration in unexpected places
By Kimberly Chun


>>Great Northern
Serena Southam conjures that old-timey magic
By Kandia Crazy Horse


>>Into the wild
Kaki King dreams in guitar and goes from there
By Laura Mojonnier


>>Singing softly, carrying big ideas
Regina Spektor, Beck, Devendra Banhart: More folks to look out for at Outside Lands
Our picks


>>Love songs
A gaggle of local singer-songwriters come in praise of their faves
Lists and tops

Fated to annihilate

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› kimberly@sfbg.com

SONIC REDUCER To get the grimy lowdown on East Bay hard rock combo Annihilation Time, you don’t have to look very far: try the party-starting band’s Oakland townhouse.

"Yeah, it’s barely standing," says guitarist Graham Clise with a chortle. Apparently the best party had to be New Year’s Eve two years ago, he recalls from San Diego, where the group is taking a break at the beach while on tour with its new third album, Tales of the Ancient Age (Tee Pee). "I wake up in the morning, and the entire place is smashed — like all the drawers are smashed out. I look out the window, and in the backyard the couch is on fire.

"It’s still like that, unfortunately."

How much more rawk fun can you have? Hailing from a speedier, hellbent-for-lather breed of ’70s-era metal à la Priest mixed with the set-to-pulverize tendencies of SoCal hardcore, Tales of the Ancient Age is all about the sloppy good times, rug burns, and all-business dual lead guitars as it stumbles through passes at skinhead chicks on public trans ("Bald Headed Woman") and bouts of lousy hygiene ("Germ Freak [I Ain’t No]"). Could Annihilation Time be the seriously anti-sobriety, hard-rockin’ fun-metalists we’ve been waiting for? Contemplate their comic-book vision of apocalyptic Oaktown rendered by former guitarist Shaun Filley on the cover of Tales, and the band seems to slip right in between the politically tinged rigor of High on Fire and the pagan brooding of Saviours, who once lived in Annihilation Time’s raging HQ. Exhibit one: Annihilation Time’s "Jonestown," far from a righteous wail of despair against groupthink. Instead the band embraces a punkily perverse, Ramones-ish, kicks-first perspective — would Clise partake in the Kool-Aid? "That’s my philosophy," he yelps. "I’d give it a try, sure."

The seven-year-old band moved to O-town from the Ventura, Oxnard, and Ojai area about two and a half years ago because "we all decided we were sick of it down there," Clise says. "It seemed like a pretty cool, happening spot. We wanted to try it out. You can get away with anything, too. That’s the other cool thing. You’re kind of free to do whatever you want, and nobody is going to fuck with you too much. It’s kinda like one of the last free places — where you can be a shithead and get away with it!"

Unfortunately a group also runs the risk of finding their music flying under the radar — into obscurity: Tales comes after two other self-released albums and two 7-inches. So this time the band looked to licenser Tee Pee for help. ("We always have big plans of having our own label and getting our shit out there and working hard at it. But the reality is, it’s a lot of work and we’re kind of sick of having to deal with it. We just want to play music.") The next career move? Annihilation Time may just up and move their party to Pittsburgh, following their relocated vocalist Jimmy Rose. They’ll obviously do anything for a ripping yarn — hence the less-than-nostalgic album title. "We chose the name because it sounds all serious and epic," Clise explains. "But we also chose the name because there’s a whiskey called Ancient Age — really cheap, really awful stuff. But it always makes for a good night, and there’s always a story afterwards." Pittsburgh should watch itself. *

Annihilation Time’s Aug. 16 show at Thee Parkside has been canceled. For future dates go to ww.myspace.com/annihilationtime.

OUT OF THIS WORLD: 12 GALAXIES DEPARTS

Last week brought more than one hit of sad news, along with the sorrowful tidings of Isaac Hayes’ passing. 12 Galaxies owner Robert Levy phoned to tell me that his Mission District venue is closing Aug. 28: "Financially we’re no longer able to sustain the business. It’s a very competitive city as far as booking live music is concerned." The 500-capacity venue — which spent about $60,000 on soundproofing when it was hit with neighbor complaints a few years ago — will be sorely missed for its offbeat events, boffo parties (such as the Guardian‘s Goldies), and memory-searing shows by Lightning Bolt, Black Dice, Comets on Fire, Kelley Stoltz, and many others.

Why now? "Our lease is up at the end of the year," Levy says. "Our landlord wanted more than we could conceive doing." Levy now hopes a new face will buy the business. In the meantime he’s looking forward to the club’s remaining awesome-sounding shows, including SF Indie message board’s 10-year anniversary party (Aug. 21) and Parkerpalooza (Aug. 23). "I think," Levy continues, "in a lot of ways we succeeded in what we were trying to do," namely, supporting the local music scene. "We just didn’t succeed financially."

NO REST FOR THE TICKETED

JUANA MOLINA


The ex-TV comedian plies an arrestingly loopy acoustronica with folk elements plucked from her native Argentina. Wed/13, 8 p.m., $18. Yoshi’s, 1330 Fillmore, SF. sf.yoshis.com

PASSENGER


The quivering Britpopsters just might break down Rihanna’s "Umbrella." Wed/13, 7:30 p.m., $15. Swedish American Hall, 2174 Market, SF. www.cafedunord.com

OCTOPUS PROJECT


Samplers are pitted against guitars, and they’re all winners. With the Hot Toddies, Sassy!!!, and Diagonals. Sat/16, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

JEPPE


Junior Senior’s tall, gay hunk jumps out solo. With Gravy Train!!!! and Hottub. Sun/17, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

EXPO 70


Primo experimento-psycho drone from the Kill Shaman Records founders. With Wooden Shjips and Arp. Tues/19, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

‘I’m just doing my job, ma’am’

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› culture@sfbg.com

Almost every San Francisco car owner has had this experience at least once: you parked at a metered or timed spot, and now you’re running late. You rush back to your vehicle only to find a uniformed official already filling out your parking ticket. Now you’re pissed — at yourself, your car, the city’s rules, and the person holding the notepad. On some level you know the parking official is simply doing her job — it’s nothing personal. But on a more visceral level, you’re seething with resentment, and it’s directed squarely at her. Glancing at the ticket that’ll cost you more than this week’s groceries, you want to ask, "How can you sleep at night?"

I recently went through this experience twice in one week. And once I got past the automatic hatred of all uniforms, three-wheeled vehicles, and notepads with carbon copies, I began to wonder what it would be like to have a job most people don’t want you to do.

I got to thinking: not everyone can be an urban hero — those professionals who, because of the nature of their jobs, are considered benevolent and necessary. They put out our fires, save our lives, and teach our children how to read. No, some people are urban antagonists. They call during dinner time. They interrupt your picnic at the park. They write parking tickets.

I wanted to talk to some of these people, to find out not only just how badly they’re treated, but also why they continue to show up for work, day after day. It turned out it can be so hard to have these kinds of jobs that most parking control officers wouldn’t even talk to me. And none I interviewed would give me a real name.

But they did give me some insight.

‘SORRY, I ALREADY STARTED WRITING.’


With their uniforms, handheld ticket-gadgets, and ubiquitous three-wheeled vehicles, there are few professionals more recognizable on San Francisco streets than the Parking Control officers. And with 44 recorded incidents involving angry motorists threatening or assaulting officers in the course of performing their duties over the past two years, few professionals are subject to such acute on-the-job stress.

"It’s tough sometimes," acknowledged B., a PCO writing tickets near the intersection of Valencia and César Chávez streets, "because you’re doing your job and a lot of the time people see you as the opposition — like an enemy, not as someone who is doing a service to the city." People forget that by writing tickets, PCOs crack down on double-parkers who block traffic, space-hoggers who stay in one spot all day, and sidewalk-parkers who obstruct walkways for pedestrians such as mothers with strollers, B. said.

But not all PCOs take comfort in that rationalization. K., another anonymous PCO, said, "You just need to find your niche. I respond to complaints — blocked driveways, construction zones, fire hydrant obstructions — I’m happy. It’s cool."

"It’s not for everybody, but I would say it’s a fine job," he continued. "It pays well. It’s secure. I’ve been doing this for 10 years and I’ve never had a problem. If you’re cool about it, if you’ve got the right demeanor, then the saying is true: you get what you give."

Judson True, a spokesman for the San Francisco Municipal Transportation Agency, added that PCOs conduct traffic during special events and congested hours, help motorists around accident sites, and even conduct undercover stings to prevent the abuse of disabled parking placards. Most of all, though, PCOs — like others with less-than-lovable jobs — are still people.

"No one likes to get parking tickets. That’s an obvious reality," True said. "But people need to remember that the parking control officers are their neighbors, their friends, their family — people who are doing an important job for the whole city."

‘CAN YOU SPARE A MOMENT FOR THE ENVIRONMENT?’


Yes, those clipboard jockeys scanning for eye-contact outside Whole Foods or approaching you at Dolores Park have a name. They’re called canvassers, and their job is to solicit votes, subscriptions, opinions, or something similar — and often they’re paid by the signature. These days canvassers are talking about everything from orphans to Obama, gun control to global warming. But most people aren’t interested in what they’re called or what issue they’re representing.

"I’ve been called pariah, douchebag, whore, woman of the night," said Valerie, who recently canvassed at Market and Powell streets for an international charity. "I’ve had coffee poured on me. I’ve had people scream ‘Get the fuck out of my face!’ and yell ‘It’s a scam! It’s a scam!’ while I talk with other people."

Dave, a canvasser for Progressive Political Solutions who worked further down Market, agreed the job can be challenging — but worth it.

"There are going to be days that people are totally against everything you do," Dave said. "But then there’s someone — one person — who makes the day worthwhile, someone who I would have never been able to talk to in an office."

Dave was enthusiastic about the skills he has developed working the streets. He not only credited canvassing for PPS with enhancing his verbal and interpersonal skills, but also with learning industry-specific skills like how to do press calls and conferences, and understanding the political process. Within months of taking the job, he said, he had risen to staff supervisor, helping to advise and manage new hires.

"I like this job in the sense of the big picture," Dave said, before heading into a crowded UN Plaza, clipboard in hand.

Valerie confirmed that for canvassers, the big picture is what it’s all about. Valerie, no less positive for being verbally assaulted and doused with coffee, added, "At the end of the day — no matter how many times someone calls me a douchebag or a bitch — I am making someone’s life better. That’s what really matters to me."

‘SORRY TO CALL YOU AT DINNERTIME, BUT … ‘


Kurt Stenzel, vice president of sales at Tactical TeleSolutions, was one of the few people I interviewed who gave me a full name. Then again, he swears his salespeople aren’t the same ones interrupting your primetime TV hour — and he credits telemarketing for his meteoric rise to success.

"I took the Greyhound bus from New York City with $200, got a telemarketing job, and one thing led to another and now I’m selling to big tech guys [Apple, IBM, Sprint] every day," said Stenzel, who runs the call station downtown.

Though TTS mainly does business-to-business work, Stenzel explained, most telemarketers do make cold calls to homes at some point. His was in New York, where he worked in a windowless room calling people who didn’t want to hear from him.

Their attitude, he says, was, "You’re trying to rip me off — now prove otherwise."

"It’s a tough go," he admitted. "People will curse you out or be crazy."

So what’s good about this job? According to Stenzel, it’s how egalitarian the hiring process is. Call stations aren’t interested in padded resumes and flashy degrees. They want people who know how to talk, plain and simple.

"If they’re articulate, it doesn’t matter so much if they’ve got the right degree," he said. "In that sense, call center work is one of those genuine equal opportunity situations. If people have dropped out of school or come on a tough time, people can come here, build up some skills, and really build their way up."

Though these interviews were enlightening, I can’t say I want to do any of these jobs any more than I did before. And I can’t promise to be less annoyed the next time a canvasser butts into my private conversation or a PCO ruins my morning. But I do hope I’m at least a little more compassionate.

Of course, compassion would be so much easier, officer, if you just let me go. Just this once.

Editor’s Notes

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I didn’t expect much from NBC’s prime-time Olympics coverage, but Jesus, it’s bad.

Forget the all-America, all the time, which is only to be expected. Forget the fact that only the sports that have prominent American contenders get much attention. It’s the reporting and commentary that’s making me sick.

I don’t watch the Olympics on TV to hear for the 12th time about Michael Phelps growing up with a single mother and a driven coach. I buy trashy magazines to learn that kind of stuff. I want to see the games. (I don’t watch football on TV to learn about Brett Favre’s emotional unretirement; I want to see him throw the ball. And if they interrupted the game to give me an "NFL moment" I’d stop watching altogether.)

There are hundreds of events going on, and with the tape delay, we could see all kinds of stuff. The network could be switching from swimming to gymnastics to boxing to swimming … but no: more than half the prime-time show is devoted to truly awful little video clips about the lives of the players, or the age of the Chinese gymnasts (now there’s a hot new story) or someone’s personal tragedy.

Folks: I don’t care. Like most of us, I want to watch sports. Save your trashy specials for 60 Minutes.

And the comments, overall, are just horrifying. Did you know that the Romanian women’s gymnastics team just isn’t the same now that they don’t brutally abuse the children? I mean, look at those errors, that sloppy attitude! The athletes were actually smiling and talking to each other before they took the balance beam, and when one woman fell, she still got a hug from her coach. Back in the days of Nadia Comaneci, that would never have happened. Tragedy what’s happened to that team.

(I’ll give Bob Costas a break — if you get an interview with the president of the United States, you break away from the gym to air it. And he actually asked some professional questions. But watching Bush there, grinning like some kind of nervous idiot with a caffeine twitch, was so creepy it was almost unbearable.)

IN OTHER NEWS: Police Commission member David Campos is making a big stink about Mayor Gavin Newsom’s willingness to violate the Sanctuary City law. His point: if immigrants won’t contact the police for fear of getting deported, the cops can’t do their jobs. That, by the way, was one of the reasons San Francisco became a sanctuary city. He’s asking for a special hearing on this, and I hope it leads the commission to stand up to the mayor and say that it’s more important for SF cops to be able to work with immigrant communities than for Newsom to look tough on immigrants in his campaign for governor.

The Democratic County Central Committee is preparing to endorse candidates for supervisor, but so far, there’s little indication the panel will adopt ranked-choice voting recommendations. In District 9, that seems a shame — there are three good candidates (Campos, Mark Sanchez and Eric Quezada), and two (Quezada and Campos) are Democrats. Voters can choose up to three candidates in ranked order; the DCCC ought to consider doing the same.

Lollapalooza day one: Radiohead, Cat Power, Duffy, Gogol, rock-wine pairings

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ChicagoSky lolla day 1 sml.jpg
I was somewhere around the Loop on the LSD when the hangover began to take hold…All photos by K. Tighe.

By K. Tighe

For concert attendees, Lollapalooza doesn’t start until Friday morning, Aug. 1, but for intrepid journalists and their diligent plus-ones, there are kickoff parties, sponsor events, and Chinese dinners that all lead up to the main event. Thursday afternoon, I found myself in the Crystal Ballroom of the Blackstone Hotel, listening to a Sonoma winemaker attempt to explain about the inner workings of my brain and memory. Delving into the deeper recesses of clinical psychiatry and viticulture preferences might not seem like a rock ‘n’ roll time, but believe me it was.

“This is the place where cocaine and chocolate live,” Clark Smith was explaining to a room full of food, wine, and music journalists the topic of euphoria, a buzz word in his recent study: that wine is able to carry emotion in the same way that music can.

From his research, he’s discovered that certain vintages taste differently when paired with certain songs, a phenomenon he proved to us by piping tracks from Lolla artists into the ballroom and making us sip, sip, then sip some more. From my afternoon at the Blackstone, I discovered that Cat Power makes a Pinot Grigio soar, Dr. Dog does wonders for Pinot Noir, and the Love Theme from Superman can make even Sutter Home White Zin taste like a million bucks. I left the hotel drunk (I wasn’t spitting, as proper wine tasting calls for) and starving. My cohort and I dove into some Chinese grub in Wicker Park before heading to the Venus zine kickoff party at the Debonair Social Club. Mates of States were manning the DJ booth, and I was taking care of the bottle service at our booth, alternating nips from the bottle of merlot in my bag (goes great with Stephen Malkmus).

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We be clubbin’? Just barely

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One night around 11 this spring, I stepped out of a cab at Sixth and Mission streets, only to enter a chaotic scene. Enhancing the block’s usual charms — destitute dudes in wheelchairs, crack enthusiasts, an old man in a denim skirt clutching a baguette — was a row of police cruisers parked in the street. Officers roamed the block, herding people around.

Had I stumbled onto a grim tragedy? Nope. I was just trying to catch a hip-hop show. Like the other 150 people waiting outside Club Six, I was hoping to get into KUSH, a party hosted by the Demolition Men. My chances seemed slim. I was on the guest list, but the list was "closed." So I stood in the long but well-behaved line. Security yelled at us to keep on the sidewalk, though the sidewalk ended well before the line did. Finally a guard bellowed at us to leave.

Half the line drifted away. The rest remained, texting friends inside the club and trying to devise a way in. Soon, with a combination of threats and cajolery, police and security began clearing the sidewalk around the club. A short, powerfully built man pleaded with stragglers, the way tough guys plead with you not to force them to kick your ass. Someone addressed him. He was Angel Cruz, Club Six’s owner, whom I’d interviewed for this story by phone. I introduced myself. He signaled a guard, and suddenly I was inside.

If this was New York City or Los Angeles, I might have felt the smugness engendered by such special treatment. But this was San Francisco, and all I felt was weariness. The club had devoted two rooms to the party, yet only one was full. Still, the vibe was friendly, and Jacka tore it up with his radio smash, "All Over Me." Although I heard some dudes got salty over the guest list, there were no arrests.

Sadly, such scenes are typical. Actually, we were lucky: I’ve seen cops shut down shows entirely over trifling incidents, usually ones occurring outside the club. This state of affairs affects more than the club-goers. Owners make less at the bar, promoters make less at the gate, and performers have fewer places to perform. Hip-hop, in its myriad forms, is one of the most popular genres on earth, and San Francisco is a world-class city. Yet this town seems hostile toward this musical nightlife with such revenue-generating potential. Why?

Naturally there’s no simple answer, and even investigating is difficult. Owners don’t want to alienate the police, promoters don’t want to alienate owners, and the San Francisco Entertainment Commission wants cooperation among all concerned. Few people I interviewed would name names or particular events, and some would only speak off the record, due to the delicate web of professional relationships involved. Even so, common issues emerge.

"Hip-hop is synonymous with fights and shootings, to authority figures," said Desi Danganan, whose Poleng Lounge is one of the few venues committed to the music. "The police are very hesitant about any club that plays hip-hop. That was one of the first things that came up, ‘Are you playing hip-hop?’<0x2009>"

The association between hip-hop and violence is nothing new: violence is the theme of many raps. Yet this is hardly the case with all hip-hop. The Bay Area in particular has produced an abundance of progressive, nonviolent lyricists, from veterans Hieroglyphics to up-and-comer Trackademicks. Yet the distinction is lost on the city and the police, according to Fat City general manager Hiroshi Naruta. "They don’t know the difference between hyphy and backpacker," he said.

Unlike the Panhandle-based Polang, Fat City is in the SoMa District, a longtime site of contention between police and clubs. As a result, the venue is shying away from booking hip-hop. "I want to," Naruta said. "But I don’t want pressure from the city or SFPD."

"Pressure," of course, is a nebulous concept and hard to substantiate, but according to John Wood, political director of the SF Late Night Coalition, there are typical tactics. "If the police feel your venue is creating a nuisance, they show up every night, check your permits, walking into your venue, upsetting your customers," he said. "They do frequent inspections with the fire department and the building department, and get you for every little violation. Short of suspending permits and filing lawsuits, there’s lots of ways city bureaucracy can make it difficult to do business."

But just how much of a "nuisance" do hip-hop shows create? Are they really that violent? No more than other genres, according to Robert Kowal, whose Sunset Promotions has brought everyone from Grandmaster Flash to Jurassic 5 to SF. "The city has safety as its primary concern," he acknowledged. "Occasionally some shows have problems the police have to deal with. Almost without exception that label gets thrown at hip-hop, when most events, including hip-hop, are very cool."

"Right now there’s a gun problem in SF," Kowal continued. "Instead of addressing that, the city wants to blame entertainment and specifically hip-hop. But violence is rare inside the venue itself."

Wood concurred with this assessment. "There have been incidents where there were shootings," he said, "not in the clubs, but a block away, that may have possibly involved people who were at the club. Frequently police will blame the club for incidents in the neighborhood."

An SFPD spokesman, Sgt. Steven Mannina, wouldn’t respond to this contention. It’s worth noting that much of SoMa can get rough, even during the day. To the contrary, Kowal believes venues like Club Six have improved the tone of the neighborhood: "Angel Cruz deserves a lot of credit. That Club Six is open four nights a week has enabled other bars and restaurants to open around it. That area has been somewhat revitalized."

Wood suggests an influx of new neighbors may, in fact, be the main issue. "The city’s changing," he explained. "It’s older demographically, wealthier, more harried, and professional. Aside from hip-hop and violence, people are less tolerant about noise young people create." Yet that lack of tolerance among the condo crowd may also be rooted in fear. "Neighbors sometimes freak out when a club is bringing large groups of minorities into the neighborhood," Wood added, "whether they’re behaving or not."

That assessment was echoed, mostly off the record, by many I interviewed. But veteran hip-hop commentator Davey D didn’t pull punches. "They just don’t want black people there," he said. "For a city that prides itself on being progressive, when it comes to nightlife, it has the most reactionary policies that seem based around race, using words like ‘urban’ as cover."

Regardless of hip-hop’s alleged role in violence, this spring the city attempted to deal with the issue via two pieces of legislation: one required a hefty $400 permit per show, and the other was an anti-loitering law, empowering police to clear the area around a club. Both proposals were bad ideas: the former threatened to stifle local entertainment, and in an era of eroding civil liberties, the latter promised to give police discretion to arrest people just for being in the club’s vicinity. Even more disturbing is Sgt. Mannina’s assertion in April that "this is an enforcement strategy around clubs that field operations have already launched." How can this be, if it was not yet a law? "I thought it was already in place," he said.

Clearly the police act as though it is, given what I witnessed outside Club Six. In the meantime, it’s tough to understand why SF hip-hop fans must, for instance, travel to Petaluma to see local acts like Andre Nickatina. "You want to know the solution?" a club owner asked, off the record and out of frustration. "There is no solution."

Charitable cash cow

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Nonprofit charities in the Golden State should have been raking in the cash in 2004. Gracious Californians gave $60 million more toward fundraising campaigns that year than they did in 2003, totaling almost $293 million. The following year, donors gave even more: $332 million.

Yet despite the increasing generosity of Californians, the percentage that nonprofits actually took away from those campaigns steadily decreased from 2003 to 2005.

Most of the gains went to private, for-profit fundraising companies hired to conduct telemarketing services and coordinate special benefit events like gala dinners, rodeos, and variety shows.

Such companies charge steep fees and commissions that frequently leave charities, especially smaller or less experienced ones, with little or even nothing at all, according to state disclosure records.

Commercial fundraisers collect millions each year relying on the public image of selflessness projected by nonprofits devoted to promoting cultural literacy, saving lost or exploited children, finding cures for deadly diseases, or improving the welfare of defenseless animals.

Some desperate nonprofits elect to allow commercial fundraisers to take a percentage of the money they raise, at times as much as 80 to 90 percent. Alternately, larger charities may agree to set costs and fees associated with the campaign, but that strategy can also prove costly.

For example, the San Francisco Museum of Modern Art hired the Los Angeles company SD&A Teleservices in 2004 for a phone solicitation campaign that raised $12,000. But because the company’s fees were greater than the contributions received, the museum had to pay $19,854 more to cover the venture. Similarly, the San Francisco Ballet lost $3,400 in 2005 to the same company after SD&A raised $12,745 from donors, thousands less than what it charged.

Several people we interviewed said the benefits of a fundraising campaign might not materialize until later if contributors eventually become long-term supporters. But unless the typical donor has time to find out how much ultimately makes it to the cause they care so much about, they’re unlikely to be aware of the extraordinary costs involved in nonprofit fundraising.

"The charity agrees to it because they want the easy money that they don’t have to do any work for," Daniel Borochoff, president of the American Institute of Philanthropy in Chicago, told the Guardian. "Then the person goes out and spends $1 million to get that $200,000, and the charity tries to rationalize it by saying ‘Well, it’s money we wouldn’t normally have. We don’t have staffing for fundraising.’ But they’re ripping off the public and disrespecting the intentions of the people who gave that money."

The Los Angeles Times published a months-long investigation July 6 that examined required forms submitted to the California Attorney General’s Office showing the total revenue generated from 5,800 nonprofit fundraising campaigns and how much of that money went to the charities.

Between 1997 and 2006, the paper discovered, 430 campaigns raised a total of $44 million — but in each case, every dime went to the fundraising company. Charities lost money in 337 more cases. In hundreds of instances, charities entered into contracts that assured them only 20 percent or less of the funds raised, regardless of how successful the campaign turned out to be. The AIP recommends spending no more than 35 cents on each dollar raised. The Times also pointed out that donors enjoy tax deductions from their contributions, even if huge portions go to for-profit companies.

"Nonprofits spend a lot of money attracting donors and then they fall away the next year, so they have to reach out and attract even more donors," Elizabeth Boris, director of the Center on Nonprofits and Philanthropy in Washington, DC, told us. "So there’s a lot of churning that goes on, because a lot of the same people don’t give to the same organization year after year. It is an expensive process of getting the names and contacting people."

Because California is behind in processing the required disclosure forms, the Times had to specially request records from 2006, meaning more recent figures aren’t available. The Guardian took a far less extensive look at the records, but we still found plenty of examples of charities earning astonishingly low rates of return.

In 2004, Campbell-based TBS Productions raised $418,377 for the San Francisco Police Officers Association and its annual "Parade of Stars" event held at the Palace of Fine Arts. But just $87,094 made it into the union’s nonprofit Community Services Fund, which redistributes it in small increments to a variety of causes.

"I’ve wrestled with this since I’ve come on," said POA President Gary Delagnes. "There are two ways of looking at it. Do we really want to lend our name to an outfit that’s taking 80 percent off the top? … The decision we made was: you know what, we’re to do so much good with the charitable money that it’s worth it to us."

That same year the Oakland Police Officers Association also hired TBS for its "Cavalcade of Stars" event. The company raised $402,515 on behalf of the East Bay union for charitable purposes, but only $88,603 remained after covering the event’s costs, a return to the union of 22 cents on the dollar.

That year, TBS coordinated events for at least 16 groups across the state representing law enforcement and emergency personnel, from the San Jose Firefighters Burn Foundation to the Fresno Deputy Sheriffs Association. But almost no one received a better return rate than 20 percent, and two raised just 15 cents on the dollar after accounting for the for-profit company’s take. No one at TBS was available for comment when we called.

More than 250 fundraising campaigns in California netted 20 cents or less from each dollar raised for charities in 2004, according to figures maintained by the state.

Rich Steinberg, a longtime scholar of nonprofits at Indiana University, said several factors mitigate all this. He explained that the United States Supreme Court has been reluctant to permit heavy regulations on charity fundraising because a seemingly poor cost ratio isn’t necessarily bad for a nonprofit.

"Big charities could do everything wrong but still have a good cost ratio" because their support is widespread, Steinberg said. The San Francisco Ballet and SFMOMA, for example, have done much better in some telemarketing campaigns, earning from 54 percent to 81 percent in return rates despite other times losing money.

Could it be that there are too many small, inefficient nonprofits with similar missions, each created in the belief that government wasn’t filling some need? Perhaps. But attempting to curtail them could undermine the democratic spirit that leads to their creation.

"We should make it legitimate for any group of idiots to get together and try to do something good," Steinberg said.

If they want to succeed, he said, charities should not accept terms that give fundraisers a percentage of the donations. Instead they should establish fixed fees so that every dollar beyond that amount goes toward services. Second, to ensure more favorable rates, they can require competitive bidding among fundraisers.

Ken Larson, director of public policy for the California Association of Nonprofits, said that few of the tens of thousands of charitable organizations registered in California use commercial fundraisers to attract donors, a fact confirmed in reports compiled by the attorney general. Many hire full-time professional fundraisers to seek foundation and government grants or relationships with repeat donors, intangible benefits that can go beyond immediate fundraising goals.

As for telemarketing, Mike Smith, chief operating officer of New Jersey-based Charity Navigator, suggests that when donors receive a call, they can just hang up and cut a check directly to the nonprofit.

The debate over nonprofit fundraising costs is nothing new, but with information increasingly available on the Web, consumers are in a much stronger position to give wisely.

The San Francisco AIDS Foundation publicly and angrily parted ways with its commercial fundraiser, Pallatto Teamworks, in 2001 due in part to a dispute over how much the company charged to operate the California AIDS Ride. The charity has since created its own fundraising arm, steadily improving its rate of return from an average of 54 percent over the past seven years to 66.5 percent last year.

The foundation uses another company, MZA Events, to manage its annual AIDS Walkathon, which has averaged a healthy 63 percent return since 1999 with improved results over each of the last three years.

But officials with the SF AIDS Foundation believe telemarketing has enabled it to achieve greater public awareness. It also began moving the task in-house during the past six months and anticipates greater savings.

"Every dime we save in production is a dime that can go to our clients and our programs and our services," said Dave Ellison, spokesperson for the foundation. "We’re always extremely aware of how important it is to keep the costs down because we see the benefits every day in the lives of our clients."

“Kenny”

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REVIEW This first feature by the Jacobson brothers — director Clayton and leading actor Shane, also coscenarists — is about a beleaguered working-class stiff. His disgraceful (to everyone but him) job is delivering and maintaining rental portaloos (read: portable toilets) to various public events, many attracting patrons who can’t keep their aim straight or food down. Kenny has a bratty son, a vicious ex-wife, unreliable coworkers, an endlessly criticizing father, and myriad other woes. But this being an underdog comedy — and a mockumentary to boot — we know that somehow he will come out on top, and maybe even find Ms. Right en route. I know what you’re thinking: either (a) this sounds like (pun intended) crap, and/or (b) what, they let Rob Schneider make another movie? But take a deep breath and overcome those very reasonable fears, because — no kidding — Kenny is one of those films that sneaks up on you, at first seeming "not so bad," then "pretty cute, actually." Then before you know it, you’re grinning ear-to-ear, pants duly charmed off. Its pudgy, pincushion protagonist, with his hilariously tossed-off bits of wisdom, for a while seems to have the odds stacked almost too cruelly against him — indeed, we see him having to eat shit from just about everyone. But when fate unexpectedly sends him on a far-flung business trip, luck starts turning around for Kenny in ways that are raffishly funny and surprisingly sweet. A lot of folks have tried doing the semi-improv Christopher Guest thing in recent years, usually badly. This Aussie effort not only pulls it off, it manages better results than Guest himself has managed since 2000’s Best in Show.

KENNY runs Fri/1–Sun/3 at the Red Vic Movie House. See Rep Clock for times.

Click-click, bag-bag: Procrastinate with style

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By Dona Bridges

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Everyday fashion via sfstyle.blogspot.com

Rejoice, voyeurs and procrastinators! I have found a new timesuck for you. My longtime perusal of Jezebel, Fashionista.com, and Facehunter led me to the truly amazing wastes of time that are personal and street fashion/style blogs. I gobble them up like candy, and during some of my over-consumption sessions I’ve managed to find a few that deal with Bay Area fashion specifically:

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Rumi mugs on fashiontoast.com

Coquetteis a general fashion and style blog by SF writer Natalie Zee Drieu, with some coverage of local designers and stores.

SF Indie Fashion concentrates on local independent designers, stores and events.

SFBayStyle is a local fashion e-zine/blog with multiple contributors, many of whom are based in the Peninsula; it has a slightly more mainstream focus.

Fashiontoast is the personal style page of SF girl Rumi, with lots of pretty pictures of her in Kate Moss-ish getups, along with links and reviews relating to fashion.

SFStyle does street fashion ala Facehunter, except with tons of hilarious analysis and commentary.

Streetfancy is another street fashion blog, very heavy on nightlife coverage and very recognizable locals like Merkley. Sadly, it hasn’t been updated in almost six months.

You didn’t expect to actually get any work done today, did you? You’re welcome.

I’ll see your Embarcadero and raise you Market Street

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Scene from last month’s ciclovia in Portland, Photo by Steven T. Jones

Sunday Streets, a proposal to bring to San Francisco’s Embarcadero the carfree ciclovias that have caught on in major cities around the world, became mired in the dysfunctional relations between Mayor Gavin Newsom and the Board of Supervisors after Fisherman’s Wharf merchants freaked out.

But even before the full board yesterday considered the resolution by Sups. Aaron Peskin, Michela Alioto-Pier, and Sean Elsbernd demanding the Aug. 31 and Sept. 14 events be postponed until a detailed economic impact analysis can be done, the Mayor’s Office had already announced the events would proceed as scheduled, critics be damned.

“The mayor’s position on Sunday Streets will not change. We will go ahead as scheduled,” Mike Farrah, head of the Office of Neighborhood Services and a longtime Newsom loyalist, told the Guardian on Monday.

In the face of that stand, and with Farrah and other event proponents promising to work with business community critics to massage the plan, Peskin opted to delayed consideration of his resolution until the Aug. 5 meeting. Yet Sup. Chris Daly (who supports Sunday Streets even though he calls it a Newsom publicity stunt) also decided to up the ante yesterday by introducing legislation to permanently ban cars from Market Street.

Testimonies

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Italy seldom figures much in Holocaust studies, as its Jewish population was relatively small (just under 50,000) and only about one-fifth failed to survive the war — even after far more anti-Semitic German occupiers and policies wrested power from Benito Mussolini in 1943.

But statistically limited evil is still evil. Italian (even papal) complicity in crimes against Jewry has weighed more heavily on the national conscience lately, if a recent spate of meditations on the subject in various media is any indication. This year’s San Francisco Jewish Film Festival, the 28th, includes a program of films devoted to the subject. Titled "Italian Jews During Fascism," it presents a mix of documentary, historical drama, and contemporary fiction.

As elsewhere, the history of Jews in Italy has run a gamut from bad to worse to tolerable and back again. Propelled by basic racism as well as that "Christ-killer" concept favored by early Biblical-text revisionists and Mel Gibson, sacred and secular powers-that-were targeted Italian Jews (among others) during the Crusades and the Inquisition, then literally walled up their Roman populace in a ghetto for 300 years. By the time the extreme ghettoization was abolished, in the mid-19th century, Italian Jews (at least outside Rome) were fairly well integrated into society. They certainly were by 1938, when Mussolini announced a slew of anti-Semitic laws after years of appearing indifferent to Hitler’s particular racial obsession. ("Il Duce" hadn’t been impressed with the Nazis until his own empire-building ambitions required an alliance.)

Italian Jews were abruptly barred from serving in the military, and from attending or working at schools and universities. Thousands lost their jobs due to knee-jerk reactions from employers anxious to toe the repressive party line. These hard times got much worse when the weakened nation ceded primary control to the Nazis, and "Il Duce" became a mere figurehead for the "Republic of Salo." Mussolini rubber-stamped the mass arrest of Jews, mostly in the occupied north. Nearly 7,000 were shipped off to concentration camps. The question of what ordinary Italians — let alone the Vatican — did to oppose this murderous sweep remains a blot on the country’s 20th-century history.

The Jewish Film Festival’s quartet of related features offer various perspectives on these events. Most direct is Mimmo Calopresti’s 2006 documentary Volevo Solo Vivere (I only wanted to live), a compilation of latter-day testimonies assembled from interviews recorded for Steven Spielberg’s Shoah Foundation. Focusing on survivors (mostly female) of Auschwitz who were between the ages of four and 30 at the time, it provides first-person stories that range from poignant to hair-raising. Meeting a life love on the train en route to the camp, enduring Mengele’s "medical experiments," being forced to walk one’s father to the gas chamber. These precise recollections are illustrated not just by brutally familiar footage of starved prisoners and piled corpses, but also by earlier photo-album glimpses of family life.

Dubbed "the Italian Schindler" when his deeds first won recognition, Giorgio Perlasca was a Paduan former soldier and disillusioned ex-Fascist working abroad to procure supplies for the Hungarian army in Axis-occupied 1944 Hungary. Posing as a Spanish diplomat, he bullied and bluffed his way into rescuing and hiding thousands of Budapest Jews despite a Nazi policy of deportation and extermination. This extraordinary tale is dramatized in Perlasca: An Italian Hero. With an Ennio Morricone score and Luca Zingaretti in the title role, Alberto Negrin’s 2001 made-for-TV film is compelling. Yet it’s also overworked, painting Perlasca as a one-dimensional superhero — albeit a balding and pudgy one. The result lands somewhere between the harshness of Schindler’s List (1993), the hysterical melodrama of Black Book (2006), and the maudlin treacle of Life Is Beautiful (1997).

A fascinating footnote, the 2007 hour-long documentary Tulip Time: The Rise and Fall of the Trio Lescano tells the story of three Dutch sisters who became enormously popular in Italy as harmonizing swing vocalists. Mussolini was a fan, though even that couldn’t save them from abrupt career termination and poverty once their Jewish background was discovered. The 2003 novelistic drama Facing Windows, which had a theatrical release, finds Turkish Italian director Ferzan Ozpetek departing somewhat from his usual gay themes. Giovanna Mezzogiorno stars as an unhappy working-class Roman woman whose husband brings home a disoriented older man (the late Massimo Girotti, a screen veteran since 1940) who turns out to have concentration camp numbers on his arm. *

SAN FRANCISCO JEWISH FILM FESTIVAL

The 28th San Francisco Jewish Film Festival runs July 24–Aug. 11 at the Castro Theatre, 429 Castro, SF; Roda Theatre, 2025 Addison, Berk.; CineArts @ Palo Alto Square, 3000 El Camino Real, bldg 6, Palo Alto; and the Smith Rafael Film Center, 1118 Fourth St., San Rafael. Tickets (most shows $12) and additional information are available at www.sfjff.org

Repulsion!

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"I like young women, as do most men, I think," Roman Polanski confesses in the opening sequence of Marina Zenovich’s fascinating new documentary, Roman Polanski: Wanted and Desired. Few artists could recite such a controversial preamble as convincingly as this infamous auteur, loved and reviled with equal fervor after a 45-year career. While it focuses on the Hollywood rape scandal that enveloped Polanski in the spring of 1977, and his subsequent flight from the law, Wanted and Desired doesn’t portray the oft-demonized director as a villain or a victim. Instead, it renders him as an inscrutable outsider and poète maudit.

Through an excellent assortment of press footage and interviews, including talks with alleged rape victim Samantha Geimer, Zenovich reviews if not reopens California vs. Roman Raymond Polanski. She does so with a meticulous eye toward correcting inconsistencies and misconceptions. Polanski was no stranger to tragedy and controversy. As a young boy, he survived the Holocaust on the streets of Krakow after most of his family was shipped to Auschwitz. After a successful career in London and Hollywood in the 1960s, he was again devastated when his pregnant wife, Sharon Tate, was murdered by Charles Manson’s "family." By the ’70s, Polanski had a licentious reputation, abetted by his dark, often Faustian films.

Enter 13-year-old Geimer, a California innocent pushed by her ambitious mother into a nude photography shoot with Polanski. The events of the night that followed would haunt the director and his young victim for decades.

Some critics will probably deride Wanted and Desired as pure hagiography, or worse yet, a legitimization of Polanski’s crimes and subsequent fugitive status. But Zenovich’s intentions circumnavigate any idol worship, as her refusal to err toward his guilt or exoneration makes clear. Rather, Wanted and Desired‘s stinging invective of Hollywood justice places much of the blame on a starstruck media and judiciary. As if fulfilling Polanski’s dystopic vision, the film leaves us repeating some prophetic words from Chinatown (1974): "I see you like publicity … well, you’re going to get it." Polanski, ever the outsider, remains at large.

ROMAN POLANSKI: WANTED AND DESIRED

Opens Fri/25

Roxie Film Center

Manufacturing Frida

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REVIEW Though overshadowed during her lifetime by her famous muralist husband Diego Rivera, Frida Kahlo is one of many examples of driven artists who achieved their icon status posthumously. And, like other historical figures with life stories loaded with tragedy, Kahlo underwent her share of suffering, which makes for great book sales and dramatic film plots. But as anyone who knows a bit of her story beyond her groundbreaking art can attest, she handled the physical and emotional pain with flair: she was a modern, intelligent Mexican woman who, from the 1930s through early ’50s, chose to flamboyantly dress herself in celebration of her cultural ancestry. She was exotic — even among her circles of culture vultures and political activists — and strikingly beautiful, so it’s no wonder that nearly half of her paintings are self-portraits. One thinks she might have wowed herself. Nonetheless, the well-known photographers who caught her on film left more telling documents than her paintings — of someone who radiated charisma and soul.

Before we dismiss a round of would-be Fridamania as an attempt to generate even more profits from Kahlo reproductions on bags and T-shirts, we should remember why she was plucked from history. Currently on view at the San Francisco Museum of Modern Art is the first major American exhibition of Kahlo’s works in nearly 15 years. Last year, for the centennial of Kahlo’s birth, the Palacio De Bellas Artes in Mexico City held a comprehensive show of her artistic accomplishments, along with personal photos and documents. Visitors to SFMOMA’s "Frida Kahlo" — which was organized by the Walker Art Center in Minneapolis — will get a similar experience to the Mexican exhibition: beyond almost 50 Kahlo paintings, there is a trove of documents and photographs. Don’t expect to see just the greatest hits, though those are present.

Strange still-lifes — like the pile of bodylike root vegetables in Still Life: Pitahayas (1938) — are displayed alongside bizarre folkloric conglomerations of Aztec mythology, Mexican jungle life, and political figures merged with events from Kahlo’s life. Her portrayals of other people are as mesmerizing as her self-portraits. Portrait of Luther Burbank (1931) presents the odd scene of the elder Burbank sprouting from the soil of a browned landscape. The area where his feet should be is a mass of roots growing into a decaying corpse. He holds a leafy tropical plant — a reference to his horticultural focus. Another compelling work rarely viewed outside of Japan’s Nagoya City Art Museum is Girl with Death Mask, (1938) in which a skull-masked child in a pink dress stands on a barren, sky-dominated expanse with a mask of a tongue-wagging monster at her feet.

When we enter the last rooms of the show, we are greeted with walls and display cases of family photographs, many with Kahlo’s handwritten notes. Two photos of Rivera, from 1929 and 1940, have her lipstick kiss prints on the back, and several other images are marked with pencil or ballpoint doodles. These funny, poignant bits of reality were not meant for public consumption, and the fan is given a deeper view into the real person. Add the early color photos of Kahlo and a home movie of Kahlo and Rivera fawning over and goofing around with each other, and you could begin to think that you actually know her.

So when one views the photos of Kahlo in traction, her strained face attempting to smile, or the pre-tragic pregnancy photos, subjects explored repeatedly in her art suddenly become even more clearly felt. Icons rarely get to be real after their ascension: we don’t want them to be mortal, perish, and take their magnetism away. When Kahlo died in 1954 at 47, a final diary entry read, "I hope the exit is joyful, and I hope to never return." Yet no one wants her to go.

FRIDA KAHLO

Through Sept. 28

Mon.–Tues. and Fri., 10 a.m.–5:45 p.m.; Thurs. 10 a.m.–9:45 p.m.; Sat.–Sun., 10 a.m.–7:45 p.m.

San Francisco Museum of Modern Art

151 Third St., SF

www.sfmoma.org

What the candidates need to tell us

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EDITORIAL The traditional kick-off date for fall campaigns is Labor Day, but in San Francisco, the candidates for supervisor have been in full campaign mode for months now, and some of the races are beginning to take shape. As political groups start making endorsements, it’s worth looking at what’s at stake here — and what the candidates ought to be talking about.

For starters, it’s going to be a crowded fall ballot, and there’s the potential for a broad progressive coalition to come together around a clear agenda for the future. Among the proposals headed for the ballot are an affordable housing plan, a green energy and public power measure, two new tax plans that focus on bringing in revenue from the wealthy, and a huge bond act to rebuild San Francisco General Hospital. All of the progressive candidates should be backing those measures and working together for their passage.

But the candidates also need to offer long-term solutions to the serious problems facing San Francisco. This is a city under enormous pressure, and unless some dramatic policy changes take place, San Francisco will continue its rapid slide toward becoming a city of and for the very rich.

A few items that ought to be on every progressive candidate’s platform:

<\!s>The city’s energy future. The fall ballot measure, the Clean Energy Act, will lay the groundwork for a sustainable local energy policy, although the supervisors will have to aggressively push the key element: creating a city-run electric utility. As long as Pacific Gas and Electric Co. controls the local grid, San Francisco will never meet its environmental goals. Rates will remain high, conservation will be an afterthought, and PG&E will resist any type of renewable program it doesn’t control. The candidates need to make clear that they’re committed to a full-scale public power system and tell us how they will move the goals of the Clean Energy Act forward.

<\!s>The housing crisis. San Francisco’s housing policy today is utter insanity. If it continues, the city in 10 years will look nothing like it does now. The middle class will be gone. Families with kids will be a vanishing species. Tens of thousands of people who work in this city — and keep its economy going — will be forced to live far away. Fancy new towers filled with millionaires will destroy entire neighborhoods and displace the city’s remaining blue-collar jobs.

The affordable housing ballot measure is a good first step, but much more is needed. Solutions aren’t easy, but they start with one premise: the city doesn’t need any more housing for the rich. Affordable-housing programs that set aside, say, 20 percent of new units for non-millionaires are a losing game because they accept as reality the prospect of a city where 80 percent of the residents are millionaires.

San Francisco needs a comprehensive policy that forces the city to meet its General Plan goals, which call for 64 percent of all new housing to be available at below-market rates. We need to hear how the candidates would make that happen.

**The structural budget deficit. San Francisco is a wealthy city, but there’s never enough money in the budget for the level of services residents want and need. With the exception of the rare boom years, the city has always had a revenue shortfall. Sup. Aaron Peskin’s two tax measures could bring in another $50 million per year — no chump change by any means. But the city needs about $200 million more per year to make the numbers balance. The candidates need to talk about where that will come from.

**The Muni meltdown. You can’t have a transit-first policy without effective transit, and Muni’s in trouble. Budget cuts are a big part of the problem, but the city needs a modern transit program — and that’s barely even on the drawing board. How are the candidates going to fix one of the city’s most important services? Will the candidates support the long-overdue completion of the city’s bicycle network and other bold efforts to decrease reliance on the automobile?

**The war on fun. As the city gets richer, it gets more uptight. Street fairs are under attack. Clubs are facing police crackdowns. Permit fees and red tape are making it almost impossible to hold events in Golden Gate Park. Sup. Ross Mirkarimi has a ballot measure to make some of the permitting easier, but what are the candidates going to do to end the Gavin Newsom–era attack on arts and entertainment?

There’s much more: The police aren’t solving homicides. Small businesses feel utterly ignored by City Hall. The Planning Department is run by developers. The list goes on. And the next Board of Supervisors will need to address all those issues. Over the next few months, the candidates that want the progressive vote need to give us some clear explanations of where they stand.

Pedal power

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›steve@sfbg.com

Hundreds of bicyclists invaded City Hall July 21 to demand safer bike routes and decry new bureaucratic delays in environmental review work on the Bicycle Plan, which a judge said the city must complete before it can make any improvements mentioned in the plan, from new lanes to simple racks (see "Stationary biking," 05/16/07).

But they arrived a couple hours too late to change the tenor of a hearing on another priority for car-free advocates: the Sunday Streets proposal by Mayor Gavin Newsom to close the Embarcadero to cars Aug. 31 and Sept. 14, which is being challenged on procedural and economic grounds by Board of Supervisors President Aaron Peskin and conservative supervisors.

Presentations to the board’s Government Audit and Oversight Committee in support of Sunday Streets were overshadowed by a big turnout of merchants from Pier 39 and Fisherman’s Wharf — who have vociferously opposed the proposal, citing concerns about lost business — and labor leaders, who unexpectedly lent their support to Peskin’s play.

"We just don’t want to have a beta test of a new program on one of the busiest days of the year," said Karen Bell, executive director of the Fisherman’s Wharf Community Benefits District. "People want to drive down the Embarcadero. They don’t want to take side streets."

Advocates of the program are resisting Peskin’s effort to postpone the events until after an economic study can be done.

"Every other city that’s tried this has found it has tremendous economic benefits, as well as tremendous health benefits and social benefits," said Andy Thornley, program director for the San Francisco Bicycle Coalition.

The committee moved Peskin’s resolution to the full board with no recommendation after Sups. Sophie Maxwell and Tom Ammiano voiced support for Sunday Streets. It was set to be heard July 22 after Guardian press time, but Mayor’s Office officials said they intend to hold the events as scheduled no matter what the outcome and work with opponents to ease their concerns.

But most cyclists were focused on the Bike Plan, which might not have final approval until late next year, as an afternoon Land Use Committee hearing called by Sup. Gerardo Sandoval revealed.

Bicycle Advisory Committee member Casey Allen called the delay unacceptable, and said he’s working with others to formally intervene in the case next month, arguing that unsafe conditions are a public health issue demanding immediate action.

"We have to take risks sometimes and challenge the status quo," Allen said. "That’s how we move forward as a society."

For more on both issues, visit www.sfbg.com

Bad news for SF bicyclists causes bad blood at City Hall

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Advocates for bicycling, walking, and the creation of more carfree spaces were already in full battle mode this week over challenges to Sunday Streets, Mayor Gavin Newsom’s plan to close the Embarcadero to cars for four hours each on Aug. 31 and Sept. 14. Then came word that the Bicycle Plan — which the city must complete in order to lift a two-year-old court injunction against any bike-related projects — is falling behind schedule once again.

The two unrelated setbacks will be the subjects of a pair of hearings at City Hall on Monday, events likely to fill their respective hearing rooms with angry bicyclists, angry business people, and angry political proxies of all stripes.
First up is a 10 a.m. hearing at the Board of Supervisors Government Audit and Oversight Committee on a pair of measures by Sup. Aaron Peskin: one a resolution calling for detailed economic studies before the Sunday Streets events, the other an ordinance that would require board approval for new athletic events that require street closure.

Then the San Francisco Bicycle Coalition has scheduled a 12:30 rally on City Hall steps before the 1 p.m. Land Use Committee hearing, which will include an update on the Bike Plan progress that was requested by Sup. Gerardo Sandoval after learning that work on the plan has fallen months behind schedule due consultants missing deadlines and other bureaucratic delays.

The challenge to Newsom…and all of us

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Photo from Portland’s recent ciclovia by Steven T. Jones

It’s not easy to create carfree spaces in automobile-obsessed California, even temporary ones, as Mayor Gavin Newsom is starting to learn. His proposal to create a carfree “ciclovia” along the Embarcadero from Bayview to Chinatown was already scaled back from his original proposal of three consecutive Sundays in August to the recently approved plan for four-hour events on Aug. 31 and Sept. 14.
Merchant groups from Pier 39 and Fisherman’s Wharf lost their minds, screaming with fears of lost business even though motorists will still be able to access their tourist traps by car, and they’ll be joined by thousands of people pedaling, walking and skating past their businesses during prime breakfast and lunch hours. And now members of the Board of Supervisors have added their voices to this shrill chorus.
I knew there would be outrage, and there has been opposition in every city where it’s been tried (and it’s ultimately become popular everywhere it’s been tried). Unfortunately, Newsom has a history of caving in to overentitled motorists. So the challenge now for Newsom — and for all of us concerned about climate change, public health, and the promotion of sustainable forms of transportation — is to do what’s right in the face of fearful proponents of the status quo.
Because creating eight hours per year of carfree space along the San Francisco waterfront is the least we can do.

L’homme de evasion: Tell No One

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By Erik Morse

Winner of four 2007 César Awards, including Best Director and Best Actor, Tell No One — aka Ne le dis à personne — stars François Cluzet as Alexandre Beck, a successful Parisian doctor whose wife Margot (Marie-Josée Croze) is horribly murdered in the disturbing opening scene. Huit ans plus tard and we learn that Beck has been investigated, harrassed and scapegoated by the gendarmerie for the crime until several key pieces of evidence link Margot’s death to the work of a local serial killer. Taken to drink and solitudinous reveries of the past, Alexandre remains consumed by the events of that night. His obsession over Margot’s death is further inflamed when he receives an email containing a surveillance video of his wife still very much alive. Her instructions to him: “Tell no one.” Is it a hoax? His imagination? Or his wife returned from the dead?

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“Top of the Structure Is Not Empty”

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PREVIEW The Garage is the kind of tiny, funky, out-of-the-way theater we all thought wouldn’t be able to survive the dealings of cutthroat real estate moguls. Fortunately choreographer and arts entrepreneur Joe Landini failed to buy into the pessimism. In 2003 he founded SAFEhouse (Save Art From Extinction) and last year moved his operations into a former garage at 975 Howard Street, a block still industrial enough to have available parking at night. Drawing on his programming experience with the now-defunct Jon Sims Center for the Arts and Shotwell Studios, he has filled the space with events (dance, multimedia, theater, and performance art), workshops, and residencies — including one specifically for the LGBT community. For the first time, the multidisciplinary space hosts SAFEhouse’s third Summer Performance Fest. Through August 28, Landini presents more than two dozen choreographers in shared evenings of edgy new works that should satisfy any aficionado wanting to take the pulse of the city. Top of the Structure Is Not Empty, with choreography by Rebecca Bryant, Cathie Caraker, Kelly Dalrymple, Sonshereé Giles, Hope Mohr, Don Nichols, Jerry Smith, and Andrew Wass opens the series. What do these ever-so-different-from-each-other artists have in common? They all investigate ideas on plagiarism and authorship in their work. Expect to see references to Trisha Brown, Miguel Gutierrez, Mark Morris, Nijinsky, Steve Paxton, Yvonne Rainer, Max Roach, and Meg Stuart.

TOP OF THE STRUCTURE IS NOT EMPTY Fri/11–Sat/12, 8 p.m. The Garage, 975 Howard, SF. $10–$20. (415) 885-4006, www.975howard.com, brownpapertickets.com

Sound in the balance

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› a&eletters@sfbg.com

"Anger is an energy," sang John Lydon in the Public Image Ltd. tune "Rise." San Francisco electronic artist Kush Arora harnesses a similar combustible force in his live shows and on the three full-length recordings that have made him an established club fixture and touring act. "I try to do something different with music and express the frustrations of the youth in this country," says the affable 26-year-old Haight District resident, who performs with Chicago’s MC Zulu July 13 at Dub Mission.

Arora’s ragga-techno fusions have struck a chord with audiences from the Bay Area to New York, while monthly hybrid live/DJ sets at Club Six’s Surya Dub night have earned him a broad audience that includes dubstep heads, bhangra fans, experimental electronic admirers, and grime listeners. It makes sense as the former Montessori School teacher has always balanced different cultures.

Born in San Leandro and educated in Orinda’s leafy suburbs, Arora ingested death metal, punk, and experimental-industrial sounds, as well as his family’s Indian and Punjab music, learning traditional instruments like the single-stringed tumbi and algoze flute. His music experience increased after interning at his uncle Aman Batra’s Manhattan hip-hop studio Sound Illusions, and later working for sound-editing software company Arboretum Systems.

In high school he formed an experimental band called Involution, which he helmed for six years before launching his solo noise project Clairaudience in the early ’00s. But it was while attending a 14-month audio recording course at Emeryville’s Ex’Pressions that he learned a signature skill: recording live vocals. "When I was writing songs for my first album [2004’s Underwater Jihad (Record Label/Kush Arora Productions)], I wasn’t impressed with my own work or where electronic music was at the time. It wasn’t badass enough," explains Arora, who also felt there was a lack of high quality, vocal-based dance music in the Bay.

Soon Arora contacted and tracked stateside Punjabi singers and ragga MCs, including Chicago’s MC Zulu, Trinidad’s Juakali, Jamaica’s N4SA, Los Angeles’ Wiseproof, and San Jose’s Sukh and Sultan. "I wanted to work with people who were dangerous and different, especially vocalists who didn’t fall into their music’s niche or category," Arora says of the often confrontational and political artists he’s recorded on full-lengths like 2006’s Bhang Ragga and 2007’s From Brooklyn to SF, both released on his Kush Arora Productions imprint. The albums brought club bookings far and near.

Over the past several years Arora has played large Indian gatherings, small IDM shows, underground warehouse events, raves, and the monthly Non-Stop Bhangra party in San Francisco. His performance breakthrough happened in 2006 at DJ Sep’s weekly Sunday-night reggae party at the Elbo Room, Dub Mission. "That changed my whole presence in the city," he says.

Arora believes his family’s roots in the often-volatile Punjab region between India and Pakistan breathes through his music. "That’s why I like bhangra. It has an element of aggression and sadness," he reflects, acknowledging that those also are traits he looks for in his vocal collaborations. "The artists I work with have a real tug-of-war between good and evil in their lives. My music is their redemption and my redemption in a fateful balance." *

KUSH ARORA

Dub Mission on Sundays, 9 p.m., $6

(Arora and MC Zulu on July 13, $7)

Elbo Room

647 Valencia, SF

www.dubmissionsf.com