Health

Endorsement interviews: Paul Miyamoto

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Paul Miyamoto is a captain in the Sheriff’s Office and is running for the top job. He told us that at a time when significant change is coming — from the retirement of longtime Sheriff Mike Hennessey to state realignment on prison policy — it’s important to have “someone from within, someone who’s been doing the job.” He vowed (as did all the candidates) to continue Hennessey’s progressive policies, but was a little fuzzy in some areas. He said, for example, that he’s against privatizing jail health services — but would be willing to examine the issue if there were a viable alternative. Audio and video after the jump.

Miyamoto by endorsements2011

 

Defy the business community’s shameless ultimatum

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On the same day that a Wall Street Journal investigation revealed that many San Francisco restaurants are scamming their customers by tacking an employee health care surcharge onto bills and them simply pocketing the money, the Examiner reports that San Francisco business leaders are threatening to withdraw support for pension reform and other measures if the Labor Council supports legislation that would regulate a similar scam.

So, because labor leaders and progressive Sup. David Campos think that employees should actually get health care benefits from the money that city law requires employers to set aside for that purpose — money that many restaurants are supplementing with surcharges on customers of up to 5 percent — the business community is pitching a fit.

We really shouldn’t be surprised that business leaders are acting in such a hostile manner to the city and their own employees. After all, the SF Chamber of Commerce and Golden Gate Restaurant Association bitterly fought the Healthy San Francisco plan created by Tom Ammiano, appealing it all the way to the Supreme Court and losing every step of way.

Then, rather than being gracious losers, they devised deceptive schemes to: 1) jack up people’s dinner bills and make it appear that the city was requiring such a surcharge; and 2) satisfy the letter of the law by creating difficult-to-access health savings accounts for employees, then pocketing what was left unclaimed at the end of the year, which amounted to $50 million last year.

And now, because labor supporters are trying to now, you know, support workers and their rights, the business community has turned on pension reform? Hilarious! I say, good, call their bluff, and let ‘em stop supporting Prop. C. Then next year, we can come around with a new pension reform plan that’s coupled with tax increases on big business, sharing the burden for reforming long-term city finances in a way that it should have been done in the first place.

C’mon, Labor Council, stay strong and show these greedy corporations what we all think of their attacks on their employees, customers, and the city.    

SF restaurants cheat on health care

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For years, I’ve wondered about those “health-care surcharges” that pop up on menus at local restaurants. The owners say they have to charge extra to pay for the city’s health-care ordinance, which always struck me as odd: You don’t see “avocado price hike surcharge” or “rent-went-up” surcharge or “PG&E rate hike” surcharge — restaurants, like other businesses, typically roll those factors into their normal prices.

This is political: A lot of restaurants opposed the law, which requires employers to pay for health insurance, and they’re sticking that little sign out there to make San Franciscans think the government is driving up the price of a meal.

Now: I would actually be willing to pay an extra 3 percent or even 5 percent for a nice dinner if I thought that money was going to make sure the cooks and waiters and bus staff could go to the doctor when they get sick. But it turns out, according to the Wall Street Journal, that we’re getting scammed — the surcharges often don’t go for health care at all. The restaurants just pocket the money.

In an investigation of 40 local restaurants — most of them high-end places where dinner for two can cost $100 or more — the Journal found that the vast majority of the money collected for health care never goes to the employees:

One Market, which says its annual revenue exceeds $5 million, is one of at least 40 San Francisco restaurants identified by The Wall Street Journal that tell customers they are charging extra in the name of health-care benefits, but which end up spending less than a third of what they allocate. The data come from forms that restaurants filed with the city, which the Journal obtained under California’s public records law. No restaurant mentioned in this article disputed the data.

Wayfare Tavern, the downtown restaurant owned by celebrity chef Tyler Florence, says on its menu that it adds 3.5% to every bill to cover health-care costs. Last year, it earmarked $63,724 for health care but only spent $6,013, the city data show. Café Flore, which adds 35 cents to every bill in the name of health care, spent nothing on health expenses for its employees last year. Trademark, which has a 3.5% surcharge, also spent nothing on employee health expenses last year, the data show.

Worse, this appears to be an intentional way to skirt the law:

In most cases, the plans are administered by a third party. Some of these companies tout how HRAs are a loophole around the San Francisco Heath Care Ordinance. “If the funds are not needed (And many are not!!!) the employer wins because the unused funds stay with them…not the City,” says a brochure from BeneFlex HR Resources Inc.

BeneFlex ensures restaurants inform workers about the HRA to “make sure it’s handled the way it’s supposed to,” says Mark Schmersahl, the firm’s vice president. Still, he says, “There are going to be times when the employer comes out ahead.”

I recognize that the city puts a lot of demands on small business, and a lot of them are expensive — and again, if a restaurant owner has to raise prices a few percentage points to pay for health insurance, I’ll pay — that’s the price of eating out in San Francisco.

But this isn’t how the health-care law was supposed to work — and it’s the reason Sup. David Campos is trying to change it. Campos has a bill that would stop employers from keeping money that was supposed to go for health care. “It’s also a consumer-protection law,” Campos told me. “People are being defrauded here.”

Free at last

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An ordeal lasting more than two years for Shane Bauer and Josh Fattal came to an end in Iran today, when the two 29-year-old University of California Berkeley grads were freed at last from Tehran’s Evin Prison.

CNN reports that Bauer and Fattal were transported from the Iranian prison to an international airport just before nightfall, accompanied by Swiss and Omani officials. They were bound for Muscat, the Omani capital, where arrangements had been made for them to meet with their families and Sarah Shourd, Bauer’s fiancee, who was arrested along with them in July of 2009 while on a hiking trip in Iraqi Kurdistan. Shourd was released in what Iran characterized as a humanitarian gesture last year, after spending 410 days in solitary confinement.

“Today can only be described as the best day of our lives,” a statement from the families said in response to the news that they had finally been released. “We have waited for nearly 26 months for this moment and the joy and relief we feel at Shane and Josh’s long-awaited freedom knows no bounds. We now all want nothing more than to wrap Shane and Josh in our arms, catch up on two lost years and make a new beginning, for them and for all of us.”

Last month, Bauer and Fattal were convicted of spying and illegally entering the country and sentenced to eight years in prison each, despite a lack of evidence and repeated statements by President Barack Obama that they had never worked for the U.S. government.

Yet human rights activists advocating for their release have characterized the Iranian government’s decision to continue holding them as a political tactic to begin with, and some observers didn’t take the outcome of the trial at face value.

The fact that they stood trial after two years of being detained was interpreted as potentially a positive signal by some supporters advocating for their release.
News of their conviction and harsh eight-year sentences also brought kernels of hope, ironically, for some who speculated that the severe outcome of their trial might figure into a broader plan to grant their pardon, setting the Iranian government up for an opportuinity to take credit on the world stage for a merciful act just as Iranian President Mahmoud Ahmadinejad headed to the United States for the United Nations General Assembly in New York.

However, unexpected delays and hints that the hikers were caught up amid an internal power struggle in Iran kept friends and supporters in a state of agonizing suspense over the past week. On Sept. 13, Iranian President Mahmoud Ahmadinejad stated publicly that Bauer and Fattal could be freed “in a couple of days.”
 
But that statement had come to nothing by Sept. 16, when supporters from the Bay Area gathered in San Francisco in hopes that an announcement would be made. The following day, reports surfaced that an Iranian lawyer trying to free them was waiting on the signature of a judge who was on vacation until Sept. 20 before their release could go forward.

Bauer and Fattal were released on $1 million bail, a sum CNN reported was paid by the Omani government.

Bauer, Fattal and Shourd are social-justice advocates, antiwar activists, writers, environmentalists, travelers, and creative thinkers with deep ties to the Bay Area. Shourd and Bauer had been living in Syria when they joined with Fattal, who was visiting, and embarked on the ill-fated hiking trip in Iraqi Kurdistan in July of 2009. Shourd, who lives in Oakland, was teaching English to Iraqi refugees when she was in Syria, as well as practicing some journalism. Fattal, who taught at Aprovecho — an education center in Oregon focused on sustainability and permaculture — had been traveling to India, South Africa, and other places through the International Honors Program to lead workshops on health and sustainable technology before visiting his friends in Syria.

Bauer wrote for publications such as The Nation, Mother Jones, and the Christian Science Monitor, and the San Francisco Bay Guardian. A photojournalist who has won multiple awards and had his work published internationally, he’s documented stories ranging from tenant conditions in San Francisco SROs to conflict-ridden regions in Africa and the Middle East.

Their imprisonment prompted an international response. Calls for their release were issued by Obama, Secretary of State Hillary Clinton, United Nations Secretary General Ban Ki-moon, human rights activists, religious leaders, authors, celebrities, and hundreds of supporters who wrote letters, displayed banners, and raised money for efforts pushing for their release. A host of family members, friends, and supporters organized under an effort called Free the Hikers worked steadily to free them, and their long-anticipated reunion with Bauer and Fattal has finally arrived.

The Sex Issue 2011

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Well howdy — it’s Folsom Street Fair time again, and that means our annual steamy, dreamy Sex Issue. Check out the contents before, and play wild!

>>PRESENTING THE HOTTEST ASS IN THE BAY

The winner of our Bay Buns 2011 contest

>>BECAUSE PRINCESS SAYS SO

The mastermind behind Kink.com’s “Wired Pussy” and “Public Disgrace” sites finds power in perversion

>>SAN FRANCISCO SMUT MAP

A peep at our fair city’s filthy-gorgeous history

>>“AND THAT’S WHEN I CAME”

A steamy tale of SF sex from Bawdy Storytelling

>>WARM LEATHERETTE

Our nightlife column rounds up some smokin’ hot parties for this weekend

>>HIDING THE CONDOMS

Safeway’s decision to move condoms into locked cabinets worries public health advocates

 


On Guard!

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news@sfbg.com

 

CENTRAL SUBTERFUGE

While supporters of the controversial Central Subway project — from Mayor Ed Lee and his allies in Chinatown to almost the entire Board of Supervisors — dismiss the growing chorus of critics as everything from ill-informed to racist, they refuse to address the biggest concerns about the project.

In a nutshell, the main concerns center on serious design flaws (such as the lack of direct connections to either Muni or BART), the city’s responsibility for any cost overruns on this complex $1.6 billion project, its estimated $15.2 million increase to Muni’s already strained annual operating budget (a figure used by the Federal Transportation Administration, well over the local estimate of $1.7 million), and the city’s unwillingness to implement its own plans for improving north-south transit service on congested Stockton Street rather than relying solely on such an expensive option for serving Chinatown that doesn’t start until 2019.

Judge Quentin Kopp, a longtime former legislator, called this summer’s grand jury report, “Central Subway: Too Much Money for Too Little Benefit,” the best he’s ever read and one that should be heeded. He recently wrote a letter to top state officials urging them to reconsider the $488 million in state funding pledged to the project. As we reported last week, mayoral candidate Dennis Herrera is also challenging a project that he supported before its most recent cost overruns and design changes.

But supporters of the project pushed back hard on Sept. 14, using taunts and emotional rhetoric that avoided addressing the core criticisms. “Beneath the unfounded criticism about costs is actually a disagreement over values. The grand jury report relied upon by critics makes a only brief and superficial criticism about costs,” Norman Fong and Mike Casey wrote in an op-ed in last week’s Guardian.

Actually, the 56-page grand jury report goes into great detail about why it believes cost overruns are likely, citing the myriad risks from tunneling and SFMTA’s administrative shortcomings and history of mismanagement, including on this project’s less-complicated first phase, the T-Third line, which was 22 percent over budget and a year and half late in completion. Even with the contingencies built into the Central Subway budget, the report notes that a similar overrun would increase the local share of this project from $124 million to more than $150 million.

Mayor Lee purportedly addressed criticism of the project during the Question Time session in the Sept. 14 Board of Supervisors meeting, prompted by a loaded question from Sup. Sean Elsbernd offering Lee the “opportunity to move beyond the clichés and one-liners of political campaigns.”

But Lee’s answer was classically political, touting the estimated 30,000 jobs it would create, praising those who have pushed this project since the 1980s, offering optimistic ridership estimates (that exceed current FTA figures by about 9,000 daily riders), and ignoring concerns about whether the city can cover the ever-increasing capital and operating costs.

“Now is the time to support the Central Subway,” Lee said, flashing his trademark mustachioed grin.

We called the normally responsive Elsbernd, who prides himself on his fiscal responsibility, twice, to ask about financial concerns surrounding the project and he didn’t call back. During their mayoral endorsement interviews with the Guardian last week, we also asked Sups. John Avalos and David Chiu to address how they think the city will be able to afford this project, and neither had good answers about the most substantive issues (listen for yourself to the audio recordings on our Politics blog).

Once Congress gives final approval to $966 million in federal funding for this project sometime in the next couple months, the city will be formally committed to the Central Subway and all its costs. It’s too bad that, even during election season, all its supporters have to offer to address valid concerns are “clichés and one-liners.”(Steven T. Jones)

 

BLACK AGENDA

Mayoral candidates faced tougher questions than usual at a Sept. 15 forum hosted by the Harvey Matthews Bayview Hunters Point Democratic Club. Whereas debates hosted in the Castro and Mission Bay, for instance, featured questions on how candidates planned to clean up city streets, what they thought about AT&T’s plan to place utility boxes on city sidewalks, or how they’d promote a more business-friendly environment, residents brought a thornier set of concerns to the Bayview Opera House.

One question pointed to an alarming statistic based on U.S. Census data and cited by racial justice advocates, showing that residents of the predominantly African American Bayview Hunters Point have a life expectancy that’s 14 years lower, on average, than that of residents of the more well-to-do Russian Hill.

Someone else asked about improving mental health services for lower-income community members struggling with post-traumatic stress syndrome (PTSD). High unemployment figured in as a key concern. And one member of the audience wanted to know how candidates planned to “improve the behavior of the police,” alluding to the mid-July officer-involved shooting that left 19-year-old Seattle resident Kenneth Harding dead, triggering community outrage.

Mayor Ed Lee attended the beginning of the forum but left early to attend an anniversary celebration for the Bayview Hunters Point Foundation; other participants included Terry Joan Baum, Jeff Adachi, Bevan Dufty, Dennis Herrera, David Chiu, Michela Alioto-Pier, and Joanna Rees.

Answers to Bayview residents’ sweeping concerns varied, yet many acknowledged that the southeastern neighborhood had been neglected and ill-served by city government for years.

“There is no economic justice here in Bayview Hunters Point,” Adachi said. “There never has been. That’s the reality.” He pointed to his record in the Pubic Defender’s Office on aggressively targeting police misconduct, and played up his pension reform measure, Prop. D, as a vehicle for freeing up public resources for critical services.

Dufty, who has repeatedly challenged mayoral contenders to incorporate a “black agenda” into their platforms, spoke of his vision for a mayor’s office with greater African American representation, and emphasized his commitment to improving contracting opportunities for minority-owned businesses.

Herrera, meanwhile, was singled out and asked to explain his support for gang injunctions, an issue that has drawn the ire of civil liberties groups. “I only support gang injunctions as a last resort,” he responded. “We shouldn’t have to use them. But … people should be able to walk around without being caught in a web of gang violence. I put additional restrictions on myself to go above and beyond what the law requires, to make sure that I am balancing safe streets with protecting civil liberties.”

Herrera asserted that gang violence had been reduced by 60 percent in areas where he’d imposed the controversial bans on contact between targeted individuals, and noted that the majority of those he’d sought injunctions against in Oakdale weren’t San Francisco residents.

Baum brought questions about a lack of services back to the overarching issue of the widening income and wealth gaps. “Right now, the money is being sucked upward as we speak,” she said. “We have to bring that money back down.”

She closed with her signature phrase: “Tax the rich. Duuuuh.” (Rebecca Bowe)

 

DUFTY REMEMBERS

The selection of Ed Lee as interim (or not-so-interim) mayor of San Francisco was one of those moments that left just about everyone dazed — how did a guy who wasn’t even in town, who had shown no interest in the job, who had never held elective office, suddenly wind up in Room 200?

Well, former Sup. Bevan Dufty, who was going to nominate Sheriff Mike Hennessey and switched to providing the crucial sixth vote for Lee at the last minute, told us the story during his mayoral endorsement interview last week.

Remember: Lee, as recently as a few days earlier, had told people he didn’t want to be mayor. “An hour before the meeting, Gavin (Newsom) called Michela (Alioto-Pier) and me into his office and said Ed Lee had changed his mind,” Dufty told us. He walked out of the Mayor’s Office uncommitted, he said, and even Newsom wasn’t sure where Dufty would go.

After two rounds of voting, with Dufty abstaining, there were five votes for Lee. So Dufty asked for a recess and went back to talk to Newsom — where he was told that the mayor thought the reason the progressives were supporting Hennessey was that the sheriff had agreed to get rid of about 20 mayoral staffers — including Chief of Staff Steve Kawa, “who had engineered Ed Lee running.”

So Kawa, with Newsom’s help, preserved his job and power base. “It’s all turnabout,” Dufty said. “I figure Mike Hennessey’s had a couple of beers and a couple of good times thinking about my vote. But that’s politics.” (Tim Redmond)

 

ALMOST FREE?

Friends and supporters of Shane Bauer and Josh Fattal were kept in a state of agonizing suspense over whether the two men, both 29, would be released from the Iranian prison where they’ve been held for more than two years following an ill-fated hiking trip in Iraqi Kurdistan.

On Sept. 13, Iranian President Mahmoud Ahmadinejad stated publicly that Bauer and Fattal could be freed “in a couple of days.” The announcement brought hope for family and friends who, just weeks earlier, had absorbed the news that the men were sentenced to eight years in prison after an Iranian court found them guilty of committing espionage, a charge that the hikers, the United States government, religious leaders, and human rights advocates have characterized as completely baseless.

Reports followed that the Iranian judiciary would commute the hikers’ sentences and release them in exchange for bail payments totaling $1 million. But by Sept. 16, when supporters gathered in San Francisco in hopes that of an imminent announcement, they were instead greeted with new delays.

The constantly shifting accounts hinted at internal strife within the Iranian government, and contributed to the sense that Bauer and Fattal were trapped as pawns in a power struggle. By Sept. 19, their Iranian lawyer remained in limbo, awaiting the signature of a judge who was scheduled to return from vacation Sept. 20.

“Shane and Josh’s freedom means more to us than anything and it’s a huge relief to read that they are going to be released,” the hikers’ families said in a statement Sept. 13. “We’re grateful to everyone who has supported us and looking forward to our reunion with Shane and Josh. We hope to say more when they are finally back in our arms.” (Rebecca Bowe)

Hiding the condoms

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news@sfbg.com

“All Condoms primary location at Customer Service” reads a small sign surrounded by empty shelves that once held condoms, pregnancy tests, and other important sexual health products at the Safeway on Potrero Avenue.

Because of concerns about theft, the condoms now sit among the Nicorette and razors in a row of glass cases near Customer Service, amid the chaos of hurried shoppers headed to and fro. Although Safeway’s recent condom lock-up may have reduced theft, it has also reduced accessibility, and may have deterred customers from buying a product crucial for the prevention of pregnancy and STD’s.

The increased security measures are not contained to the Potrero store, or even San Francisco’s Safeways. “There are a number of products (Oil of Olay for example) that we’ve had to secure under lock and key because of theft,” Susan M. Houghton, Safeway’s Northern California spokesperson tells the Guardian. “It varies by store and city, but yes, condoms were recently added — due to theft.”

Houghton would not go into any further detail about when or why the condoms were locked, but the move has raised concerns by public health advocates.

“We fully understand the position that Safeway is in, but we really would advocate for people having pregnancy tests, condoms — anything that really helps people manage their lives better — to be much more accessible,” Adrienne Verrilli, a spokesperson for Planned Parenthood in San Francisco tells the Guardian. “Accessibility is often key, especially for young people.”

Kyriell Noon, executive director of San Francisco’s STOP AIDS project, says he believes locked cases could deter people from buying condoms, “especially for young people who are shy or could be embarrassed about asking for help…Condoms should be as easy for people to access as any other item available for purchase on the market. When there are barriers between people and condoms, I think many people will shrug and give up. But if they’re easy to access there’s no excuse to not use them.”

STOP AIDS knows the importance of condoms in the prevention of HIV, and distributes free condoms to 90 locations throughout San Francisco.

Safeway representatives and staff members refused to say which Safeways have moved condoms behind glass, but a visit to four San Francisco Safeways found condoms locked in cases at each of them, some even locked behind the Customer Service counter.

At the Safeway at Church and Market streets, we found that there is often a line at Customer Service, which customers must now wait in to purchase condoms. The process of acquiring condoms requires requesting the case be unlocked, making a selection under the watchful eye of an employee, and having the employee remove it from the case and walk it back to Customer Service where it can be purchased. Ten minutes had passed before I was leaving with my $8.99 12-pack of Trojan ENZ.

This challenge could affect teenagers more than adults due to embarrassment, hassle, or the now public process of choosing and purchasing condoms at Safeway. “It puts young people in a very awkward situation,” says Leah LaCroix, president of the San Francisco Youth Commission. LaCroix says she does not believe condoms should be locked up, even if it means a company loses profits.

“I think public safety is more important than that,” she tells the Guardian. LaCroix and the rest of the Youth Commission are currently urging the San Francisco Unified School District, “to reevaluate and come up with a new curriculum for health education,” she said. “I’m sure safe sex will be a component of their new curriculum.”

A 2009 Center for Disease Control survey found that 43.5 percent of high school students did not use a condom during sex, and 85.6 percent did not use birth control pills the last time they had sex, making sex education and birth control availability increasingly vital.

“I’m not sure you can criticize Safeway for protecting their merchandise,” says Beth Brown, manager of San Francisco’s New Generation Health Center. “I think there’s a larger issue of a lack of resources and lack of resourcefulness.”

Brown says she believes the Department of Public Health is responsible for providing these resources. One resource that is available is a service called Family PACT, which provides reproductive health services to low-income residents.

“The state of California pays for young people who need confidential services…and you can get all the birth control you want,” she tells the Guardian. The New Generation Health Center enrolls teenagers and young adults in the service, and gives away free condoms to non-enrolled teenagers as well.

“The state of California is actually a very good place to be if you’re young and sexually active,” says Brown, “because they will pay for it.”

“What’s interesting about that,” Verrilli said of Safeway’s condom lockup, “is that it’s kind of going backwards to where we used to be as opposed to moving forward to where we are.”

Today, with condoms available to purchase for any age, public health clinics in most cities, and sexual education available on the Internet, making birth control readily and publicly accessible seems to be the next logical step. Besides preventing pregnancy, condoms are crucial in preventing the spread of HIV, the virus that causes AIDS.

“I think we should all be in the practice of increasing access to condoms rather than decreasing it,” Noon said. “I don’t know that Safeway’s decision alone would make a huge contribution to the spread of HIV, but they could be setting a precedent that other stores that sell condoms might follow. If it were the case that Walgreen’s and Rite-aid, etcetera, also began to follow this practice, I think we would have a problem.”

SFBG’S CONDOM BUYER’S GUIDE FOR THE YOUNG AND SHY

A wide variety of unlocked condoms are sold at:

Planned Parenthood — 1650 Valencia St. off Mission

Price: 30 cents each, come individually and in strips of 8 or 10.

Plus: offers STD testing and other health services

Walgreens — 200 West Portal at 15th

Price: 12 count $14 and up

Walgreens — 3201 Divisadero at Lombard

Price: 12 count $8.99 and up

Plus: open 24 hours a day

Walgreens — 3400 Cesar Chavez at Mission

Price: 12 count $13.99 and up

Walgreens — 1496 Market at Van Ness

Price: 12 count $15.99 and up

CVS/Pharmacy — 731 Market at 3rd

Price: 12 count $12.99 and up

CVS/Pharmacy — 2025 Van Ness at Jackson

Price: 12 count $12.99 and up

Plus: open until midnight every day

Free condoms are available at:

New Generation Health Center — 625 Potrero at 18th

Plus: offers bags of 20 at a time

STOP AIDS — 2128 15th at Market

Plus: also distributes free condoms to restaurants and stores in the city including:

Marlena’s — 488 Hayes at Octavia

SOMA Health Center — 551 Minna at 6th

Crossroads — 1519 Haight at Ashbury

LBGT Center — 1800 Market at Octavia

Books Inc. — 2275 Market at Noe

(Oona Robertson)

The last supper

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› paulr@sfbg.com

DINE “I’ve had a good run,” Harry Morant tells a young friend near the end of one of my favorite movies, Breaker Morant. Soon after, he is set before a military firing squad and shot dead. My own circumstances are, I hope, less dire — certainly they’re less cinematic — though I too have had a good run. But all journeys come to an end sooner or later, and so now does this one.

If you’ve read these columns through the years, then you’ve read quite a few columns, and you’ve counted quite a few years passing by. In a better world, you would get a rebate check for all your trouble. Reading is, if not trouble, at least effort; it is a form of work that requires exertion, and it also — unfortunately — reminds too many people of school, with syllabi, assigned texts, pop quizzes, and other such outrages. “Required reading” has always seemed to me to be one of life’s great oxymorons, along with “military intelligence.”

Nonetheless I have always posited the existence of readers, people who would take the time to sit down and concentrate for a few minutes on a piece about a restaurant in a free alt-weekly so that they might discern, and maybe even pleased by, the texture of the piece, the flavors of the language, the sense of a place conveyed, the images and jokes. And I have tried to write for those people, even if (to judge by the occasional appreciative notes I received) they seemed largely to be members of the UC Berkeley faculty.

Readers, as I imagined them, would take pleasure in what they had just read, and they would also have been expanded by it, however slightly. Their effort would have been repaid. As I writer, I have always tried to keep this transaction, the basic transaction of all literary life, in mind.

Never was I an awarder of stars, nor, as I understood things, a recommender. Those tasks fell to others, and in a city stuffed like a fat sausage with people keen to write about food and restaurants, leaving tasks for others struck me as an essential survival skill. The greater good is not served by everyone descending on the same place to write more or less the same thing, as quickly as possible. That is simply hype, and we are dying of hype. I meant to write about places others weren’t writing about. Sometimes I managed this and sometimes I didn’t, but the idea was always in my mind, and when I found myself in the midst of a 10-car pile-up anyway, as happened from time to time, I deducted five points from my account.

For me the model, or ideal, of this gig resembled a travelogue, a running account of places visited, impressions received and relayed. Of course journalism tilts strongly and inevitably to what is new. But I thought it was important to tack against those powerful winds when possible, to go occasionally to places that were not new or were even old, or to places that could be found on roads less travelled. I tried to keep the varieties of cuisines in mind, and of price points. You can spend tons of money and be disappointed, or spend very little and be elated — and it can also be exactly the other way around.

My basic philosophical orientation was that of a cook, setting forth to look for ideas and even a sort of instruction. I’ve been the cook of my little household for more than a quarter-century, and someone in that position naturally is going to be looking for ideas, twists and wrinkles that can politely, or at least discreetly, be taken home and used. Often, when looking at menus, I would find myself wondering: have I made that, or could I, should I try to? And when this or that dish reached the table, I would wonder how it compared to my own version.

One of the big issues with restaurant kitchens is that you never know for sure what they’re putting in your food, but a lot of butter is probably a safe bet. If you believe, as I do, that health is a personal responsibility and that the connection between diet and well-being is as basic as it gets, then there is no substitute for buying and cooking your own food rather than paying somebody else to do it. Restaurant meals should be treats, not staples.

Restaurants are about more than food, of course. They are social fora, gathering places full of talk and clothes and interior design; they are cultural statements, business endeavors, entertainment venues, and labors of love. They are, above all, sensual experiences — great outings for the senses — and describing sensual experience is one of the trickiest and most absorbing operations any writer will ever undertake. The difference between doing it well and doing it badly is often fine and very often involves the presence or absence of cliché. Rote expressions and tired imagery are lethal to sensual description — it seems particularly and bitterly ironic to find the freshness of food being written about in language as stale as month-old bread — and in my small way I have been a committed warrior against these toxins of banality. Down the weeks, months, and years, I have tried to summon language as lively, exact, and unexpected as I could think to make it, so that it might delight the reader and, not coincidentally, stick in the mind.

There is nothing more powerful in language than a phrase, sometimes a single word, that helps you see something you hadn’t seen before, or helps you see something you had seen before, even if it’s just a burrito, in a surprising new way. These glints of words kindle the imagination, and imagination, I would say, is basic to our prospects as a species. This is why good writing, whatever its subject, will always be not just important but central, even when, as now, its value is eclipsed by a rising culture of gadgets and gizmos, of YouTube clips played on smartphones. The heart of human intelligence, of human knowing, is and will remain language, and writing is language’s most potent distillate. What we feed our minds is as important as what we feed our bodies — or at least that is what I believe, since I am a writer and couldn’t possibly believe otherwise.

But enough! I must run.

Film Listings

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OPENING

Abduction A teenager (Taylor Lautner) sets out to find his true identity (duh, dude, everyone knows you’re a werewolf) in John Singleton’s action thriller. (1:46)

*The Black Power Mixtape 1967-1975 Cinematic crate-diggers have plenty to celebrate, checking the results of The Black Power Mixtape 1967-1975. Swedish documentarian Göran Hugo Olsson had heard whispers for years that Swedish television archives possessed more archival footage of the Black Panthers than anyone in the states — while poring through film for a doc on Philly soul, he discovered the rumors were dead-on. With this lyrical film, coproduced by the Bay Area’s Danny Glover, Olsson has assembled an elegant snapshot of black activists and urban life in America, relying on the vivid, startlingly crisp images of figures such as Stokely Carmichael and Huey P. Newton at their peak, while staying true to the wide-open, refreshingly nonjudgmental lens of the Swedish camera crews. Questlove of the Roots and Om’Mas Keith provide the haunting score for the film, beautifully historicized with shots of Oakland in the 1960s and Harlem in the ’70s. It’s made indelible thanks to footage of proto-Panther school kids singing songs about grabbing their guns, and an unforgettable interview with a fiery Angela Davis talking about the uses of violence, from behind bars and from the place of personally knowing the girls who died in the infamous Birmingham, Ala., church bombing of 1963. (1:36) Embarcadero, Piedmont, Shattuck. (Chun)

City of Life and Death There have been a number of recent works about the “rape of Nanking,” but perhaps none tackles the brutal nature of Nanjing’s fall with as much beauty as City of Life and Death. Shot in striking black and white, the film depicts the invasion of China’s capital by Japanese forces from a number of points of view, including that of a Japanese soldier. It can be difficult at times to become emotionally attached to characters within such a restless narrative, but the structure goes a long way toward keeping the proceedings balanced. The stunningly elaborate sets and cinematography alone are worth the price of admission, and it’s amazing that such detail was achieved with a budge of less than $12 million. But it is the unflinching catalog of the some 300,000 murders and rapes that took place between 1937 and 1938 in Nanjing that will remain with you long after watching. (2:13) Opera Plaza. (Peter Galvin)

Dolphin Tale A wayward dolphin with an injured tail is rescued by marine biologists, befriends a little boy and his single mother (Ashley Judd), and somehow Kris Kristofferson and Morgan Freeman are involved. Admit it, you’re weeping already. (1:53) Presidio.

Farmageddon First-time director Kristin Canty embarked on this documentary after discovering the healing power of raw milk in helping her child’s allergies. And it shows. Farmaggedon really should have been titled A Raw Deal for Raw Milk, considering its primary focus on several small family-operated dairies and the souring treatment they have received from government bureaucrats, spurring Canty’s activist act of making this movie. Larry and Linda Failace of Three Shephard’s Cheese in Vermont (the latter wrote her own book, 2007’s Mad Sheep: The True Story Behind the USDA’s War on a Family Farm) seem to have suffered the most, driven out of business when the sheep they brought over legally, with all the required quarantines, were seized and destroyed by the government agents on the pretext that the animals might spread “mad cow” disease. The sight of Linda Failace breaking into tears reading her daughter’s words about how the sheep were like her brothers and sisters is heart-breaking. Undermining such powerful, outrageous material are Canty’s textbook missteps: the director has major problems organizing her seemingly scattershot, lopsided material into a coherent and, er, organic whole, and lets her many sources drone on without a strong narrative through-line. All of this makes Farmaggedon a bit of a struggle to watch, although the dirt Canty digs up is likely to justifiably raise the hackles of progressive foodies. (1:30) Roxie, Smith Rafael. (Chun)

*Killer Elite Jason Statham has a lot going on, in addition to devastatingly attractive male-pattern balding: along with fellow Brit Daniel Craig, he’s one of the most believable action heroes in the cineplex today. This continent-hopping, Bourne-ish exercise, kitted out with piercingly loud sound design, comes chock-full of promise in the form of Statham, Robert De Niro, and Clive Owen, wielding endless firearms and finding new deadly uses for bathroom tile — you don’t want to be caught solo in anger management class with these specialists in cinematic rageaholism. Mercenary assassin Danny (Statham) wants out of the game after a traumatic killing involving way too much eye contact with a small child. Killer coworker Hunter (De Niro) pulled him out of that tight spot, so when the aging gunman is held hostage, Danny must emerge from hiding in rural Australia and take on a seemingly impossible case: avenge the deaths of a dying sheik’s sons, who were gunned down by assorted highly trained British military hotshots, get them to confess, and make it all look like an accident. Oh, yes, and try to make sure his own loved ones aren’t killed in the process. Dancing backwards as fast as he can is those retired Brits’ guardian angel-of-sorts, Spike (Owen), another intense, dangerous fellow with too much time on his hands. Throw in my favorite Oz evil-doer Adewale Akinnuoye-Agbaje as Danny and Hunter’s boss, some welcome been-there twinkle from De Niro, as well as a host of riveting fight scenes (and that ’00s cliché: sudden death by bus/truck/semi), and you have diverting popcorn killer. (1:40) Presidio. (Chun)

Moneyball As fun as it is to watch Brad Pitt listen to the radio, work out, hang out with his cute kid, and drive down I-80 over and over again, it doesn’t quite translate into compelling cinema for the casual baseball fan. A wholesale buy-in to the cult of personality — be it A’s manager Billy Beane or the actor who plays him — is at the center of Moneyball‘s issues. Beane (Pitt) is facing the sad, inevitable fate of having to replace his star players, Jason Giambi and Johnny Damon, once they command the cash from the more-moneyed teams. He’s gotta think outside of the corporate box, and he finds a few key answers in Peter Brand (a.k.a. Paul DePodesta, played by Jonah Hill), who’s working with the sabermetric ideas of Bill James: scout the undervalued players that get on base to work against better-funded big-hitters. Similarly, against popular thought, Moneyball works best when director Bennett Miller (2005’s Capote) strays from the slightly flattening sunniness of its lead actor and plunges into the number crunching — attempting to visualize the abstract and tapping into the David Fincher network, as it were (in a related note, Aaron Sorkin co-wrote Moneyball‘s screenplay) — though the funny anti-chemistry between Pitt and Hill is at times capable of pulling Moneyball out of its slump. (2:13) Marina. (Chun)

*My Afternoons with Margueritte There’s just one moment in this tender French dramedy that touches on star Gerard Depardieu’s real life: his quasi-literate salt-of-the-earth character, Germain, rushes to save his depressed friend from possible suicide only to have his pretentious pal pee on the ground in front of him. Perhaps Depardieu’s recent urinary run-in, on the floor of an airline cabin, was an inspired reference to this moment. In any case, My Afternoons With Margueritte offers a hope of the most humanist sort, for all those bumblers and sad cases that are usually shuttled to the side in the desperate ’00s, as Depardieu demonstrates that he’s fully capable of carrying a film with sheer life force, rotund gut and straw-mop ‘do and all. In fact he’s almost daring you to hate on his aging, bumptious current incarnation: Germain is the 50-something who never quite grew up or left home. The vegetable farmer is treated poorly by his doddering tramp of a mother and is widely considered the village idiot, the butt of all the jokes down at the cafe, though contrary to most assumptions, he manages to score a beautiful, bus-driving girlfriend (Sophie Guillemin). However the true love of his life might be the empathetic, intelligent older woman, Margueritte (Gisele Casadesus), that he meets in the park while counting pigeons. There’s a wee bit of Maude to Germain’s Harold, though Jean Becker’s chaste love story is content to remain within the wholesome confines of small-town life — not a bad thing when it comes to looking for grace in a rough world. (1:22) Embarcadero, Shattuck. (Chun)

Restless See “Twee of Life.” (1:35) Lumiere, Shattuck.

*3 The press literature for 3, Tom Tykwer’s latest, throws around references to classic Hollywood screwball comedies, but this romantic drama is far too self-conscious, serious, and almost pretentious to ever completely ape the mercury lightness of that genre. Apart from one slightly jarring fantasy sequence or two, this polyamorous love story is all about contemporary Berlin bohemia, from hero Hanna’s (Sophie Rois) immersion in the worlds of science and art, to her increasingly plastic relationship with partner Simon (Sebastian Schipper). On the edge of their 20th anniversary, the smart, stylish 40-ish bohos are still in love, though a younger, perpetually amused-looking doctor Adam (Devid Striesow) threatens to turn their two-decade itch into something much more involved. Tykwer kicks off his high-minded romp with a pas de trois, sprinkling split-screen interludes into the program as he goes, but such devices fall away — sucking the viewer into its heady, seductive undertow — beneath the sheer eroticism of these sexual empiricists’ couplings, particularly in the humid, Cat People-like scenes set in a Badeschiff pool, which comes to resemble a carnally charged hothouse as envisioned by Olafur Eliasson. (1:59) Sundance Kabuki. (Chun)

ONGOING

Bucky Larson: Born to Be a Star (1:36) 1000 Van Ness.

Circumstance Thirteen (2003) goes to Tehran? The world of sex, drugs, and underground nightclubs in Iran provides the backdrop for writer-director Maryam Keshavarz’s lusty, dreamy take on the passionate teenagers behind the hijabs. Risking jail and worse are the sassy, privileged Atafeh (Nikohl Boosheri) and the beautiful, orphaned Shireen (Sarah Kazemy), who, much like young women anywhere, just want to be free — to swim, sing, dance, test boundaries, lose, and then find themselves. The difference here is that they’re under constant, unnerving surveillance, in a country where more than 70 percent of the population is less than 30 years old. Nevertheless, within their mansion walls and without, beneath graffitied walls and undulating at intoxicating house parties, the two girls begin to fall in love with each other, as Atafeh’s handsome, albeit creepy older brother Mehran (Palo Alto-bred Reza Sixo Safai) gazes on. The onetime musical talent’s back from rehab, has returned to the mosque with all the zeal of the prodigal, and has hooked up with the Morality Police that enforces the nation’s cultural laws. Filmed underground in Beirut, with layers that permit both pleasure and protest (wait for the hilarious moment when 2008’s Milk is dubbed in Farsi), Circumstance viscerally transmits the realities and fantasies of Iranian young women on the verge. (1:45) Embarcadero, Shattuck. (Chun)

*Cold Fish Did you love (or find yourself baffled by) Sion Sono’s Love Exposure during its Roxie run? Sono’s Cold Fish is similarly occupied with indoctrination, masochism, and extreme behavior. However, it’s also somewhat better able to sustain a tone of hysteria escalating toward dementia. An unhappy family (father Mitsuru Fukikoshi, daughter Hikari Kajiwara, stepmother Megumi Kagurazaka) is yanked into the orbit of a tropical-fish tycoon (Denden) who at first seems a boisterous benefactor providing shock therapy to their depressed lives out of simple altruism. But he and his bombshell wife (Asuka Kurosawa) soon reveal sides not just sinister but psychopathic, ensnaring all three in diabolical doings that encompass murder, rape, grisly corpse disposals, and more. Structured like Love Exposure as one long countdown to a transformative moment, Cold Fish pushes black comedy way beyond the bounds of taste with an oddly neutralizing good cheer. It’s a manic Grand Guignol set to the soothing kitsch strains of retro Hawaiian-flavored lounge music. (2:24) Roxie. (Harvey)

Colombiana (1:47) 1000 Van Ness.

*Connected: An Autoblogography About Love, Death, and Technology Local filmmaker Tiffany Shlain (founder of the Webby Awards) takes a look at 21st century connections, both technological and personal, in this documentary. And the film gets very personal at times; constructed mostly as a video collage (using animation, stock footage, etc.), its few original clips come from Shlain family movies, which become more poignant when it’s revealed that the filmmaker’s beloved father, an author and brain surgeon, is dying of brain cancer. Shlain’s film draws some of its themes from her father’s 1999 book The Alphabet Versus the Goddess, a study of literacy’s effect on male-female dynamics over history, and the film is dedicated to him. But though the Shlain family’s struggles with loss and life (the filmmaker was pregnant when her father died) form Connected‘s thru line, the film’s probing, lively exploration of links (on- and offline) is universally relatable, and ultimately quite thought-provoking. (1:20) Embarcadero, Shattuck. (Eddy)

*Contagion Tasked with such panic-inducing material, one has to appreciate director Steven Soderbergh’s cool head and hand with Contagion. Some might even dub this epic thriller (of sorts) cold, clinical, and completely lacking in bedside manner. Still, for those who’d rather be in the hands of a doctor who refuses to talk down to the patient, Contagion comes on like a refreshingly smart, somewhat melodrama-free clean room, a clear-eyed response to a messy, terrifying subject. A deadly virus is spreading swiftly — sans cure, vaccine, or sense — starting with a few unlikely suspects: globe-trotting corporate exec Beth (Gwyneth Paltrow), a waiter, a European tourist, and a Japanese businessman. The chase is on to track the disease’s genesis and find a way to combat it, from the halls of the San Francisco Chronicle and blog posts of citizen activist-journalist Alan (Jude Law), to the emergency hospital in the Midwest set up by intrepid Dr. Mears (Kate Winslet), to a tiny village in China with a World Health investigator (Marion Cotillard). Soderbergh’s brisk, businesslike storytelling approach nicely counterpoints the hysteria going off on the ground, as looting and anarchy breaks out around Beth’s immune widower Mitch (Matt Damon), and draws you in — though the tact of making this disease’s Typhoid Mary a sexually profligate woman is unsettling and borderline offensive, as is the predictable blame-it-on-the-Chinese origin coda. (1:42) California, Empire, Marina, 1000 Van Ness, Sundance Kabuki. (Chun)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) SF Center, Shattuck, Sundance Kabuki. (Chun)

The Debt On paper, The Debt has a lot going for it: captivating history-based plot, “it” actor Jessica Chastain, Helen Mirren vs. Nazis. And while the latest from John Madden (1998’s Shakespeare in Love) is fairly entertaining, the film is ultimately forgettable. Chastain plays Rachel, a member of an Israeli team tasked with capturing a Nazi war criminal and bringing him to justice. Mirren is the older Rachel, who is haunted by the long-withheld true story of the mission. Although The Debt traffics in spy secrets, it’s actually rather predictable: the big reveal is shrug-worthy, and the shocking conclusion is expected. So while the entire cast — which also includes Tom Wilkinson, Sam Worthington, and Ciaran Hinds — turn in admirable performances, the script is lacking what it needs to make The Debt an effective drama or thriller. Like 2008’s overrated The Reader, the film tries to hide its inadequacies under heavy themes and the dread with which we remember the Holocaust. (1:54) Four Star, 1000 Van Ness, Sundance Kabuki. (Peitzman)

Detective Dee and the Mystery of the Phantom Flame (2:02) Embarcadero, Shattuck, Sundance Kabuki.

*Drive Such a lovely way to Drive, drunk on the sensual depths of a lush, saturated jewel tone palette and a dreamlike, almost luxurious pacing that gives off the steamy hothouse pop romanticism of ’80s-era Michael Mann and David Lynch — with the bracing, impactful flecks of threat and ultraviolence that might accompany a car chase, a moody noir, or both, as filtered through a first-wave music video. Drive comes dressed in the klassic komforts — from the Steve McQueen-esque stances and perfectly cut jackets of Ryan Gosling as the Driver Who Shall Remain Nameless to the foreboding lingering in the shadows and the wittily static, statuesque strippers that decorate the background. Gosling’s Driver is in line with Mann’s other upstanding working men who hew to an old-school moral code and are excellent at what they do, regardless of what side of the law they’re working: he likes to keep it clear and simple — his services as a wheelman boil down to five minutes, in and out — but matters get messy when he falls for sweet-faced neighbor Irene (Carey Mulligan), who lives down the hall with her small son, and her ex-con husband (Oscar Isaac) is dragged back into the game. Populated by pungent side players like Albert Brooks, Bryan Cranston, Ron Perlman, and Christina Hendricks, and scattered with readily embeddable moments like a life-changing elevator kiss that goes bloodily wrong-right, Drive turns into a real coming-out affair for both Danish director Nicolas Winding Refn (2008’s Bronson), who rises above any crisis of influence or confluence of genre to pick up the po-mo baton that Lynch left behind, and 2011’s MVP Ryan Gosling, who gets to flex his leading-man muscles in a truly cinematic role, an anti-hero and under-the-hood psychopath looking for the real hero within. (1:40) Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

*The Future Dreams and drawings, cats and fantasies, ambition and aimlessness, and the mild-mannered yet mortifying games people play, all wind their way into Miranda July’s The Future. The future’s a scary place, as many of us fully realize, even if you hide from it well into your 30s, losing yourself in the everyday. But you can’t duck July’s collection of moments, objects, and small gestures transformed into something strangely slanted and enchanted, both weird and terrifying, when viewed through July’s looking glass. Care and commitment — to oneself and others — are two vivid threads running through The Future. Cute couple Sophie (July) and Jason (Hamish Linklater) — unsettling look-alikes with their curly crops — appear at first to be sailing contently, aimlessly toward an undemanding unknown: Jason works from home as a customer-service operator, and Sophie attempts to herd kiddies as a children’s dance instructor. But enormous, frightening demands beckon — namely the oncoming adoption of a special-needs feline named Paw-Paw (voiced by July as if it’s a traumatized, innocent child). Lickety-splitsville, they must be all they can be before Paw-Paw’s arrival. The weirdness of the familiar, and the kindness of strangers, become ways into fantasy and escape when the couple bumps up against the limits of their imagination. This ultra-low-key horror movie of the banal is obviously remote territory for July (2005’s Me and You and Everyone We Know). The Future is her best film to date and finds her tumbling into a kind of magical realism or plastic fantastic, embodied by a talking cat that becomes the conscience of the movie. (1:31) Roxie. (Chun)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Lumiere, Shattuck, Sundance Kabuki. (Eddy)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Smith Rafael. (Chun)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) California, Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

I Don’t Know How She Does It I don’t know how a likable comedian like Sarah Jessica Parker does it — meaning, such mediocre material as this mom-com. Parker may have parlayed her Sex and the City fame into a fashion, fragrance, and spin-off franchises, but she still hasn’t quite found her stride away from Carrie Bradshaw, though her Lucille Ball-esque physical comedy here — pulling down her skirt in mid-mommy-frazzle in front of her high-powered client — can be cute. Kate (Parker) just might be the busiest mom in the world: she’s juggling two kids, a hubby whose own career is on the rise (Greg Kinnear), and a major fund idea, which she has to sell to an attractive banking bigwig (Pierce Brosnan). Poor, poor privileged mom — in the trenches of the still-unadorable field of banking, with her obviously sizable salary, enviable Boston duplex, flaky-nice nanny, and bubbly single-mom friend (Christina Hendricks)! The biggest assist comes from her careerist aide, played by Olivia Munn, who grabs the biggest laughs with her deadpan delivery. (1:35) 1000 Van Ness. (Chun)

The Lion King 3D (1:29) 1000 Van Ness, SF Center, Shattuck, Sundance Kabuki.

*Love Crime Early this year came the announcement that Brian De Palma was hot to do an English remake of Alain Corneau’s Love Crime. The results, should they come to fruition, may well prove a landmark in the annals of lurid guilty-pleasure trash. But with the original Love Crime finally making it to local theaters, it’s an opportune moment to be appalled in advance about what sleazy things could potentially be done to this neat, dry, fully clothed model of a modern Hitchcockian thriller. No doubt in France Love Crime looks pretty mainstream. But here its soon-to be-despoiled virtues of narrative intricacy and restraint are upscale pleasures. Ludivine Sagnier plays assistant to high-powered corporate executive Christine (Kristin Scott Thomas). The boss enjoys molding protégée Isabelle to her own image, making them a double team of carefully planned guile unafraid to use sex appeal as a business strategy. But Isabelle is expected to know her place — even when that place robs her of credit for her own ideas — and when she stages a small rebellion, Christine’s revenge is cruelly out of scale, a high-heeled boot brought down to squash an ant. Halfway through an act of vengeance occurs that is shocking and satisfying, even if it leaves the remainder of Corneau and Nathalie Carter’s clever screenplay deprived of the very thing that had made it such a sardonic delight so far. Though it’s no masterpiece, Love Crime closes the book on his Corneau’s career Corneau (he died at age 67 last August) not with a bang but with a crisp, satisfying snap. (1:46) Albany, Clay, Smith Rafael. (Harvey)

Mary Lou A musical fable for fans of Glee, Hedwig and the Angry Inch (2001), The Adventures of Priscilla, Queen of the Desert (1994), and Bollywood, the latest from Eytan Fox (2002’s Yossi and Jagger) is a drag-flavored dramedy (Israel’s first?) Originally a hit miniseries in its home country, Mary Lou screens at the Castro in one big chunk jammed with singing, dancing, and a dreamy cast. Pouty Ido Rosenberg stars as Meir, a gay boy obsessed with finding the mother who left him when he was 10. After a disastrous graduation party, Meir flees his homophobic high school for the worldly environs of Tel Aviv, where he soon becomes a drag star named Mary Lou, after his mother’s favorite song. Love, loss, friendship, tragedy, joy, coming-of-age, and quite a few elaborate musical numbers soon transpire — the plot is not without clichés, to be sure, but it’s hard to hate on anything possessed of such sparkly energy. Not familiar with Svika Pick, the Israeli legend whose music provides much of the soundtrack? It matters not, especially if you’re a fan of deliriously corny pop tunes. (2:30) Castro. (Eddy)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Embarcadero, Piedmont. (Harvey)

Mozart’s Sister Pity the talented sister of a world-shaking prodigy. Maria Anna “Nannerl” Mozart, who may have had just as much promise as a composer as her younger brother, according to Rene Féret’s Mozart’s Sister. A scant five years older, enlisted in the traveling family band led by father-teacher Leopold (Marc Barbe), yet forced to hide her music, being female and forbidden to play violin and compose, Nannerl (Marie Féret, the filmmaker’s daughter) tours the courts of Europe and is acclaimed as a keyboardist and vocalist but is expected to share little of her brother’s brilliant future. Following a chance carriage breakdown near a French monastery, Nannerl befriends one of its precious inhabitants, a daughter of Louis XV (Lisa Féret, another offspring), which leads her to Versailles, into a cross-dressing guise of a boy, and puts her into the sights of the Dauphin (Clovis Fouin, who could easily find a spot in the Cullen vampire clan). He’s seduced by her music and likewise charms Nannerl with his power and feline good looks — what’s a humble court minstrel to do? The conceit of casting one’s daughters in a narrative hinging on unjustly neglected female progeny — shades of Sofia Coppola in The Godfather: Part III (1990)! — almost capsizes this otherwise thoughtful re-imagination of Maria Anna’s thwarted life; despite the fact Féret has inserted his children in his films in the past, both girls offer little emotional depth to their roles. Nevertheless, as a feminist rediscovery pic akin to Camille Claudel (1988), Mozart’s Sister instructs on yet another tragically quashed woman artist and might inspire some righteous indignation. (2:00) Bridge, Shattuck, Smith Rafael. (Chun)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) 1000 Van Ness, Piedmont. (Chun)

*Our Idiot Brother If you thought 1998’s The Big Lebowski had eked all the humor that it could from the Dude, well, screenwriter (and Vanity Fair contributor) Evgenia Peretz, her not-so-idiotic brother (director Jesse Peretz), and star Paul Rudd would differ. They correctly guessed that there are still laughs to be wrung from a shaggy stoner in floral jams, only this time with less fuuuck-s and more benevolent, idiot-savant good vibrations. Dazed and confused broheim 2.0 (Rudd) is glimpsed through the jaded, harried prism of his three dysfunctional, supposedly normal sisters: frumpadelic mom Liz (Emily Mortimer), queen-bitch Vanity Fair writer Miranda (Elizabeth Banks), and slatternly would-be comedian Natalie (Zooey Deschanel). A good-hearted naïf who’s easily entrapped by a uniformed police officer claiming to need some pity doobage, Ned has just emerged from the joint and is now couch-surfing among his sibs, exposing the hypocrisies of bourgie-hipster Brooklyn, as well as the infidelities and vanities of family, friends, and partners (Steve Coogan, Rashida Jones, Adam Scott, and Hugh Dancy) as he goes, in his own good-natured, aw-shucks way. As innocuous (and desexualized) as Andy Griffith beneath the hippie trappings, this dude-with-a-little-d knows where his real family is — with his dog, Willie Nelson, who loves him just as unconditionally. Beastie besties have never seemed so innocent as they are in this proudly feel-good comedy, and despite a cringe-y, saccharine soundtrack and lackadaisical pacing, Rudd’s charismatic sunny slacker and some pointed jabs at the follies of the cooler-than-thou save this indie-that-could. (1:36) 1000 Van Ness, Sundance Kabuki. (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) Opera Plaza. (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) 1000 Van Ness, SF Center. (Chun)

Sarah’s Key (1:42) Four Star, Opera Plaza.

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Opera Plaza, Smith Rafael. (Cooper Berkmoyer)

Straw Dogs Never could I have predicted there would be a day when the violent finale of Straw Dogs would be met with raucous cheers. The original 1971 film was produced within a morally ambiguous social climate and remains one of director Sam Peckinpah’s most controversial efforts; contemporary audiences trained to applaud a payoff of blood and gore are likely in the wrong headspace for a film like this. The remake, which sends a good-natured screenwriter (James Marsden) on a retreat in his wife’s (Kate Bosworth) sweaty Southern hometown where they find themselves at odds with a group of good ol’ boys, remains powerful and just as uncomfortable and mean as Peckinpah’s version, but it’s in service of a moral outcome that’s more in line with its commercial placement: ultimately it takes the road of “man becomes protector” over “man becomes monster.” If you have no interest in the original, you will find a fair bit of talent in this remake, but without the cynical attitude it can be hard to separate Straw Dogs from any other horror-movie-of-the-week. (1:50) 1000 Van Ness, SF Center, Shattuck. (Galvin)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) California, Lumiere. (Harvey)

*Warrior Those wondering why the mixed martial arts scene has captured the imagination of so many can finally understand what the fuss is all about, now that it comes filtered through a melodramatic narrative akin to The Fighter (2010). Warrior‘s mis-en-scene is immediately recognizable: a prodigal returns, in the form of Tom Conlon (Tom Hardy). Once a talented teenage wrestler, the now-battered man is the damaged youngest son of alcoholic ex-boxer Paddy Conlon (Nick Nolte). Tom wants his father to train him for a major mixed martial arts tournament with a multimillion-dollar purse, though the two obviously still have a deadly hold on each other — the repentant Paddy is on the wagon and the emotionally bruised Tom harbors secrets he won’t reveal — and battle with cutting comments rather than fists. Tom isn’t the only prodigal in the house: Paddy has lost the trust of Tom’s bro, Brendan (Joel Edgerton), a former fighter and present-day physics high school teacher who’s struggling to make ends meet with an underwater mortgage. Though Warrior is no Raging Bull (1980), it almost outdukes The Fighter in terms of its brutal bouts, conveying the swift, no-holds-barred action of MMA in the ring, while giving actors plenty of drama to wrap their jowls ’round — particularly in Nolte’s case. His tore-up turn as an all-excuses patriarch is as heartbreaking as a solid kick to the jaw. (2:19) California, 1000 Van Ness, SF Center. (Chun)

 

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

A case for Avalos, Yee and Dufty

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OPINION Like all of us, SEIU 1021 can take three dates to the prom when it comes to voting for mayor, but narrowing it down in a field of so many candidates was still challenging. After a month-long process, we arrived at a dual endorsement of Supervisor John Avalos and State Senator Leland Yee for first and second choice, and Supervisor Bevan Dufty for our third choice.

It’s a diverse slate, and the choices are representative of the constituencies, perspectives and priorities in our membership.

Yee’s record on labor issues in Sacramento has been impeccable, and he has long been a staunch supporter of our union, so endorsing him was a no-brainer. The Guardian asked me personally, as I am also a transgender activist, how I could support Leland after his vote against transgender health benefits. Frankly, I was disappointed in how my response was framed.

Leland approached transgender activists a number of years ago and apologized for his vote. Instead of denying or rationalizing like other politicians might do, he had the courage to come to a community meeting of transgender activists, stand in front of us, admit he was wrong, and apologize. For people to continue to attack an individual for having a true change of heart is very discouraging. We would never make any advancement of our rights if we continued to shun those who have come to understand and support the transgender fight for equality. In fact, Yee’s support was critical to the collective effort to save Lyon-Martin, a clinic that is a key service provider for trans folks, after it almost closed earlier this year.

That’s why so many in the transgender community now support Yee so strongly and why he has become an even closer, tested ally through this experience.

SEIU 1021 has always had a very close relationship with John Avalos. Avalos has been a steadfast supporter of crucial social and health- care services, and has been a leader in creating needed progressive revenue measures. But most importantly, John understands how essential jobs are for lifting people out of poverty and stimulating the local economy for everyone in San Francisco.

Last year, he introduced a Local Hire ordinance that is becoming a real jobs generator in our city and a national model. Like many of our members when they first started working for the city, workers hired under the Local Hire ordinance may for the first time have a living-wage job with benefits.

And while some in labor have been critical of this legislation — in fact, it cost him the endorsement of the San Francisco Labor Council — that’s a short-sighted criticism.

As more people are employed in San Francisco with living wage jobs, they spend money in San Francisco, boosting tax revenues and in turn creating more jobs across the city. Moreover, this visionary legislation has other benefits — workers coming from low-income communities bring a new found pride in and community spirit to what could be otherwise economically depressed areas. That’s why SEIU 1021 supports Avalos, and why I am proud to endorse him as well.

Rounding out SEIU’s endorsements in this campaign is former Supervisor Bevan Dufty. Dufty has a history of supporting preserving city services. Some have argued that Dufty can’t handle downtown pressure, and yet, Dufty has consistently supported public power, took a stance against Sit-Lie despite intense pressure, and several years ago, at a critical juncture for Tom Ammiano’s signature health care legislation, Healthy San Francisco, he didn’t blink when we called on him to be our 8th vote. In fact, he committed to the bill, unequivocally, and called on other supervisors, like Fiona Ma, to say it was time. She immediately co-sponsored and eventually it was a unanimous 11-0 vote.

For labor and progressives, Ammiano’s Healthy San Francisco legislation was the single most important piece of legislation of the last decade. And while history has been rewritten, and Lt. Gov. Gavin Newsom now takes credit for the legislation, then-Mayor Newsom did not come on board until after Dufty declared his support, and as the 8th supporter, created a veto-proof majority.

Each of these candidates have shown their capacity to grow and transform as leaders making them the best choices for progressive labor, and we believe for the San Francisco. Whatever you do, you have three votes, make them count. 

Gabriel Haaland is a transgender labor activist and the SEIU 1021 San Francisco political coordinator.

 

Endorsement interviews: John Avalos

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Sup. John Avalos is running a grassroots progressive campaign for mayor. He is, he says, the only candidate talking about working-class people, and he wans to “create an administration that puts neighborhoods and people first.” He wants to create a municipal bank to use money the city now dumps into Wells Fargo and Bank of America for loans to small businesses and economic development. He told us that by the end of his eight years in office, he’d like to see the city bringing in $500 million a year in new revenue — for education, child care, Muni, parks, public health and other services. Check out the interview (audio and video) after the jump.

Avalos by endorsements2011

Three is the so-so number

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GAMER Take a look at your favorite games from the past few years and you’ll find most were released not only on one system, but on two or three. The days of platform exclusivity are waning, and all these multi-platform releases mean console exclusives like Resistance 3 are increasingly important to manufacturers interested in maintaining their position in the industry.

Sony’s Resistance saga traces the path of a space virus sent to Earth to turn humans into alien-beings called the Chimera. The first two games follow Nathan Hale, a soldier who battles the virus across Europe, and eventually America. Resistance 3 kicks off where the second game ended (Resistance 2 spoiler warning): virus-stricken Hale is shot dead by his second-in-command Joseph Capelli.

Capelli is a more interesting protagonist than his predecessor, and killing off the main character allows developer Insomniac Games to create a more compelling story that deviates from the military action of the first two titles, but it also robs the story of its building tension, and the final product doesn’t have the oomph needed for an epic end to a purported trilogy.

Visually, Resistance 3 boasts some impressive animations and lots of detail. Little things, like trees bent backwards and street signs trembling during a windswept shootout on small-town Main Street, create an uncanny atmosphere that is not unlike Half Life 2 — a game that the cross-country trek of Resistance 3 evokes in more than just atmosphere.

Where Resistance 2 had a more modern shooter attitude (maximum of two guns, regenerative health), the third entry flips the switch in a positively old-school way. Health is distributed via health packs and you can carry a vast and devastating weapons arsenal for the duration of the campaign. Much like Insomniac’s other series Ratchet & Clank, the devil is in the arsenal.

Weapons are introduced at an alarming pace, each with primary and secondary fire, doubling the number of options. Even the earliest of weapons, like the Bullseye (shoots around corners) and the Auger (shoots through walls) are designed to create diverse combat experiences, and a limited ammo supply encourages you to try them all.

Three years of polish has done wonders for Resistance 3, but it’s hard to believe this is the end Insomniac had in mind. Despite its Sony exclusivity, consumer hype is not where it needs to be and Insomniac recently indicated that they are ready to move on. On paper, Resistance 3 is easy to recommend: it’s atmospheric, varied, and has a ton of content when you factor in above-average multiplayer, 3D and Move support. But in a sea of options, it’s hard not to be wary of the sinking ship. 

Film Listings

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OPENING

*All She Can Muscle Milkers and protein powderheads might want to bottle the ferocity of Texas-small-town teen Luz Garcia (Corina Calderon): it’s all heat, marathon-level work ethic, and can-do pigheaded mettle — hold the heavy metals. Instead, Luz presses, or rather lifts, really heavy metal — her opportunity to rise above her Mexican American family’s working-class lot is to attend University of Texas at Austin on a scholarship pegged on winning the state power lifting championships. Unfortunately, there’s a gauntlet of obstacles facing the teenager: her family is struggling with the burden of debt, boyfriend Raynaldo (Jeremy Ray Valdez) is tempting her with performance-enhancement drugs, and Luz has a bit of an anger-management issue, so much so that her abuela (Julia Vera) is rubbing eggs on her and taking her to a bruja to exorcise her demons. In Luz’s favor, however, is filmmaker Amy Wendel, who has an empathetic, attentive eye for the petite blue-collar powerhouse who can dead lift 280 pounds yet must struggle to find her balance in the world. Screening as part of the Maya Indie Film Series. (1:36) Opera Plaza. (Chun)

Aurora Critics have been divided over Cristi Puiu’s Aurora since its 2010 Cannes debut. It’s not hard to see why: even filmgoers who loved Puiu’s 2005 The Death of Mr. Lazarescu, or are obsessed with Romania’s newly thriving film industry, or even enjoy films that are deliberately slow-moving and enigmatic (like 1975’s Jeanne Dielman) still may want to give Aurora a pass. For three hours, a man (played by Puiu) putters, drives around, spies, and has a series of increasingly frustrating and futile encounters (with neighbors, relatives, co-workers, and strangers). When a firearm appears around 45 minutes in, it seems that something might finally happen, but it’s no spoiler to reveal that the motivation behind what does happen is barely explained, and also that the events unfold in inscrutable long shots. It’s clear by the film’s extreme length that Puiu wants viewers to feel mind-numbed by his deconstructed genre film (its working title was the perhaps too-literal Scenes from a Crime). The artistic effort is admirable, but be warned: there’s a fine line between “challenging” and “boring.” (3:01) SFFS New People Cinema. (Eddy)

*Cold Fish Did you love (or find yourself baffled by) Sion Sono’s Love Exposure during its Roxie run? Sono’s Cold Fish is similarly occupied with indoctrination, masochism, and extreme behavior. However, it’s also somewhat better able to sustain a tone of hysteria escalating toward dementia. An unhappy family (father Mitsuru Fukikoshi, daughter Hikari Kajiwara, stepmother Megumi Kagurazaka) is yanked into the orbit of a tropical-fish tycoon (Denden) who at first seems a boisterous benefactor providing shock therapy to their depressed lives out of simple altruism. But he and his bombshell wife (Asuka Kurosawa) soon reveal sides not just sinister but psychopathic, ensnaring all three in diabolical doings that encompass murder, rape, grisly corpse disposals, and more. Structured like Love Exposure as one long countdown to a transformative moment, Cold Fish pushes black comedy way beyond the bounds of taste with an oddly neutralizing good cheer. It’s a manic Grand Guignol set to the soothing kitsch strains of retro Hawaiian-flavored lounge music. (2:24) Roxie. (Harvey)

*Connected: An Autoblogography About Love, Death, and Technology Local filmmaker Tiffany Shlain (founder of the Webby Awards) takes a look at 21st century connections, both technological and personal, in this documentary. And the film gets very personal at times; constructed mostly as a video collage (using animation, stock footage, etc.), its few original clips come from Shlain family movies, which become more poignant when it’s revealed that the filmmaker’s beloved father, an author and brain surgeon, is dying of brain cancer. Shlain’s film draws some of its themes from her father’s 1999 book The Alphabet Versus the Goddess, a study of literacy’s effect on male-female dynamics over history, and the film is dedicated to him. But though the Shlain family’s struggles with loss and life (the filmmaker was pregnant when her father died) form Connected‘s thru line, the film’s probing, lively exploration of links (on- and offline) is universally relatable, and ultimately quite thought-provoking. (1:20) Embarcadero, Shattuck. (Eddy)

Detective Dee and the Mystery of the Phantom Flame Tsui Hark directs this period epic starring Andy Lau and featuring fight choreography by Sammo Hung. (2:02) Embarcadero, Shattuck.

*Drive Such a lovely way to Drive, drunk on the sensual depths of a lush, saturated jewel tone palette and a dreamlike, almost luxurious pacing that gives off the steamy hothouse pop romanticism of ’80s-era Michael Mann and David Lynch — with the bracing, impactful flecks of threat and ultraviolence that might accompany a car chase, a moody noir, or both, as filtered through a first-wave music video. Drive comes dressed in the klassic komforts — from the Steve McQueen-esque stances and perfectly cut jackets of Ryan Gosling as the Driver Who Shall Remain Nameless to the foreboding lingering in the shadows and the wittily static, statuesque strippers that decorate the background. Gosling’s Driver is in line with Mann’s other upstanding working men who hew to an old-school moral code and are excellent at what they do, regardless of what side of the law they’re working: he likes to keep it clear and simple — his services as a wheelman boil down to five minutes, in and out — but matters get messy when he falls for sweet-faced neighbor Irene (Carey Mulligan), who lives down the hall with her small son, and her ex-con husband (Oscar Isaac) is dragged back into the game. Populated by pungent side players like Albert Brooks, Bryan Cranston, Ron Perlman, and Christina Hendricks, and scattered with readily embeddable moments like a life-changing elevator kiss that goes bloodily wrong-right, Drive turns into a real coming-out affair for both Danish director Nicolas Winding Refn (2008’s Bronson), who rises above any crisis of influence or confluence of genre to pick up the po-mo baton that Lynch left behind, and 2011’s MVP Ryan Gosling, who gets to flex his leading-man muscles in a truly cinematic role, an anti-hero and under-the-hood psychopath looking for the real hero within. (1:40) Presidio. (Chun)

Forged Strong performances mark the wintry, fateful indie Forged, which at times almost threatens to swallow up its players in its sooty, steel-town ambience. Two lives run in tandem: homeless teen Machito (David Castro) is scraping out a life alone, haunted by horrific memories, while father Chuco (Manny Perez) has just emerged from prison, released on good behavior and far from eager to return to his criminal past. Much stands between the father and son — Chuco murdered Machito’s mother in front of him, and has much to make up for. Dysfunctional grandmother Dianne (Margo Martindale) is little help. Will viewers care about these blighted figures, bundled up in the cold and attempting to thaw from the inside out? Director William Wedig dances with clichés, but the actors, particularly Perez, are critical in making us care about the outcome, positioned somewhere between Scranton, Penn., and oblivion. Screening as part of the Maya Indie Film Series.

(1:17) Opera Plaza. (Chun)

I Don’t Know How She Does It Sarah Jessica Parker stars in this comedy about a woman who struggles to balance her career, family, and (no doubt) fabulous wardrobe. (1:35) Presidio.

The Lion King 3D Hakuna matata — in your face! (1:29) Shattuck.

Mary Lou A musical fable for fans of Glee, Hedwig and the Angry Inch (2001), The Adventures of Priscilla, Queen of the Desert (1994), and Bollywood, the latest from Eytan Fox (2002’s Yossi and Jagger) is a drag-flavored dramedy (Israel’s first?) Originally a hit miniseries in its home country, Mary Lou screens at the Castro in one big chunk jammed with singing, dancing, and a dreamy cast. Pouty Ido Rosenberg stars as Meir, a gay boy obsessed with finding the mother who left him when he was 10. After a disastrous graduation party, Meir flees his homophobic high school for the worldly environs of Tel Aviv, where he soon becomes a drag star named Mary Lou, after his mother’s favorite song. Love, loss, friendship, tragedy, joy, coming-of-age, and quite a few elaborate musical numbers soon transpire — the plot is not without clichés, to be sure, but it’s hard to hate on anything possessed of such sparkly energy. Not familiar with Svika Pick, the Israeli legend whose music provides much of the soundtrack? It matters not, especially if you’re a fan of deliriously corny pop tunes. (2:30) Castro. (Eddy)

Mozart’s Sister Pity the talented sister of a world-shaking prodigy. Maria Anna “Nannerl” Mozart, who may have had just as much promise as a composer as her younger brother, according to Rene Féret’s Mozart’s Sister. A scant five years older, enlisted in the traveling family band led by father-teacher Leopold (Marc Barbe), yet forced to hide her music, being female and forbidden to play violin and compose, Nannerl (Marie Féret, the filmmaker’s daughter) tours the courts of Europe and is acclaimed as a keyboardist and vocalist but is expected to share little of her brother’s brilliant future. Following a chance carriage breakdown near a French monastery, Nannerl befriends one of its precious inhabitants, a daughter of Louis XV (Lisa Féret, another offspring), which leads her to Versailles, into a cross-dressing guise of a boy, and puts her into the sights of the Dauphin (Clovis Fouin, who could easily find a spot in the Cullen vampire clan). He’s seduced by her music and likewise charms Nannerl with his power and feline good looks — what’s a humble court minstrel to do? The conceit of casting one’s daughters in a narrative hinging on unjustly neglected female progeny — shades of Sofia Coppola in The Godfather: Part III (1990)! — almost capsizes this otherwise thoughtful re-imagination of Maria Anna’s thwarted life; despite the fact Féret has inserted his children in his films in the past, both girls offer little emotional depth to their roles. Nevertheless, as a feminist rediscovery pic akin to Camille Claudel (1988), Mozart’s Sister instructs on yet another tragically quashed woman artist and might inspire some righteous indignation. (2:00) Embarcadero, Shattuck, Smith Rafael. (Chun)

Straw Dogs Which is worse: a pointless remake of a classic movie, or a re-release of a classic movie with 3D slapped all over it? Discuss. (1:50) Shattuck.

ONGOING

Apollo 18 (1:26) Empire, 1000 Van Ness, SF Center.

*Bellflower Picture Two Lane Blacktop (1971) drifters armed with “dude”-centric vocabulary and an obsession with The Road Warrior (1981) and its apocalypse-wow survivalist chic. There are so many pleasures in this janky, so-very-DIY, heavy-on-the-sunblasted-atmosphere indie that you’re almost willing to overlook the clichés, the dead zones, and the annoying characters. Seeming every-dudes Woodrow (director-writer-producer Evan Glodell) and Aiden (Tyler Dawson) are far too obsessed with tricking out their cars and building a flamethrower for their own good — the misfits must force themselves out of the metal shop of the mind to meet women. So when Woodrow goes up against Milly (Jessie Wiseman) in a cricket-eating contest at a bar, it’s love at first bite. Their meet-gross morphs into a road trip and eventually a relationship, while the flamethrower nags, unexplained, in the background, like an unfired gun — or an unconsummated, not-funny bromance. These manifestations of male fantasy — muscle cars, weapons, and tough chicks — are cast in a dreamy, saturated, and burnt-at-the-edges light, as Glodell and company weave together barely articulated reveries and bad-new-west imagery with a kind of fuck-all intelligence, culminating in a finale that will either haunt you with its scattershot machismo-romanticism or leave you scratching your noggin wondering what just happened. (1:46) Roxie. (Chun)

Bucky Larson: Born to Be a Star (1:36) 1000 Van Ness.

Captain America: The First Avenger OK, Marvel. I could get behind 2008’s Iron Man (last year’s Iron Man 2, not so much), but after Thor and now Captain America, I’m starting to get cynical about this multi-year build-up to the full-on Avengers movie, due in May 2012. Can even a superhero-stuffed movie directed by Joss Whedon live up to all this hype? There’s plenty of time to ponder, and maybe worry a little, with Captain America’s backstory-explaining picture now in theaters. Chris Evans stars as the 90-pound weakling who morphs into a supersoldier, thanks to the World War II-era tinkerings of a scientist (Stanley Tucci) and an inventor (Dominic Cooper as Howard Stark, a.k.a. Iron Man’s dad). The original plan for the musclebound shield-bearer (fighting Nazis, natch) gets waylaid a bit when the newly famous Captain America becomes a PR prop for the U.S. government; it’s abandoned entirely when a worse-than-Hitler foe, in the guise of power-obsessed Red Skull (Hugo Weaving), threatens the world. Directed by Spielberg cohort Joe Johnston, Captain America is gee-whiz enjoyable enough, but it’s very nearly the same movie as Thor, which no amount of Tommy Lee Jones (as a sarcastic army colonel) wisecracks can conceal. And here’s an anti-spoiler: there’s no post-credits surprise in this one, so you can bolt as soon as they start to roll. (2:09) SF Center. (Eddy)

Chasing Madoff Bernie Madoff was a cold-blooded Ponzi schemer who ripped off billions from rich folks, average folks, little old ladies, children, charities, and so on, ruining lives while stoking the fire of the still-robust financial crisis. But he isn’t the only villain in Jeff Prosserman’s doc — there’s plenty of haterade left over to be (deservedly) dumped on the US Securities and Exchange Commission, which (willfully?) looked the other way for nearly a decade despite warnings about Madoff’s growing misdeeds. Chasing Madoff champions the few who dared speak up, chiefly fraud investigator Harry Markopolos, who badgered the SEC and the press for years and was eventually outed as the “Madoff whistleblower,” despite the fact that Madoff’s downfall came, more or less, when the man simply ran out of money. It was only after the fact that Markopolos gained fame by shaming the SEC with what must have been a deeply satisfying I-told-you-so testimony before Congress. Madoff’s crimes are so recent and notorious that anyone who watches this doc will already know what happens in the end; still, Chasing Madoff tries quite hard to build suspense. (As a result Markopolos comes off a bit paranoid — sure, Madoff may have had underworld connections, but do we really a re-enactment of Markopolos at the gun range, or groping ‘neath his minivan to check for car bombs?) Despite his ultimate triumph, Markopolos is reluctant to agree with anyone who calls him a hero, pointing out that because his findings were ignored, he wasn’t able to prevent Madoff from preying on more victims. The suicides associated with the Madoff collapse add an even sadder coda to the story. (1:31) Metreon. (Eddy)

Circumstance Thirteen (2003) goes to Tehran? The world of sex, drugs, and underground nightclubs in Iran provides the backdrop for writer-director Maryam Keshavarz’s lusty, dreamy take on the passionate teenagers behind the hijabs. Risking jail and worse are the sassy, privileged Atafeh (Nikohl Boosheri) and the beautiful, orphaned Shireen (Sarah Kazemy), who, much like young women anywhere, just want to be free — to swim, sing, dance, test boundaries, lose, and then find themselves. The difference here is that they’re under constant, unnerving surveillance, in a country where more than 70 percent of the population is less than 30 years old. Nevertheless, within their mansion walls and without, beneath graffitied walls and undulating at intoxicating house parties, the two girls begin to fall in love with each other, as Atafeh’s handsome, albeit creepy older brother Mehran (Palo Alto-bred Reza Sixo Safai) gazes on. The onetime musical talent’s back from rehab, has returned to the mosque with all the zeal of the prodigal, and has hooked up with the Morality Police that enforces the nation’s cultural laws. Filmed underground in Beirut, with layers that permit both pleasure and protest (wait for the hilarious moment when 2008’s Milk is dubbed in Farsi), Circumstance viscerally transmits the realities and fantasies of Iranian young women on the verge. (1:45) Embarcadero, Shattuck. (Chun)

Colombiana (1:47) 1000 Van Ness.

*Contagion Tasked with such panic-inducing material, one has to appreciate director Steven Soderbergh’s cool head and hand with Contagion. Some might even dub this epic thriller (of sorts) cold, clinical, and completely lacking in bedside manner. Still, for those who’d rather be in the hands of a doctor who refuses to talk down to the patient, Contagion comes on like a refreshingly smart, somewhat melodrama-free clean room, a clear-eyed response to a messy, terrifying subject. A deadly virus is spreading swiftly — sans cure, vaccine, or sense — starting with a few unlikely suspects: globe-trotting corporate exec Beth (Gwyneth Paltrow), a waiter, a European tourist, and a Japanese businessman. The chase is on to track the disease’s genesis and find a way to combat it, from the halls of the San Francisco Chronicle and blog posts of citizen activist-journalist Alan (Jude Law), to the emergency hospital in the Midwest set up by intrepid Dr. Mears (Kate Winslet), to a tiny village in China with a World Health investigator (Marion Cotillard). Soderbergh’s brisk, businesslike storytelling approach nicely counterpoints the hysteria going off on the ground, as looting and anarchy breaks out around Beth’s immune widower Mitch (Matt Damon), and draws you in — though the tact of making this disease’s Typhoid Mary a sexually profligate woman is unsettling and borderline offensive, as is the predictable blame-it-on-the-Chinese origin coda. (1:42) Balboa, California, Empire, Marina, 1000 Van Ness, Sundance Kabuki. (Chun)

Crazy, Stupid, Love Keep the poster’s allusion to 1967’s The Graduate to one side: there aren’t many revelations about midlife crises in this cleverly penned yet strangely flat ensemble rom-com, awkwardly pitched at almost every demographic at the cineplex. There’s the middle-aged romance that’s withered at the vine: nice but boring family man Cal (Steve Carell) finds himself at a hopeless loss when wife and onetime teenage sweetheart Emily (Julianne Moore) tells him she wants a divorce and she’s slept with a coworker (Kevin Bacon). He ends up waxing pathetic at a slick nightclub where he catches the eye of the well-dressed, spray-tanned smoothie Jacob (Ryan Gosling), who appears to have taken his ladies man stance from the Clooney playbook. It’s manly makeover time: GQ meets Pretty Woman (1990)! Cut to Cal and Emily’s babysitter Jessica (Analeigh Tipton), who is crushing out on Cal, while the separated couple’s tween Robbie (Jonah Bobo) hankers for Jessica. Somehow Josh Groban worms his way into the mix as the dullard suitor of Hannah (Emma Stone) in a hanging chad of a storyline that must somehow be resolved in this mad, mad, mad, mad — actually, the problem with Crazy, Stupid, Love is that it isn’t really that crazy. It tries far too hard to please everybody in the theater to its detriment, reminding the viewer of a tidy, episodic TV series (albeit a quality effort) like Modern Family more than an actual film. Likewise I yearned for a way to fast-forward through the too-cute Jessica-Robbie scenes in order to get back to the sleazy-smart, punchy complexity of Gosling, playing adeptly off both Carrell and Stone. (1:58) Presidio, SF Center, Shattuck, Sundance Kabuki. (Chun)

The Debt On paper, The Debt has a lot going for it: captivating history-based plot, “it” actor Jessica Chastain, Helen Mirren vs. Nazis. And while the latest from John Madden (1998’s Shakespeare in Love) is fairly entertaining, the film is ultimately forgettable. Chastain plays Rachel, a member of an Israeli team tasked with capturing a Nazi war criminal and bringing him to justice. Mirren is the older Rachel, who is haunted by the long-withheld true story of the mission. Although The Debt traffics in spy secrets, it’s actually rather predictable: the big reveal is shrug-worthy, and the shocking conclusion is expected. So while the entire cast — which also includes Tom Wilkinson, Sam Worthington, and Ciaran Hinds — turn in admirable performances, the script is lacking what it needs to make The Debt an effective drama or thriller. Like 2008’s overrated The Reader, the film tries to hide its inadequacies under heavy themes and the dread with which we remember the Holocaust. (1:54) Marina, 1000 Van Ness, Sundance Kabuki. (Peitzman)

Don’t Be Afraid of the Dark If you’re expecting a traditional haunted house story, Don’t Be Afraid of the Dark might be a disappointment. The film, which was co-written by Guillermo del Toro, has a lot in common with his Pan’s Labyrinth (2006) — both movies are more dark fairy tale than horror. They follow a young girl who discovers a mystical world around her, much to the disbelief of the adults around her. It’s worth noting that Don’t Be Afraid of the Dark is lighter fare: despite all the peril involved, it’s actually pretty fun. Young Bailee Madison, who made such an impression in 2009’s Brothers, is a charming lead, precocious but believable. And Katie Holmes is surprisingly sympathetic in her role as the caring stepmother, a nice switch from the standard fairy tale trope. As with Fright Night, the ad campaign for Don’t Be Afraid of the Dark is misleading, so here’s hoping audience members looking for a gory slasher will appreciate a whimsical fable instead. (1:40) 1000 Van Ness. (Peitzman)

The Guard Irish police sergeant Gerry Boyle (Brendan Gleeson) is used to running his small town on his own terms — not in a completely Bad Lieutenant (1992) kind of way, though he’s not afraid to sample drugs and hang with hookers. More like, he’s been running the show for years, and would prefer that big-city cops stay the hell out of his village. Alas, a gang of drug smugglers is doing business in the area, so an officious group of investigators from Dublin (horrors!) and America (in the form of an FBI agent played by Don Cheadle) soon descend. His mother’s dying, his brand-new partner’s missing, and between all the interlopers on both sides of the law, Boyle’s having a hard time having a pint in peace. Good thing he’s not as simple-minded as all who surround him think he is. Writer-director John Michael McDonagh (brother of playwright Martin, who directed 2008’s In Bruges — also starring Gleeson) puts an affable Irish spin on what’s essentially a pretty typical indie comedy, with some pretty typical crime-drama elements layered atop. Boyle’s character is memorably clever, but the film that contains him never quite elevates to his level. (1:36) Embarcadero, Shattuck, Sundance Kabuki. (Eddy)

*Harry Potter and the Deathly Hallows Part 2 Chances are you aren’t going to jump into the Harry Potter series with Harry Potter and the Deathly Hallows Part 2. So while the movie is probably the best Harry Potter film yet, it’s more a fitting conclusion than a standalone film. For fans of the books, there are no real surprises — this is a close adaptation. And for those Harry Potter movie fans who haven’t read the books, shame on you, and kudos if you managed to not get spoiled. It’s hard for me to offer a serious critical analysis of Part 2, because it represents the end of a long and very emotional journey. (Everyone in that audience was crying. Everyone.) I will say that, as was the case in the book, there are a few overdone, schmaltzy moments that aren’t really necessary. But in the context of the series, they’re forgivable — this may not be the great cinematic event of our generation, but Harry Potter as a whole is sure to be one of our most enduring cultural icons. (2:10) 1000 Van Ness. (Peitzman)

*The Hedgehog You needn’t possess the rough, everyday refinement of the characters of The Hedgehog to appreciate this debut feature by director-screenwriter Mona Achache — just an appreciation for a delicate touch and a tender heart. Eleven-year-old Paloma (the wonderful Garance Le Guillermic) is too smart for her own good, bored, neglected by her parents, and left to fend for herself with only her considerable imagination and a camcorder. She drifts around her fishbowl of privilege, a deluxe art nouveau-style apartment building in Paris, leveling her all-too-wise gaze on its denizens and plotting certain suicide on her 12th birthday — that is until a new resident appears in her viewfinder: a kindly Japanese gentleman Kakuro Ozu (Togo Igawa). He has as much of a connoisseur’s eye as Paloma — the proof is in his unlikely focus of attention, the building’s concierge Renée Michel (Josiane Balasko, resembling a burly Gertrude Stein), who hides her cultured and bookish inclinations behind a gruff, drab exterior. They recognize in each other a reverence for an almost monkish life of the mind, the austere elegance of wabi-sabi, and the transient beauty of rough-hewn imperfection, even in the sleek, well-heeled heart of the City of Light. To the credit of Achache, working with Muriel Barbery’s novel, these unlikely fragile friendships between outsiders take hold in a way that sidesteps preciousness and stays with you long after its pages have turned. (1:40) Opera Plaza, Smith Rafael. (Chun)

The Help It’s tough to stitch ‘n’ bitch ‘n’ moan in the face of such heart-felt female bonding, even after you brush away the tears away and wonder why the so-called help’s stories needed to be cobbled with those of the creamy-skinned daughters of privilege that employed them. The Help purports to be the tale of the 1960s African American maids hired by a bourgie segment of Southern womanhood — resourceful hard-workers like Aibileen (Viola Davis) and Minny (Octavia Spencer) raise their employers’ daughters, filling them with pride and strength if they do their job well, while missing out on their own kids’ childhood. Then those daughters turn around and hurt their caretakers, often treating them little better than the slaves their families once owned. Hinging on a self-hatred that devalues the nurturing, housekeeping skills that were considered women’s birthright, this unending ugly, heartbreaking story of the everyday injustices spells separate-and-unequal bathrooms for the family and their help when it comes to certain sniping queen bees like Hilly (Bryce Dallas Howard). But the times they are a-changing, and the help get an assist from ugly duckling of a writer Skeeter (Emma Stone, playing against type, sort of, with fizzy hair), who risks social ostracism to get the housekeepers’ experiences down on paper, amid the Junior League gossip girls and the seismic shifts coming in the civil rights-era South. Based on the best-seller by Kathryn Stockett, The Help hitches the fortunes of two forces together — the African American women who are trying to survive and find respect, and the white women who have to define themselves as more than dependent breeders — under the banner of a feel-good weepie, though not without its guilty shadings, from the way the pale-faced ladies already have a jump, in so many ways, on their African American sisters to the Keane-eyed meekness of Davis’ Aibileen to The Help‘s most memorable performances, which are also tellingly throwback (Howard’s stinging hornet of a Southern belle and Jessica Chastain’s white-trash bimbo-with-a-heart-of-gold). (2:17) California, Empire, 1000 Van Ness, Presidio, SF Center, Sundance Kabuki. (Chun)

*Higher Ground Higher Ground does not bite off more than it can chew. I guess that should go without saying, but it’s striking how comfortably Vera Farmiga (in her directorial debut) tackles this story of devotion and doubt. Based on the memoirs of Carolyn S. Briggs, who co-wrote the screenplay, this deeply personal film follows Corrine Walker (Vera Farmiga) from her adolescence through the trials of youth and middle age, her marriage to high school sweetheart Ethan (Joshua Leonard), and their lives as members of a small hippie Christian community. Although religion serves as a backdrop for Higher Ground, it doesn’t suffocate the human element of the story; it’s less a film about Christianity than it is about the challenges one woman faces as she tries to find room for herself amidst faith. Farmiga treats her subjects with empathy and humor and crafts a thoughtful, tender slice of sixties Midwest Americana. (1:49) Opera Plaza, Sundance Kabuki. (Cooper Berkmoyer)

*The Interrupters With concern from society and government as a whole at low ebb, communities at greater risk of violence from within than ever have had to come up with their own peace-making solutions. The Interrupters, the latest documentary by Steve James (1994’s Hoop Dreams), shows dedicated efforts to help one of the nation’s worst centers of such bloodshed: Chicago. “Violence is like the great infectious diseases of all history,” says epidemiologist Gary Slutkin, in that it can be stopped from spreading to epidemic proportions by numerous “initial interruption(s) of transmission” at its source. He translated that perspective into the founding of CeaseFire, an organization that doesn’t aim to summarily end the existence of gangs and drug trade. Instead, its plain but hardly simple mission is to stop the shootings, stabbings, etc. which are exacerbated by unemployment, broken families, and other sources of stress whose cumulative effect can rapidly escalate a casual dis to a mortal confrontation. Under CeaseFire’s auspices, Tio Hardiman created the Violence Interrupters program, which drafts people from the community — many former gangbangers themselves — as mediators wading into conflicts to defuse them before things get out of hand. It takes considerable will and nerves of steel; “interrupters” have been shot at, and during the course of this documentary’s year-long span one volunteer lands in the hospital for his trouble. But The Interrupters makes a powerful case against the inevitability of hopelessness turning into violence. (2:05) Shattuck. (Harvey)

Little Rock When the rental car driven by Atsuko (Atsuko Okatsuka) and Rintaro Sakamato (Rintaro Sawamoto) breaks down in nowheresville, California (actually, a small town called Little Rock), an air of disillusion hangs between the siblings, on vacation to “see America.” Holed up in a motel room, their disappointment is palpable, until a chance encounter with some locals sucks the pair into exurban American life. By the time their car is again roadworthy, Atsuko can’t bear to leave and decides to stay behind as her brother, the only one of the two who speaks a word of English, continues ahead without her. Communication is the driving force behind Little Rock and the language barrier somehow never gets stale; it certainly allows Okatsuka the opportunity for some superb acting. Despite some directorial flourishes (by Mike Ott), however, the story doesn’t really hold many surprises, and its inevitable conclusion is glimpsed long before it’s reached. (1:25) Roxie. (Berkmoyer)

*Love Crime Early this year came the announcement that Brian De Palma was hot to do an English remake of Alain Corneau’s Love Crime. The results, should they come to fruition, may well prove a landmark in the annals of lurid guilty-pleasure trash. But with the original Love Crime finally making it to local theaters, it’s an opportune moment to be appalled in advance about what sleazy things could potentially be done to this neat, dry, fully clothed model of a modern Hitchcockian thriller. No doubt in France Love Crime looks pretty mainstream. But here its soon-to be-despoiled virtues of narrative intricacy and restraint are upscale pleasures. Ludivine Sagnier plays assistant to high-powered corporate executive Christine (Kristin Scott Thomas). The boss enjoys molding protégée Isabelle to her own image, making them a double team of carefully planned guile unafraid to use sex appeal as a business strategy. But Isabelle is expected to know her place — even when that place robs her of credit for her own ideas — and when she stages a small rebellion, Christine’s revenge is cruelly out of scale, a high-heeled boot brought down to squash an ant. Halfway through an act of vengeance occurs that is shocking and satisfying, even if it leaves the remainder of Corneau and Nathalie Carter’s clever screenplay deprived of the very thing that had made it such a sardonic delight so far. Though it’s no masterpiece, Love Crime closes the book on his Corneau’s career Corneau (he died at age 67 last August) not with a bang but with a crisp, satisfying snap. (1:46) Albany, Clay, Piedmont, Smith Rafael. (Harvey)

Midnight in Paris Owen Wilson plays Gil, a self-confessed “Hollywood hack” visiting the City of Light with his conservative future in-laws and crassly materialistic fiancée Inez (Rachel McAdams). A romantic obviously at odds with their selfish pragmatism (somehow he hasn’t realized that yet), he’s in love with Paris and particularly its fabled artistic past. Walking back to his hotel alone one night, he’s beckoned into an antique vehicle and finds himself transported to the 1920s, at every turn meeting the Fitzgeralds, Gertrude Stein (Kathy Bates), Dali (Adrien Brody), etc. He also meets Adriana (Marion Cotillard), a woman alluring enough to be fought over by Hemingway (Corey Stoll) and Picasso (Marcial di Fonzo Bo) — though she fancies aspiring literary novelist Gil. Woody Allen’s latest is a pleasant trifle, no more, no less. Its toying with a form of magical escapism from the dreary present recalls The Purple Rose of Cairo (1985), albeit without that film’s greater structural ingeniousness and considerable heart. None of the actors are at their best, though Cotillard is indeed beguiling and Wilson dithers charmingly as usual. Still — it’s pleasant. (1:34) Albany, Embarcadero, Piedmont, Presidio. (Harvey)

*The Names of Love Arthur (Jacques Gamblin) is a 40-ish scientist being interviewed about the threat of a bird flu epidemic when his radio broadcast is interrupted by 20-something Baya (Sara Forestier), who denounces him on-air as a “fascist” for frightening the public. But then, Baya tends to use that label rather indiscriminately, applying it to anyone who might conceivably have views to the right of the dial — and Arthur is in fact a solid liberal, which means she can bed him for love. As opposed to the many, many other men she beds as a self-described “political whore,” seeking out conservative types in order to seduce them and hopefully induce an idealogical shift by whispering sweet nothings (“Not all Arabs are thieves,” etc.) as they orgasm. Raised by parents whose emotions are so tightly wound his mother won’t acknowledge her parents were Jews killed at Auschwitz, Arthur has a hard time adjusting to a relationship with a lover who is faithful emotionally but sees promiscuity as her propagandic gift to the world. Meanwhile Baya’s largely Algerian family treats garrulous political argument as the very air they breathe. This odd-couple story written by Baya Kasmi and director Michel Leclerc deals with serious issues in both humorous and respectful fashion, making for one of the more novel, delightful and depthed French romantic comedies in a long time. Added plus: lots of antic gratuitous nudity. (1:42) Opera Plaza. (Harvey)

*One Day Why do romantic comedies get such a bad rap? Blame it on the lame set-up, the contrived hurdles artificially buttressed by the obligatory chorus of BFFs, the superficial something-for-every-demographic-with-ADD multinarrative, and the implausible resolutions topped by something as simple as a kiss or as conventional as marriage, but often no deeper, more crafted, or heartfelt than an application of lip gloss. Yet the lite-as-froyo pleasures of the genre don’t daunt Danish director Lone Scherfig, best known for her deft touch with a woman’s story that cuts closer to the bone, with 2009’s An Education. Her new film, One Day, based on the best-selling novel by David Nicholls, flirts with the rom-com form — from the kitsch associations with Same Time, Next Year (1978) to the trailer that hangs its love story on a crush — but musters emotional heft through its accumulation of period details, a latticework of flashbacks, and collection of encounters between its charming protagonists: upper-crusty TV presenter Dexter (Jim Sturgess) and working-class aspiring writer Emma (Anne Hathaway). Their quickie university friendship slowly unfolds, as they meet every St. Swithin’s Day, July 15, over a span of years, into the most important relationship of their lives. Despite the blue-collar female lead and UK backdrop that it shares with An Education, One Day feels like a departure for Scherfig, who first found international attention for her award-winning Dogme 95-affiliated Italian for Beginners (2000). (1:48) 1000 Van Ness, Piedmont. (Chun)

*Our Idiot Brother If you thought 1998’s The Big Lebowski had eked all the humor that it could from the Dude, well, screenwriter (and Vanity Fair contributor) Evgenia Peretz, her not-so-idiotic brother (director Jesse Peretz), and star Paul Rudd would differ. They correctly guessed that there are still laughs to be wrung from a shaggy stoner in floral jams, only this time with less fuuuck-s and more benevolent, idiot-savant good vibrations. Dazed and confused broheim 2.0 (Rudd) is glimpsed through the jaded, harried prism of his three dysfunctional, supposedly normal sisters: frumpadelic mom Liz (Emily Mortimer), queen-bitch Vanity Fair writer Miranda (Elizabeth Banks), and slatternly would-be comedian Natalie (Zooey Deschanel). A good-hearted naïf who’s easily entrapped by a uniformed police officer claiming to need some pity doobage, Ned has just emerged from the joint and is now couch-surfing among his sibs, exposing the hypocrisies of bourgie-hipster Brooklyn, as well as the infidelities and vanities of family, friends, and partners (Steve Coogan, Rashida Jones, Adam Scott, and Hugh Dancy) as he goes, in his own good-natured, aw-shucks way. As innocuous (and desexualized) as Andy Griffith beneath the hippie trappings, this dude-with-a-little-d knows where his real family is — with his dog, Willie Nelson, who loves him just as unconditionally. Beastie besties have never seemed so innocent as they are in this proudly feel-good comedy, and despite a cringe-y, saccharine soundtrack and lackadaisical pacing, Rudd’s charismatic sunny slacker and some pointed jabs at the follies of the cooler-than-thou save this indie-that-could. (1:36) Four Star, 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

*Point Blank Not for nothing did Hollywood remake French filmmaker Fred Cavaye’s last film, Anything for Her (2008) as The Next Three Days (2010) — Cavaye’s latest, tauter-than-taut thriller almost screams out for a similar rework, with its Bourne-like handheld camera work, high-impact immediacy, and noirish narrative economy. Point Blank — not to be confused with the 1967 Lee Marvin vehicle —kicks off with a literal slam: a mystery man (Roschdy Zem) crashing into a metal barrier, on the run from two menacing figures until he is cornered and then taken out of the action by fate. His mind mainly on the welfare of his very pregnant wife Nadia (Elena Anaya), nursing assistant Samuel (Gilles Lellouche) has the bad luck to stumble on a faux doctor attempting to make sure that the injured man never rises from his hospital bed. As police wrangle over whose case this exactly is — the murder of an industrialist seems to have expanded the powers of the stony-faced, monolithic Commandant Werner (Gerard Lanvin) — Samuel gets sucked into the mystery man’s lot, a conspiracy that allows them to trust no one, and seemingly impossibly odds against getting out of the mess alive. Cavaye never quite stops applying the pressure in this clever, unrelenting cat-and-mouse and mouse-and-his-spouse game, topping it with a nerve-jangling search through a messily chaotic police station. (1:24) Lumiere. (Chun)

*Puzzle Careful as she does it: director Natalia Smirnoff displays a deft hand with a woman’s portrait in her debut feature, Puzzle. Argentinian middle-aged housewife and mother Maria (Maria Onetto) is so busy taking care of others and running her household, down to baking her own 50th birthday cake, that she’s lost touch with herself, her own pleasures, and her own sense of accomplishment. After reassembling a shattered plate, she discovers an aptitude for puzzle solving, leading her to sign up for a competition. Her partner is a wealthy, worldly man (Arturo Goetz) she meets after answering an ad at a puzzle store. It’s the minutiae, the little things, that matter in Puzzle — namely watching Maria pierce together her identity, along with her puzzles, via handheld shots bathed in a gentle golden light — adding up to pure satisfaction. (1:29) SFFS New People Cinema. (Chun)

*Rise of the Planet of the Apes “You gotta love a movie where the animals beat up on the humans,” declared my Rise of the Planet of the Apes companion. Indeed, ape must not kill ape, and this Planet of the Apes prequel-cum-remake of Conquest of the Planet of the Apes (1972) takes the long view, back to the days when ape-human relations were still high-minded enough to forbid smart apes from killing those well-armed, not-so-bright humanoids. I was a fan of the original series, but honestly, I approached Rise with trepidation: I dreaded the inevitable scenes of human cruelty meted out to exploited primates — the current wave of chimp-driven films seems focused on holding a scary, shaming mirror up to the two-legged mammalian violence toward their closest living genetic relatives. It’s a contrast to the original series, which provided prisms with which to peer at race relations and generational conflict. But I needn’t have feared this PG-13 “reboot.” There’s little CGI-driven gore, apart from the visceral opening and the showdown, though the heartbreak remains. Scientist Will (James Franco, brow perpetually furrowed with worry) is working to find a medicine designed to supercharge the brain in the wake of Alzheimer’s — a disease that has struck down his father (John Lithgow). When the experimental chimp that responds to his serum becomes violently aggressive, the project is shut down, although the primate leaves behind a surprise: a baby chimp that Will and his father name Caesar and raise like a beloved child in their idyllic Bay Area Victorian. Growing in intelligence as he matures, Caesar finds himself torn by an existential dilemma: is he a pet or a mammal with rights that must be respected? Rise becomes Caesar’s story, rendered in heart-wrenching, exhilarating ways — to director Rupert Wyatt and his team’s credit you don’t miss the performance finesse of Roddy McDowell and Kim Hunter in groundbreaking prosthetic ape face in the original movies — while resolving at least one question about why humans gave up the globe to the primates. One can only imagine the next edition will take care of the lingering question about how even the cleverest of apes will feed themselves in Muir Woods. (1:50) 1000 Van Ness, SF Center, Sundance Kabuki. (Chun)

Sarah’s Key (1:42) Four Star, Opera Plaza.

*Senna When Ayrton Senna died in 1994 at the age of 34, he had already secured his legacy as one of the greatest and most beloved Formula One racers of all time. The three-time world champion was a hero in his native Brazil and a respected and feared opponent on the track. This eponymous documentary by director Asif Kapadia is nearly as dynamic as the man himself, with more than enough revving engines and last minute passes to satisfy your lust for speed and a decent helping Ayrton’s famous personality as well. Senna was a champion, driven to win even as the sometimes-backhanded politics of the racing world stood in his way. A tragic figure, maybe, but a legend nonetheless. You don’t have to be an F1 fan to appreciate this film, but you may wind up one by the time the credits roll. (1:44) Balboa, Lumiere, Smith Rafael, Sundance Kabuki. (Berkmoyer)

*Shaolin There’s a lot to like about Shaolin, from Andy Lau, as a warlord turned passionate monk, to the return of Jackie Chan, as a stir-frying Shaolin, to its overall Buddhistic message (by way of heaps of chopsocky, blood-spitting violence), to its many action scenes, complete with mucho ax-throwing and horsing around with out-of-control carriages. We’re at the dawn of China’s republic, and the warlords are squabbling over the country’s spoils. General Hou Jie (Lau) appears to be the most ruthless of them all, following his second in command Cao Man (Nicholas Tse) into the Shaolin Temple to pursue an enemy with a golden secret and arrogantly leaving his mark on the sanctuary signage. But tragedy turns Hou around and sends him in the temple once more, where he finds real brotherhood with the good-hearted monks. Lau has reteamed here with director Benny Chan, and the results effectively recast the star, sometimes too easily pictured as a villain with his hawkish looks, as a hero once again, all while foregrounding Buddhism and giving it to the white devils at the end — an anti-imperialism message that has become rote in recent years, little wonder considering China’s growing might and the hardening of positions on the front lines of the global economy. (2:11) Four Star. (Chun)

Shark Night 3D (1:31) 1000 Van Ness.

Sholem Aleichem: Laughing in the Darkness This documentary cuts to the chase right at the beginning: yeah, Sholem Aleichem was the guy who wrote the Tevye stories that inspired Fiddler on the Roof. But filmmaker Joseph Dorman isn’t trying to make Fiddler: Behind the Musical. Instead, he takes an in-depth look at the life, writing career, and cultural significance of “one of the great modern Jewish writers — and our greatest Yiddish writer,” per the film’s press notes. Fans of Jewish lit will be particularly engaged by Sholem Aleichem’s tale; raised in a shtetl in what’s now the Ukraine, he moved around Europe and to the United States pursuing various careers, but always writing the popular stories that addressed not just Jewish life, but broader issues facing turn-of-the-last-century Jews, including the cross-generational conflicts that make up much of Fiddler‘s plot and humor. That said, this film does rely an awful lot on PBS-style slow pans over black-and-white photos and intellectual talking heads; one suspects the subject himself (so devoted was he to entertaining the regular folk who gobbled up his tales) would’ve preferred his life story to unfold in a livelier fashion. (1:33) Balboa. (Eddy)

*Shut Up Little Man! An Audio Misadventure Once upon a time (1987 to be exact), two young men moved to San Francisco from the Midwest. Eddie Lee “Sausage” and Mitchell “Mitch D” Deprey wound up living in a somewhat derelict apartment in the Lower Haight. The paint was peeling and the walls were thin, but the rent was cheap. What Eddie and Mitch didn’t count on was having Peter J. Haskett and Raymond Huffman as their neighbors. “You blind cocksucker. You wanna fuck with me? You try to touch me and I will kill you in a fucking minute.” “Shut up! Shut up! Shut up! Shut up little man!” The insults, tantrum throwing, and threats of violence coming from next door were constant. Eddie and Mitch started to lose sleep; after one failed attempt at complaining to Raymond’s face (he threatened death), they started tape-recording the endless geyser of vitriol — first, as possible future evidence, but also out of a growing voyeuristic fascination with these two seniors who had to be the world’s oddest and angriest odd couple. The rest is history. Mitch and Eddie started including snippets of Peter and Ray’s bickering on mix tapes for friends. Somehow, the editor of the now-defunct SF noise music zine Bananafish heard a snippet and approached Mitch and Eddie about distributing compilations of the recordings to a large network of found sound fans. Gradually “Peter and Raymond” became known and much-beloved characters. Their warped repartee inspired several theatrical adaptations, short animated films, pages of comic book panels by artists such as Dan Clowes, and even a one-off single from Devo side project the Wipeouters. Matthew Bate’s documentary Shut Up Little Man! An Audio Misadventure is much an attempt to comprehensively recount the above long, strange trip from start to finish; it is also the newest chapter in the now 20-year saga of Peter, Raymond, Mitch, and Eddie. (1:30) Roxie. (Sussman)

The Tree of Life Mainstream American films are so rarely adventuresome that overreactive gratitude frequently greets those rare, self-conscious, usually Oscar-baiting stabs at profundity. Terrence Malick has made those gestures so sparingly over four decades that his scarcity is widely taken for genius. Now there’s The Tree of Life, at once astonishingly ambitious — insofar as general addressing the origin/meaning of life goes — and a small domestic narrative artificially inflated to a maximally pretentious pressure-point. The thesis here is a conflict between “nature” (the way of striving, dissatisfied, angry humanity) and “grace” (the way of love, femininity, and God). After a while Tree settles into a fairly conventional narrative groove, dissecting — albeit in meandering fashion — the travails of a middle-class Texas household whose patriarch (a solid Brad Pitt) is sternly demanding of his three young sons. As a modern-day survivor of that household, Malick’s career-reviving ally Sean Penn has little to do but look angst-ridden while wandering about various alien landscapes. Set in Waco but also shot in Rome, at Versailles, and in Saturn’s orbit (trust me), The Tree of Life is so astonishingly self-important while so undernourished on some basic levels that it would be easy to dismiss as lofty bullshit. Its Cannes premiere audience booed and cheered — both factions right, to an extent. (2:18) Lumiere, Shattuck. (Harvey)

*Warrior Those wondering why the mixed martial arts scene has captured the imagination of so many can finally understand what the fuss is all about, now that it comes filtered through a melodramatic narrative akin to The Fighter (2010). Warrior‘s mis-en-scene is immediately recognizable: a prodigal returns, in the form of Tom Conlon (Tom Hardy). Once a talented teenage wrestler, the now-battered man is the damaged youngest son of alcoholic ex-boxer Paddy Conlon (Nick Nolte). Tom wants his father to train him for a major mixed martial arts tournament with a multimillion-dollar purse, though the two obviously still have a deadly hold on each other — the repentant Paddy is on the wagon and the emotionally bruised Tom harbors secrets he won’t reveal — and battle with cutting comments rather than fists. Tom isn’t the only prodigal in the house: Paddy has lost the trust of Tom’s bro, Brendan (Joel Edgerton), a former fighter and present-day physics high school teacher who’s struggling to make ends meet with an underwater mortgage. Though Warrior is no Raging Bull (1980), it almost outdukes The Fighter in terms of its brutal bouts, conveying the swift, no-holds-barred action of MMA in the ring, while giving actors plenty of drama to wrap their jowls ’round — particularly in Nolte’s case. His tore-up turn as an all-excuses patriarch is as heartbreaking as a solid kick to the jaw. (2:19) California, 1000 Van Ness, SF Center. (Chun)

The Whistleblower (1:58) Smith Rafael.

Film listings are edited by Cheryl Eddy. Reviewers are Kimberly Chun, Michelle Devereaux, Max Goldberg, Dennis Harvey, Louis Peitzman, Lynn Rapoport, Ben Richardson, and Matt Sussman. For rep house showtimes, see Rep Clock.

On Guard!

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news@sfbg.com

BART’S CRACKDOWN

For weeks now, protesters have descended on Bay Area Rapid Transit (BART) stations to denounce the fatal July 3 shooting of homeless passenger Charles Hill by a BART Police officer, and to call for the agency’s long-controversial police force to be disbanded. Commuters have had to contend with service disruptions and delays, and costs to the transit agency have exceeded $300,000. Yet it isn’t just bullhorn-wielding protesters who’ve been thrust into the spotlight — BART’s police force is also facing scrutiny for its conduct under pressure.

BART drew the ire of numerous media outlets after a Sept. 8 protest when transit cops detained members of the press along with protesters on suspected violation of California Penal Code Section 369i, which prohibits interfering with the operations of a railroad. Most journalists were eventually released, but the protest resulted in 24 arrests.

Although BART police later contended that they issued dispersal orders prior to closing in, many who were encircled and detained (including me) insisted they’d heard no such announcement. BART police also instructed San Francisco Police Department (SFPD) officers who were on hand to assist to seize reporters’ SFPD-issued press passes — a move that SFPD spokesperson Troy Dangerfield later told the Guardian was an error that went against normal SFPD protocol.

In a Sept. 10 editorial, the San Francisco Chronicle blasted BART police for placing Chronicle reporter Vivian Ho in handcuffs despite being informed that she was there as a journalist. Ho’s experience was mild compared with that of Indybay reporter David Morse (aka Dave Id), who told the Guardian he was singled out for arrest by BART Deputy Police Chief Daniel Hartwig and isolated from the scene — even though Hartwig is familiar with Morse and knows he’s been covering protests and BART board meetings for the free online publication. Asked why Morse was arrested when other journalists detained for the same violation were released, BART spokesperson Jim Allison told us, “The courts will answer that, won’t they?”

No Justice, No BART — a group that was instrumental in organizing the Sept. 8 protest — telegraphed to media and police at the outset that they intended to test BART’s assertions that people’s constitutionally guaranteed rights to free speech would be upheld as long as they remained outside the paid areas of the station, in what was dubbed a “free speech zone.” (Rebecca Bowe)

 

CHRON VS. WIENER(S)

Scott Wiener tried to do something eminently reasonable, and ask the naked guys in the Castro to put down a towel before they sit on public benches. Although the Department of Public Health hasn’t made any statements about the issue (and people put their naked butts on public toilet seats without creating major social problems), it’s pretty much an ick factor thing — and using a towel is an unwritten (sometimes written) rule at almost every nudist resort in the country.

The whole thing is a bit ironic, since it’s already illegal for fully clothed poor people to sit on the street — but so far, it’s not illegal for naked people to sit on benches. So far.

Wiener’s move set off an anti-nudity campaign at the San Francisco Chronicle, starting with columnist C.W. Nevius suggesting that the nudies are all perverts: “If these guys were opening a trench coat and exposing themselves to bystanders in a supermarket parking lot we’d call them creeps.” A Chron editorial called for a new law banning nudity in the city (an excellent use of time for a police department that already says it can’t afford community policing). The national (right-wing) press is having a field day. The commenters on sfbg.com are arguing about whether the pantsless men are shedding scrotal hair, or whether they’re mostly shaved. For the record, we haven’t checked.

And for the record, in a couple of months it’s going to get way too cold and rainy for this sort of thing anyway. (Tim Redmond)

 

HERRERA’S SMACKDOWNS

City Attorney Dennis Herrera has always been limited by his office’s neutral role in criticizing city policies and officials. But as a mayoral candidate, he seems to have really discovered his political voice, offering more full-throated criticisms of Mayor Ed Lee and his policies than any of the other top-tier candidates.

“I think it’s kind of liberating for him that he can talk policy instead of just about legal issues,” Herrera’s longtime spokesperson Matt Dorsey, who recently took a leave from his city job to work on the campaign full-time, told the Guardian.

Perhaps not surprisingly, Herrera’s shift began a little more than a month ago when Lee bowed to pressure from Willie Brown, Rose Pak, and other top power brokers to get into mayor’s race, prompting Herrera’s biting analysis that, “Ed Lee’s biggest problem isn’t that he’s a dishonest man — it’s that he’s not his own man. The fact is, if Ed Lee is elected mayor, powerful people will continue to insist on things. And I don’t think San Franciscans can be blamed for having serious doubts about whether Ed Lee would have the courage to say no.”

Herrera followed up last week by providing an example of something Lee and most other mayoral candidates don’t have the courage to say no to: the Central Subway project, with its runaway price tag and growing number of critics that say it’s a wasteful and inefficient boondoggle that will worsen Muni’s operating budget deficit.

“Fiascos aren’t born that way. They typically grow from the seeds of worthy idea, and their laudable promise is betrayed in subtle increments over time,” was how Herrera began a paper he released Sept. 8 called “It’s time to rethink the Central Subway,” in which he calls for a reevaluation of a project that he and the entire Board of Supervisors once supported.

He notes that the project’s costs have tripled and its design flaws have been criticized by the Civil Grand Jury and numerous transit experts. “Let’s look at this thing and see if it still makes sense,” Herrera told us, a stand that was greeted as blasphemy from the project’s supporters in Chinatown, who called at least two press conferences to decry that they called a “cheap political stunt.”

While the stand does indeed help distinguish Herrera from a crowded mayoral field, he insists that it was the grand jury report and other critiques that prompted him to raise the issue. “Good policy is good politics, so let’s have a debate on it and let the validity of the project stand or fall on its merits,” he said.

Herrera and fellow candidate John Avalos were also the ones who called out Lee on Sept. 2 for praising Pacific Gas & Electric Co. as “a great company that get it” for contributing $250,000 to a literacy program, despite PG&E’s deadly negligence in the San Bruno pipeline explosion and its spending of tens of millions of dollars to sabotage public power efforts and otherwise corrupt the political process.

“It shows insensitivity to victims’ families, and poor judgment for allowing his office to be used as a corporate PR tool. No less troubling, it ignores the serious work my office and others have done to protect San Franciscans from PG&E’s negligence,” Herrera said in a prepared statement.

Now, his rhetoric isn’t quite up to that of Green Party mayoral candidate Terry Baum, who last week called for PG&E executives to be jailed for their negligence, but it’s not bad for a lawyerly type. Herrera insists that he’s always wielded a big stick, expressed through filing public interest lawsuits rather than campaign missives, “but the motivation in how I do either is not really different.” (Steven T. Jones)

 

JACK IS BACK

The mayor’s race just got a new player, someone who is guaranteed to liven things up. His name is Jack Davis — and he’s already gone on the attack.

Davis, the infamous bad boy of political consulting who is so feared that Gavin Newsom paid him handsomely just to stay out of the 2003 mayor’s race, has been keeping a low profile of late. But he’s come out of semi-retirement to work for Jeff Adachi, the public defender who is both running for mayor and promoting Prop. D, his pension-reform plan.

Davis and Adachi first bonded when Adachi ran against appointed incumbent Kim Burton in 2002. Now, Davis has begun firing away at Mayor Ed Lee, with a new mailer that calls the competing Lee pension plan a “backroom deal.” The piece features a shadowy figure (who looks nothing like Ed Lee) slipping through a closing door, a fancy ashtray full of cigars and an allegation that Lee gave the cops a sweet pension deal in exchange for the police union endorsement.

Trust us, that’s just the start. (tr)

 

PENSION PALS

Meanwhile, Adachi sent Lee a letter on Sept. 8 challenging him to debate the merits of their rival pension measures — Lee spearheaded the creation of Prop. C, with input from labor unions and other stakeholders — sometime in the next month.

“I believe there is a vital need — if not an obligation — for us to ensure that the voters of San Francisco understand both the severity of our pension crisis as well as the significant differences between our two proposals,” Adachi wrote, later adding, “As the two principals behind the competing ballot measures, I hope that we can work together to increase awareness of this important issue and work toward a better future for our city.”

Lee’s campaign didn’t respond directly to Adachi, but Lee’s ever-caustic campaign spokesperson Tony Winnicker told the Guardian that the request was “the oldest political trick in book” and one they were rejecting, going on to say, “Voters deserve to hear from all the candidates on pension reform, not just two of them.”

Perhaps, but given the mind-numbing minutiae that differentiates the two measures, some kind of public airing of their differences might be good for all of us. Or I suppose we can just trust all those dueling mailers headed our way, right? (stj)

For more, visit our Politics blog at www.sfbg.com.

A new progressive agenda

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Over the past three months, the Guardian has been hosting a series of forums on progressive issues for the mayor’s race. We’ve brought together a broad base of people from different communities and issue-based organizations all over town in an effort to draft a platform that would include a comprehensive progressive agenda for the next mayor. All told, more than 100 people participated.

It was, as far as we know, the first time anyone tried to do this — to come up with a mayoral platform not with a few people in a room but with a series of open forums designed for community participation.

The platform we’ve drafted isn’t perfect, and there are no doubt things that are left out. But our goal was to create a document that the voters could use to determine which candidates really deserve the progressive vote.

That’s a critical question, since nearly all of the top contenders are using the word “progressive” on a regular basis. They’re fighting for votes from the neighborhoods, the activists, the independent-minded people who share a vision for San Francisco that isn’t driven by big-business interests.

But those of us on what is broadly defined as the city’s left are looking for more than lip service and catchy phrases. We want to hear specifics; we want to know that the next mayor is serious about changing the direction of city policy.

The groups who endorsed this effort and helped plan the forums that led to this platform were the Harvey Milk LGBT Club, SEIU Local 1021, the San Francisco Tenants Union, the Human Services Network, the Community Congress 2010, the Council of Community Housing Organizations, San Francisco Rising, Jobs with Justice, and the Center for Political Education.

The panelists who led the discussions were: Shaw-san Liu, Calvin Welch, Fernando Marti, Gabriel Haaland, Brenda Barros, Debbi Lerman, Jenny Friedenbach, Sarah Shortt, Ted Gullicksen, Nick Pagoulatos, Sue Hestor, Sherilyn Adams, Angela Chan, David Campos, Mario Yedidia, Pecolio Mangio, Antonio Diaz, Alicia Garza, Aaron Peskin, Saul Bloom, and Tim Redmond.

We held five events looking at five broad policy areas — economy and jobs; land use, housing and tenants; budget and social services; immigration, education and youth; and environment, energy and climate change. Panelists and audience participants offered great ideas and the debates were lively.

The results are below — an outline of what the progressives in San Francisco want to see from their next mayor.

 

 

ECONOMY AND JOBS

Background: In the first decade of this century, San Francisco lost some 51,000 jobs, overwhelmingly in the private sector. When Gavin Newsom was sworn in as mayor in January 2004, unemployment was at 6.4 percent; when he left, in January 2011, it was at 9.5 percent — a 63 percent increase.

Clearly, part of the problem was the collapse of the national economy. But the failed Newsom Model only made things worse. His approach was based on the mistaken notion that if the city provided direct subsidies to private developers, new workers would flock to San Francisco. In fact, the fastest-growing sector of the local economy is the public sector, especially education and health care. Five of the 10 largest employers in San Francisco are public agencies.

Local economic development policy, which has been characterized by the destruction of the blue-collar sector in light industry and maritime uses (ironically, overwhelmingly privately owned) to free up land for new industries in business services and high tech sectors that have never actually appeared — or have been devastated by quickly repeating boom and bust cycle.

Instead of concentrating on our existing workforce and its incredible human capital, recent San Francisco mayors have sought to attract a new workforce.

The Mayor’s Office has, as a matter of policy, been destroying blue-collar jobs to promote residential development for people who work outside of the city.

There’s a huge disconnect between what many people earn and what they need. The minimum wage in San Francisco is $9.92, when the actual cost of living is closer to $20. Wage theft is far too common.

There is a lack of leadership, oversight and accountability in a number of city departments. For example, there is no officiating body or commission overseeing the work of the Office of Economic and Workforce Development. Similarly the Arts Commission, the chartered entity for overseeing cultural affairs, is responsible for less than 25 percent of the budget reserved for this purpose

There’s no accountability in the city to protect the most vulnerable people.

The city’s main business tax is highly regressive — it’s a flat tax on payroll but has so many exceptions and loopholes that only 8,500 businesses actually pay it, and many of the largest and richest outfits pay no city tax at all.

 

Agenda items:

1. Reform the Mayor’s Office of Economic and Workforce Development to create a department with workforce development as a primary objective. Work with the San Francisco Unified School District, City College and San Francisco State to create sustainable paths to training and employment.

2. Create a municipal bank that offers credit for locally developed small businesses instead of relying on tax breaks. As a first step, mandate that all city short-term funds and payroll accounts go only to banks or credit unions that will agree to devote a reasonable percentage of their local loan portfolios for small business loans.

3. Reform procurement to prioritize local ownership.

4. Link economic development of healthcare facilities to the economic development of surrounding communities.

5. Link overall approval of projects to a larger economic development policy that takes as its centerpiece the employment of current San Francisco residents.

6. Enforce city labor laws and fund the agency that enforces the laws.

7. Establish the Board of Supervisors as the policy board of a re-organized Redevelopment Agency and create community-based project area oversight committees.

8. Dramatically expand Muni in the southeast portion of the city and reconfigure routes to link neighborhoods without having to go through downtown. Put special emphasis on direct Muni routes to City College and San Francisco State.

9. Reform the payroll tax so all businesses share the burden and the largest pay their fair share.

10. Consolidate the city’s various arts entities into a single Department of Arts & Culture that includes as part of its mandate a clear directive to achieve maximum economic development through leveraging the city’s existing cultural assets and creative strengths and re-imagining San Francisco’s competitive position as a regional, national and international hub of creative thinking. Sponsor and promote signature arts programs and opportunities to attract and retain visitors who will generate maximum economic activity in the local economy; restore San Francisco’s community-based cultural economy by re-enacting the successful Neighborhood Arts Program; and leverage the current 1-2 percent for art fees on various on-site building projects to be directed towards non-construction-site arts activity.

 

 

LAND USE, HOUSING AND TENANTS

Background: Since the office market tanked, the big land-use issue has become market-rate housing. San Francisco is building housing for people who don’t live here — in significant part, for either very wealthy people who want a short-term pied a terre in the city or for commuters who work in Silicon Valley. The city’s own General Plan calls for 60 percent of all new housing to be below-market-rate — but the vast majority of the new housing that’s been constructed or is in the planning pipeline is high-end condos.

There’s no connection between the housing needs of city residents and the local workforce and the type of housing that’s being constructed. Family housing is in short supply and rental housing is being destroyed faster than it’s being built — a total of 21,000 rental units have been lost to condos and tenancies in common.

Public housing is getting demolished and rebuilt with 2500 fewer units. “Hotelization” is growing as housing units become transitory housing.

Planning has become an appendage of the Mayor’s Office of Economic Development, which has no commission, no public hearings and no community oversight.

Projects are getting approved with no connection to schools, transit or affordable housing.

There’s no monitoring of Ellis Act evictions.

Transit-oriented development is a big scam that doesn’t include equity or the needs of people who live in the areas slated for more development. Cities have incentives to create dense housing with no affordability. Communities of concern are right in the path of this “smart growth” — and there are no protections for the people who live there now.

Agenda items:

1. Re emphasize that the Planning Department is the lead land-use approval agency and that the Mayor’s Office of Economic and Workforce Development should not be used to short-circuit public participation in the process.

2. Enact a freeze on condo conversions and a freeze on the demolition of existing affordable rental housing.

3. Ban evictions if the use or occupation of the property will be for less than 30 days.

4. Index market-rate to affordable housing; slow down one when the other is too far ahead.

5. Disclose what level of permanent affordability is offered at each project.

6. Stabilize existing communities with community benefits agreements before new development is approved.

 

 

BUDGET AND SOCIAL SERVICES

Background: There have been profound cuts in the social safety net in San Francisco over the past decade. One third of the city’s shelter beds have been lost; six homeless centers have closed. Homeless mental health and substance abuse services have lost $32 million, and the health system has lost $33 million.

None of the budget proposals coming from the Mayor’s Office have even begun to address restoring the past cuts.

There’s not enough access to primary care for people in Healthy San Francisco.

Nonprofit contracts with the city are flat-funded, so there’s no room for increases in the cost of doing business.

The mayor has all the staff and the supervisors don’t have enough. The supervisors have the ability to add back budget items — but the mayor can then make unilateral cuts.

The wealthy in San Francisco have done very well under the Bush tax cuts and more than 14 billionaires live in this city. The gap between the rich and the poor, which is destroying the national economy, exists in San Francisco, too. But while city officials are taking a national lead on issues like the environment and civil rights, there is virtually no discussion at the policy level of using city policy to bring in revenue from those who can afford it and to equalize the wealth disparities right here in town.

Agenda items:

1. Establish as policy that San Francisco will step in where the state and federal government have left people behind — and that local taxation policy should reflect progressive values.

2. Make budget set-asides a budget floor rather than a percentage of the budget.

3. Examine what top city executives are paid.

4. Promote public power, public broadband and public cable as a way to bring the city millions of dollars.

5. Support progressive taxes that will bring in at least $250 million a year in permanent new revenue.

6. Change the City Charter to eliminate unilateral mid-year cuts by the mayor.

8. Pass a Charter amendment that: (a) Requires the development of a comprehensive long-term plan that sets the policies and strategies to guide the implementation of health and human services for San Francisco’s vulnerable residents over the next 10 years, and (b) creates a planning body with the responsibility and authority to develop the plan, monitor and evaluate its implementation, coordinate between policy makers and departments, and ensure that annual budgets are consistent with the plan.

9. Collect existing money better.

10. Enact a foreclosure transfer tax.

 

 

YOUTH, IMMIGRATION, AND EDUCATION

Background: In the past 10 years, San Francisco has lost 24,000 people ages 12-24. Among current youth, 5,800 live in poverty; 6,000 have no high school degree; 7,000 are not working or attending school; 1,200 are on adult probation.

A full 50 percent of public school students are not qualified for college studies. Too often, the outcome is dictated by race; school-to-prison is far too common.

Trust between immigrants and the police is a low point, particularly since former Mayor Gavin Newsom gutted the sanctuary ordinance in 2008 after anti-immigrant stories in the San Francisco Chronicle.

Some 70 percent of students depend on Muni, but the price of a youth pass just went from $10 to $21.

Agenda items:

1. Recognize that there’s a separate role for probation and immigration, and keep local law enforcement from joining or working with immigration enforcement.

2. Improve public transportation for education and prioritize free Muni for youth.

3. Create family-friendly affordable housing.

4. Restore the recreation direction for the Recreation and Parks Department.

5. Implement police training to treat youth with respect.

6. Don’t cut off benefits for youth who commit crimes.

7. Shift state re-alignment money from jails to education.

 

ENERGY, ENVIRONMENT AND CLIMATE CHANGE

Background: When it comes to land use, the laws on the books are pretty good. The General Plan is a good document. But those laws aren’t enforced. Big projects get changed by the project sponsor after they’re approved.

Land use is really about who will live here and who will vote. But on a policy level, it’s clear that the city doesn’t value the people who currently live here.

Climate change is going to affect San Francisco — people who live near toxic materials are at risk in floods and earthquakes.

San Francisco has a separate but unequal transportation system. Muni is designed to get people downtown, not around town — despite the fact that job growth isn’t happening downtown.

San Francisco has a deepwater port and could be the Silicon Valley of green shipping.

San Francisco has a remarkable opportunity to promote renewable energy, but that will never happen unless the city owns the distribution system.

 

Agenda items:

1. Promote the rebirth of heavy industry by turning the port into a center for green-shipping retrofits.

2. Public land should be for public benefit, and agencies that own or control that land should work with community-based planning efforts.

3. Planning should be for the community, not developers.

4. Energy efficiency programs should be targeted to disadvantaged communities.

5. Pay attention to the urban food revolution, encourage resident owned farmers markets. Use unused public land for local food and community gardens.

6. Provide complete information on what parts of the city are fill, and stop allowing development in areas that are going to be inundated with sea level rise.

7. Prioritize local distributed generation of electricity and public ownership of the power grid.

8. Change Clean Energy San Francisco from a purchasing pool system to a generating system.

Heroes who did their jobs on 9/11

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By Dick Meister

You know those public employees who are under seemingly constant attack? Who are being blamed for all sorts of governmental problems, financial and otherwise? Well, the 10th anniversary of the terrorist attacks on the World Trade Center is a good time to make clear how very important to the nation those unfairly maligned public employees have been for a long, long time.

I should think it would be very hard to argue against the pay and pensions negotiated by firefighters and police, for instance, given their often heroic and usually helpful acts in behalf of the people they serve.

Yes, they make demands for pay and benefit increases and better working conditions– and they should.  Just as they should be able to bargain collectively through their unions to try to realize their demands. That’s called workplace democracy, and it should be their absolute right.

But anti-labor political leaders are looking for someone else to blame for the poor state of the economy that’s at least in part due to their own ineptness. And who do they blame? Public employees, who are characterized as greedy, overpaid and underworked members of much too economically and politically powerful unions.   The employees are the cause of it all.  Certainly it’s not the failed leadership and poor bargaining skills of the political leaders that’s at fault. Or their refusal to adequately tax the wealthy. Of course not.

We should know better. And the anniversary of the 911 attacks should remind us of the essential and sometimes courageous work done by the public employees who are so frequently used as political scapegoats.  Don’t blame us, say too many politicians. Blame the firefighters, police, teachers and others who do so much of the actual work of government.

Consider what public employees did after that horrific day of September 11, 2001 in New York City when a hijacked plane crashed into the Twin Towers at the World Trade Center.  More than 135,000 of the truly heroic firefighters, police and others who rushed to the crash scene were injured, some quite seriously. They rescued as many victims as they could find and cleared as much of the debris as they could at Ground Zero. Some had rushed to the scene from as far away as California and Oregon.

They were exposed to an extremely toxic mix of chemicals, jet fuel, asbestos, lead, glass fragments and other debris that caused a wide range of respiratory, intestinal and mental health problems, including lung diseases, rare cancers and other ailments.

An AFL-CIO report at the time focused on Vito Friscia, a Brooklyn homicide detective who was only a block away when the second of the Twin Towers fell. He rushed to the site through a dense cloud of toxins to seek – and to rescue – survivors.  Friscia spent a week helping with the rescue and cleanup efforts, coming away with chronic sinus problems, shortness of breath and other lasting ailments.

“But I’m no hero,” Friscia insisted. “I was just doing my job.” Many others said pretty much the same thing – that they were just doing their jobs as police officers, firefighters or as other public service employees. Thousands of them are still suffering from their exposure at Ground Zero.  Some are permanently disabled.

As one of those treating them noted, “Our patients are sick, and they will need ongoing care for the rest of their lives.”

More than 10,000 of those injured won settlements from New York and its contractors after filing lawsuits against the city.  But most of the settlements were far short of providing adequate compensation to the injured, and came long after their injuries.

Sufficient federal aid has been a long time coming, in large part because of Republican opposition to the cost.  It took nine years for Congress to finally pass an aid bill over the strong opposition of GOP House members. The measure, signed by President Obama just last January, will provide $7.4 billion in aid over the next 10 years. In a compromise that satisfied the GOP, it will be financed by a fee on foreign companies awarded procurement contracts from the federal government.

What we need now is a bill designating September 11, not only as a day to recall the horrors of 9/11 and its great impact on our lives, but also as a day to express our gratitude to the public employees who risked their lives to help victims of the terrorist attack and whose day-to-day work benefits us all in so many important ways.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

Team Avalos

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When Supervisor John Avalos chaired the Budget & Finance Committee in 2009 and 2010, his office became a bustling place in the thick of the budget process. To gain insight on the real-life effects of the mayor’s proposed spending cuts, Avalos and his City Hall staff played host to neighborhood service providers, youth workers, homeless advocates, labor leaders, and other San Franciscans who stood to be directly impacted by the axe that would fall when the final budget was approved. They camped out in City Hall together for hours, puzzling over which items they could live without, and which required a steadfast demand for funding restoration.

“One year, we even brought them into the mayor’s office,” for an eleventh-hour negotiating session held in the wee morning hours, recounted Avalos’ legislative aide, Raquel Redondiez. That move came much to the dismay of Steve Kawa, mayoral chief of staff.

Avalos, the 47-year-old District 11 supervisor, exudes a down-to-earth vibe that’s rare in politicians, and tends to display a balanced temperament even in the heat of high-stakes political clashes. He travels to and from mayoral debates by bicycle. He quotes classic song lyrics during full board meetings, keeps a record player and vinyl collection in his office, and recently showed up at the Mission dive bar El Rio to judge a dance competition for the wildly popular Hard French dance party.

Yet casual observers may not be as familiar with the style Avalos brings to conducting day-to-day business at City Hall, an approach exemplified that summer night in 2010 when he showed up to the mayor’s office flanked by grassroots advocates bent on preserving key programs.

“My role is, I’m an insider, … but it’s really been about bringing in the outside to have a voice on the inside,” Avalos said in a recent interview. “People have always been camped out in my office. These are people who represent constituencies — seniors, recipients of mental health care, unions, people concerned about violence. It’s how we change things in City Hall. It’s making government more effective at promoting opportunities, justice, and greater livelihood.” Part of the thrust behind his candidacy, he added, is this: “We want to be able to have a campaign that’s about a movement.”

That makes Avalos different from the other candidates — but it also raises a crucial question. Some of the most important advances in progressive politics in San Francisco have come not just from electoral victories, but from losing campaigns that galvanized the left. Tom Ammiano in 1999 and Matt Gonzalez in 2003 played that role. Can Avalos mount both a winning campaign — and one that, win or lose, will have a lasting impact on the city?

Workers and families

No budget with such deep spending cuts could have left all stakeholders happy once the dust settled, but Avalos and other progressive supervisors did manage to siphon some funding away from the city’s robust police and fire departments in order to restore key programs in a highly controversial move.

“There’s a Johnny Cash song I really like, written by Tom Petty, called ‘I Won’t Back Down.’ I sang it during that time, because I didn’t back down,” Avalos said at an Aug. 30 mayoral forum hosted by the Potrero Hill Democratic Club. “We made … a symbolic cut, showing that there was a real inequity about how we were doing our budgets. Without impacting public safety services, we were able to get $6 million from the Fire Department. A lot of that went into Rec & Park, and health care programs, and to education programs, and we were able to … find more fat in the Police Department budget than anybody had ever found before, about $3 million.”

Last November, Avalos placed a successful measure on the ballot to increase the city’s real-estate transfer tax, which so far has amassed around $45 million in new revenue for city coffers, softening the blow to critical programs in the latest round of budget negotiations. “Without these measures that community groups, residents, and labor organizations worked for, Mayor Ed Lee would not have been able to balance the budget,” Avalos said.

More recently, he emerged as a champion of the city’s Local Hire Ordinance, designed as a tool for job creation that requires employers at new construction projects to select San Francisco residents for half their work crews, to be phased in over the next several years. That landmark legislation was a year in the making, Redondiez said, describing how union representatives, workers, contractors, unemployed residents of Chinatown and the Bayview, and others cycled through Avalos’ City Hall office to provide input.

His collaborative style stems in part from his background. Avalos formerly worked for Service Employees International Union Local 1877, where he organized janitors, and served as political director for Coleman Advocates for Children & Youth. He was also a legislative aide to former District 6 Sup. Chris Daly, who remains a lightning rod in the San Francisco political landscape.

Before wading into the fray of San Francisco politics, Avalos earned a masters degree in social work from San Francisco State University. But when he first arrived in the city in 1989, with few connections and barely any money to his name, he took a gig at a coffee cart. He was a Latino kid originally from Wilmington, Calif. whose dad was a longshoreman and whose mom was an office worker, and he’d endured a climate of discrimination throughout his teenage years at Andover High in Andover, Mass.

Roughly a decade ago, Avalos and a group of youth advocates were arrested in Oakland following a protest against Proposition 21, which increased criminal penalties for crimes committed by youth. Booked into custody along with him was his wife, Karen Zapata, whom he married around the same time. She is now a public school teacher in San Francisco and the mother of their two children, ages 6 and 9, both enrolled in public schools.

“John has consistently been a voice for disenfranchised populations in this city,” said Sharen Hewitt, who’s known Avalos for more than a decade and serves as executive director of The Community Leadership Academy & Emergency Response Project (CLAER), an organization formed to respond to a rash of homicides and alleviate violence. “He understands that San Francisco is at a major turning point in terms of its ability to keep families and low-income communities housed. With the local hiring ordinance, most of us who have been working around violence prevention agree — at the core of this horrible set of symptoms are root causes, stemming from economic disparity.”

Asked about his top priorities, Avalos will invariably express his desire to keep working families rooted in San Francisco. District 11, which spans the Excelsior, Ingleside, and other southeastern neighborhoods, encompasses multiracial neighborhoods made up of single-family homes — and many have been blunted with foreclosure since the onset of the economic crisis.

“Our motto for building housing in San Francisco is we build all this luxury housing — it’s a form of voodoo economics,” Avalos told a small group of supporters at a recent campaign stop in Bernal Heights. “I want to have a new model for how we build housing in San Francisco. How can we help [working-class homeowners] modify their loans to make if more flexible, so they can stay here?” He’s floated the idea of creating an affordable housing bond to aid in the construction of new affordable housing units as well as loan modifications to prevent foreclosures.

“That’s what is the biggest threat to San Francisco, is losing the working-class,” said community activist Giuliana Milanese, who previously worked with Avalos at Coleman Advocates for Youth and has volunteered for his campaign. “And he’s the best fighter. Basically, economic justice is his bottom line.”

Tenants Union director Ted Gullicksen gave Avalos his seal of approval when contacted by the Guardian, saying he has “a 100 percent voting record for tenants,” despite having fewer tenants in his district than some of his colleagues. “David Chiu, had he not voted for Parkmerced, could have been competitive with John,” Gullicksen said. “But the Parkmerced thing was huge, so now it’s very difficult to even have David in same ballpark. Dennis [Herrera] has always taken the right positions — but he’s never had to vote on anything,” he said. “After that, nobody comes close.”

Cash poor, community rich

There’s no question: The Avalos for Mayor campaign faces an uphill climb. Recent poll figures offering an early snapshot of the crowded field peg him at roughly 4 percent, trailing behind candidates with stronger citywide name recognition like City Attorney Dennis Herrera or the incumbent, Mayor Ed Lee, who hasn’t accepted public financing and stands to benefit from deep-pocketed backers with ties to big business.

Yet as Assembly Member Tom Ammiano phrased it, “he’s actually given progressives a place to roost. He doesn’t pussy-foot around on the issues that are important,” making him a natural choice for San Francisco voters who care more about stemming the tides of privatization and gentrification than, say, rolling out the red carpet for hi-tech companies.

One of Avalos’ greatest challenges is that he lacks a pile of campaign cash, having received less than $90,000 in contributions as of June 30, according to an Ethics Commission filing. “He can’t call in the big checks,” said Julian Davis, board president of Booker T. Washington Community Service Center, “because he hasn’t been doing the bidding of big business interests.” A roster of financial contributions filed with the Ethics Commission shows that his donor base is comprised mainly of teachers, nonprofit employees, health-care workers, tenant advocates, and other similar groups, with almost no representatives of real-estate development interests or major corporations.

Despite being strapped for cash, he’s collected endorsements ranging from the Democratic County Central Committee, to the Harvey Milk Democratic Club, to the city’s largest labor union, SEIU 1021; he’s also won the backing of quintessential San Francisco characters such as renowned author Rebecca Solnit; San Francisco’s radical bohemian poet laureate, Diane di Prima; and countercultural icon Diamond Dave.

While some of Avalos’ core supporters describe his campaign as “historic,” other longtime political observers have voiced a sort of disenchantment with his candidacy, saying it doesn’t measure up to the sweeping mobilizations that galvanized around Gonzalez or Ammiano. Ammiano has strongly endorsed Avalos, but Gonzalez — who now works for Public Defender (and mayoral candidate) Jeff Adachi — has remained tepid about his candidacy, stating publicly in an interview on Fog City Journal, “I like [Green Party candidate Terrie Baum] and John fine. I just don’t believe in them.”

Ironically, Sup. Sean Elsbernd, often Avalos’ political opposite on board votes, had kinder words for him. “John is intelligent, John is honest, and John has integrity,” Elsbernd told the Guardian. “I don’t think he knows the city well enough to serve as chief executive … but I’ve seen the good work he’s done in his district.”

Meanwhile, Avalos is still grappling with the fallout from the spending cut he initiated against the police and fire departments in 2009. Whereas those unions sent sound trucks rolling through his neighborhood clamoring for his recall from office during that budget fight, the San Francisco Police Officers Association (SFPOA), the San Francisco Fire Fighters union, and the plumbers’ union, Local 38, have teamed up now that Avalos is running for mayor to form an independent expenditure committee targeting him and Public Defender Jeff Adachi, a latecomer to the race.

“We’ll make sure we do everything we can to make sure he never sees Room 200,” SFPOA President Gary Delagnes told the Guardian. “I would spend as much money as I could possibly summon to make sure neither ever takes office.” Delagnes added that he believes the political makeup of San Francisco is shifting in a more moderate direction, to Avalos’ disadvantage. “People spend a lot of money to live here,” he said, “and they don’t want to be walking over 15 homeless people, or having people ask them for money.”

If it’s true that the flanks of the left in San Francisco have already been supplanted with wealthy residents whose primary concern is that they are annoyed by the sight of destitute people, then more has already been lost for the progressive movement than it stands to lose under the scenario of an Avalos defeat.

The great progressive hope?

Despite these looming challenges, the Avalos campaign has amassed a volunteer base that’s more than 1,000 strong, in many cases drawing from grassroots networks already engaged in efforts to defend tenant rights, advance workplace protections for non-union employees, create youth programs that aim to prevent violence in low-income communities, and advance opportunities for immigrants. According to some volunteers, linking these myriad grassroots efforts is part of the point. Aside from the obvious goal of electing Avalos for mayor, his supporters say they hope his campaign will be a force to re-energize and redefine progressive politics in San Francisco.

“All the candidates that are running are trying to appeal to the progressive base,” Avalos said. But what does it really mean? To him, being progressive “is a commitment to a cause that’s greater,” he offered. “It’s about how to alter the relationship of power in San Francisco. My vision of progressivism is more inclusive, and more accountable to real concerns.”

N’Tanya Lee, former executive director of Coleman Advocates, was among the people Avalos consulted when he was considering a run for mayor. “The real progressives in San Francisco are the folks on the ground every day, like the moms working for public schools … everyday families, individual people, often people of color, who are doing the work without fanfare. They are the unsung heroes … and the rising progressive leaders of our city,” she said. “John represents the best of what’s to come. It’s not just about race or class. It’s about people standing for solutions.”

When deciding whether to run, Avalos also turned to his wife, Zapata, who has held leadership positions in the San Francisco teacher’s union in the past. She suggested rounding up community leaders and talking it through. “The campaign needed to be a movement campaign,” Zapata told the Guardian. “John Avalos was not running because he thought John Avalos was the most important person in the world to do this job. Our question was, if John were to do this, how would it help people most affected by economic injustice?”

Hewitt, the executive director of CLAER, also weighed in. “My concern is that he has been painted as a leftist, rooted in some outdated ideology,” she said. “I think [that characterization] is one-dimensional, and I think he’s broader than that. My perception of John is that he’s a pragmatist — rooted in listening, and attempting to respond.”

Others echoed this characterization. “He doesn’t need to be the great progressive hope,” said Rafael Mandelman, an attorney who ran as a progressive in District 8 last year. “If people are looking for the next Matt Gonzalez, I’m not sure that’s what John is about. He’s about the communities he’s representing.”

As to whether or not he has a shot at victory, Mandelman said, “It’s a very wide field, and I think John is going to have a very strong base. I think he will get enough first-choice votes to be one of the top contenders. And with ranked choice voting, anything can happen.”

 

Dick Meister: Busting the union busters, a labor day lament

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By Dick Meister

This is not a very happy Labor Day for labor, considering the continued heavy attacks on public employee unions, which have become the vanguard of organized labor. More than one-third of public employees are now in unions, while only about 7 percent of private sector workers are unionized.

Probably nothing could be more damaging to the labor movement in general than the attempts by anti-union forces to weaken unions at all levels of government by trying to limit– if not withdraw – their collective bargaining rights and right to strike, in addition to unilaterally cutting the pay and pensions, health care and other benefits their unions have won in bargaining.

Although that’s all been done in the name of budget balancing, it’s more accurately described as union busting, spurred on by the steady increase in public employee union members, even as the number of private sector unionists has been declining.

It hasn’t helped unions, either, that President Obama has turned out to be far less friendly to labor than he’d promised while securing lots of union money and lots of union supporters to help him win the presidency. Ironically, the key role unions played in Obama’s election has led to moves by anti-union forces to try to also weaken unions’ political rights.

The best example of the heavy pressures public employees and their unions are feeling is in Wisconsin, where the movement to strip public employees of their union rights began, under notoriously anti-labor Gov. Scott Walker.

Republican Walker is not only seeking to deny unionization to most state, county and municipal employees. He’s also been pushing measures that would increase the employees’ contributions to pension and health care funds by up to 50 percent, require their contracts to be re-negotiated yearly, and no longer allow unions to deduct dues from employee paychecks. It’s hard to imagine a union surviving under such restraints. Certainly Gov. Walker and his political friends don’t imagine it.

Wisconsin is but one of at least 18 states, including several once considered union friendly, where public employees are under heavy attack. On the federal level, supposedly labor-friendly Obama has imposed a federal pay freeze.

Ohio’s Republican governor, John Kasich, is trying to outdo Walker. He’s proposing, among other anti-union measures, to eliminate the bargaining rights of more than 35,000 of Ohio’s public employees, to outlaw teacher strikes, prevent child care and home care workers from unionizing and repeal a rule that requires paying union wages to non-union workers on public construction projects.

Gov. Walker, however, remains the poster boy for anti-labor stalwarts. His most outrageous act has been to back a new state law that requires about two-thirds of Wisconsin’s school districts to use employee handbooks to replace collective bargaining agreements that for decades outlined the teachers’ pay and duties.

Substituting the handbooks for negotiated contracts gives school administrators the authority to dictate broad changes in the teachers’ working conditions without so much as consulting the teachers. In some school districts, even the administrators were not consulted before the handbooks with their stringent new conditions were issued.

Teachers are probably our most important public employees. Yet despite their great importance – or maybe because of it – Gov. Walker is eagerly supporting, not only a withdrawal of teachers’ collective bargaining rights, but also an end to teacher tenure, which protects them from unwarranted attacks by union foes such as Walker.

Walker also wants a substantial increase in the already high contributions to their health insurance by teachers and teacher retirees and changes that curtail the teachers’ basic rights and security by allowing them to be hired on a year-to-year basis. The new rules also mandate that in times of financial constraint, seniority can no longer be a basis for deciding which teachers to lay off.

Some Wisconsin school districts are even trying to reduce the number of sick days allowed teachers, however unwise it may seem to have teachers with possible communicative illnesses remain in the classroom because they can’t afford to take days off.

Other districts are doing away with at least some paid holidays or changing extra days used for professional development into workdays and cutting paid lesson preparation periods in half. The Wisconsin Journal Sentinel’s Erin Richards quotes one of Wisconsin’s major teacher union leaders as noting that teachers across the state have been most concerned with losing prep time, which can have a direct effect on the quality of lessons and student performance.

Gov. Walker and other leading Republicans don’t seem to be much concerned about that. What’s more important to them is cutting Wisconsin’s education budget, the influence of teachers on education policy and, of course, all but eliminating the union rights of teachers and all other public employees.

But Walker may very well have gone too far. The negative reaction has been strong and growing in Wisconsin and elsewhere. It’s widely realized that if the public employee union busters are successful, private sector unions throughout the country will feel even stronger opposition. And it’s clear that if anti-union forces can weaken the public employee unions that are the strongest segments of today’s labor movement, it’s more than likely that private sector unions will be the next target.

The good news is that recently, Wisconsin voters easily turned back a GOP attempt to recall two strong pro-worker state senators who had helped lead the fight against Walker’s anti-worker legislation. The fight began in the spring when Republicans targeted eight Democratic senators for recall – and lost. There have been nine recall elections since then and labor has won five of them.

Labor and the Democrats had hoped to wrest control of the State Senate from the GOP. But though failing to do so, they did narrow the Republicans Senate majority to a razor-thin 17-16.

Democrats and union leaders are rightly celebrating the pro-labor election victories as a possible opening shot against anti-labor extremism nationwide, which could in turn lead to an attempt to recall Gov. Walker or at least force him to back off.

Actually, Walker has done his labor enemies a great favor by provoking public outrage that has brought important new strength and solidarity to the cause of working people and their unions everywhere.

So it may be a happy Labor Day after all, thanks to a labor opponent.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

Dick Meister: VIVA EL BOICOTTEO!

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By Dick Meister

(Third part of a five part daily series)

Although the United Farm Workers initially relied solely on strikes in its drive to win union contracts for California’s farm workers, it soon switched to the much more effective weapon of the boycott.

Growers could easily replace strikers, and often did. But they couldn’t do much about customers – individuals and institutions – who heeded the UFW’s call to not buy any grapes, lettuce or wine from growers who continued to rebuff the UFW demands for union recognition.

The boycotts helped forge a potent coalition of clergymen, industrial unionists, young activists and civil rights advocates, liberal Democratic politicians, socially conscious shoppers and others. They also waved crimson banners, sang the farm workers’ songs, chanted their slogans and espoused non-violence, on city streets, outside supermarkets, in meeting halls, wherever they could. There were an estimated 17 million of them worldwide between 1968 and 1975, including 10 to 12 percent of all U.S. adults. Later boycotts drew less support but were nevertheless effective in winning new contracts.

John Giumarra Jr., a young lawyer who spoke for the grape growers who signed the first UFW contracts, declared that boycott pressures had been threatening to “destroy a number of farmers.” Lionel Steinberg, a major Coachella Valley grape grower who was the first to agree to a UFW contract, urged others to quickly reach an agreement, lest they continue losing millions of dollars in sales.

Steinberg told his fellow growers, “It is costing us more to produce and sell our grapes than we are getting paid for them. We are losing maybe 20 percent of our market. The boycott is illegal and immoral, but it also is a fact.”

The signing of the union contracts with grape growers in Delano signaled the inevitable. California’s farm workers were going to be organized, and the next target would be those in the nearby Salinas and Santa Maria valleys, which produced 70 percent of the nation’s iceberg lettuce and much of its other vegetables. It was called “America’s Salad Bowl,” a flat, fertile place where morning fog hung heavy over land carpeted green for miles.

Men and women hovered over the land, gripping hoes so short their handles scarcely protruded above their fast-moving hands as they stooped and cut, stooped and cut. Most worked under the supervision of men with the broad accents of Texas, Oklahoma and Arkansas who had wielded hoes for small independent growers before giant corporations bought up the land and hired them to manage their new holdings. These men were among the Dust Bowl Refugees of the 1930s who had made their own violently opposed demands for better working lives during the Great Depression.

Many of the former Dust Bowl Refugees were lured into urban employment when the depression ended, but those who remained as managers joined the farm corporations to oppose the demands of the Chicano and Filipino American farm workers who replaced the at the bottom of the economic totem pole.

The demands were for union recognition elections in which the UFW seemed a certain winner. But if they didn’t agree to elections, the growers faced the certain prospect of a boycott like that which had been so costly to grape growers.

There was, however, an alternative that the growers had overlooked until the inevitability of unionization arrived with the UFW demands. They might arrange to bypass elections and sign with another union that would demand less than the aggressive, unorthodox UFW and at the same time ease the sting of a boycott by enabling by enabling growers to point out that their workers were unionized.

The growers found their alternative in the Teamsters Union, which feared that UFW strikes and boycotts would endanger the flow of produce handled by truck drivers, cannery workers and other Teamster members. What’s more, Teamster officials were eager for representation rights that would allow them to control the field workers. The potential was immense: more than 30,000 farm workers in the two valleys alone. That would bring a lot of new money into the dues and pension funds used by leaders of the corruption-ridden Teamsters to gain power, influence and fat salaries for themselves.

Virtually all the 170 growers in the two valleys soon announced they had signed Teamster contracts, even though the Teamsters had no farm worker members. The growers and Teamsters hadn’t even agreed on specific contract terms. They were in so great a rush to head off the UFW, they merely signed agreements that the terms would be filled in later. The terms, however, would not be decided in consultation with the workers or their union. Terms were left solely to grower and Teamster representatives.

The workers were not even allowed to ratify the contracts, although they would be required to join the Teamsters and have union dues deducted from their paychecks. If they didn’t join the Teamsters, they’d be fired. Most workers got basic pay raises of 10 to 50 cents an hour in return for forced membership in the Teamsters and some minimal health and welfare benefits – but that was all.

Teamster recognition was a very small price for growers to pay in exchange for maintaining their ability to make decisions on pay and working conditions in isolation from the direct collective demands of their employees. Since the Teamsters’ main interest lay elsewhere, in transportation and food processing, growers also could expect that even the minimal terms of the contracts would not be fully enforced and that strikes and boycotts were hardly a possibility. But on the slim chance that the growers might still feel insecure, the contracts were written to stand for five years.

Chavez was outraged at the Teamsters’ “act of treason against the legitimate aspirations of farm workers.” He declared “all-out war against the Teamsters and the bosses ” and marched into Salinas with several hundred farm workers and an AFL-CIO contingent headed by Organizing Director Bill Kircher. Pickets went immediately to a farm where 250 workers had been fired for not joining the Teamsters. Hundreds of workers struck at other farms and the UFW began preparing for legal action and a nationwide lettuce boycott.

Growers got a court order against what was ruled an illegal jurisdictional dispute, but the pickets and boycotters kept marching nevertheless and Chavez began “a penitential fast against injustice.”

In less than two weeks, the Teamsters were asking for a treaty with the UFW. It was quickly reached. The Teamsters agreed to reallocate jurisdiction over field workers to the UFW and agreed that growers who had signed with the Teamsters could switch to the UFW without penalty.

But there was a catch. Growers who had signed Teamster contracts would not give them up. Finally, UFW members voted to strike. It was, at the start, the largest and most effective farm strike since the mid-1930s. More than 5000 workers left their jobs at nearly 150 farms, and produce shipments were cut from 200 carloads a day to 75 or less. Growers were losing an average of $500,000 a day.

Unlike the vineyard strike, this dispute was violent, with beatings suffered by UFW and Teamster partisans alike. Some of the turmoil was caused by officials of a Teamster cannery workers local who were charged with using $25,000 in union funds to hire some of the local’s burly members to “guard” fields from UFW organizers.

A judge ruled there could only be one informational picket at 22 of the Salinas Valley farms that made up the strikers’ main targets, none at the eight others. Nor would the UFW be allowed to call a boycott against any of the 170 growers who held Teamster contracts. The union nevertheless called a boycott. Officially, the strike continued, but the major effort was at food markets in 64 cities across the country, where UFW members and supporters urged shoppers to bypass lettuce from the struck growers.

A judge ordered Chavez arrested. He went to jail accompanied by more than 2000 UFW members and supporters, including Coretta King and Ethel Kennedy. They cheered Chavez’ parting advice to “boycott the hell out of them!” and then began a series of prayer vigils and other highly publicized demonstrations. After three weeks, Chavez was released, pending the outcome of a UFW appeal.

The boycott continued at an intensified pace throughout the early months of 1971 until a committee of Catholic bishops mediated a settlement between national Teamster and AFL-CIO leaders. But growers still refused to give up their Teamster contracts. They held them for a half-dozen years more, until the Teamsters, beaten badly in a series of union representation elections under California’s new farm worker bargaining law, finally abandoned as futile the fierce fight they had waged against the UFW for more than a decade.

Meanwhile, the boycott continued, as the UFW expanded its organizing efforts to Florida and Arizona. The UFW’s victory in California was truly spectacular. Imagine, one of the youngest and smallest unions in the country, representing the most oppressed of American workers, decisively beating the country’s largest and most powerful union.

It was the UFW’s incredible use of the boycott that did it,  the major non-violent weapon available to all who would seek justice from an oppressor.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

 

The real Leland Yee

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tredmond@sfbg.com

It’s early January 2011, and the Four Seas restaurant at Grant and Clay is packed. Everyone who is anyone in Chinatown is there — and for good reason. In a few days, the Board of Supervisors is expected to appoint the city’s first Asian mayor.

The rally is billed as a statement of support for Ed Lee, the mild-mannered bureaucrat and reluctant mayoral hopeful. But that’s not the entire — or even, perhaps, the central — agenda.

Rose Pak, who describes herself as a consultant to the Chinese Chamber of Commerce but who is more widely known as a Chinatown powerbroker, is the host of the event. She stands in front of the room, takes the microphone, and, in Cantonese, delivers a remarkable political speech.

According to people in the audience, she says, in essence, that the community has come out to celebrate and support Ed Lee — but that’s just the start. She also urges them not just to promote their candidate — but to do everything possible to prevent Leland Yee from becoming mayor.

She continues on for several minutes, lambasting Yee, the state Senator who lived in Chinatown as a child, accusing him of about every possible political sin — and turning the Lee rally into an anti-Yee crusade. And nobody in the crowd seems terribly surprised.

Across Chinatown, from the liberal nonprofits to the conservative Chamber of Commerce, there’s a palpable fear and distrust of the man who for years has been among San Francisco’s most prominent Asian politicians — and who, had Lee not changed his mind and decided to run for a full term this fall, was the odds-on favorite to become the city’s first elected Chinese mayor.

The reasons for that fear are complex and say a lot about the changing politics of Asian San Francisco, the power structure of a city where an old political machine is making a bold bid to recover its lucrative clout — and about the career of Yee himself.

Senator Leland Yee is a political puzzle. He’s a Chinese immigrant who has built a political base almost entirely outside of the traditional Chinatown community. He’s a politician who once represented a deeply conservative district, opposed tenant protections, voted against transgender health benefits and sided with Pacific Gas and Electric Co. on key environmental issues — and now has the support of some of the most progressive organizations in the city. He’s taken large sums of campaign money from some of the worst polluters in California, but gets high marks from the Sierra Club.

His roots are as a fiscal conservative — yet he’s been the only Democrat in Sacramento to reject budget compromises on the grounds that they required too many spending cuts.

He’s grown, changed, and developed his positions over time. Or he’s become an expert at political pandering, telling every group exactly what it wants to hear. He’s the best chance progressives have of keeping the corrupt old political machine out of City Hall — or he’s a chameleon who will be a nightmare for progressive San Francisco.

Or maybe he’s a little bit of all of that.

 

Leland Yin Yee was born in Taishan, a city in China’s Guangdong province on the South China Sea. The year was 1948; Mao Zedong’s Communist Party of China had taken control of much of the countryside and was moving rapidly to take the major cities. The nationalist army of General Chiang Kai-Shek was falling apart, and Yee’s father, who owned a store, decided it was time for the family to leave.

The Yees made it to Hong Kong, and since Mee G. Yee had previously lived in the United States and served in the U.S. Army during World War II, he was ultimately able to move the family to San Francisco. In 1951, the three-year-old Leland Yee arrived in Chinatown.

For four years, Yee lived with his sister and mother in a one-room apartment with a shared bathroom while his father worked as a sailor in the merchant marine. It was, Yee recalled in a recent interview, a tight, closed, and largely self-sufficient community.

“The movie theater, the shoe store, the barber shop, food — everything you needed you could get in Chinatown,” Yee said. “You never had to leave.”

Of course, after a while, Yee and his mom started to venture out, down Stockton Street to Market, where they’d shop at the Emporium, the venerable department store. “It was like walking into a different country,” he said. “If you didn’t know English, they didn’t have time for you.”

Yee, like a lot of young Chinese immigrants of his era, put much of his time into his studies — in the San Francisco public schools and in a local Chinese school. “My mom spoke a village dialect, and we had to learn Cantonese,” he said. “Every little kid had to go to Chinese school. We hated it.”

When Yee was eight, his parents managed to buy a four-unit building on Dolores Street, and the family moved to the Mission, where he would spend not only the rest of his childhood but much of his early adult life. He graduated from Mission High School, enrolled in City College, studied psychology and after two years won admission to UC Berkeley.

Berkeley in 1968 was a very different world from Chinatown and even the relatively controlled environment he’d experienced at home in the Mission. “You didn’t protest in school. You’d have been sent home, and your mother would kill you,” he said.

At Berekely, all hell was breaking loose, with the antiwar protests, the People’s Park demonstrations, the campaign to create a Third World College (which led to the first Ethnic Studies Department), and a general attitude of mistrust for authority. “I developed a sense of activism,” Yee said. “I realized I could speak out.”

That spirit quickly vanished when Yee lost faith in some of his fellow activists. “People would work with us, then get into positions of power and use that against you,” he recalled. “A lot of my friends said ‘forget it.’ I left the scene.”

Yee once again devoted his energy to school, earning a masters at San Francisco State University and a Ph.D in child psychology from the University of Hawaii. Along the way, he met his wife, Maxine.

With his new degree, the Yees moved back to San Francisco — and back in with his parents at the Dolores property, where he, Maxine and a family that would grow to four kids would live for more than a decade.

 

Yee worked as a child psychologist for the San Francisco Department of Public Health, starting the city’s first high school mental-health clinic. He went on to become a child psychologist at the Oakland Unified School District, then joined a nonprofit mental health program in San Jose.

In 1986, Yee decided to get active in politics for the first time since college, and ran for the San Francisco School Board. He lost — and that would be the only election he would ever lose. In 1988, he won a seat, and established himself as an advocate for students of color, fighting school closures in minority neighborhoods. He also tried to get the district to modify its harsh disciplinary rules, arguing against mandatory expulsions.

On fiscal issues, though, Yee was a conservative. For his first term, despite the brutal cutbacks of the recession of the late 1980s and early 1990s, he insisted that the district make do with the money it had. His solution to the red ink: Cut waste. Only in 1992, when he was up for re-election, did he acknowledge that the district needed more cash; at that point, he supported a statewide initiative to tax the rich to bring money to the schools.

The sense of fiscal conservatism — of holding the line on taxes, but mandating open and fair contracting procedures and tight financial controls — was a hallmark of much of his political career. When the Guardian endorsed him for re-election to the board in 1992, we wrote that “there’s real value in his continuing vigilance against administrative fat and favoritism in contracts.”

Over the next four years, Yee worked with then-Superintendent Waldemar “Bill” Rojas, a deeply polarizing figure who pushed his own personal theory of “reconstitution” — firing all the staff at low-performing schools — and later was enmeshed in a scandal that led to prison time for a contractor he’d hired. Yee told me he was the only board member to vote against hiring Rojas, but people who were watching the board closely back then say he didn’t always stand up to the superintendent.

He also became what some say was a bit too close with Tim Tronson, a consultant hired by the district as a $1,000-a-day facilities consultant. Tronson wound up getting indicted on 22 counts of grand theft, embezzlement, and conspiracy in a scheme to steal $850,000 from the schools, and was sentenced to four years in state prison.

In 1998, when some school board members wanted to build housing for teachers on property that the district owned in the Sunset, Yee led the opposition — with Tronson’s help. At one meeting at Sunset Elementary School, Yee went so far as to say, according to people present, that “Tim Tronson is my man, and I rely on him for advice.”

Yee acknowledged that he worked closely with Tronson to defeat that housing project. “He was the facilities manager,” Yee explained, “and I said that I trusted his judgment.”

 

Yee has either a great sense of political timing or exceptional luck. He ran for the Board of Supervisors in 1996, facing one of the weakest fields in modern San Francisco history. He was the only Chinese candidate and one of just two Asians (the other, appointed incumbent Michael Yaki, barely squeaked to re-election). In an at at-large election with the top five winning seats, Yee came in third, with 103,000 votes.

He was never a progressive supervisor. In 2000, the Guardian ranked the good votes of what we referred to as Willie Brown’s Board, and Yee scored only 43 percent. He was against campaign finance reform. He supported the brutal gentrification and community displacement represented by the Bryant Square development. He voted to kill a public-power feasibility study and opposed the Municipal Utility District initiative. He opposed a moratorium on uncontrolled live-work development.

In 2002, Yee was one of only three supervisors to oppose Proposition D, a crucial public-power measure that would have broken up PG&E’s monopoly in the city. He stood with PG&E (and then-Sups. Tony Hall and Gavin Newsom) in opposition to the measure, then signed a pro-PG&E ballot argument packed with PG&E lies.

When I asked him about that stand, Yee at first didn’t recall opposing Prop. D, but then said he “stood with labor” on the issue. In fact, the progressive unions didn’t oppose Prop. D at all; the opposition was led by PG&E’s house union, IBEW Local 1245.

Yee was particularly bad on tenant issues. He not only voted to deny city funding for the Eviction Defense Collaborative, which helped low-income tenants fight evictions; he actually tried to get the city to put up money for a free legal fund to help landlords evict their tenants. He opposed a ballot measure limiting condo conversions. He opposed a measure to limit the ability of landlords to pass improvement costs on to their tenants.

In 2001, Yee voted to uphold a Willie Brown veto of legislation to limit tenancies in common, a backdoor way to get around the city’s condo conversion ordinance. Only Hall and Newsom, then the most conservative supervisors on the board, joined Yee. At one point, he started asking whether the city should consider repealing rent control.

He opposed an affordable housing bond in 2002, joining the big landlord groups in arguing that it would raise property taxes. Every tenant group in town supported the measure, Proposition B; every landlord group opposed it.

I asked Yee about his tenant record, and he told me that he now supports rent control. But he said that he was always on the side of homeowners and small landlords, and that property ownership was central to Chinese culture. “I was responding to the Chinese community and the West Side,” he said.

He wasn’t much of an environmentalist, either — at least not in today’s terms. He was one of the only city officials to support a “Critical Car” rally in 1999, aimed at promoting the rights of vehicle drivers (and by implication, criticizing Critical Mass and the bicycle movement).

His record on LGBT issues was mixed. While he supported a counseling program for queer youth when he was on the school board, he also supported JROTC, angering queer leaders who didn’t want a program in the public schools run by, and used as a recruiting tool for, the military, which at that point open discriminated against gay and lesbian people.

 

 

Yee was also one of only two supervisors who voted in 2001 against extending city health benefits to transgender employees.

That was a dramatic moment in local politics. Nine votes were needed to pass the measure, and while eight of the supervisors were in favor, Yee and Hall balked. At one point, Board President Tom Ammiano had to direct the Sheriff’s Office to go roust Sup. Gerardo Sandoval, who was ducking the issue in his office, to provide the crucial ninth vote.

Yee didn’t just vote against the bill. According to one reliable source who was there at the time, Yee spoke to a community meeting out on Ulloa Street in the Sunset and berated his colleagues, quipping that the city should have better things to do than “spend taxpayer money on sex-change operations.”

It was a bit shocking to trans people — Yee had, over the years, befriended some of the most marginalized members of what was already a marginalized community. “There was one person at the rail crying, saying ‘Leland, how could you do this to us,'” Ammiano recalled.

The LGBT community was furious with Yee. “I didn’t speak to him for at least a year,” Gabriel Haaland, one of the city’s most prominent transgender activists, told me.

Yee now says the vote was a mistake — but at the time, he told me, he was under immense pressure. When he voted for the queer youth program, he said, “the elders of the Chinese community ripped me apart. They called my mother’s friends back in the village [where he was born] and said her son was embarrassing the Chinese community.”

That must have been difficult — and he said that “if I had known the pain I had caused, I wouldn’t have voted that way.” But it was hard to miss that pain his vote caused.

On the other hand, people learn from their experiences, attitudes evolve, we all grow up and get smarter, and the way Yee describes it, that’s what happened to him.

In 2006, when he was running for state Senate, Yee met with a group of trans leaders and formally — many now say sincerely — apologized. It was an important gesture that made a lot of his critics feel better about him.

“He didn’t have to do that,” Haaland said. “People change, and he paid for his crime, and that’s genuine enough for me.”

As a former school board member, Yee kept an interest in the schools — but not always a healthy one. At one point, he actually proposed splitting SFUSD into two districts, one on the (poorer) east side of town and one on the (richer) west. “We strongly opposed that,” recalled Margaret Brodkin, who at the time ran Coleman Advocates for Children and Youth. “Eventually he dropped the idea.”

For all the problems, in his time on the Board of Supervisors, Yee developed a reputation for independence from the Brown Machine, which utterly dominated much of city politics in the late 1990s. His weak 43 percent rating on the Guardian scorecard was actually third-best among the supervisors, after Ammiano and the late Sue Bierman.

In 1998, he was one of the leaders in a battle to prevent the owners of Sutro Tower from defying the city’s zoning administrator and placing hundreds of new antennas on Sutro Tower. He, Bierman, and Ammiano were the only supervisors opposing Brown’s crackdown on homeless people in Union Square.

When he ran in the first district elections, in 2000, against two opponents who had Brown’s support and big downtown money, the Guardian endorsed him, noting that while he “can’t be counted on to support worthy legislation … He’s one of only two board members who regularly buck the mayor on the big issues.”

(He never liked district elections, and used to take any opportunity to denounce the system, at times forcing Ammiano to use his position as president to tell Yee to quit dissing the electoral process and get to the point of his speech.)

 

In 2002, the westside state Assembly district seat opened up, and both Yee and his former school board colleague Dan Kelly ran in the Democratic primary. Yee won, and went on to win the general election with only token opposition.

His legislative record in the Assembly wasn’t terribly distinguished. Yee never chaired a policy committee — although he did win a leadership post as speaker pro tem. And he cast some surprisingly bad votes.

In 2003, for example, then-Assemblymember Mark Leno introduced a bill that would have exempted single-room occupancy hotels from the Ellis Act, which allows landlords to evict tenants for no reason. Yee refused to vote for the bill. Leno was furious — he was one vote short of a majority and Yee’s position would have doomed the bill. At the last minute, a conservative Republican who had grown up in an SRO hotel voted in favor.

When he ran for re-election in 2004, we noted: “What’s Leland Yee doing up in Sacramento? We can’t figure it out — and neither, as far as we can tell, can his colleagues or constituents. He’s introduced almost no significant bills — compared, for example, to Assemblymember Mark Leno’s record, Yee’s is an embarrassment. The only high-profile thing he’s done in the past several years is introduce a bill to urge state and local governments to allow feng shui principles in building codes.”

In 2006, Yee decided to move up to the state Senate, and he won handily, beating a weak opponent (San Mateo County Supervisor and former San Francisco cop Mike Nevin) by almost 2-1. His productivity increased significantly in the upper chamber — and in some ways, he moved to the left. He’s begun to support taxes — particularly, an oil severance tax — and when I’ve questioned him, he somewhat grudgingly admits that Prop. 13 deserves review.

He’s done some awful stuff, like trying to sell off the Cow Palace land to private developers. But he has consistently been one of the best voices in the Legislature on open government, and that’s brought him some national attention.

Yee has been a harsh critic of spending practices and secrecy at the University of California, and when UC Stanislaus refused in 2010 to release the documents that would show how much the school was paying Sarah Palin to speak at a fundraiser, Leland flew into action. He not only blasted the university and introduced legislation to force university foundations to abide by sunshine laws; he worked with two Stanislaus students who had found the contract in a dumpster and made headlines all over the country.

He’s fought for student free speech rights and this year pushed a bill mandating that corporations that get tax breaks for job creation prove that they’ve actually created jobs — or pay the tax money back. He’s also won immense plaudits from youth advocates and criminal justice reformers for his bill that would end life-without-parole sentences for offenders under 18.

Along the way, he compiled a 100 percent voting record from the major labor unions, including the California Nurses Association and SEIU, and with the Sierra Club. All three organizations have endorsed him for mayor.

Yee told me that he thinks he’s become more progressive over the years. “My philosophy has shifted,” he said.

Yet when you talk to his colleagues in Sacramento, including Democrats, they aren’t always happy with him. Yee has a tendency to be a bit of a loner — he’s never chaired a policy committee and in some of the most bitter budget fights, he’s refused to go along with the Democratic majority. Yee insists that he’s taken principled stands, declining to vote for budget bills that include deep service cuts. But the reality in Sacramento is that budget bills have until this year required a two-thirds vote, meaning two or three Republicans have had to accept the deal — and losing a Democratic vote has its cost.

“You have to give up all sorts of things, make terrible compromises, to get even two Republicans,” one legislative insider told me. “When a Democrat goes south, you have to find another Republican, and give up even more.”

In other words: It’s easy to take a principled stand, and make a lot of liberal constituencies happy, when you aren’t really trying to make the state budget work.

 

I met Rose Pak on a July afternoon at the Chinatown Hilton. She brought along her own loose tea, in a paper package; the waitress, who clearly knew the drill, took it back to the kitchen to brew. Pak and I have not been on the greatest of terms; she’s called the Guardian all kinds of names, and I’ve had my share of critical things to say about her. But on this day, she was polite and even at times charming.

After we got the niceties out of the way (she told me I was unfair to her, and I told her I didn’t like the way she and Willie Brown played politics), we started talking about Yee. And Pak (unlike some people I interviewed for this story) was happy to speak on the record.

She told me Yee had “no moral character.” She told me she couldn’t trust him. She told me a lot of stories and made a lot of allegations that we both knew neither she nor I could ever prove.

Then we got to talking about the politics of Chinatown and Asians in San Francisco, and a lot of the animosity toward Yee became more clear.

For decades, Chinatown and the institutions and people who live and work there have been the political center of the Chinese community. Nonprofits like the Chinatown Community Development Center have trained several generations of community organizers and leaders. The Chinese Chamber of Commerce, the Six Companies, and other business groups have represented the interests of Chinese merchants. And while the various players don’t always get along, there’s a sense of shared political culture.

“In Chinatown,” Gordon Chin, CCDC’s director, likes to say, “it’s all about personal connections.”

There’s a lively infrastructure of community-service programs, some of which get city money. There’s also a sense that any mayor or supervisor who wants to work with the Chinese community needs to at least touch base with the Chinatown establishment.

Yee doesn’t do that. “He doesn’t give a shit about them,” David Looman, a political consultant who has worked with many Chinese candidates over the years, told me.

Yee’s Asian political base is outside of Chinatown; he told me he sees himself representing more of the Chinese population of the Sunset and Richmond and the growing Asian community in Visitacion Valley and Bayview.

Pak is connected closely to Brown, who Yee often clashed with. For Pak, Brown, and their allies, strong connections to City Hall mean lucrative lobbying deals and public attention to the needs of Chinatown businesses. Then there’s the nonprofit sector.

CCDC and other nonprofits do important, sometimes crucial work, building and maintaining affordable housing, taking care of seniors, fighting for workers rights, and protecting the community safety net. Yee, Pak said, “has never shown any interest in our local nonprofits. We all work together here, and he doesn’t seem to care what we do.” Yee told me he has no desire to see funding cut for any critical social services in any part of town. But he has also made no secret of the fact that he questions the current model of delivering city services through a large network of nonprofits, some of which get millions of taxpayer dollars. And the way Pak sees it, all of that — the nonprofits, the business benefits, the contracts — are all at risk. “If Leland Yee is elected mayor,” she told me, “we are all dead.”

I ran into an old San Francisco political figure the other day, a man who has been around since the 1970s, inside and outside of City Hall, who remains an astute observer of the players and the power relationships in the local scene. At the time we talked, he wasn’t supporting any of the mayoral candidates, but he had a thought for me. “This town,” he said, “is being taken over by a syndicate. Willie Brown is the CEO, and Rose Pak is the COO, and it’s all about money and influence.”

That’s not a pleasant thought — I’ve lived through the era of political machine dominance in this town, and it was awful. In the days when Brown ran San Francisco, politics was a tightly controlled operation; only a small number of people managed to get elected to office without the support of the machine. Developers made land-use policy; gentrification and displacement were rampant; corruption at City Hall turned a lot of San Franciscans off, not only to the political process but to the whole notion that government could be a positive force in society.

A few years ago, I thought those days were over — and to a certain extent, district elections will always make machine politics more difficult. But when I see signs of the syndicate popping up — and I see a candidate like Ed Lee, who’s close friends with Brown, leading the Mayor’s Race — it makes me nervous. And for all his obvious flaws, at least Leland Yee isn’t part of that particular operation. If there’s a better reason to vote for him, I don’t know what it is.

YEE HOME PURCHASE RAISES SUSPICIONS

Rose Pak has a question about Leland Yee. “How,” she asked me, “did the guy manage to buy a million-dollar house on a $30,000 City Hall salary?”

Pak isn’t the only one asking — numerous media reports over the years have examined how Yee raised a family of four and bought a house in the Sunset on very little visible income. And while I’m not usually that interested in the personal finances of political candidates, I decided that it was worth a look.

Here’s what I found: Public records show that in July 1999, Yee and his wife, Maxine, purchased a house on 24th Avenue for $875,000 (it’s now assessed at slightly more than $1 million). At the time, Yee was a San Francisco supervisor, earning a little more than $30,000 a year. (The salary of the supervisors was raised dramatically shortly after Yee left the board and went to the state Assembly.) His wife wasn’t working. And his economic interest statements for that period show no other outside earnings. So the disposable, after-tax income of the entire Yee family couldn’t have been much more than $25,000.

That, by any normal standard, shouldn’t have been enough to float a mortgage that, records show, totaled $516,000. In fact, the interest payments alone on that mortgage alone would total $3,600 a month — more than Yee’s gross income.

Documents in the Assessor’s Office show another paper trail, too. In 1989, Jung H. Lee, Yee’s mother, transferred the deed on a four-unit Dolores St. building where the family had been living to Maxine and Leland Yee — for no money. And a few months before the Yees bought the Sunset house, they took out a $320,000 home-equity loan on that property. That was the down payment on the Sunset property.

Still: At that point, the Yees would have been paying off two mortgages, with a total nut of about $5,000 a month — and supporting four kids, in San Francisco. In 2002, Yee’s economic interest statement’s show some modest income from teaching at Lincoln University — but nowhere near enough to pay that level of expenses.

What happened? Yee explains it this way: “For more than 10 years, we were living rent-free in my parents’ property,” he told me I an interview. “We were a close Chinese family, and my parents provided the food and helped pay for the children’s clothing. So we had almost no expenses and we lived very frugally.”

During that period, Yee was working for the San Francisco Department of Public Health, the Oakland Unified School District, and a San Jose nonprofit, earning, he said, between $50,000 and $90,000 a year. If he saved almost all of that money, he would have had more than a half-million dollars in the bank when he bought the Sunset house.

There’s nothing on any of his economic disclosure forms showing any ownership of stocks or other reportable financial interests during that period, so he wasn’t investing the money. In fact, he says, it was, and is, all in simple savings accounts. A bit unusual for that large a sum of money.

How did he get a mortgage? “Back then,” he said, “banks were willing to lend a lot more freely than they do today.”

Starting in 2003, Yee was in the state Assembly, making a higher salary — but still not much in excess of $100,000 a year. After taxes, he was probably taking home about $75,000 — and $60,000 was going to the two mortgages.

How did he do it? “We have been supplementing our income with our savings,” he said. “We don’t take vacations, we are very careful with our money.” And they clearly aren’t desperate for cash — Yee’s daughter occupies two of the four units in the Dolores St. building they own, but the other two units are vacant.

It’s possible. It’s plausible. But I don’t blame people for wondering how he managed to pull it off. (Tim Redmond, with research assistance by Oona Robertson) 

 

 

 

BIG CORPORATIONS HAVE BACKED YEE

Yee became a prodigious fundraiser in Sacramento — and a lot of the money came from big corporations that had business in the Legislature. And while he has perfect scores from the Sierra Club and the big labor unions, he’s taken tens of thousands of dollars from some of the biggest corporations, agribusiness interests, and polluters in the state. And at times, he’s voted their way.

Since 1993, for example, campaign finance records show Yee has taken more than $20,000 from Chevron, ExxonMobil, Valero, Conoco Phillips, and BP. He’s received another $22,450 from the chemical industry (and industry employees). Most of it came from Clorox, Dow Chemical, and Dupont.

And while the Sierra Club may not have considered it a priority, Sen. Mark Leno has worked hard to pass a bill limiting chemical fire retardants in furniture. In 2008, Yee voted against Leno’s AB 706.

That year he also refused to support a bill that would prohibit the use of the chemical diacetyl in workplaces. The industries that opposed AB 514 (including Bayer, Abbott Laboratories, Pfizer, and Johnson & Johnson) have given Yee a total of more than $60,000.

In 2003, Yee voted against a crucial tenant bill, one that would have prevented the owners of single room occupancy hotels from using the Ellis Act to evict tenants. He received a campaign check for $2,500 from the San Francisco Apartment Association the next day. Landlords in general have given Yee close to $40,000.

Then there’s agribusiness. Yee gets a lot of money from the farming industry, despite the fact that there obviously aren’t many farms in his district. Why, for example, would the California Poultry Association, the California Cattlemen’s Association, and the California Farm Bureau give him money? The Poultry Association’s Bill Mattos told us that Yee “has taken a keen interest in California’s poultry industry.”

Yee also took immense flak from the San Francisco Chronicle and other papers over a 2003 vote against a bill to limit emissions from farm vehicles. In an editorial, the paper wrote that he was “doing dirty work for the lobbyists.” In the end, under immense public pressure, he switched positions and voted for the bill. I asked Yee about all that money from all those bad operators, and he told me — as most politicians will — that campaign cash has never influenced any of his votes.

So why do all these groups give him money? “It’s about whether you will sit down and listen,” Yee said. “I will talk to all sides and at least consider the arguments as a thoughtful human being. Then I vote my conscience.” (Tim Redmond, with research by Oona Robertson) 

Dick Meister: si se puede!

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By Dick Meister

(The second part of a daily five part series)

For me, it all began on a hot summer night in 1965 in the little Kern County town of Delano. I’d been told repeatedly by people whose judgment I respected that, as the SF Chronicle’s labor editor, I should talk with some guy named Chavez who was pitting together an honest-to-God farm workers’ union in Delano.

I scoffed, but I went. Chavez, shining black hair trailing over the edge of a face brushed with traces of Indian ancestry, wearing a green plaid shirt that had become almost a uniform, sat behind a makeshift desk topped with bright red Formica.

“Si se puede!” he said repeatedly to me as we talked into the early morning hours there in the cluttered shack that served as headquarters for Chavez and the others who were trying to create an effective farm workers union.

“Si se puede – it can be done!

But I would not be swayed. Too many others, over too many years, had tried and failed to win for farm workers the union rights they had to have if they were to escape the severe economic and social deprivation inflicted on them by their grower employers.

The Industrial Workers of the World who stormed across western fields early in the last century, the Communists who followed, the socialists, the AFL and CIO organizers – all their efforts had collapsed under the relentless pressure of growers and their powerful political allies.

I was certain this effort would be no different. I was dead wrong. I had not accounted for the tactical brilliance of Cesar Chavez, a sad-eyed, disarmingly soft-spoken man who talked of militancy in calm, measured tones; a devout Roman Catholic; a gentle and incredibly patient man who hid great strategic talent behind shy smiles and an attitude of utter candor.

Chavez grasped the essential fact that farm workers had to organize themselves. Outside organizers, however well-intentioned, could not do it. Chavez, a farm worker himself, carefully put together a grass-roots organization that enabled the workers to form their own union, the United Farm Workers, which then sought out – and won – widespread support from influential outsiders, including major labor, religious and political figures.

The key weapon of the newly formed UFW was the boycott. The union’s boycotts against grape and lettuce growers and wineries in the late 1960s won the UFW union contracts that had been denied farm workers for more than a century.

That led ultimately to enactment of the California law that requires growers to bargain collectively with workers who vote for unionization, despite the workers exclusion from the federal law that grants most non-farm workers the legal right of collective bargaining. And with that came substantial improvements in the pay, benefits, working conditions and general status of the state’s farm workers.

The struggle was extremely difficult for the impoverished workers, and Chavez risked his health – if not his life – to provide them extreme examples of the sacrifices necessary for victory. Most notably, he engaged in lengthy, highly publicized fasts that helped rally the public to the farm workers cause and that may very well have contributed to his untimely death in 1993 at age 66.

Fasts, boycotts. It’s no coincidence that those were among the principal tools of Mohandas Gandhi, for Chavez drew much of his inspiration from the Indian leader. Like Gandhi and another of his models, Martin Luther King Jr., Chavez believed fervently in the tactics of non-violence. Like them, he showed the world how profoundly effective they can be in seeking justice from even the most powerful of opponents.

What the UFW accomplished, and how the union accomplished it, will never be forgotten – not by the millions of social activists who have been inspired and energized by the farm workers’ struggle, nor by the workers themselves.

The struggle continues, for despite the UFW’s successes, most farm workers are still mired in poverty. But because of the union, they have a genuine hope of bettering their condition.

The UFW won important legal rights for them. But more than union contracts, and more than laws, farm workers now have what Cesar Chavez insisted was needed above all else. That, as he told me so many years ago, “is to have the workers truly believe and understand and know that they are free, that they are free men and women, that they can stand up and say how they feel.”

Freedom. No leader has ever left a greater legacy.

 

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

 

Doctor questions BART shooting

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Nice piece in the Bay Citizen by Rupa Marya, M.D., who treated Charles Hill, the man killed by BART police. She points to the essential problem — BART cops don’t seem to be able to deal with people who are agitated or mentally ill without shooting them:


While I had seen him agitated before and while I can’t speak to all of his behavior, I never would have described him as threatening in such a way as to warrant the use of deadly force. We often have to deal with agitated and sometimes even violent patients in the hospital. Through teamwork, tools and training, we have not had to fatally wound our patients in order to subdue them.


I understand the police are there to protect us and react to the situation around them, but I wonder why the officer who shot Charles did not aim for the leg if he felt the need to use a gun, instead of his vital organs. I wonder if he possessed other training methods to subdue an agitated man with a knife or bottle.


I feel this situation quite deeply. It is hard to watch our civil servants (police) brutally handle a person and their body when I spend my time and energy as a civil servant (physician) honoring the dignity of that person, regardless of their race or social class, their beliefs or their affiliations.


I can tell you why the officer didn’t shoot Hill in the leg. Cops are trained to to shoot to kill, and only to kill — once a cop draws a gun and fires, he or she has already decided to use lethal force and is supposed to aim for center body mass and fire until the target is down. There are reasons for that — shooting someone in the leg is hard, and if you miss and the person shoots back, you can get killed yourself. Also, if cops were allowed to shoot people in the legs to stop or slow them down, there’d be a lot more police shootings — and sometimes the cops would miss the legs and kill somone who was only supposed to be disabled. Bottom line: Cops shouldn’t be firing their weapons at all unless there’s an immediate threat to their lives or the lives of others.


But therin lies the problem: Since the death of Idriss Stelley, San Francisco cops have been getting additional training in dealing with mentally ill people. It hasn’t always worked, and it’s not a perfect system, but at least there’s been an effort. As Dr. Marya clearly knows, health-care workers in the city have to handle mentally ill people, sometimes agitated people, all the time –without killing them.


The BART cops who shot Hill handled the situation really badly


And I don’t blame Dr. Marya for wanting to join the next protest.

Buche on a bike? Dreams come true, courtesy of El Taco Bike

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Why does Alfonso Dominguez, owner of Oakland’s Tamarindo, La Calle, and partial owner of Era Art Bar and Lounge, spend his free time hawking tacos from a bike? An avid cyclist and owner of six different bikes himself, we got the idea talking to him last week that Dominguez built El Taco Bike to prove it was possible in the first place.

We’re in full support. Too few snack foods come off the back of bicycles these days.

In fact, Dominguez’ brainchild is the first licensed hot food bike in the Bay Area — maybe even in the state, as far as he knows. That meant he basically had to write the book on how to make the thing pass health code. 

“They didn’t know how to process it,” he says.

Luckily, he’s trained in design. “If I could design a building, I figured I could make a bicycle.” It took eight months of back-and-forth, but finally the city felt he had a solid operation. The bike features compartments to keep his tacos warm, hot and cold sinks, a trash bin, a table to eat on — even a napkin dispenser. 

Also this: “I wanted to keep it traditional, real.” Dominguez has recreated a system that operates in virtually every developing country, street cooks who serve up snack on the back of bicycles. “There’s no food trucks in Mexico,” he continued. “But food bikes are everywhere.”

Accordingly, his tacos are authentically Mexican. Dominguez hawks steamed tacos de canasta, which translates to “basket tacos” — snacks that are kept in a warm basket and steam throughout the day to a soft, melt-in-your-mouth texture. Dominguez’ treats are filled with papas, carnitas, and buche (pork stomach). 

Better than an ice cream truck

El Taco Bike has been rolling the downtown Oakland streets and out to private events (the bulk of business at this point) since the beginning of July. All the world loves a bicycle these days, so El Taco Bike seems like a pretty strong business plan. Dominguez has plans to attend the next East Bay Bike Party with his culinary contraption — and doesn’t expect to still be the only one in the bike food game come summer 2012.

“I’ve only opened the gates. Trust me, everyone’s been looking at that bike. Next summer it’s going to be crazy.” What’s next, bike samosas? We can only dream. 

Check in with El Taco Bike here to get in with Dominguez’ tacos de canasta