Film

Married in Massachusetts

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REVIEW Mike Roth and John Henning’s engrossing documentary chronicles the public firestorm that ensued after the Massachusetts Supreme Court ruled in favor of same-sex wedlock in 2003. A state constitutional amendment (loudly supported by Gov. Mitt Romney) was promptly drafted to ban it. When election time rolled around the next fall — after several months of marriage ceremonies — candidates’ stance on the issue was make-or-break for many citizens. (Beliefs are held so strongly that when one conservative family ultimately doesn’t see things going as they hoped, they plan to move out of the state.) The directors mix fly-on-the-wall reportage with vividly etched portraits of individuals, from senators to poignantly hopeful gay couples and activists on both sides of the fence. While things do inevitably get nasty, it’s to the filmmakers’ credit that at least some of the "one man, one woman" types met here come off as earnestly misguided rather than flat-out bigoted and vindictive. Though the film’s events may seem like pretty old news now, it excitingly captures the high emotions around a battle that continues to be fought, as an interviewee says, "one state at a time."

SAVING MARRIAGE opens Fri/10 in Bay Area theaters.

$850 billion reasons to vote for Sheehan

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My brother called me this morning a bit upset. He runs a small construction firm in upstate New York and he’s bummed about the bailout bill.

“I think I’m the only company in the United States that isn’t getting something out of this,” he said. “I should be making wooden arrows or importing rum.”

And, indeed, as MSNBC reports, there are lotsa goodies in the bill:

Tucked into pages 262 and 263 of the bill, for example, are provisions that will aid the manufacturers of “certain wooden arrows designed for use by children.” The bill will exempt the arrows from an excise tax of 39 cents. There are also tax breaks for race-track owners, for rum imported from Puerto Rico, for worsted wool makers, Hollywood film and television production companies and on and on.

Cindy Sheehan is having fun with this; she and her pals took to the Hyatt hotel across from the federal reserve with a message:

bailout08a.jpg

The dobro mastery of Jerry Douglas in all its glory on ‘Glide,’ at Hardly Strictly Bluegrass

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jerrydouglasglidecd.jpg

JERRY DOUGLAS
Glide
(Koch)

By Todd Lavoie

Universally regarded as the finest dobro player in contemporary music, Jerry Douglas has long been the go-to source for the most evocative of resonator-guitar textures.

Starting off as a session musician back in the ’70s and ’80s – and having worked along the way with everyone from bluegrass pioneers David Grisman and Ricky Skaggs to country artists as varied as Dolly Parton, Emmylou Harris, and Trisha Yearwood – Douglas eventually launched a solo career which established him as one of the forerunners of the burgeoning “newgrass” movement. Proponents of the newgrass sound wanted to expand the boundaries of bluegrass by drawing from other traditional acoustic-based styles – particularly jazz – and the drive to rescue the dobro from pigeonholing was certainly understandable, given the perceived limitations many folks had up until that point.

The instrument has been frequently, almost predictably, used in film and television scores to introduce a Southern setting – often rural and run-down in nature – thanks to its ability to fashion moods from its lazy slides between notes. Sure, its “we’ll-get-there-when-we-do” slides and slow finger-pickings easily summon up images of sweltering afternoons under a merciless sun. But the dobro can do so much more – and Douglas has made it his mission to prove exactly that.

Schwarzenegger snubs Harvey Milk

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by Amanda Witherell

hm.jpg Today Gov. Arnold Schwarzenegger vetoed a bill that would have designated May 22 as Harvey Milk day. The legislation, authored by Assemblymember Mark Leno, would have required the governor to annually recognize the day and would have encouraged “all public schools and educational institutions to observe this day and to conduct exercises remembering and recognizing the life of Harvey Milk, his accomplishments, and the contributions he made to this state.”

According to the legislative analysis, the bill had no fiscal cost.

In his veto message, Schwarzenegger said, “I believe his contributions should continue to be recognized at the local level by those who were most impacted by his contributions.”

Yeah, but we already get it — the whole point is to educate more people about his impact, and the guy’s about to go silver screen. If anyone out there doesn’t know who Harvey Milk is now, they will when they see Sean Penn playing him in “Milk,” the Gus Van Sant film that hits national screens in December — which makes it seem entirely appropriate that California might go on the record officially recognizing the great man.

In his legislative comments on the bill, Leno said, “Perhaps more than any other modern figure, Harvey Milk’s life and political career embody the rise of the lesbian, gay, bisexual, and transgender civil rights movement.” Milk was assassinated in 1978, while serving as supervisor in San Francisco. He was the first openly gay elected official to hold office in a major US city.

“Harvey Milk is a hero who stood for simple equality and justice, and ultimately gave his life for these principles,” said Human Rights Campaign President Joe Solmonese in a press release about the veto. “It would have been fitting to officially recognize his birthday as a day of special significance in California. However, as everyone who admires Harvey Milk fully understands, we can pay this great man lasting tribute by working to make equality a reality for all Californians.”

Razor-blade snickers

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Earlier this month at the Toronto International Film Festival, I ran into Dead Channels Film Festival director Bruce Fletcher more than once — not surprising, considering we were both haunting the same Midnight Madness screenings. This is, after all, the local programmer who brought 1975’s Welcome Home Brother Charles — with director Jamaa Fanaka in tow — to the 2007 Dead Channels fest. He’s also the mastermind behind White Hot ‘N’ Warped Wednesdays, a weekly summer series hosting such should-be cult classics as Pakistan’s first (and only?) gore film, Hell’s Ground (2007).

Fletcher’s 2008 main event unspools Oct. 2, with more than a week of films not suitable for the faint-hearted. Making its US theatrical premiere is Puffball, the latest from Nicolas Roeg, known for 1973’s Don’t Look Now and 1971’s Walkabout. Fay Weldon’s son, Dan Weldon, adapted the script from Mom’s 1980 novel — appropriately enough, since the story deals with motherhood in its more terrifying forms. A young architect (Kelly Reilly, prissy enough to have played Caroline Bingley in 2005’s Pride and Prejudice) decides to renovate an Irish country cottage, not knowing the neighbors are baby-obsessed and black magically–inclined. High production values and the participation of Miranda Richardson and Don’t Look Now star Donald Sutherland (in a glorified cameo) lend Puffball a gloss that Dead Channels’ lower-budget selections don’t have. But the story — which treads semi-close to a mix of The Wicker Man and Rosemary’s Baby — never quite came together for me, in a way that was unsatisfying rather than acceptably ambiguous.

Still planning that Irish vacation? The horrors of the Emerald Isle are further explored in David Gregory’s Plague Town, yet another film that exists to remind city folk to NEVER GET OFF THE MAIN ROAD. Seriously. Because you know if you do, you’ll wind up stranded within evil-cackle earshot of the locals, most of whom happen to be hostile mutants.

Better cancel that road trip and hang out at the Roxie instead — Dead Channel’s opening-night flick, Tomas Alfredson’s Let the Right One In, is highbrow enough to be playing the current Mill Valley Film Festival. It involves vampires (totes hip) and picked up a big award at the TriBeCa Film Festival this year; see it now and brag to your friends that you caught the Swedish original when the just-announced remake by Cloverfield director Matt Reeves is eventually released.

Other Dead Channels trick-or-treats include Frank "Basket Case" Henenlotter’s freaky-deaky latest, Bad Biology, which opens with the line, "I was born with seven clits — seven that I know of," and gets more satire-tastic from there. When a seven-clitted girl meets a boy with a "drug-addicted dick with a mind of its own," what do you get? Maybe the first horror film to ever feature a vagina’s-eye-view shot, for one. Also on tap at the fest: Justin Paul Ritter’s A Gothic Tale, whose distinction of being narrated by Rowdy Roddy Piper is enough to intrigue me; San Francisco–spawned nugget o’ zombie weirdness Retardead; and a late-night program of woman-made shorts hosted by Viscera Film Festival director Shannon Lark, herself a filmmaker and Fangoria magazine’s first-ever "spooksmodel." Dead Channel’s other shorts program is comprised of international thrills and chills, including Oliver Beguin’s Swiss import Dead Bones. The setting is the old West; the cast boasts Ken Foree and Ruggero Deodato (that squealing sound you hear is the horror geek next to you, who no doubt worships both). The gory tale — bad taste? Or tastes like chicken? You decide.

DEAD CHANNELS FILM FESTIVAL

Oct. 2–10, $5–$10

See film listings for venues and schedule

www.deadchannels.com

Manifestos and sodas

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› a&eletters@sfbg.com

INTERVIEW Joshua Clover is probably just as well known as alter ego jane dark. It’s the pseudonym under which s/he writes sugarhigh! (janedark.com), which makes equal space for dialectical thinking, pop and country music, and film. I’ve spent time talking with friends about his criticism and his two books of poetry, 2006’s The Totality for Kids (UC Press, 76 pages, $16.95) and 1997’s Madonna anno domini (Louisiana State University Press). On the page and in person, he radiates the kind of information-density that encompasses everything from Gossip Girl to Karl Marx, Taylor Swift to John Ashbery.

Clover grew up in Berkeley, went to school there and graduated, then went to Iowa and graduated, then spent a period as an "indigent, unskilled worker" before the first, extremely limited-run issue of sugarhigh! landed him a job writing for Village Voice and, soon after, Spin. Which he did for a couple of years, until he didn’t like it anymore and began teaching at UC Davis. When I approached him about this Q&A, he — perhaps slightly jokingly — agreed on the condition that we talk about the economy.

SFBG You’ve written about the value-density of art — as the economy has gotten less stable, works from a Damien Hirst or Francis Bacon go for record prices. This makes me think of the value-density of poetry relative to visual art, and what Wittgenstein wrote about poetry not being involved in the "language-game of giving information" that’s connected to the functioning of capitalism. Is poetry’s struggle for a popular audience connected with the fact that it explicitly undermines the structure of capitalism?

JOSHUA CLOVER That’s a very noble way to frame poetry that’s politically righteous — like it can’t be swallowed by the maw of capitalism and spat out. But one of the best-selling books of poetry in the 20th century, Howl by Allen Ginsberg, is an explicitly brutal critique of different kinds of domination, including economic domination.

The sad fact about poetry in the US [today] is not that political poetry cannot be swallowed, but that it can be swallowed quite easily. There are always a couple pages in Poetry magazine set aside for left liberal carping. Poetry is having an event for the 100th anniversary of Filippo Marinetti’s Futurist Manifesto, asking various writers to write manifestos to be read at New York’s Museum of Modern Art. The obvious irony is that any manifesto worth its salt would be a manifesto against Poetry, the kind of poetry they publish there, their $150 million [donated by Ruth Lilly], and their alliance with MOMA. It’s a lovely museum, but it lives because manifestos died.

We haven’t had many famous manifestos since the great ironic manifesto that is Frank O’Hara’s "Personism" [1959]. The period of famous, powerful, persuasive, well-known manifestos — from 1905 to 1925 or 1930 — was an age of desperate terror and unhappiness at the historical victory of the bourgeoisie. That victory is complete now.

Political poetry is popular in other countries not because America is apathetic or has forgotten how to read poetry, but because those are countries where political closure hasn’t happened, where social relations can change. From the right and the left, there are poets who’ve filled coliseums in Poland in the ’80s or in South America now. If people want politically powerful poetry that’s popular, they have to produce situations of political openness — then poetry that was true all along will have its opportunity to be true on a mass scale.

SFBG Here’s one question I’ve long wanted to ask you: is there any chance of convincing you to write a 33 1/3 book on Cupid & Psyche ’85 (Warner Bros., 1985)?

JC I would think about it. Scritti Politti is truly great and I had the opportunity to spend some time on the phone with Green Gartside. We talked about what you’d expect — Derrida and Hegel. Although the one time I met Keanu Reeves we talked about Schopenhauer, so you’d be surprised who’s smart. If I were to do one of those books, it wouldn’t be about Scritti Politti —

SFBG — [Neneh Cherry’s] Raw Like Sushi (Virgin, 1989)?

JC Wow, that’d be great. Since [Prince’s] Sign o’ the Times (Warner Bros., 1987) has already been done by Michelangelo Matos, I’d try to do Girly Sound, the non-record of demos that Liz Phair made while she was at Oberlin. It circulated as a tape in several different versions. It has some of the songs that later appeared on her first record, Exile in Guyville (Matador, 1993), and other songs that didn’t. It can be reassembled. I’m interested in albums that don’t quite exist, so another possibility would be … is the Guns N’ Roses album called Chinese Arithmetic?

SFBG It’s Chinese Democracy.

JC Chinese Democracy. "Chinese Arithmetic" is an Eric B. and Rakim song. The Guns N’ Roses CD which has been in the offing for 15 years — I think that would be a fun one to write a book about as well.

LIT CRAWL 2008: THE BEST OF THE BELIEVER

with Joshua Clover, Jessica Fisher, Troy Jollimore, and Melinda Mellis

Sat/11, 8:30–9:30 p.m.

Latin American Club

3286 22nd St., SF

www.litquake.org

Get rhythm

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› a&eletters@sfbg.com

Perhaps because Marin County is the pasture to which many a semi-retired rock star got put out, the Mill Valley Film Festival has long emphasized music-related film and live performance. Now that the festival is officially over 30 (and hence untrustworthy according to ancient wisdom), MVFF ’08 will wave its vintage freak flag even harder than usual.

We have seen the future of retro-rockumentary here, and it is groovy, man. Nothing dials the lysergic clock to quarter-past-wow faster than a dose of tribal-love rock. Pola Rapaport’s Hair: Let the Sun Shine In (2007) memorializes the musical that brought counterculture sounds, politics, genitalia, and follicles to 1968 Broadway. Which it duly freaked out — becoming a worldwide cultural phenomenon and launching careers for performers including Melba Moore, Keith Carradine, Tim Curry, Ben Vereen, Diane Keaton, and Donna Summer. Those first four are interviewed alongside composer Galt MacDermot, director Tom O’Horgan, co-book author and lyricist James Rado (mercurial co-creator Gerome Ragni being a famous casualty), and collaborators on the 40th-anniversary Public Theatre production now headed to Broadway.

There’s no end of amusing, exciting, and tragic backstories around Hair — far more than this brisk documentary can encompass. But it still rewards, not least for original-cast performances on TV’s Smothers Brothers and Tonight Show that offer near-pure glimpses of O’Horgan’s joyous avant-garde staging.

Rock purists grew huffy about Hair (musical theatre = corny!) and commercial rock’s perceived inorganic nature, as flavored primarily by tasty processed studio additives rather than "pure" singer-songwriters whose bands (unlike original-sinners the Monkees) actually played on platter and tour. Denny Tedesco’s The Wrecking Crew (2007) pays homage to those older, jazz-trained virtuosos who really played on practically every 1960s pop record. They brought incalculable invention, but were almost never credited on hits by the Beach Boys and umpteen others. Now geezers, they (including solo-star breakout Glen Campbell) are a hoot; ditto the onetime beneficiaries of their craft who also appear in interviews, like Cher, Brian Wilson, and Herb Alpert.

At the time regarded as pure of saints and free of such creative taint, the Beatles remain so holy that no messing with the original script(ure) is allowed. MVFF documentary All Together Now — about the creation of Cirque du Soleil’s Vegas spectacular Love — fascinates mainly because it reveals what a ginormous ass-pain dealing with today’s legal guardians of Beatledom can be. As we see, the combined weight of fan fanaticism, $180 million in production costs, and "protective" input from widows Lennon and Harrison (George Harrison’s friendship with Cirque founder Guy Laliberte having inseminated Love) nearly crushes this project’s tortuous incubation. By contrast, a jovial Paul McCartney and dead-cool Ringo Starr blithely approve all messing with a catalog they deem solid and nostalgic, but hardly sacred.

Speaking of legends, Bill Graham is back and funny as hell in Last Days of the Fillmore, a once-ubiquitous (at weed-choked midnight and campus shows), long-inaccessible 1972 documentary newly restored for imminent DVD release. When this concert flick about the Fillmore West’s (temporary) closing came out, audiences lined up for the groovers, not the backstage shmoozers. Yet Graham’s fed-up phone rants now seem more engaging than the bloated blooze-rawk of Cold Blood, Hot Tuna, Elvin Bishop, and even Santana or the Grateful Dead.

Other movies likely to make you thrust your Bic high in triumph include Mika Kaurismaki’s Sonic Mirror (2007), a film about world-beat percussionist Billy Cobham. Annual vintage-clip presenter John Goddard’s "Hi De Ho Show" promises rockin’ archival moments from Tom Jones, Janis Joplin, and Bette Davis.

Having near-nuffin’ to do with rock is Guy Ritchie’s RocknRolla, his best movie since … ever? (‘Cuz the others were crap.) This one mercifully doesn’t involve his overbearing wife, hazy "philosophy," or the genre recyclage that made 1998’s Lock, Stock and Two Smoking Barrels and 2000’s Snatch smartie ADD quasi-classics. And Rene Villarreal’s Mexican Cumbia Connection is a sexy class-crossing triangle that almost entirely eschews dialogue, driven instead by the sinuous beats of cumbia music.

MILL VALLEY FILM FESTIVAL

Oct 2–12, various Marin County venues

See film listings for ticket information and schedule

1-877-874-MVFF

www.mvff.com

All American Rejects

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In a world populated entirely by curfewless teenagers, where seemingly nobody is checking IDs at the door, the amount of high-pitched drama that can go down on a Friday night between dusk and dawn is virtually limitless. At least an entire teen-movie subgenre has been constructed upon this premise, and Nick and Norah’s Infinite Playlist is the latest entry to put its sturdiness to the test.

Somewhat reprising his role in Juno (2007), Michael Cera plays Nick, a soft-hearted indie boy who’s the bassist in a queercore band with his two best friends (Aaron Yoo and Rafi Gavron). Nick (straight) is in mourning over his six-month relationship with a vapid über-bitch named Tris (Alexis Dziena), who happens to be school frenemies with Norah (Kat Dennings), who happens to have made a habit of rescuing Nick’s lovelorn mix CDs from the succession of trashcans into which Tris has callously tossed them.

We know that Tris is all wrong for this emo boy — her hair salon highlights alone scream, "I would never have gone out with this guy in the first place, so why did you cast me in this role?" Regardless, the film further underscores her unsuitability by painting her as an outsider to the world of true indie rock fandom, a poseur who doesn’t appreciate a good breakup mix and, worse, fumbles the name of the coolest underground band in town.

Said band, Where’s Fluffy, famed for its secret shows, is the engine that drives our awkward hero and heroine and their cohorts out into the night, and the film is basically a tour of young indie rock New York City, with pit stops all over lower Manhattan and Brooklyn and a cameo by freak folker Devendra Banhart. But all the madcap piling in and out of cars and motoring around in search of Fluffy begins to look like work, and so, at times, does Nick and Norah’s inch-by-inch romantic progression. A soundtrack packed with signifiers like Vampire Weekend and Band of Horses might not be enough to keep us in the mood, leaving us wishing they would find Fluffy already and let us go home. (Lynn Rapoport)

NICK AND NORAH’S INFINITE PLAYLIST

Opens Fri/3 in Bay Area theaters.

Project Censored

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› amanda@sfbg.com

The daily dispatches and nightly newscasts of the mainstream media regularly cover terrorism, but rarely discuss how the fear of attacks is used to manipulate the public and set policy. That’s the common thread of many unreported stories last year, according to an analysis by Project Censored.

Since 1976, Sonoma State University has released an annual survey of the top 25 stories the mainstream media failed to report or reported poorly. Culled from worldwide alternative news sources, vetted by students and faculty, and ranked by judges, the stories were not necessarily overtly censored. But their controversial subjects, challenges to the status quo, or general under-the-radar subject matter might have kept them from the front pages. Project Censored recounts them, accompanied by media analysis, in a book of the same name published annually by Seven Stories Press.

"This year, war and civil liberties stood out," Peter Phillips, project director since 1996, said of the top stories. "They’re closely related and part of the War on Terror that has been the dominant theme of Project Censored for seven years, since 9/11."

Whether it’s preventing what one piece of legislation calls "homegrown terrorism" by federally funding the study of radicalism, using vague concerns about security to quietly expand NAFTA, or refusing to count the number of Iraqi civilians killed in the war, the threat of terrorism is being used to silence people and expand power.

"The war on terror is a sort of mind terror," said Nancy Snow, one of the project’s 24 judges and an associate professor of public diplomacy at the Newhouse School of Public Communications at Syracuse University. Snow — who has taught classes on war, media, and propaganda — elaborated: "You can’t declare war on terror. It’s a tactic used by groups to gain publicity and it will remain with us. But it’s unlikely that [the number of terrorist acts] will spike. It spikes in the minds of people."

She pointed out that the number of terrorist attacks has dropped worldwide since 2003. Some use the absence of fresh attacks as evidence that the so-called war on terror is working. But a RAND Corporation study for the Department of Defense released in August said the war on terror hasn’t effectively undermined Al Qaeda. It suggested the phrase be replaced with the less loaded term "counterterrorism."

Both Phillips and Snow agree that comprehensive, contextual reporting is missing from most of the coverage. "That’s one of my criticisms of the media," Snow said. "They spotlight issues and don’t look at the entire landscape."

This year the landscape of Project Censored itself is expanding. After talking with educators who bemoan the ongoing decline of news quality and want to help, Phillips launched the Truth Emergency Project, in which Sonoma State partners with 23 other universities. All will host classes for students to search out untold stories, vet them for accuracy, and submit them for consideration to Project Censored.

"There’s a renaissance of independent media," Phillips said. He thinks bloggers and citizen journalists are filling crucial roles left vacant by staff cutbacks throughout the mainstream media. And, he said, it’s time for universities, educators, and media experts to step in and help. "It’s not just reforming the media, but supporting them in as many ways as they need, like validating stories by fact-checking."

The Truth Emergency Project will also host a news service that aggregates the top 12 independent media sources and posts them on one page. "So you can get an RSS feed from all the major independent news sources we trust," he said. Discerning newshounds can find reporting from the BBC, Democracy Now!, and Inter Press Service (IPS) in one spot. "The whole criteria," he said, "is no corporate media."

Carl Jensen, who started Project Censored in 1976, said the expansion is a new and necessary phase. "It answers the question I was always challenged with: how do you know this is the truth? Having 24 campuses reviewing all the stories and raising questions really provides a good answer. These stories will be vetted more than Sarah Palin."

Phillips said he hopes to expand to 100 schools within the year, and would like the project to bring more attention to the dire need for public support for high quality news reporting. "I think it’s going to require government subsidies and nonprofit organizations doing community media projects," he said. "It’s more than just reforming at the FCC level. It’s building independent media from the ground up."

Phillips likens it to the boom in microbrewed beer and the spread of independently-owned pubs: "If we can have a renaissance in beer-making, following established purity standards, then we can do it with our media, too." But for now, we have Project Censored, whose top 10 underreported stories for 2008 are:

1. HOW MANY IRAQIS HAVE DIED?


Nobody knows exactly how many lives the Iraq War has claimed. But even more astounding is that so few journalists have mentioned the issue or cited the top estimate: 1.2 million.

During August and September 2007, Opinion Research Business, a British polling group, surveyed 2,414 adults in 15 of 18 Iraqi provinces and found that more than 20 percent had experienced at least one war-related death since March 2003. Using common statistical study methods, it determined that as many as 1.2 million people had been killed since the war began.

The US military, claiming it keeps no count, still employs civilian death data as a marker of progress. For example, in a Sept. 10, 2007, report to Congress, Gen. David Petraeus said, "Civilian deaths of all categories, less natural causes, have also declined considerably, by over 45 percent Iraq-wide since the height of the sectarian violence in December."

But whose number was he using? Estimates range wildly and are based on a variety of sources, including hospital, morgue, and media reports, as well as in-person surveys.

In October 2006, the British medical journal Lancet published a Johns Hopkins University study vetted by four independent sources that counted 655,000 dead, based on interviews with 1,849 households. It updated a similar study from 2004 that counted 100,000 dead. The Associated Press called it "controversial."

The AP began its own count in 2005 and by 2006 said that at least 37,547 Iraqis had lost their lives due to war-related violence, but called it a minimum estimate at best and didn’t include insurgent deaths.

Iraq Body Count, a group of US and UK citizens who aggregate numbers from media reports on civilian deaths, puts the figure between 87,000 and 95,000. In January 2008, the World Health Organization and the Iraqi government did door-to-door surveys of nearly 10,000 households and put the number of dead at 151,000.

The 1.2 million figure is out there, too, which is higher than the Rwandan genocide death toll and closing in on the 1.7 million who perished in Cambodia’s killing fields. It raises questions about the real number of deaths from US aerial bombings and house raids, and challenges the common assumption that this is a war in which Iraqis are killing Iraqis.

Justifying the higher number, Michael Schwartz, writing on the blog AfterDowningStreet.org, pointed to a fact reported by the Brookings Institute that US troops have, over the past four years, conducted about 100 house raids a day — a number that has recently increased with assistance from Iraqi soldiers.

Brutality during these house searches has been documented by returning soldiers, Iraqi civilians, and independent journalists (See #9 below). Schwartz suggests the aggressive "element of surprise" tactics employed by soldiers is likely resulting in several thousands of deaths a day that either go unreported or are categorized as insurgent casualties.

The spin is having its intended effect: a February 2007 AP poll showed Americans gave a median estimate of 9,890 Iraqi deaths as a result of the war, a number far below that cited in any credible study.

Sources: "Is the United States killing 10,000 Iraqis every month? Or is it more?" Michael Schwartz, After Downing Street.org, July 6, 2007; "Iraq death toll rivals Rwanda Genocide, Cambodian killing fields," Joshua Holland, AlterNet, Sept. 17, 2007; "Iraq conflict has killed a million: survey," Luke Baker, Reuters, Jan. 30, 2008; "Iraq: Not our country to return to," Maki al-Nazzal and Dahr Jamail, Inter Press Service, March 3, 2008.

2. NAFTA ON STEROIDS


Coupling the perennial issue of security with Wall Street’s measures of prosperity, the leaders of the three North American nations convened the Security and Prosperity Partnership. The White House–led initiative — launched at a March 23, 2005, meeting of President Bush, Mexico’s then-president Vicente Fox, and Canadian Prime Minister Paul Martin — joins beefed-up commerce with coordinated military operations to promote what it calls "borderless unity."

Critics call it "NAFTA on steroids." However, unlike NAFTA, the SPP was formed in secret, without public input.

"The SPP is not a law, or a treaty, or even a signed agreement," Laura Carlsen wrote in a report for the Center for International Policy. "All these would require public debate and participation of Congress, both of which the SPP has scrupulously avoided."

Instead the SPP has a special workgroup: the North American Competitiveness Council. It’s a coalition of private companies that are, according to the SPP Web site, "adding high-level business input [that] will assist governments in enhancing North America’s competitive position and engage the private sector as partners in finding solutions."

The NACC includes the Chevron Corporation, Ford Motor Company, General Electric, Lockheed Martin Corporation, Merck & Co. Inc., New York Life Insurance Co., Procter & Gamble Co., and Wal-Mart Stores, Inc.

"Where are the environmental council, the labor council, and the citizen’s council in this process?" Carlsen asked.

A look at NAFTA’s unpopularity among citizens in all three nations is evidence of why its expansion would need to be disguised. "It’s a scheme to create a borderless North American Union under US control without barriers to trade and capital flows for corporate giants, mainly US ones," wrote Steven Lendman in Global Research. "It’s also to insure America gets free and unlimited access to Canadian and Mexican resources, mainly oil, and in the case of Canada, water as well."

Sources: "Deep Integration," Laura Carlsen, Center for International Policy, May 30, 2007; "The Militarization and Annexation of North America," Stephen Lendman, Global Research, July 19, 2007; "The North American Union," Constance Fogal, Global Research, Aug. 2, 2007.

3. INFRAGARD GUARDS ITSELF


The FBI and Department of Homeland Security have effectively deputized 23,000 members of the business community, asking them to tip off the feds in exchange for preferential treatment in the event of a crisis. "The members of this rapidly growing group, called InfraGard, receive secret warnings of terrorist threats before the public does — and, at least on one occasion, before elected officials," Matthew Rothschild wrote in the March 2008 issue of The Progressive.

InfraGard was created in 1996 in Cleveland as part of an FBI probe into cyberthreats. Yet after 9/11, membership jumped from 1,700 to more than 23,000, and now includes 350 of the nation’s Fortune 500 companies. Members typically have a stake in one of several crucial infrastructure industries, including agriculture, banking, defense, energy, food, telecommunications, law enforcement, and transportation. The group’s 86 chapters coordinate with 56 FBI field offices nationwide.

While FBI Director Robert Mueller has said he considers this segment of the private sector "the first line of defense," the American Civil Liberties Union issued a grave warning about the potential for abuse. "There is evidence that InfraGard may be closer to a corporate TIPS program, turning private-sector corporations — some of which may be in a position to observe the activities of millions of individual customers — into surrogate eyes and ears for the FBI," it cautioned in an August 2004 report.

"The FBI should not be creating a privileged class of Americans who get special treatment," Jay Stanley, public education director of the ACLU’s technology and liberty program, told Rothschild.

And they are privileged: a DHS spokesperson told Rothschild that InfraGard members receive special training and readiness exercises. They’re also privy to protected information that is usually shielded from disclosure under the trade secrets provision of the Freedom of Information Act.

The information they have may be of critical importance to the general public, but first it goes to the privileged membership — sometimes before it’s released to elected officials. As Rothschild related in his story, on Nov. 1, 2001, the FBI sent an alert to InfraGard members about a potential threat to bridges in California. Barry Davis, who worked for Morgan Stanley, received the information and relayed it to his brother Gray, then governor of California, who released it to the public.

Steve Maviglio, Davis’s press secretary at the time, told Rothschild, "The governor got a lot of grief for releasing the information. In his defense, he said, ‘I was on the phone with my brother, who is an investment banker. And if he knows, why shouldn’t the public know?’<0x2009>"

Source: "The FBI deputizes business," Matthew Rothschild, The Progressive, Feb. 7, 2008.

4. ILEA: TRAINING GROUND FOR ILLEGAL WARS?


The School of the Americas earned an unsavory reputation in Latin America after many graduates of the Fort Benning, Ga., facility turned into counterinsurgency death squad leaders. So the International Law Enforcement Academy recently installed by the Unites States in El Salvador — which looks, acts, and smells like the SOA — is also drawing scorn.

The school, which opened in June 2005 before the Salvadoran National Assembly approved it, has a satellite operation in Peru and is funded with $3.6 million from the US Treasury and staffed with instructors from the DEA, ICE, and FBI. It’s tasked with training 1,500 police officers, judges, prosecutors, and other law enforcement agents in counterterrorism techniques per year. It’s stated purpose is to make Latin America "safe for foreign investment" by "providing regional security and economic stability and combating crime."

ILEAs aren’t new, but past schools located in Hungary, Thailand, Botswana, and Roswell, N.M., haven’t been terribly controversial. Yet Salvadoran human rights organizers take issue with the fact that, in true SOA fashion, the ILEA releases neither information about its curriculum nor a list of students and graduates. Additionally, the way the school slipped into existence without public oversight has raised ire.

As Wes Enzinna noted in a North American Congress on Latin America report, when the US decided it wanted a training ground in Latin America, El Salvador was not the first choice. In 2002 US officials selected Costa Rica as host — a country that doesn’t even have an army. The local government signed on and the plan made headlines. But when citizens learned about it, they revolted and demanded the government change the agreement. The US bailed for a more discreet second attempt in El Salvador.

"Members of the US Congress were not briefed about the academy, nor was the main opposition party in El Salvador, the Farabundo Martí-National Liberation Front (FMLN)," Enzinna wrote. "But once the news media reported that the two countries had signed an official agreement in September, activists in El Salvador demanded to see the text of the document." Though they tried to garner enough opposition to kill the agreement, the National Assembly narrowly ratified it.

Now, after more than three years in operation, critics point out that Salvadoran police, who account for 25 percent of the graduates, have become more violent. A May 2007 report by Tutela Legal implicated Salvadoran National Police (PNC) officers in eight death squad–style assassinations in 2006.

El Salvador’s ILEA recently received another $2 million in US funding through the congressionally approved Mérida Initiative — but still refuses to adopt a more transparent curriculum and administration, despite partnering with a well-known human rights leader. Enzinna’s FOIA requests for course materials were rejected by the government, so no one knows exactly what the school is teaching, or to whom.

Sources: "Exporting US ‘Criminal Justice’ to Latin America," "Community in Solidarity with the people of El Salvador," Upside Down World, June 14, 2007; "Another SOA?" Wes Enzinna, NACLA Report on the Americas, March/April 2008; "ILEA funding approved by Salvadoran right wing legislators," CISPES, March 15, 2007; "Is George Bush restarting Latin America’s ‘dirty wars?’<0x2009>" Benjamin Dangl, AlterNet, Aug. 31, 2007.

5. SEIZING PROTEST


Protesting war could get you into big trouble, according to a critical read of two executive orders recently signed by President Bush. The first, issued July 17, 2007, and titled, "Blocking property of certain persons who threaten stabilization efforts in Iraq," allows the feds to seize assets from anyone who "directly or indirectly" poses a risk to the US war in Iraq. And, citing the modern technological ease of transferring funds and assets, the order states that no prior notice is necessary before the raid.

On Aug. 1, Bush signed another order, similar but directed toward anyone undermining the "sovereignty of Lebanon or its democratic processes and institutions." In this case, the Secretary of the Treasury can seize the assets of anyone perceived as posing a risk of violence, as well as the assets of their spouses and dependents, and bans them from receiving any humanitarian aid.

Critics say the orders bypass the right to due process and the vague language makes manipulation and abuse possible. Protesting the war could be perceived as undermining or threatening US efforts in Iraq. "This is so sweeping, it’s staggering," said Bruce Fein, a former Reagan administration official in the Justice Department who editorialized against it in the Washington Times. "It expands beyond terrorism, beyond seeking to use violence or the threat of violence to cower or intimidate a population."

Sources: "Bush executive order: Criminalizing the antiwar movement," Michel Chossudovsky, Global Research, July 2007; "Bush’s executive order even worse than the one on Iraq," Matthew Rothschild, The Progressive, Aug. 2007.

6. RADICALS = TERRORISTS


On Oct. 23, 2007, the House of Representatives overwhelmingly passed — by a vote of 404-6 — the "Violent Radicalization and Homegrown Terrorism Prevention Act," designed to root out the causes of radicalization in Americans.

With an estimated four-year cost of $22 million, the act establishes a 10-member National Commission on the Prevention of Violent Radicalization and Homegrown Terrorism, as well as a university-based Center of Excellence "to examine the social, criminal, political, psychological, and economic roots of domestic terrorism," according to a press release from the bill’s author, Rep. Jane Harman (D-Los Angeles).

During debate on the bill, Harman said, "Free speech, espousing even very radical beliefs, is protected by our Constitution. But violent behavior is not."

Jessica Lee, writing in the Indypendent, a newspaper put out by the New York Independent Media Center, pointed out that in a later press release Harman stated: "the National Commission [will] propose to both Congress and [Department of Homeland Security Secretary Michael] Chertoff initiatives to intercede before radicalized individuals turn violent."

Which could be when they’re speaking, writing, and organizing in ways that are protected by the First Amendment. This redefines civil disobedience as terrorism, say civil rights experts, and the wording is too vague. For example, the definition of "violent radicalization" is "the process of adopting or promoting an extremist belief system for the purpose of facilitating ideologically based violence to advance political, religious, or social change."

"What is an extremist belief system? Who defines this? These are broad definitions that encompass so much…. It is criminalizing thought and ideology," said Alejandro Queral, executive director of the Northwest Constitutional Rights Center in Portland, Ore.

Though the ACLU recommended some changes that were adopted, it continued to criticize the bill. Harman, in a response letter, said free speech is still free and stood by the need to curb ideologically-based violence.

The story didn’t make it onto the CNN ticker, but enough independent sources reported on it that the equivalent Senate Bill 1959 has since stalled. After introducing the bill, Sen. Susan Collins (R-Me.), later joined forces with Sen. Joe Lieberman (I-Conn.) on a report criticizing the Internet as a tool for violent Islamic extremism.

Despite an outcry from civil liberties groups, days after the report was released Lieberman demanded that YouTube remove a number of Islamist propaganda videos. YouTube canned some that broke their rules regarding violence and hate speech, but resisted censoring others. The ensuing battle caught the attention of the New York Times, and on May 25 it editorialized against Lieberman and S 1959.

Sources: "Bringing the war on terrorism home," Jessica Lee, Indypendent, Nov. 16, 2007; "Examining the Homegrown Terrorism Prevention Act," Lindsay Beyerstein, In These Times, Nov. 2007; "The Violent Radicalization Homegrown Terrorism Prevention Act of 2007," Matt Renner, Truthout, Nov. 20, 2007

7. SLAVERY’S RUNNER-UP


Every year, about 121,000 people legally enter the United States to work with H-2 visas, a program legislators are touting as part of future immigration reform. But Rep. Charles Rangel (D-N.Y.) called this guest worker program "the closest thing I’ve ever seen to slavery."

The Southern Poverty Law Center likened it to "modern day indentured servitude." They interviewed thousands of guest workers and reviewed legal cases for a report released in March 2007, in which authors Mary Bauer and Sarah Reynolds wrote, "Unlike US citizens, guest workers do not enjoy the most fundamental protection of a competitive labor market — the ability to change jobs if they are mistreated. Instead, they are bound to the employers who ‘import’ them. If guest workers complain about abuses, they face deportation, blacklisting, or other retaliation."

When visas expire, workers must leave the country, hardly making this the path to permanent citizenship legislators are looking for. The H-2 program mimics the controversial bracero program, established through a joint agreement between Mexico and the United States in 1942 that brought 4.5 million workers over the border during the 22 years it was in effect.

Many legal protections were written into the program, but in most cases they existed only on paper in a language unreadable to employees. In 1964 the program was shuttered amid scores of human rights abuses and complaints that it undermined petitions for higher wages from US workers. Soon after, United Farm Workers organized, which César Chávez said would have been impossible if the bracero program still existed.

Years later, it essentially still does. The H-2A program, which accounted for 32,000 agricultural workers in 2005, has many of the same protections — and many of the same abuses. Even worse is the H-2B program, used by 89,000 non-agricultural workers annually. Created by the Immigration Reform and Control Act of 1986, none of the safeguards of the H-2A visa are legally required for H-2B workers.

Still, Mexicans are literally lining up for H-2B status, the stark details of which were reported by Felicia Mello in The Nation. Furthermore, thousands of illegal immigrants are employed throughout the country, providing cheap, unprotected labor and further undermining the scant provisions of the laws. Labor contractors who connect immigrants with employers are stuffing their pockets with cash, while the workers return home with very little money.

The Southern Poverty Law Center outlined a list of comprehensive changes needed in the program, concluding, "For too long, our country has benefited from the labor provided by guest workers but has failed to provide a fair system that respects their human rights and upholds the most basic values of our democracy. The time has come for Congress to overhaul our shamefully abusive guest worker system."

Sources: "Close to Slavery," Mary Bauer and Sarah Reynolds, Southern Poverty Law Center, March 2007; "Coming to America," Felicia Mello, The Nation, June 25, 2007; "Trafficking racket," Chidanand Rajghatta, Times of India, March 10, 2008.

8. BUSH CHANGES THE RULES


The Bush administration’s Office of Legal Counsel in the Department of Justice has been issuing classified legal opinions about surveillance for years. As a member of the Senate Intelligence Committee, Sen. Sheldon Whitehouse (D-R.I.) had access to the DOJ opinions on presidential power and had three declassified to show how the judicial branch has, in a bizarre and chilling way, assisted President Bush in circumventing its own power.

According to the three memos:

"There is no constitutional requirement for a President to issue a new executive order whenever he wishes to depart from the terms of a previous executive order. Rather than violate an executive order, the President has instead modified or waived it";

"The President, exercising his constitutional authority under Article II, can determine whether an action is a lawful exercise of the President’s authority under Article II," and

"The Department of Justice is bound by the President’s legal determinations."

Or, as Whitehouse rephrased in a Dec. 7, 2007, Senate speech: "I don’t have to follow my own rules, and I don’t have to tell you when I’m breaking them. I get to determine what my own powers are. The Department of Justice doesn’t tell me what the law is. I tell the Department of Justice what the law is."

The issue arose within the context of the Protect America Act, which expands government surveillance powers and gives telecom companies legal immunity for helping. Whitehouse called it "a second-rate piece of legislation passed in a stampede in August at the behest of the Bush administration."

He pointed out that the act does not prohibit spying on Americans overseas — with the exception of an executive order that permits surveillance only of Americans whom the Attorney General determines to be "agents of a foreign power."

"In other words, the only thing standing between Americans traveling overseas and government wiretap is an executive order," Whitehouse said in an April 12 speech. "An order this president, under the first legal theory I cited, claims he has no legal obligation to obey."

Whitehouse, a former US Attorney, legal counsel to Rhode Island’s governor, and Rhode Island Attorney General who took office in 2006, went on to point out that Marbury vs. Madison, written by Chief Justice John Marshall in 1803, established that it is "emphatically the province and duty of the judicial department to say what the law is."

Sources: "In FISA Speech, Whitehouse sharply criticizes Bush Administration’s assertion of executive power," Sheldon Whitehouse, Dec. 7, 2007; "Down the Rabbit Hole," Marcy Wheeler, The Guardian (UK), Dec. 26, 2007.

9. SOLDIERS SPEAK OUT


Hearing soldiers recount their war experiences is the closest many people come to understanding the real horror, pain, and confusion of combat. One would think that might make compelling copy or powerful footage for a news outlet. But in March, when more than 300 veterans from the wars in Iraq and Afghanistan convened for four days of public testimony on the war, they were largely ignored by the media.

Winter Soldier was designed to give soldiers a public forum to air some of the atrocities they witnessed. Originally convened by Vietnam Vets Against the War in January 1971, more than 100 Vietnam veterans and 16 civilians described their war experiences, including rapes, torture, brutalities, and killing of non-combatants. The testimony was entered into the Congressional Record, filmed, and shown at the Cannes Film Festival.

Iraq Veterans Against the War hosted the 2008 reprise of the 1971 hearings. Aaron Glantz, writing in One World, recalled testimony from former Marine Cpl. Jason Washburn, who said, "his commanders encouraged lawless behavior. ‘We were encouraged to bring ‘drop weapons,’ or shovels. In case we accidentally shot a civilian, we could drop the weapon on the body and pretend they were an insurgent.’<0x2009>"

An investigation by Chris Hedges and Laila Al-Arian in The Nation that included interviews with 50 Iraq war veterans also revealed an overwhelming lack of training and resources, and a general disregard for the traditional rules of war.

Though most major news outlets sent staff to cover New York’s Fashion Week, few made it to Silver Spring, Md. for the Winter Soldier hearings. Fortunately, KPFA and Pacifica Radio broadcast the testimonies live and, in an update to the story, said they were "deluged with phone calls, e-mails, and blog posts from service members, veterans, and military families thanking us for breaking a cultural norm of silence about the reality of war." Testimonies can still be heard at www.ivaw.org.

Sources: "Winter Soldier: Iraq & Afghanistan eyewitness accounts of the occupation," Iraq Veterans Against the War, March 13-16, 2008; "War comes home," Aaron Glantz, Aimee Allison, and Esther Manilla, Pacifica Radio, March 14-16, 2008; "US Soldiers testify about war crimes," Aaron Glantz, One World, March 19, 2008; "The Other War," Chris Hedges and Laila Al-Arian, The Nation, July 30, 2007.

10. APA HELPS CIA TORTURE


Psychologists have been assisting the CIA and US military with interrogation and torture of Guantánamo detainees — which the American Psychological Association has said is fine, despite objections from many of its 148,000 members.

A 10-member APA task force convened on the divisive issue in July 2005 and found that assistance from psychologists was making the interrogations safe and the group deferred to US standards on torture over international human-rights organizations’ definitions.

The task force was criticized by APA members for deliberating in secret, and later it was revealed that six of the 10 participants had ties to the armed services. Not only that, but as Katherine Eban reported in Vanity Fair, "Psychologists, working in secrecy, had actually designed the tactics and trained interrogators in them while on contract to the CIA."

In particular, psychologists James Mitchell and Bruce Jessen, neither of whom are APA members, honed a classified military training program known as SERE [Survival, Evasion, Resistance, Escape] that teaches soldiers how to tough out torture if captured by enemies. "Mitchell and Jessen reverse-engineered the tactics inflicted on SERE trainees for use on detainees in the global war on terror," Eban wrote.

And, as Mark Benjamin noted in a Salon article, employing SERE training — which is designed to replicate torture tactics that don’t abide by Geneva Convention standards — refutes past administration assertions that current CIA torture techniques are safe and legal. "Soldiers undergoing SERE training are subject to forced nudity, stress positions, lengthy isolation, sleep deprivation, sexual humiliation, exhaustion from exercise, and the use of water to create a sensation of suffocation," Benjamin wrote.

Eban’s story outlined how SERE tactics were spun as "science" despite a lack of data and the critique that building rapport works better than blows to the head. Specifically, he said, it’s been misreported that CIA torture techniques got Al Qaeda operative Abu Zubaydah to talk, when it was actually FBI rapport-building. In spite of this, SERE techniques became standards in interrogation manuals that eventually made their way to US officers guarding Abu Ghraib.

Ongoing uproar within the APA resulted in a petition to make an official policy limiting psychologists’ involvement in interrogations. On Sept. 17, a majority of 15,000 voting members approved a resolution stating that psychologists may not work in settings where "persons are held outside of, or in violation of, either International Law (e.g., the UN Convention Against Torture and the Geneva Conventions) or the US Constitution (where appropriate), unless they are working directly for the persons being detained or for an independent third party working to protect human rights."

Sources: "The CIA’s torture teachers," Mark Benjamin, Salon, June 21, 2007; "Rorschach and awe," Katherine Eban, Vanity Fair, July 17, 2007.

OTHER STORIES IN THE TOP 25


11. El Salvador’s Water Privatization and the Global War on Terror

12. Bush Profiteers Collect Billions from No Child Left Behind

13. Tracking Billions of Dollars Lost in Iraq

14. Mainstreaming Nuclear Waste

15. Worldwide Slavery

16. Annual Survey on Trade Union Rights

17. UN’s Empty Declaration of Indigenous Rights

18. Cruelty and Death in Juvenile Detention Centers

19. Indigenous Herders and Small Farmers Fight Livestock Extinction

20. Marijuana Arrests Set New Record

21. NATO Considers "First Strike" Nuclear Option

22. CARE Rejects US Food Aid

23. FDA Complicit in Pushing Pharmaceutical Drugs

24. Japan Questions 9/11 and the Global War on Terror

25. Bush’s Real Problem with Eliot Spitzer

Read them all at projectcensored.org

———————————————————–

CENSORED IN SAN FRANCISCO

Good stories are going untold everywhere, but Project Censored can’t cover it all. The project focuses on national an international news, but in a place politically, environmentally, and socially charged as the Bay Area, there’s plenty going on that major media sources ignore, underplay, black out, or misreport.

We called local activists, politicians, freelance journalists, and media experts to come up with a list of a few Bay Area censored stories. Post a comment and add your own!

>> The truth about Prop. H: Pacific Gas and Electric Company has been spending millions to tell lies about the Clean Energy Act, Proposition H. But the mainstream press has done nothing to counter that misinformation.

>> The dirty secret of the secrecy law: Vioutf8g San Francisco’s local public records law, the Sunshine Ordinance, carries no penalty, so city agencies do it at will. The failure of the district attorney and Ethics Commission to enforce the law has undermined open-government efforts.

>> The military red herring: The real politics of the JROTC ballot measure have little to do with this particular program. Downtown and the Republican party are using the measure as a wedge issue against progressives

>> The mayor’s war on affordable housing: Mayor Gavin Newsom, who touts his record on homelessness, has actually opposed every major affordable-housing measure proposed by the Board of Supervisors in the last five years. And since Newsom became mayor the city homeless population has increased — but shelter closings have cost the city 400 beds.

>> The hidden cost of attacking immigrants: The San Francisco Chronicle and Mayor Gavin Newsom have been demanding a crackdown on undocumented immigrants in the name of law enforcement – but the move has made immigrants less likely to cooperate with the police and thus is hindering criminal-justice

No Seth Rogen

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REVIEW Two young family-hungry couples, one unassuming victim of the staff Christmas party, and a lonely alky wife and mom-bonking boy-next-door all find themselves variously knocked up, around, and for a loop by the reproductive process in Imaginative Productions’ stage adaptation of its 2006 independent film, "conceived" and directed by Tonya Foster. And reproduction really is a process containing as much social baggage as genetic code in these predicaments which, while ranging from the urban banal to the tragically suburban, are all pretty much as thematically familiar as familial.

Unfortunately, the relatively slim potential in this otherwise pregnant theme is rarely pursued with much vigor or insight, as the multicharacter storyline meanders away from its subjects in seeming perplexity as to what to do with them. Further muting things is a muffled soundscape that sounds like unintended lobby noise. The more workable areas of drama and comedy, meanwhile, suffer from uneven performances and static direction — although, ironically, a visit by single preggy waitress Anna (a relatively strong and sympathetic Quinne Brown) to an actors workshop-cum-support group — led by a deeply histrionic drama instructor (a vibrant Erin Coker) — arrives as one of the more unexpected and apt scenes.

KNOCKED UP Through Oct. 18. Thurs.–Sat., 8 p.m., $23–$25. Studio 300 Theatre, 442 Post, SF. 1-888-410-8355, www.imaginativeproductions.com

Wipin’ up the competition

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REVIEW Little man fights big business — you’ve seen this story before. But that doesn’t mean it’s not effective when done right. There may be a formula to Flash of Genius, but in this case it works. Greg Kinnear stars as real-life inventor Bob Kearns, who developed electronic intermittent windshield wipers. (You’re probably not all that impressed, but just try driving through a storm without them.) After Ford Motor Company steals and markets his idea, Kearns spends the next 12 years fighting for recognition. That long trudge through bureaucracy is portrayed as brave, yes, but also endlessly frustrating. In fact, the success of Flash of Genius relies on its ability to inflict some ambiguity on a cliché-ridden genre. Even lawyers who say things like "I believe in what I do; I believe in a little thing called justice," get fed up with Kearns’ unflinching idealism. He may be the Mr. Smith of car parts, but he’s also a stubborn pain in the ass. His wife moves on, his kids grow resentful, and the "Is it all worth it?" question lingers throughout. It’s no wonder the film ends not with life-affirming sunlight but a torrential downpour: for an underdog story, it’s kind of depressing.

FLASH OF GENIUS opens Fri/3 in Bay Area theaters.

The subtle ebb of Beach House at Swedish American Hall

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By Michelle Broder Van Dyke

Beach House’s slow melodies and ethereal lyrics are filled with mysterious, “Holy Moments,” captured in simple couplets, like “Pick apart the past, you’re not going back / So don’t you waste your time,” surrounded by atmospheric, somber, lightly strung-together pearly words that create a tone reminiscent of a short I saw on Friday, Footnotes to a House of Love, directed by Laida Lertxundi, at Artists’ Television Access.

Set in the desert of Southern California, the 16-mm color film is a collection of collaged cuts of empty dilapidated wooden rooms, loosely hanging screen doors, and parallel views of lovers caressing. The chopped scenes fuse together to create a sense of place that is more fulfilling than any individual shot, much like the sentiment that Beach House captures.

This mood is similar to the manner in which Beach House’s meditative melodies wash over their audience, as they did Sunday, Sept. 28, at the Swedish American Music Hall. If you’ve ever felt heartbroken, or any moderate pain at all, you can interpret Beach House’s abstract lyrics filled with mild images – “I’ll pour some tea for us” (“Astronaut”) – stuck somewhere in nostalgia (or maybe in the imagined future), and suit them to fit your own emotional state at the time.

ATP NY Day Two: Les Savy Fav, Shellac, Fuck Buttons, Harmonia, Om, and – what? – more

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Prickly, angular goodness: Shellac at ATP NY. All photos by Jessica Reeves.

By Todd Lavoie

Ah, the weekend was in need of a good easing-in period – nothing too strenuous, see, considering the epic scale of the Saturday night to come. So, on Sept. 20, we settled into our day by catching a couple of films at the Criterion Screening Room: Albert and David Maysles’ Gimme Shelter and David Markey’s 1991: The Year Punk Broke. The former – a chronicle of how it all went wrong at the infamous 1969 Rolling Stones concert at Altamont Speedway, was absolutely riveting – while the latter was a bit more hit-or-miss, thanks to a nerve-grating focus on Thurston Moore as the documentary’s free-styling, wisecracking prankster. Having thoroughly relished the considerably mellower, less chatty Moore of the night before, I couldn’t cotton to the younger, ever-vibrating version I was witnessing onscreen. Still, the Sonic Youth, Nirvana, and Dinosaur Jr. performances in the film made it all worthwhile.

Next it was rush, rush, rush to the main stage: Fuck Buttons were about to bring the noise! We arrived just in time, and the Bristol, England, duo had just finished sound-check. Focusing largely on their March-released slab of epic gorgeousness, Street Horrrsing (ATP), the set was flush with all of the touchstones of the Fuck Buttons sound: steady electro-drone, pulsating sheets-of-static majesty, and floor-thumping noise-house.

A glistening sheen seemed to have been applied to the entire proceedings, thanks to scatters of night sky-seeking synth sparkles. Dance, drone out, raise arms to the heavens – the choice was ours, and the crowd was evenly split between the three activities.

Tim Harrington Prisoner Outfit.jpg
Go directly to jail: Les Savy Fav vocalist Tim Harrington in prisoner getup.

Speak, memory

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› a&eletters@sfbg.com

(1) War demands chronicling as few human endeavors do, with representations spanning from cave drawings to cell phone photographs. German experimental filmmaker Hito Steyerl considers the volatility particular to the filmic war document in her elegant short November (2004), playing in Kino21’s series "How We Fight: Conscripts, Mercenaries, Terrorists, and Peacekeepers" (kicking off Sept. 25 and continuing through October, with the last program screening Nov. 23). Steyerl’s essay-film turns on her reexamination of some spunky "feminist martial arts" footage she shot of her friend Andrea Wolf in light of the woman’s later martyrdom as a Kurdish freedom fighter. Competing renditions of Wolf commingle, each containing elements of documentary and fiction, with the only real truth being Wolf’s sublimation as a "traveling image."

(2) The YouTube hell of the footage captured in Iraq and Afghanistan — as dramatized in Brian de Palma’s angry Redacted (2007) and the damaged fictions of Michael Haneke — was perhaps foreseen by Walter Benjamin in 1936: "The destructiveness of war furnishes proof that society has not been mature enough to incorporate technology as its organ." So it is that the crudeness of the digital loops shot by coalition forces and insurgents alike countervails the US military’s computerized advancements. "How We Fight" opens with a compilation of this undigested material: footage from both sides synthesizing an implacable wave of mutilation. Insofar as any war can be said to have a film aesthetic, Iraq’s is that of the surveillance shot — the natural complement of the conflict’s signature weapon, the IED. As if we were watching some perverted version of the Bazinian long take, we observe, in a real time blighted by dirty pixelation and distorting zooms, as a convoy approaches an explosion.

(3) In an expanding field of unprocessed moving images, the documentary increasingly sees its own role shift to that of an interpreter of visual information already at hand. How else to explain all the recent documentaries dedicated to contextualizing id-like streams of footage from the battlefield and newsroom? It remains to be seen which of these works will deliver as lasting an indictment as Winter Soldier (1971), a collectively directed project that counterposes soldiers’ colored 8mm footage from Vietnam with the mauve black-and-white of their testimonies. For "How We Fight," Kino21 screens the rarely seen Interviews with My Lai Veterans (1970), a short film that cuts to the same bone.

(4) The issue of how these films garner testimony is of paramount importance, as evidenced by Errol Morris’ problematic probe of Abu Ghraib’s "bad apples" in Standard Operating Procedure. Exemplary in this regard is Heddy Honigmann’s Crazy (1999). The Dutch filmmaker is a master interviewer who treats her subjects as autonomous beings — Honigmann isn’t afraid to prod, but she’s not after dramatic effect. In Crazy, she stitches together interviews with Dutch veterans of United Nations peacekeeping missions by asking them to share songs they associate with their deployments. The music, which ranges from Cambodian pop to Guns N’ Roses’ take on "Knockin’ on Heaven’s Door," opens the channels of memory in unexpected ways and midwifes the guarded soldiers toward reflection and emotion. The passages in which Honigmann holds close-ups of the veterans listening to their songs possess a plaintive mystery unavailable to Morris’s occupied camera.

(5) In the singular, combat films of all kinds often extol the false premises and ideals endemic to war. But taken as a collective enterprise, war documentaries pull back the curtain on the state-sponsored stagecraft and reveal the threads connecting disparate battles. We’re ever reminded that "only the dead have seen the end of war." But if we take Hito Steyerl’s spin through one particular labyrinth of war-scarred images at face value, even they may not be safe.

"HOW WE FIGHT PROGRAM ONE: IRAQI SHORT FILMS"

Thurs/25, 8 p.m., $6

Through Nov. 23

Artists’ Television Access

992 Valencia, SF

www.atasite.org, www.kino21.org

Dirty young man

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The man himself would probably enjoy his artistic evolution being described as ass-backward. After a few years’ absence, Italian director Tinto Brass re-emerged in the late 1970s with two world-class sleaze hits — Nazisploitation opus Salon Kitty (1976) and the notorious Penthouse-produced Caligula (1979), which he and scenarist Gore Vidal disowned (for different reasons). Thereafter he settled into glossy softcore romps whose fetish focus made him cinema’s Trunk-Junk Laureate to Russ Meyer’s Bard of Boob. Now 80-something, Tinto enjoys the long-running dirty-old-man status change of national embarrassment to cultural institution.

Yet before finding his professional-ogler niche, Brass was a young artist of the ’60s — doing that Marx-and-Coca Cola thing like everyone else, stirring together the avant-garde, genre trash, and whatnot. He made not one but two films with the era’s socialist It couple, Vanessa Redgrave and Franco Nero; a spaghetti western called Yankee (1966); and several anarchic movies as distinctively of their countercultural moment as a Peter Max poster.

Two such works get a rare big-screen unearthing in this week’s YBCA mini-retrospective "Psychotic and Erotic: Rare Films by Tinto Brass." They recall a time in which no op-art design, split-screen image, cineast in-joke, or gratuitous Holocaust insert was beyond reach of a wide-open European commercial market where radical capitalists like Brass could cut creative teeth.

The quasi-giallo Deadly Sweet (1967) sets lovebirds Jean-Louis Trintignant and Ewa Aulin (a Miss Teen International who would next incarnate Terry Southern’s porn ingenue Candy and endure costar Marlon Brando’s alleged pawings) in Swinging London, pursued by kidnappers, blackmailers, police, and one mean dwarf. If a fashion-shoot montage doesn’t remind you of the prior year’s Blow Up, that film’s poster is glimpsed for good measure.

Arbitrarily switching from color to black-and-white, this giddy lark remains your sole chance to witness the Conformist (1970) and Z (1969) star delivering a Tarzan yell while playing drums in his underpants, let alone enduring eyebrow torture. Its ending eerily anticipates 1972’s Last Tango in Paris, once intended for Trintignant. (Brando’s buttery costar Maria Schneider later stormed out on more degradation as Caligula’s original female lead.)

Even prankier, 1970’s The Howl arrives at a Hippie Trail internationalism as ideologically pure as it is hindsight-campy. More a trippy lifestyle statement than a coherent political one, it runs Chaplinesque Gigi Proietti and flower-child Tina Aumont through a gauntlet of surreal Bunuel/Jorodowsky/Arrabal–esque horrors, including animal slaughter, historical atrocity clips, and mime. Spoken placards inform "Contemplation is bourgeois attitude" and "Anger must explode. Hate must burst!" Papism is ridiculed, though madonna/whore equations go unexamined. (You can take the artist out of Italy, but … )

This agitprop fantasia eventually wears one out. Still, how can one dislike any movie that "ends" with a giant onscreen question mark that keeps doodling along, just to mess with ya? That’s the Tinto Brass a Vanessa Redgrave could call comrade. The subsequent auteur of Paprika: Life in a Brothel (1991) — not so much.

"PSYCHOTIC AND EROTIC: RARE FILMS BY TINTO BRASS"

The Howl, Wed/24, 7:30 p.m.; Deadly Sweet, Sun/28, 7:30 p.m., $6–$8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Kink dreams

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› molly@sfbg.com

When it comes to BDSM porn peddlers Kink.com, apparently size does matter. At least, that’s how it seems now that the steamy studio has purchased the 200,000-square-foot San Francisco Armory. Suddenly, everyone wants to know: What’s the carnal concern going to do with all that space?

The answers are more diverse and ambitious than one might expect — ranging from creating a racy reality show to starting a perfectly PG-13 public community center. And thanks to the lascivious and lucrative imagination of Kink.com founder Peter Acworth, it might all be possible.

CONCEPTION AND CONTROVERSY


Though Kink.com has been producing independent niche fetish sites like Hogtied.com, WiredPussy.com, and FuckingMachines.com for the Folsom Street Fair crowd for more than 10 years — first from Acworth’s rented Marina District apartment and then from the Porn Palace on Fifth and Mission streets — it wasn’t until Acworth purchased the historical landmark in the Mission District, and was met with opposition, that the provocative porn empire really made it onto the public’s radar screen.

The armory, which was a training ground for the National Guard prior to its decommissioning 30 years ago, has been the center of controversy before. But that was mostly in-fighting between potential developers. Stringent zoning requirements and necessary but cost-prohibitive renovations discouraged buyers, leaving the Moorish behemoth on 14th and Mission streets vacant and outside public scrutiny.

But everything changed when Acworth got involved. His intended commercial use, for shooting scenes for all of Kink’s Web sites, complied with planning codes. And he didn’t need to do expensive renovations before he could start using, and profiting from, the building: what could be more perfect for bondage shoots or movies about women fucking machines than dungeons in disrepair? The only thing more ideal than the structure itself, according to Acworth, was its location in the heart of America’s most fetish-friendly city. "You couldn’t have dreamt up a more perfect place than a castle in the middle of San Francisco," says Acworth, who purchased the armory for $14.5 million in 2007 and started operations in January of this year. "It’s like divine intervention."

Acworth had to contend with a different kind of intervention — from a neighborhood group called the Mission Armory Community Collective, which opposed Kink.com as a potential neighbor. Though careful not to condemn porn per se, the group said it feared that the company’s presence in an already troubled neighborhood would introduce more problems. Even the Mayor’s Office, potentially bending to pressure, issued the following statement: "While not wanting to be prudish, the fact that kink.com will be located in the proximity to a number of schools give [sic] us pause."

But the sale quietly went through, and even as protesters stood outside, Kink was already filming new scenes for its subscription sites. Since then, the protests have largely died down. As the company removed graffiti from the brick facade of the armory, fixed windows, and generally improved the appearance of its stretch of Mission Street, neighbors began stopping by to congratulate Acworth — or to ask for a tour. (Incidentally, the public is invited to tour the armory on second Fridays. E-mail info@kink.com for an appointment.)

On a September afternoon, the building — mostly nondescript from the sidewalk except for the castlelike rooftop — seems quiet and innocuous. Three boys skateboard on the steps outside, stopping to talk to a woman walking her dog. The only people entering the doors, which are always locked and manned by a security guard, look as though they could’ve been going to the grocery store or the gym, wearing shorts, T-shirts, and sandals. In fact, on first glance inside, the place is almost disappointingly tame.

Acworth himself hardly looks like a porn kingpin. He’s sweetly attractive in an unmenacing, mainstream way, with an easy smile and casual style. His office, a room near the entrance to the armory, is large and comfortable, but bears no hint of his livelihood save for one tasteful bondage statue. Next to his desk are water and food bowls for the armory’s two live-in cats: Rudy and Lala. His assistant, a young girl in a minidress, leggings, and hoop earrings, looks like she could be working at American Apparel. Even the desktop pattern on Acworth’s Dell computer screen is vanilla: rolling green hills beneath a blue, blue sky. This sense of normalcy seems to be Kink’s main point.

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Van Darkholme, Peter Acworth, and Princess Donna in the Armory boiler room. Photo by Pat Mazzera

Acworth remembers getting turned on as a child in England by scenes in movies where women were tied up — and wondering if this signaled violent tendencies within himself. It wasn’t until adolescence that he discovered the relief (and release) of bondage porn. At the same time, he was already a burgeoning entrepreneur, a child who grew vegetables behind his house and tried to sell them to his parents. By the time he read a magazine article about a man making millions from Internet porn, as a Wall Street–bound doctoral student in a Columbia University finance program, it seemed almost inevitable that Acworth would find a way to marry his two lifelong interests: bondage and business. When he founded Kink.com in 1997, the idea was not only to jump on the dot-com money train, but also to demystify and promote fetish porn as an acceptable form of sexual stimulation.

Now, each of Kink.com’s Web sites is geared toward a particular fetish, run by a Webmaster who’s not only an expert on that particular kink but also has an interest in it, just as Acworth started Hogtied.com, which features women tied up, and Fuckingmachines.com, which showcases women having sex with machinery, because that’s what turned him on. These Webmasters act as director, producer, human resources manager, and often participant as well as Web developer.

"It’s hard to guess what people want," he explains, pointing out that it’s easier to make what you know.

Which means models aren’t actors. Just as directors are expected to be interested in the fetish they’re promoting, so are participants expected to enjoy the scenes they’re in. This isn’t about fake-breasted women pretending to like a face full of come. In fact, Acworth has had trouble in the past working with models from Los Angeles, trying to get them not to act. Kink’s sites feature actual people enjoying a private play party that just happens to be taped. Videos are intimate, personal, and disarmingly real — models talk to each other before, during, and after their sessions, just the way they would in their own bedrooms. They’re encouraged to smile on camera. Whether it’s shocking a woman with electric instruments or forcing a man to eat from a dog bowl, you get the sense that these people would be playing out these scenarios anyway — Kink just provides a salary, benefits, and a really nice location.

THE KINK CASTLE


As for the building itself, Kink has just begun to scratch the surface of its possibilities. The first floor, perhaps the most institutional-looking of the four, houses offices for Acworth, the marketing team, the production team, and the break room, which features a pool table, a disco ball, an espresso machine, a drum set, and a DJ booth (all for parties as well as employee use). Directly opposite the front doors is the Drill Court, a monstrous space that looks something like an airplane hangar crossed with a European train station. This is the space Acworth hopes will become the Mission Armory Community Center (which would unintentionally bear the same acronym as one of the groups that protested Kink.com’s purchase of the armory), a public venue available for sporting events, educational seminars, film festivals, and someday maybe a Folsom Street Fair party. According to MACC coordinator David Klein, a developer who has no affiliation with Kink.com, that dream is a long way off — with plenty of renovations, public meetings, and applications standing between here and there. In the meantime, the Drill Court serves as an occasional event site (such as for the Mission Bazaar craft fair earlier this year) and an employee parking lot. Currently, the most public location is the Ultimate Surrender room, where small numbers of members are invited to sit in bleachers and watch women wrestle each other to the ground on large mats — the winner, of course, gets to fuck the loser.

The armory’s basement is by far the most interesting area. "It’s a wonderland of sets," says Acworth, and it’s hard to argue with him. Some rooms seem perfect as is, such as a former gymnasium whose floor has long since been removed to reveal gothic-looking structural planks punctuated by intimidating bolts. All it took was adding a platform in the center of the expansive room and a pulley above it to make it a perfect bondage set. Next door is an army-style communal bathroom, another favorite as-is set. Other rooms on this floor are a completely furnished 1970s New York loft; a padded cell with an observation room connected by a one-way mirror; a former hermetically sealed gunpowder room that’s been outfitted with all sorts of rings, hooks, and rope pulleys; an office connected by a cage to the "Gimp Room," where ceiling chains hang like some kind of Donkey Kong homage; a hallway storage room chock-full of expected (whips, chains, clamps) and unexpected (mops, long-handled brushes with hard bristles, small boxes with smaller holes in them) toys; the large prop room, where human-shaped cages, monstrous doghouses, and machines like the back breaker and water-torture wheel are kept; the laundry room, where shelves are lined with douches, enemas, latex gloves, and sanitized sex toys; and the former shooting range, which has a Pirates of the Caribbean feel, complete with a river running through it.

And that’s just the start of it. Just when you think every nook and cranny has been used — including an oddly shaped corner off the production gallery that looks like a 19th-century psychiatric ward — you’ll discover a hallway that’s virtually untouched. Hardly any construction has been done on the third or fourth floors, including the officers’ quarters, which occupy one turret. Even the roof, with its castle-y details and flags, seems like a perfect potential shooting location.

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Kink’s porn palace, the San Francisco Armory. Photo by Pat Mazzera

Kink already has plans for several new sets: the military clean room, a stark ’50s-era space, slated for FuckingMachines; an abandoned electrical equipment room for WiredPussy, where dead vintage electrical equipment will line the walls; an Alcatraz-esque prison gallery for BoundGods.com; and an expanded DeviceBondage.com room, which will be clad with cultured stone to look like the basement of an old castle.

Reps won’t say just how much it costs to maintain the armory or to shoot a scene, but Acworth told 7×7 magazine last year that profits were upward of $16 million. And spokesperson Thomas Roche says that the cost of a shoot, including sets, makeup, wardrobe, video and still photo staff, and editing, would be prohibitive if Kink weren’t doing lots of them. Luckily, the armory allows for a volume of shoots that makes it feasible — sometimes four or five in a single day. And it’s good variety for viewers too, who get used to seeing the same sets over and over in various porn films — even ones by different companies.

FLIRTING WITH THE FUTURE


Perhaps the most advantageous thing about moving into the armory, though, has been the increased possibilities for Kink’s growth. With so much space, an almost infinite number of sets can be created without tearing any old ones down. Since multiple shoots can go on at once, multiple sites can be developed and maintained. And buying the building has started attracting directors, models, and Web developers on a scale Acworth hasn’t seen before.

"It was initially difficult to find people," says Acworth, who conjectures that it’s not just the publicity from the building but also the exciting prospect of working there that’s turned the tide. "Now they’ve started to approach us."

One of those who approached Acworth was Van Darkholme, a Shibari rope bondage expert, a porn performer, and the proprietor of fetish film studio Muscle Bound Productions, who was living in LA. Darkholme saw an article about Acworth and the armory in a magazine and contacted him immediately, hoping to get involved. The Vietnam-born Darkholme, who seems almost starstruck by Acworth’s genius, was shocked not only to hear back from Acworth himself, but to be offered a job at the helm of Kink’s new gay bondage site: BoundGods.com.

"What Peter does is so avant-garde and so fresh, I just wanted to come in and mop the floor," says Darkholme, who moved to San Francisco in April and launched his new site Aug. 1.

Darkholme’s BoundGods takes Kink’s principles of intimate, conversational, playful, and mutually enjoyable interactions and applies them to his particular brand of gay sexuality: lean, muscled studs. In one video, a man is tied up in the army-style bathroom at the armory while another fucks him with a large black dildo. In a similar scene, anal beads are gradually pulled from the bound, naked man — much to both participants’ obvious pleasure (though interestingly, neither are hard). Darkholme makes appearances in many of the videos, often as the dominant character — a striking contrast to the camo-shorts-and-T-shirt-wearing, somewhat shy individual I interview at the armory.

He’s clearly proud of the product, not only because it’s well produced but also because there’s almost no competition in the gay market.

"I hate to generalize, but most of what I see out there falls into this trap of gay men putting on leather and grunting and groaning," says Darkholme. "It’s visual, but doesn’t have as much dialogue. What we do is very real and very intimate, with a realness in what they’re saying."

The site marks Kink’s first serious foray into the gay market — a step the company couldn’t quite take while limited by space and resources at the Porn Palace. But set builders are already hard at work constructing an Alcatraz-esque prison gallery for new Boundgods shoots. And the creation of a sub-brand, KinkMen.com, promises more gay-focused fetish sites to come. (Incidentally, Kink tried a gay site several years ago with Butt Machine Boys, which is still online at www.buttmachineboys.com but not listed on the main Web site. Acworth said the site never took off, partly because of lack of budget and partly because, unlike Darkholme, the director wasn’t speaking to his personal interests.)

For now, though, Darkholme has his hands full with BoundGods. His immediate goal is to find and train 12 new dommes for the Web site — a tougher feat than might be expected. "Femme dommes can dish it out and can really take it," he says. "There’s a small percentage of men that can do that." In fact, during some of his first shoots, filmed in Budapest, his bevy of gay models and porn stars were shocked when Darkholme finally opened up his bag of toys.

"They looked at me like the circus had come to town, or like I was going to make one of the Saw movies. Their hands were shaking," he says.

So when Kink sets up its demonstration booth at Folsom Street Fair (Sept. 28, www.folsomstreetfair.com), Darkholme will have two purposes: recruiting talent (both people he can train and experts who have something to teach him) and publicizing his new brand.

"I want to say, ‘We’re here, we’re queer, we want to be part of your community!’" he laughs.

But Darkholme won’t be alone at his booth. Among other popular Kink stars like Isis Love, new director Lochai, expert rigger Lew Rubens, and porn stars LaCherry Spice and Natassia Dream will be WiredPussy.com creator Princess Donna, who’s launching her new pet product, PublicDisgrace.com, next month. The site will feature blatant public bondage, punishment, erotic humiliation, and explicit sex between models and, potentially, passersby.

The veteran domme is filming most scenes in Europe, where attitudes (and therefore laws) about sex are more lax. In fact, while shooting a scene on a public street in Berlin, the crew was stopped by a couple of motorcycle cops who said only, "If you cause an accident, you’ll be liable," before going on their way. In the shoot, a half-naked girl is tied to a park bench, made to carry a dog bowl while on a leash, fondled by her female master, and fucked by a man.

"It’s the adrenaline rush of potentially getting caught," says Acworth, explaining the site’s appeal and recipe for success. The site will also feature a slew of new faces. Plus, it’s the perfect time of year to launch a new fetish site. "Sales pick up when the kids go back to school," Acworth says.

There also plenty of developments in the works that don’t follow the start-a-new-fetish-site model. For starters, Kink is moving to a Flash format, where the delay is only 2 seconds instead of 20. The new technology means that users can actively participate in scenes via chat rooms, where they can give instructions to dommes and watch their demands be carried out. Members of Kink.com can already do this on DeviceBondage.com, but Acworth hopes to switch to a per-minute billing system so even more viewers can participate. At the moment, the site is structured so you must be a member of a particular site in order to watch videos; Acworth would like to move to a single-sign-on system where you can join Kink.com and have access to any of its member sites.

Perhaps the most ambitious technological plan for Kink’s future, though, is the development of an online Web community that will be called Kinky.com. Following the Web 2.0 trend of user-based content, Kinky.com will allow members and models to maintain user profiles, interact with one another on message boards, blog, and even date. Yes, it’s a way to stay up-to-date with Internet trends and to provide an experience that pirated video sites can’t, but Acworth says it’s also a natural outgrowth of the kind of porn he creates.

"In contrast with straight porn, which people want to consume in private, this is a community people want to be a part of," he says.

Which leads us to the project closest to Acworth’s heart: the reality show.

THE REAL WORLD: KINK.COM


In the spirit of community and BDSM as a lifestyle, Acworth wants to transform the armory’s top floor into a series of Victorian/Georgian-inspired rooms where couples will live and fuck on camera 24-7. Participants will be given hierarchical positions — from maid to master of the house — and live according to the rules of domination and submission. Acworth’s already started designing the grand dining room, inspired by the sets in Remains of the Day, including candelabras, elaborate draperies, and, of course, a long, long table. "I consider it the pinnacle of where everything comes together," he says.

The dream is still at least a year off: he’ll have to figure out payment and subscription details, renovate the nearly untouched top floor, and recruit couples who want to live their kinks on camera. But he’s hoping he’ll soon have more time to devote to the project. With more than 100 employees and a huge building to maintain, Acworth’s role has shifted from almost entirely creative to almost entirely administrative. He misses the early days, when he found models on Craigslist, tied them up in his rented Marina apartment, interacted with them himself, and then posted the shoots. (You can still see these early shoots online.) Soon he’ll promote an employee to chief operating officer, which will allow him to back off the business side and devote himself to the reality show.

So did he ever imagine his little project would get so big? Absolutely not, Acworth says. If he’d had any inkling, he adds, "I would’ve been terrified." But it only seems natural that the little English boy who used to try to sell his parents’ own vegetables back to them would eventually have an eye for business — and that his interest in fetish porn would lead his business instincts here.

As for how his parents feel about his chosen profession, Acworth says they’re not exactly vocally supportive, but they don’t condemn him either. His mom, a sculptor, has started creating pieces that feature couples in coital or bondage positions, and may start to sell them on the site. His dad, a former Jesuit preacher, says only, "As long as no one’s getting hurt and there are no animals, I guess it’s all right."

Road trip: Iraq

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REVIEW Given the subject matter — soldiers returning home from Iraq — it should come as no surprise that the title The Lucky Ones is more than a little ironic. But things here aren’t quite so cut-and-dry. Despite its focus, the film maintains a stubborn refusal to get too bogged down in the melancholy or the politics; it’s a serious drama that’s often very funny and mostly lighthearted. At the movie’s center are three soldiers — Cheever (Tim Robbins), Colee (Rachel McAdams), and TK (Michael Peña). Accidentally thrust together, they embark on an unscheduled road trip, each with a separate mission. Cheever is trying to put his life back together; Colee wants to meet the parents of her late boyfriend; and TK hopes to restore function to his penis, which was wounded by shrapnel. Seriously. Though not the most conventional Iraq war story, the road movie formula is routine and elements of the plot feel somewhat stale. What elevates The Lucky Ones is a trio of memorable performances. Rachel McAdams is particularly impressive as Colee, delivering a complex portrayal of a woman ranting about the "lake of fire" one minute and raving about vibrators the next. She reflects the film’s strongest assets: finding the humor in tragedy and sighting the mundane in the unreal.

THE LUCKY ONES opens Fri/26 in Bay Area theaters.

“Seventh” heaven

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› kimberly@sfbg.com

If you loose your tethers to terra firma and let yourself drift with the hallucinatory swirl of fireside Anglo folk, violin-swept electronic beats, and the dulcet sighs on Goldfrapp’s fourth album, Seventh Tree (Mute), you won’t be surprised to learn that vocalist Alison Goldfrapp plucked the disc’s name from a dream. "I can’t argue with that, I thought when I woke up," Goldfrapp says from London during a brief break from the group’s current tour. And the dream itself? "It was a beautiful tree," she recalls. "It all felt amazing and wonderful, and it had a ‘seven’ on it, and then I was in a women’s spa, a Roman bath, and it was very steamy. I was asking people about the title and giving them all the titles I had, and they were going, ‘No, no, that’s wrong. You’ve got to call it Seventh Tree.’<0x2009>"

Sounds like the kind of certainty that you should never buck, and you can practically hear Goldfrapp nodding over the line "You know, when they come and advise … " before she breaks the oracular mood with a dose of levity. "I had too much curry that evening — that’s what I put that down to."

Picturing the ethereal blond in the throes of Indian grub-powered inspiration puts an entirely new wrinkle in Goldfrapp’s intense, synthetic dreamscapes. "Folktronica" isn’t quite the term for what the startlingly grounded singer and collaborator Will Gregory conjure with Seventh Tree: a recording that elegantly marries the groovy Serge Gainsbourg–ian Euro-funk ("Little Bird") with sometimes stonily spare ("Eat Yourself") and occasionally majestic John Barry–imbued orchestrations ("Road to Somewhere") — the latter a combination that might occur within a single song ("Clowns"). The album marked a dramatic shift from the duo’s last full-length, Supernature (Mute, 2005), but then, Goldfrapp never promised you the certainty of a glittering disco ball spinning round. For this record, the pair began to write songs for the first time solely on guitar, and Goldfrapp found inspiration in the quality of light and lyrical fatalism of 1970s road-trip films like Badlands, in addition to popular reference point Wickerman. "I thought about American films — the hazy sunshine, kind of Californian," she muses. "The road trip is significant as a kind of rite of passage, and it feels opportunistic, but there’s always a sense of doom as well."

Writing music for film is one opportunity Goldfrapp would love to grasp, but she also wants to compose for a choir. "Making music is an endless world of possibility," she says. "The future is unknown." But for now, all too soon, it’ll be back to that eternal road, which Goldfrapp will undertake without Gregory. "Will doesn’t tour — he can’t fit in the bunk beds, and I’m not crazy about it either!" she exclaims while simultaneously bemoaning the current drizzly gray of London. "I love playing, but touring is exhausting. I wish I could transport myself from place to place." At least she’ll be trailing that California sunlight soon.

Goldfrapp performs at 5:50 p.m., Sat/20, on the Bridge Stage at Treasure Island Music Festival.

New blood

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What possesses Towelhead director and Six Feet Under creator Alan Ball to explore those gray areas where sexuality converges with morality? "It’s fascinating," Ball says, sequestered in San Francisco’s Ritz-Carlton for a series of interviews. "I feel like I’m at a point where really well-adjusted people are the kind of people I like to have in my life. But as characters in fiction — shoot me! I would be so bored."

Ball unleashes a magnificently chortle, more Henry VIII than writerly introvert: "I’m interested in the mistakes people make [and] in the dilemmas where people’s true characters are called into question. I’m interested in those mythic moments in everybody’s life."

Towelhead, which Ball adapted from Alicia Erian’s 2005 novel, is unflinching in its depiction of the culture shock and flowering sexuality of 13-year-old Jasira (Summer Bishil), an Arab American girl relocated to Houston to live with her strict Lebanese father (Peter Macdissi). The film is also courageously unjudgmental concerning the choices the young girl makes — which include her relationship with Army reservist Mr. Vuoso (Aaron Eckhart), who lives next door. Ball sets the disarmingly realistic mood of Towelhead perfectly with his opening scene of Jasira about be given a "mercy" shave by her mother’s boyfriend, though few would suspect that he would so adeptly grapple with the narrative’s complex perspective on race — not to mention the parallels one might draw between the film’s mis-en-scene, set during the Gulf War, and today’s conflict in Iraq.

In contrast, Ball’s latest TV foray, True Blood, which recently premiered on HBO, casts its nets far from reality into a pulpy, supernatural future where vampires can openly live among humans following the invention of synthetic blood. Can a telepathic young woman find true blood — or rather, love — with a guy who sucks? It sounds like Ball is happy to stem the angst flowing through so many of his projects. "I thought, enough with the existential naval-gazing," he says, laughing. "Been there done that."

TOWELHEAD opens Fri/19 in Bay Area theaters.

Toronto International Film Festival: More from Jesse Hawthorne Ficks

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By Jesse Hawthorne Ficks

Having had one helluva good time at this year’s festival (25 films in 6 days!), here’s an overview that you can use as a nice checklist for the upcoming months.

* Wong Kar-Wai’s Ashes of Time Redux amped up his 1994 classic, adding colors galore and some new cello solos by Yo-Yo Ma. Luckily Wong kept intact the complex, existential storylines, which blur characters into memories of the past, present, and future while giving his actors tear-induced melodrama that still radiates 15 years later. The original Ashes of Time needed to be viewed multiple times to recognize it as one of the best films of the 1990s.

Friends of Dorothy

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› a&eletters@sfbg.com

As a child I remember being transfixed by the cover to Electric Light Orchestra’s 1974 album Eldorado, A Symphony (Warner Bros.). I think I saw it before I ever actually watched Victor Fleming’s 1939 film The Wizard of Oz, from which the album’s art is taken. Designer Sharon Arden — now Ozzy Osbourne’s wife — was undoubtedly riffing off of the concept album’s storyline about a journey through a fantastic land. But she also probably keyed into what caught my young eyes: the primary pop of red, yellow, and green, and the contrast between the girl’s glittering, covetable shoes, the ghoulish mint hands that reached toward them, and the shower of sparks that divided the frame.

Looking back now, my fascination with that image almost seems like a joke about gay predestination — even though my pre-teen self knew nothing of Judy Garland or the Cowardly Lion’s sissy shtick. But I know I haven’t been the first pre-queen or proto-wicked witch to be drawn to those heels. Since The Wonderful Wizard of Oz was first published in 1900, and transformed by MGM into the iconic musical four decades later, the peaceable kingdom created by Frank L. Baum has been visited, amended, annexed, redrawn, and reclaimed by readers young and old: friends of Dorothy; contemporary fantasists such as Gregory Maguire and Geoff Ryman; bric-a-brac collectors; librettists; and last but not least, Pink Floyd–loving stoners and artists.

It is that last group whose contributions to the Oz mythos comprise the Wattis Institute’s inaugural exhibition for the fall, "The Wizard of Oz." It’s not for lack of brains, heart, or courage on the part of curator Jens Heffman that the show is a mixed bag. Granted, exhibits organized around themes are often erratic affairs, but perhaps it is the Oz mythology’s chimerical ability to be all things to all people (witness the interpretive turns the novel and film version of Wizard of Oz have been subjected to, from populist allegory to pre–World War II national rallying cry, to ’70s fry toy) that makes some responses to it seem odd while allowing others to shine as revelations.

In three tightly-packed rooms, history abuts fantasy and artifacts mingle with reproductions. A fragment of Harry Smith’s kaleidoscopic, stop-motion animated remake of Fleming’s 1939 film flickers kitty-corner from Walker Evans’ portraits of ’30s sharecroppers — their ambivalent gazes providing a stoic historic counterpoint to the MGM film’s Kansas sequences. Mass-produced ’70s-era Scarecrow and Woodsman bookends hold up a rare turn-of-the-century set of all 13 Oz volumes. A playful Oz alphabet mural by Donald Urquhart serves as a primer on the series’ significance in postwar gay culture (Q is for Queer Icon; J is for Judy’s hand, supposedly severed before her funeral), while William Wallace Denslow’s doll-like renderings of Dorothy for the first edition of Baum’s book might surprise all those friends of Dorothy accustomed to Garland’s oddly mature visage.

Many contributions make overt references to the realm of Oz, yet oblique treatments of the broader themes evoked by the book and film — escape, the power of fantasy, and the uses of nostalgia — result in some of the exhibit’s strongest pieces. Evan Holloway’s kinetic sculpture Tin Man, in which an ax set in motion by a pulley mechanism takes a small chip off a log, generates discomfort. It does so through the disparity between its pathetic result and the violence of its noisy operation. Rivanne Neuenschwander’s 2003 Eu desejo o seu desejo cleverly plays on wish fulfillment, asking viewers to own up to their desires by taking a ribbon printed with a variety of wishes — some altruistic ("I wish for peace"), some selfish ("I wish for an easy death") — before leaving a handwritten wish in return.

One of my wishes was granted, if from a distance. The famous ruby slippers — or at least a pair that looks like them; the originals being housed in the Smithsonian — are indeed there, under glass like some reliquary. Scrawled inside the satin lining, in a slightly sloppy script, are the words "Judy Garland." Suddenly, I’m not in San Francisco anymore.

THE WIZARD OF OZ

Sept. 2–Dec. 13

CCA Wattis Institute for Contemporary Arts, Lower Gallery

1111 Eighth St., SF

(415) 551-9210

www.wattis.org

Canadian shakin’

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Every year, I run into someone at the Toronto International Film Festival who asks me, “How’s your festival going?” Your festival is an appropriate term, actually — the event is so huge you could probably pick out a dozen attendees who’ve seen none of the same films. As I write this, a little over halfway though this year’s visit, I haven’t yet had a defining Toronto fest moment. Sure, there was the moment I became aware of just how jaded I am — when I passed by a mob of gawkers and flashbulbs and realized I didn’t give a rat’s ass about which celebrity had incited such a tizzy. But so far, I haven’t seen a film that truly dazzled me.

In spite of this, I will admit that “my festival” has had some standout moments. Thrillers Vinyan and L’Empreinte de L’Ange (The Mark of an Angel) both pay tribute to the enduring love a parent feels for his or her child — a theme shared, in some ways, with Witch Hunt, a disturbing look at the rash of child-molestation cases (all eventually proved false) that plagued Bakersfield in the 1980s. Vinyan, helmed by noted mind-fucker Fabrice Du Welz (2004’s Calvaire), follows a Euro couple whose son was lost in the 2004 Indian Ocean tsunami. When they begin to suspect (with precious little evidence) that he survived the wave but was kidnapped in the aftermath, they take an ill-advised plunge into the hostile jungle. L’Empreinte de L'<0x2009>Ange is one of those tense family dramas set in the comfortable world of lavish children’s birthday parties and ballet recitals; the less said about the twisty plot, the better. Intense stars Catherine Frot and Sandrine Bonnaire and a jarringly creepy soundtrack keep this one from Lifetime Network territory, though its mothers-in-crisis plot ain’t far from what you might find thereabouts.

The theme of family also finds its way into The Brothers Bloom, from Brick (2005) writer-director Rian Johnson, and Appaloosa, directed by its star, Ed Harris. Since the pairs of men in both films aren’t actually related, I’ll take this opportunity to declare that the bromance trend of 2008 (Pineapple Express is one example) is alive and well at TIFF. A determinedly whimsical tale of con men (Mark Ruffalo, Adrien Brody) who decide to relieve a kooky heiress (Rachel Weisz) of a few millions, Bloom has enough going for it that it’ll please, say, Wes Anderson fans. But Brick devotees (like me) might feel a bit cheated — an overdose of self-conscious cleverness can do that to a viewer. By contrast, Appaloosa is a bare-bones oater about a pair of gunslingers (Harris, Viggo Mortensen) hired to tidy up a town terrorized by the Wild West equivalent of a mob boss (Jeremy Irons). The particularly witty script is a nice surprise; as the stranger who blows into town with no purpose other than creating conflict, Renee Zellweger’s character becomes more tolerable when it’s revealed she’s not nearly as prim as she pretends to be.

For pure fun, I checked out American Swing, a jaunty doc about infamous New York City swingers’ club Plato’s Retreat — with its subject matter, colorful music and editing, and copious bare-butts-in-the-1970s footage, it’d make for a great double-feature with 2005’s Inside Deep Throat. And not to be missed — even though I thought it could have been a lot more awesome given its rich potential — was JCVD, billed as the comeback movie for Jean-Claude Van Damme. Playing himself, the Muscles from Brussels is unwittingly drawn into a bank robbery; delightfully, he can still kick a cigarette out of someone’s mouth — and, even better, has enough temerity to crack wise about Steven Seagal’s ponytail. (Cheryl Eddy)

For additional coverage of the Toronto International Film Festival, visit www.sfbg.com/blogs/pixel_vision.

 

MO’ FROM TO

Wendy and Lucy: Following the footsteps of Kelly Reichardt’s tender 2006 film Old Joy, this even smaller experience trails Wendy, a Midwestern girl (pricelessly played by Michelle Williams) driving across the country to start a new life in Alaska. This heartbreaking journey beautifully confronts the tiny issues that arise from being out of step with modern society and will be particularly celebrated by anyone who felt Sean Penn’s Into the Wild (2007) was frustratingly misguided and overly romanticized

Vinyan: When a rich Caucasian couple’s child goes missing, the parents make a trek through the tsunami-destroyed bowels of Thailand, searching all the way into Burma. The shrill sound design, claustrophobic camera work, and xenophobic storytelling perfectly punctuate the Harvey Keitel–ish hysterics unleashed by French heartthrob Emmanuelle Béart and UK toughie Rufus Sewell (who gave a similarly audacious performance in the overlooked Sundance gem Downloading Nancy). As the pair descend into utter madness, this hypnotic hybrid of The African Queen (1951) and Don’t Look Now (1973) could be read as a brutal attack on Western tourism. Throw in a hundred creepy jungle kids and some controversy about the filmmakers’ alleged insensitivity toward tsunami victims, and you’ve got a genuine cult classic in the making!

JCVD Jean-Claude Van Damme decided to star as himself in Belgian director Mabrouk El Mechri’s deconstructive thriller (à la 1975’s Dog Day Afternoon). Van Damme gave up his control issues, allowing the director to expose his most intimate flaws (including a monologue given directly to the audience that jams a frog into the throat of even the most jaded, ironic hipster). The sold-out Midnight Madness audience was so completely stunned by Van Damme’s solid and moving performance, I hope the filmmaker gets some credit for creating a genuine tribute to this genuine genre actor.

More to come from the second half of the festival: Wong Kar-Wai’s Ashes of Time Redux, the Dardenne Brothers’ Le Silence de Lorna, and supposedly the most violent horror film ever made: Pascal Laugier’s Martyrs. (Jesse Hawthorne Ficks)

 

Scary movie

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REVIEW The scariest movie of 2008 so far is, quite possibly, Dorothy Fadiman’s Stealing America: Vote by Vote, a stomach-turning look at election irregularities that stretch back as far as 1996, with a special emphasis on the über-fishy goings-on in Ohio circa 2004. A thorough array of charts, graphics, news clips (including, yes, some from The Daily Show), and credible talking heads examine the troubling facts: discrepancies between exit polls and actual vote tallies; suspicious situations involving voting machine software (including an interview with a computer expert who claims he was hired by Republicans to write a "vote-switching" program — oops, you just voted for George W. Bush!); inexcusably long lines at polling places; uncounted votes and purged voter lists; and the unwillingness of the mainstream media (and, according to the film, the John Kerry campaign) to seriously consider the anomalies to be the result of Republican fraudsters. Some twinkly uplift in the film’s last moments suggest hope, or at least the hope of accountability, for future elections — but are paper ballots that can actually be hand-counted (and re-counted) a practical solution? Stern narrator Peter Coyote suggests there’s more to it than that: "If this film does anything, it will make you take yourself, and your vote, and your country seriously enough to get engaged and go to work — and together, we’ll take our country back." Let’s just hope that vote you cast for change this November actually gets counted.

STEALING AMERICA: VOTE BY VOTE opens Fri/12 at Bay Area theaters.

Toronto International Film Festival: Days 5-6

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It’s over! Well, for me, anyway — the festival rolls on through the weekend, but tomorrow I’ll be jetting back to SF, watching edited-for-content episodes of The Wire on Air Canada’s seatback television. I only had one spontaneous celebrity sighting (Wyclef, scampering into an SUV outside his hotel as I plodded past in search of breakfast this morning). But I did see some enjoyable movies these last two days, plus a few feh offerings.