History

The best story in Guardian history

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Joe Neilands and Harold Ickes describe how PG&E has Hetch Hetchyed San Francisco for decades

By Bruce B. Brugmann

Le me add my own Best of selection to our splendid Best of issue this year. It;s a Guardian story with all the elements of great story: It has drama, intrigue, corruption, a cast of characters from John Muir to Hiram Johnson to Harold Ickes to Mayor Newsom, a classic battle between progressives and conservationists, a breathtaking theft of a major public asset by a private corporation, and a long sordid history that continues to this day in San Francisco.

Three years after my wife and I founded the Guardian in 1966, a UC-Berkeley professor by the name of J. B. Neilands came to our tiny Guardian office and offered me a big story. I quickly looked it over and said, Joe (he was known as Joe) this is an incredible story.

Why can’t you get it published in the Chronicle or the Examiner or another major news outlet? Why me? Why the Guardian?

“Nobody will touch it,” said, shaking his head sadly. “It’s too big a scandal. It’s up to you to publish it. If you don’t publish it, nobody else will.”

And so started the saga of what we came to call the PG@E/Raker Act Scandal, the biggest urban scandal in American history. Joe had buried the lead and put some professorese but he had done the research, he had nailed the story and the culprits, and all it needed was some editing, which I was happy to do. Joe and the Guardian had an astounding scoop which no other local paper would publish then and few publish to this day.

The story appeared in our March 27, l969 edition under the fold on the front page. And we have followed it up through the years with literally hundreds of stories, editorials, cartoons, graphics, and charts. . Virtually everyone who worked in Guardian editorial has covered or researched a piece of this story.

The head: “How PG@E robs S.Fl of cheap power”

The lead: “A few months before he died last year, Frank Havenner sat up in his bed in a nursing home in San Francisco and told me of how the Pacific Gas & Electric Co. swindled San Francisco out of hundreds of millions of dollars of cheap hydroelectric power.

“The story was incredible: PG&E and its political allies had defeated eight successive bond issues to establish a municipal electric system in San Francisco and grant city residents and businesses the benefit of low cost power produced by the city’s Hetch Hetchy water system in the Sierra.

“The result: San Francisco has paid through the nose to PG&E for its power and the city loses about $30 million a year in profits it would get from a public system.”

The key quote: Joe research turned up a magnificent phrase used by then U.S. Interior Secretary Harold Ickes in a speech to the Commonwealth Club in 1944 in support of a city bond issue to buy out PG@E. Said Ickes: “The disgraceful history of the handling of Hetch Hetchy power should place a new verb in the lexicon of political chicanery: ‘To Hetch Hetchy’ means to confuse and confound the public by adroit acts and deceptive words in order to turn to private corporate profit a trust set up for the people.”

“I need not repeat the scandalous story thas has given birth to this new verb, but I would remind you that the last chapter of it has not been written. The pledge that the people of San Francisco, with full knowledge, made to their government has not yet been redeemed.” Ickes was making the point that San Francisco was in violation of the public power mandates in the federal Raker Act that and he had sued the city in federal court to force the city to bring its Hetch Hetchy public power to establish a public power system in San Francisco. .

A key Examiner editorial quote: Joe even found the Examiner, then a strong supporter of the dam and public power, stating that “It is a wrongful and shameful policy for a grant of water and power privilege in the Yosemite National Park Area to be developed at the expenditure of $50 million by the taxpayers of San Francisco, only to have its greatest financial and economic asset, the hydroelectric power, diverted to private corporation hands at the instant of completion; to the great benefit of said corporation, and at an annual deficit to the city of San Francisco.” (The Examiner of William Randolph Hearst was of course referring to PG&E. Hearst later switched sides, as a result of getting a chunk of money from a PG@E-controlled bank, but that is another story that a Hearst biographer and the Guardian have previously disclosed.)

Joe asked James Carr, then San Francisco’s general manager of the San Francisco Public Utilities Commission,
when the city would enforce the Raker Act. Carr replied to Joe, in a letter 5l years after the Raker Act passed as the Magna Carta of public power, that it was ‘premature to discuss municipal distribution of power in San Francisco.'” Joe concluded: “In March, 1969, it still is.”

Well, in July of 2008, according to PG&E and Mayor Newsom,
it still is.

Click here to read the original Joe Neilands Guardian story on the PG&E/ Raker Act scandal.

Lennar’s lawsuits

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› sarah@sfbg.com

Two years after Lennar Corp. reported that asbestos dust had neither been monitored nor controlled during major grading and earthmoving operations on its Parcel A construction site on Hunters Point Shipyard last year (see "The corporation that ate San Francisco," 3/14/08), the fallout from these failures continues.

On June 19 a dozen Bayview–Hunters Point residents and workers sued Lennar, as well as international environmental consultant CH2M Hill and Sacramento-based engineering consultant Gordon N. Ball, in Superior Court on behalf of their preschool and school-age children. The parents allege that their children suffered headaches, skin rashes, and respiratory ailments during Parcel A excavations, which occurred next to a predominantly African American and Latino community.

The plaintiffs charge Lennar, CH2M Hill, and Ball with public nuisance, negligence, environmental racism, intentional infliction of emotional distress, and battery. They are asking for monetary damages, a jury trial, and court costs.

But Lennar is apparently seeking to deflect the blame for these problems at the site entirely onto CH2M Hill through a new federal lawsuit, despite revelations in the Guardian (see "Question of intent," 11/28/07) that Lennar reprimanded its own staffer, Gary McIntyre, when he tried to bring Ball to heel for the company’s failure to properly control the toxic asbestos dust.

On June 23, Lennar BVHP LLC sued subcontractor CH2M Hill for negligence, negligent misrepresentation, breach of contract, express indemnity, and unfair business practices in connection with its work on Parcel A.

"Lennar seeks to recover for the significant economic harm it has suffered in addressing the ramifications of CH2’s gross and reckless misconduct in failing to provide competent asbestos air monitoring services for Lennar’s redevelopment of a portion of Hunters Point Shipyard in San Francisco," states the suit, which seeks damages, restitution and indemnity, attorney fees, court costs, and a jury trial.

"Lennar’s economic harm vastly exceeds $75,000," the suit notes. "CH2 has provided no compensation to Lennar and no other relief for its failures. Indeed, CH2 has never publicly acknowledged its clear responsibility for these failures."

CH2’s Oakland-based vice president, Udai Singh, who signed a $392,600 contract with Lennar in January 2006 for asbestos dust monitoring services, told the Guardian, "Unfortunately I’m not working on that, so I have no clue what you are talking about.

"I thought I might have seen something about that, but since I have been working mostly on EPA stuff, I haven’t been involved in this one," continued Singh, who has been project manager for remedial projects on Superfund sites for the federal EPA’s Region IX, which includes Arizona, California, Hawaii, and Nevada.

Singh referred us to CH2’s Denver-based counsel Kirby Wright, who referred us to CH2’s public relations director, John Corsi, who did not return the Guardian‘s calls as of press time.

But while Lennar BVHP continues to contract with Gordon N. Ball at the shipyard, local resident Christopher Carpenter has sued the Sacramento-based contractor in Superior Court for whistleblower retaliation, wrongful termination, racial discrimination, and intentional infliction of emotional distress.

As the Guardian reported, ("Green City: Signs of asbestos," 8/29/07), Carpenter was fired shortly after he complained about dust that was kicked up by a Ball backhoe excavating the Parcel A hillside on Oct. 2, 2006.

"Carpenter became surrounded by a cloud of dust that was caused by Gordon Ball’s failure to water the ground prior to commencing grading," the suit alleges, noting that Carpenter complained about Ball’s unsafe and unhealthy working conditions, some of which violated Bay Area Air Quality Management District regulations and the city’s Health Code, before he was fired.

At City Hall, Sup. Sophie Maxwell is seeking to amend the city’s Building Code to require more-stringent dust control measures for demolition and construction projects. (The Building Inspection Commission opposed Maxwell’s proposal in December 2007, in a 4–3 vote).

On July 22, the Board of Supervisors voted unanimously to support Maxwell’s dust legislation.

Meanwhile, the Rev. Christopher Muhammad, who represents the Muhammad University of Islam adjacent to Parcel A, asked the San Francisco Health Commission to investigate why it took until July 14 for the local community to learn of an asbestos-level violation that occurred at Lennar’s Parcel A site just four days before the June 3 election.

Muhammad suspects the infraction was hushed up because Lennar was engaged in the most expensive initiative battle in San Francisco’s history, plunking down a total of $5 million to support the ultimately successful Proposition G, which gives the developer control of Candlestick Point and the shipyard.

Amy Brownell of the Department of Public Health told the Guardian that the violation, which registered at 138,800 structures per cubic meter of air (the city’s work shutdown level is set at 16,000 structures) did not trigger a work suspension because there was no work planned at Lennar’s site May 31 or June 1, which was a weekend.

Summing up SF’s historic rally for clean energy

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By Bruce B. Brugmann and Janna Brancolini (Scroll down for Jean Dibble’s photo essay of the rally and comments by the speakers)

It was a historic rally Tuesday on the City Hall steps to kick off the third initiative aimed at bringing clean energy and public power to San Francisco.

As our photo essay shows, there was a formidable and diverse array of politicians and environmental and social justice organizations lined up with their signs and speeches to support the measure.

Five supervisors, including the board president, spoke at the rally (Ross Mirkarimi, Aaron Peskin, Tom Ammiano, Bevin Dufty, and Gerardo Sandoval) and then went into a board meeting in City Hall and hours later voted with two other colleagues (Sophie Maxwell and Chris Daly) to put the pioneering initiative on the November 2008 ballot. The vote was 7-4, with Sups. Sean Elsbernd, Michaela Alioto-Pier, Carmen Chu, and Jake McGoldrick voting against. The rally and the vote were cannon shots heard round the city, the state, and the nation.

Susan Leal, former general manager of the SF Public Utilities Commission, made her first public appearance since her dismissal by Mayor Newsom, at the urging of PG&E, for her moves toward public power. The Sierra Club, which fought the damming of Hetch Hetchy Valley in Yosemite National Park a century ago and still wants to tear the dam down, was standing tall with the group (John Rizzo).

All in all, it was one of the most impressive starts to a tough initiative campaign that i have seen in 42 years of covering City Hall for the Guardian. More: having covered the clean energy/public power beat since l969 and our first expose of the PG&E/Raker Act scandal, I think this initiative and this emerging campaign has an excellent chance of winning in November. Remember: when the public power movement revved up in the late l990s, it faced a PG&E-friendly mayor (Willie Brown), a PG&E friendly City Attorney (Louise Renne, whose husband worked for a downtown law firm getting big PG&E money) and a PG&E-friendly Board of Supervisors (only Tom Ammiano and the late Sue Bierman were pro-public power) and had to go around City Hall by going the route of a Municipal Utility District (MUD) ala the Sacramento Municipal Utility District (MUD). This time around, the board turned against PG&E and the city attorney’s office drafted the initiative for the board president and an emerging mayoral candidate.

The November ballot is filled with the juicy issues that bring out the voters: Obama, seven supervisorial races, and a raft of good initiatives aimed at dealing with major city problems (an affordable housing plan, two new tax plans focused on bringing in revenue from the wealthy, a big bond act to rebuild San Francisco General hospital, and the green energy and public power plan.) This time around, clean energy and public power are in the news and the media carried the story widely. PG&E is more worried than ever before and is already launched an early carpet bombing campaign and setting up astroturf and greenwashing operations allegro furioso. And their operatives are out and about and lurking everywhere. On guard!

The Jean Dibble photo essay

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Julian Davis, campaign chair, leads off the event and introduces the speakers.
The group stretching across the steps from left to right: representatives from the SF Green Party, the Green Guerrillas Against Greenwash Network, the Sierra Club, Mark Sanchez, president of the San Francisco Board of Education, Julian Davis of San Francisco Tomorrow, John Rizzo of the Sierra Club (speaking), Mirkarimi,
Sierra Club, Green Action, Green Guerrillas Against Greenwash, League of Young/Pissed Off Voters, more Sierra Club, Global Exchange, Power Vote, and League of Young Voters. (Not pictured in this photo were some l5 people from ACORN.

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Another overview of the group with Davis at the microphone.

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Assemblyman Mark Leno: “Jimmy Carter predicted 30 years ago that by 2000 we could be down from 40 per cent dependence on foreign oil to 20 per cent dependence. We didn’t listen. Instead we were up to 60 per cent by 2000 and now we’re pushing 70 per cent…This measure will take our fate out of PG&E’s hands and put it into the hands of our communities, who have a profound stake in providing clean, sustainable, reliable, and reasononably priced electric services.”

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Former PUC General Manager Susan Leal: “This initiative is about protecting the environment and the rights of San Franciscans and their ratepayers…It’s 167 miles (from San Francisco) to Hetch Hetchy (valley.). The first 140 miles of movement is cheaper than the last 27 miles because PG&E controls it. There’s an economic piece and an environmental piece. We have the technology–geothermal and solar trough. How are you going to move that power? We aren’t going to be able to make it (financially) because PG&E jacks up the rates on the last 27 miles. In 20l5 they’re jacking them up again…this is taking back what is ours.”

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Sup. Ross Mikarimi, co-author of the initiative: “This is not a ‘hostile’ take over,”he said. This is a “meaured way to make the city l00 per cent green and clean in 20 years. This act mandates a feasibility study on how we can provide green and clean energy…otherwise PG&E has a monopoly here until the planet dies.”

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Sup. Aaron Peskin, board president and co-author of the measure: “It’s a very profound thought. This is a time when people (and San Francisco) can change the destiny of the planet…As goes San Francisco, so goes California. As goes California, so goes the nation.”

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Sup. Tom Ammiano, author of two previous public power initiatives: “This issue has a sordid history….500 missing ballots (in the first election), where did they go? …It involves environmental justice. Some have called the (green movement) the Queenhouse effect.” He then said PG&E is avaricious, immoral, and takes homophobic measures. “It wants to shoot the messenger.” He concluded, “This is our time. We’re going to win. We’ll keep the lights on for years.”

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Sup. Bevin Dufty: PG&E’s utility undergrounding system is “an example of PG&E mismanaging things.” He said people in his district were without electricity for 24-48 hours. “This is a referendum for change.”

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Sup. Gerardo Sandoval: “As we’re leaving office, a lot of us want this to be our crown jewel. ..Government works. Government works well because government is better able to assume risk. There is still a lot of risk in renewwable energy, investments, and so on. The private industry is not going to take that risk. It’s always going to take the cheap way out, which is fossil fuels.”

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Mark Sanchez, president of the San Francisco Board of Education, said that children in our schools were affected by the ramifications of PG&E’s monopoly.

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John Rizzo of the Sierra Club: “(Al) Gore said the future of civilization is at stake. Gore’s challenge is a moral one–one that we’ve embraced in San Francisco.” He said that “renewable energy and the green movement will change the world’s economy. Not in Japan, China, or Germany. It will be here.”

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Another overview photo.

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Aliza Wasserman of the League of Young/Pissed Off Voters: She warned of PG&Es propaganda campaign claiming to be green. “Take a step back and think about where they’re investing. PG&E is not investing one dollar in renewable energy beyond state mandates and they lobby against measures to raise those mandates.
PG&E is one per cent solar, one per cent wind, and 98 per cent hot air.”

Nicholas Perez, my l4-year-old grandson from Santa Barbara, attended the rally with his dog Charlie.
Early on, as the speakers warmed up on PG&E, Charley summed up PG&E’s position eloquently. He made a timely deposit on the sidewalk in front of the rally. (Nicholas cleaned it up quickly.) Much more to come,

B3, still watching the fumes from the Potrero Hill power plant from my office window at the bottom of Potrero Hill, courtesy of PG&E and Mayor Gavin Newsom

P.S. Incidental question: how can Newsom pretend to be the “green” mayor and be the “green” candidate for governor when he buckles under to PG&E so ignominously? He’s buckled twice to PG&E, first by flip flopping on the Potrero Hill peakers, then on coming out so strong and so quickly against the Clean Energy Act initiative.
Brugmann’s Law: you can’t be a “green” mayor or a “green” anything if you knuckle under to PG&E on the big green issues.

P.S.: A tip of the Potrero Hill martini glass to the seven supervisors who defied PG&E and voted for clean energy: Aaron Peskin, Ross Mirkarimi, Bevin Dufty, Tom Ammiano, Gerardo Sandoval. Sophie Maxwell, and Chris Daly.
The opposition four will be known from now on as the PG&E Four (Sean Elsbernd, Carmine Chu, Michaela Alioto-Pier, and (gulp) Jack McGoldrick). Jake? Jake? What happened to you? Can you please explain? It’s not too late to change your position.

Between two worlds and then some

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There have been books, documentaries, feature films, and more than one play about Ishi, the last "wild" California Indian who emerged from the hills of northern California in 1911 and became friend and subject of renowned Berkeley anthropologist Alfred Kroeber and his colleagues. Purportedly the sole surviving member of the Yahi tribe — just one of many indigenous groups decimated by white settlers’ diseases as well as the state-sanctioned genocidal violence against California’s native populations in the late 19th century — Ishi succumbed after five years in San Francisco to the white man’s disease of tuberculosis, only to rise again years later (thanks in part to a famous biography written by Kroeber’s second wife, Theodora) as a symbol of new age spiritualism and the elevation of naturalism as ennobling.

Ishi has been the subject of many stories, then, though none necessarily entirely or even remotely his own. Ishi: The Last of the Yahi — Bay Area playwright and Theatre Rhinoceros artistic director John Fisher’s own foray into the history, legend, and meaning of Ishi — takes the idea of the native Californian’s true story as its supple (if somewhat overworked) premise, boldly mixing fact and fiction as well as contemporary and early 20th-century mores to tell a tale of deeply rooted systemic violence that, among other things, links the production of scientific knowledge and the construction of difference (especially racial and sexual difference) to the all-out homicidal impulses of a colonial system of conquest.

This bracing scope, however, is only fitfully fulfilled by the play’s uneven characterization and somewhat tortuous plot, which attempts to ground the play’s more abstract and polemical aspects in a set of human relationships that reverberate across the cultural gulf separating Ishi from his white hosts. Bounding across roughly 150 years, three cities, and two continents, Ishi throws up promising ideas throughout, but ends by being too disjointed and dramatically hit-and-miss to adequately sustain them.

The play brackets the principal action, set between 1911 and 1916, with an academic job talk and a university undergraduate course dealing with the history and implications of Ishi’s story, interspersed with loud and violent scenes of bounty hunters running down Ishi’s relatives. Alfred Kroeber (Kevin Clarke), and colleagues Thomas Waterman (Aaron Martinsen) and Dr. Saxton Pope (Matt Weimer), meanwhile, move effortlessly between the early 20th century and the contemporary setting, in which terms like "postcolonial multiculturalism" are confidently bandied about.

Our first glimpse of Kroeber is of a highly ambitious man courting the favor of a rich benefactress — Phoebe Apperson Hearst (Kathryn Wood) — to secure the necessary funds for a world-class anthropology museum. He is also a loving husband whose wife, Henrietta (Jeanette Harrison), is slowly dying of TB. Here, Henrietta is supposedly the daughter of Kroeber’s renowned former teacher, Franz Boas, a problematic father figure Kroeber has broken with. These connections will find echoes in the relationships in Ishi’s own family. The deal brokered between Kroeber and Hearst, meanwhile, ends up turning on Kroeber’s success in extracting the personal history of the last Yahi, who has just been discovered half-starved and rummaging for scraps in Oroville.

Played with an air of abiding confidence, subdued sorrow, and quiet humor by Michael Vega, Fisher’s Ishi must negotiate a world in which everyone wants a figurative or literal piece of him but where human sympathy and the growing bonds of friendship have their own pull, bidding him to reveal more of himself. Solidly crafted performances from Clarke and Harrison help anchor the drama in the complexity and heartache of the death-shrouded Kroeber marriage. Martinsen is a persuasive and sympathetic Waterman, while Wood’s turn as a jocular and surprisingly ribald Hearst lends further pluck to an otherwise uneven cast. But at more than three hours, including back-to-back addresses from three characters driving home a moral-laden and convoluted conclusion, there is a leaner play waiting to come out here.

ISHI: THE LAST OF THE YAHI

Wed/23–Sat/26, 8 p.m.; Sun/27, 3 p.m., $15–$35

Theatre Rhinoceros

2926 16th St., SF

(415) 861-5079, www.therhino.org

Testimonies

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

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

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

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

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

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

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

SAN FRANCISCO JEWISH FILM FESTIVAL

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

“The Exiles” on Main Street

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TAKE ONE For a sharp perspective on Kent Mackenzie’s neglected 1961 classic The Exiles, push aside most contemporary reviews heralding the film’s rerelease. In the spring of 1962, Benjamin Jackson reviewed Mackenzie’s debut feature for Film Quarterly, and began by noting something no one today seems to think worth mentioning: only 28 years before The Exiles came out, the American Indians who starred in the movie weren’t even considered citizens by the US government.

That basic fact should be at the center of any appraisal of The Exiles, and yet, with the exception of Armond White in the New York Press, most 21st-century critics don’t contextualize the racist history and cultural prejudices the film confronts; forces that have since threatened to erase it. Almost 50 years and countless Sundance Film Festivals after Mackenzie’s look at Native American life in the city and off the rez, it’s still — unfortunately — a one-of-a-kind work. Just as Milestone Films’ successful release of Charles Burnett’s 1977 Killer of Sheep exposed American independent cinema’s lack of artistic imagination and societal insight, the return of The Exiles is partly inspired by the utter failure of American filmmakers to follow Mackenzie’s lead.

In Another Country (Vintage), first published one year before The Exiles‘ release, James Baldwin writes of a New York “so familiar and so public that it became, at last, the most despairingly private of cities,” adding: “One was continually being jostled, yet longed, at the same time, for a human touch; and if one was never — it was the general complaint — left alone in New York, one had, still, to fight very hard in order not to perish of loneliness.” The Exiles tracks a similar fight in Los Angeles, as waged by pregnant Yvonne (Yvonne Williams) while her husband Homer (Homer Nish) goes carousing through bars at Third and Main. Mackenzie follows both with a Weegee-like attention to detail that alights on everything from mechanical monkeys that blow bubbles to boisterous queens at a bar.

This major work of American cinema was created from film stock salvaged from a plane crash and short ends from I Love Lucy. Its potent original score of lip-biting rock ‘n’ roll is by the Revels, whose “Comanche” was exploited by Quentin Tarantino in Pulp Fiction. Its restoration is by Ross Lipman, who has also rescued Killer of Sheep and the work of Kenneth Anger. Further credit for The Exiles‘ revival belongs to Thom Andersen, whose 2003 survey Los Angeles Plays Itself first brought the film to the attention of a new generation. One year before Godard’s Vivre sa vie (1963), Mackenzie made an unsentimental movie about a woman who goes to the movies — in fact, The Exiles reaches its midway point just as Yvonne watches an intermission jingle that urges people to raid the concession stand. Both Yvonne’s night and this film’s are far from over. (Johnny Ray Huston)

TAKE TWO One reason we watch film noir is to look at the forgotten city. As American crime pictures got grittier, they stumbled from the plush nightclubs of Gilda (1946) to the sticky bars of Kiss Me Deadly (1955). First shot in 1958, Kent Mackenzie’s The Exiles is set in the same dilapidated Bunker Hill neighborhood valorized by John Fante and Charles Bukowski. Mackenzie’s ethnographic focus on a small group of urbanized American Indians would seem to place his film in a different league, but then many noir films open with statements not so different from his voice-over: “What follows is the authentic account of 12 hours in the lives of a group of Indians who have come to Los Angeles, California.”

Noir comparisons only go so far in elucidating The Exiles‘ enduring appeal. By focusing on a sloshed night-in-the-life of this group, Mackenzie locates urban malcontent rather than inventing it. After the first of many exquisite evening shots of a long-extinct LA funicular, we’re introduced to Yvonne: her moony face is inexpressive, and her voice-over amplifies her solitude in a bustling marketplace. She explains she’s pregnant and is glad to be having the baby away from the reservation, but worries about her husband Homer’s commitment. Homer’s boys’ club favors a Keroauc-ish jive-talk — with disenfranchisement for heritage, they adapt the “wherever I may roam” frontiersman-speak of the hipster.

Mackenzie wasn’t a native Angeleno, much less an American Indian, but his outsider perspective enlarges The Exiles. If the location details in Charles Burnett’s Killer of Sheep seem incidental, here they are part of a broader lyrical-documentary design. The fact that we can make out so many prices — mackerel for 21 cents a pound, gas for 27 cents a gallon — is symptomatic of the characters’ hand-to-mouth milieu and Mackenzie’s aesthetic calculus. The filmmaker’s anachronistic tendency to play the peripheries reaches fullest bloom when Homer burns with unnamed anomie, surrounded by the Café Ritz’s unsavory characters. The moody scene is a vivid if intense evocation of the kind of democratic mixing place Mike Davis eulogizes in his 1990 LA history, City of Quartz (Vintage).

If The Exiles anticipates both Jim Jarmusch (the outsider-as-hipster and jukebox soundtrack) and Gus Van Sant (the bender crawl and the combination of voice-over and neorealism), it’s more a sign of Mackenzie’s intuition than his priorities. The bitter irony of the title is that Mackenzie’s characters are exiles from both the past and the future. The director was well aware of City Hall’s redevelopment slate for Bunker Hill when he framed his long-take vistas. “Time is just time to me,” hep-cat Tommy (Tommy Reynolds) muses on voice-over. “I’m doing it outside, so I can do it inside.” Not so for Mackenzie, a true preservationist whose work has now been treated in kind. (Max Goldberg)

THE EXILES

Aug. 1–7

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

Manufacturing Frida

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› a&eletters@sfbg.com

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

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

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

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

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

FRIDA KAHLO

Through Sept. 28

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

San Francisco Museum of Modern Art

151 Third St., SF

www.sfmoma.org

Hunting the lord of war

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› gwschulz@sfbg.com

Accused illegal arms dealer Victor Bout’s long-awaited arrest by Thai police officers March 5 was an important victory against unchecked human rights abuses around the world, and a personal vindication for the San Francisco woman who helped bring Bout to international attention.

Bout arrived at the luxurious Sofitel Hotel in Bangkok believing he was to meet with two senior leaders of the Marxist guerrilla army known as the Revolutionary Armed Forces of Colombia, or FARC. The men, it turned out, were paid informants operating on behalf of US drug enforcement officials.

Through an associate, the 41-year-old Bout allegedly promised to sell the duo large quantities of weapons to continue FARC’s decades-old insurgency against the Colombian government. According to an April federal grand jury indictment filed in New York, the arms included surface-to-air missiles, AK-47s, C-4 explosives, land mines, and even people to help train FARC soldiers in using the weapons.

Among those most relieved — and surprised — at the arrest was a relentlessly determined human rights investigator who lives in San Francisco. Kathi Lynn Austin, 48, has been pursuing the notorious trafficker and war profiteer for more than a decade.

Bout, a former USSR Air Force officer, is widely reputed to be one of the world’s most active criminal arms dealers, perhaps best known for his spectral presence on the African continent. There, he cultivated professional relationships with its litany of brutal dictators and helped fuel some of the most appalling human rights tragedies of the last century.

Austin and other investigators, as well as journalists and law enforcement officials in several countries, say that Bout expertly structured a business empire of shell companies, dubiously licensed cargo planes, and endless arms accumulations from former Soviet stockpiles — all of which were intended to minimize evidence linking his name to illegal weapons dealing.

But the work Austin did to penetrate that shell and expose Bout was so notable and dramatic that Paramount Pictures announced in December 2007 that superstar Angelina Jolie would play her in a drama inspired by Bout’s infamous career.

It’s a stunning achievement for someone who 15 years ago struggled to convince even her colleagues in the human rights community that the end of the Cold War and the globalization of organized crime made nonstate actors like Bout as much of a threat to peace as the tyrannical governments they’d been naming and shaming for years.

"A human rights violation is considered a violation that is carried out by a state actor," Austin told the Guardian. "We were trying to change the whole field of human rights to philosophically say we should be going after these private perpetrators as well."

Austin has helped document Bout’s convoluted network since about 1994, first as a consultant for Human Rights Watch and later as arms and conflict director for the Washington, DC–based Fund for Peace, for which she maintained a San Francisco office, before eventually working for the United Nations.

After returning to San Francisco in June from an 18-month UN mission in East Timor, Austin agreed to talk about her investigations of Bout over several hours of interviews near the North Beach apartment where she’s been holed up writing material for the Paramount script.

Seeing Austin in a crowded coffee shop with clear features and wide, earnest eyes, it’s not easy to imagine her charging through the world’s hellholes: Rwanda, Sierra Leone, Liberia, the Democratic Republic of the Congo, Angola, and other African conflict zones where the UN has imposed longstanding but ineffective arms embargos.

The work of Austin and others repeatedly helped show that death and destruction could continue indefinitely for the right price paid to savvy arms brokers like Bout, while the United States failed to regard the plight of civilian populations across Africa as vital to its interests.

As the world would learn in 2004, even the US military relied on Bout’s planes to conveniently bring its partially privatized war machine down on Iraq, making this story about more than just Bout and his pursuers.

Following Bout’s arrest in Thailand, federal prosecutors here charged him with conspiring to kill US nationals and attempting to illegally acquire anti-aircraft missiles.

In 1997 the United States designated FARC a terrorist group for kidnapping and murdering American citizens in Colombia. US officials also consider Colombia the globe’s largest supplier of cocaine, a trade that’s kept the leftist rebels afloat.

Bout allegedly told DEA informants that an ongoing, violent campaign by the FARC to counter America’s cocaine fumigation efforts in Colombia was his fight, too, and that he could supply the guerrillas with everything they needed.

Days after this story goes to press, however, he’s due for a court hearing in Bangkok, where a judge will decide whether to extradite him to the United States. That means Bout could face a criminal trial on American soil. To Austin, that’s long overdue. She had lost hope that her country would subdue a top-tier enabler of gross human rights violations. A secret sting operation led by American narcotics agents was the last thing Austin believed would lead to Bout’s capture — and for good reason.

She first became aware of his name in 1994, shortly after witnessing one of the brightest moments in contemporary African history. On April 24 of that year, Austin stood near the polling station as Nelson Mandela, a political prisoner of 27 years, marked his ballot in South Africa’s first fully democratic election. She’d been invited to attend after working as a researcher in the Natal province documenting political violence and the apartheid government’s desperate attempts to preserve decades of white control through upheaval and destabilization. No one was sure Mandela would reach the ballot box.

"We got up at three, four in the morning to load a bus," Austin recalls. "Nobody told us exactly where it was. We had to go under cover of darkness. When we got there, he voted just after the sun came up."

The inauguration party weeks later spilled out everywhere in Johannesburg. Austin mingled with foreign journalists and drank champagne. But one of the greatest parties of the century turned glum as vague reports mounted describing trouble in a nearby country, one smaller than Maryland and at the time unknown to most Americans: Rwanda.

"Nothing was really clear. It was all very ambiguous," Austin remembers. "We just kept hearing these reports that 10 Belgian peacekeepers had been killed and the UN was pulling out and people were dying on a massive scale."

The Rwandan genocide would become one of the greatest human atrocities since the Holocaust as extremists from the ethnic Hutu majority massacred at least 800,000 minority Tutsis and Hutu moderates with gruesome efficiency while the world stood by.

As details emerged, Austin raised money in the United States and worked to get to the beleaguered African nation as soon as possible. Meanwhile, a Tutsi-led military offensive defeated the Hutu Power government in the capital city of Kigali by July 1994 and supposedly ended the genocide. But as Austin and others would learn, the violence was far from over.

Hundreds of thousands of refugees streamed toward the eastern border of neighboring Zaire, among them the perpetrators of the genocide. Hidden inside refugee camps, Hutu militias renewed their strength and began amassing weapon caches with the quiet support of Zairian dictator Mobutu Sese Seko.

Austin fearlessly penetrated the militia encampments, persuading exiled Hutu military leaders to disclose how they had obtained antitank grenades and high-caliber ammunition. The list included Col. Théoneste Bagosora, considered to be a chief architect of the genocide. Her trick? Austin told them she was a researcher for the neutral-sounding Institute of Policy Studies — which was technically true — and simply needed to hear their side of the story.

"It was a really treacherous place to be," Austin said. "At the time I appeared young, nonthreatening. I didn’t often say I was with Human Rights Watch…. In any kind of organization, people are motivated by many different things. You find those sources that for some reason or another want to help out or are so ego-driven they don’t think that any information they give to you is going to be used somehow against them."

She also interviewed members of flight crews who gave her information on cargo companies hired by the Mobutu government to secretly supply its Hutu allies with weapons by falsifying official flight plans and end-user certificates, key legal requisites designed to curtail transnational arms shipments.

According to her later Human Rights Watch report, "The militias in these camps have taken control of food distribution, engage in theft, prevent the repatriation of refugees through attacks and intimidation, carry out vigilante killings and mutilations of persons suspected of crimes or of disloyalty … and actively launch cross-border raids."

What didn’t make sense was how the suspected ringleaders of the genocide could obtain weapons despite the return of peacekeepers to the area and an arms embargo on Rwanda imposed by the UN.

CIA investigators later discovered that planes belonging to Bout were involved in supplying the outlaw Hutus, according to Douglas Farah and Stephen Braun’s definitive book on Bout, Merchant of Death: Money, Guns, Planes, and the Man Who Makes War Possible (Wiley, 2007).

Austin also came to that conclusion by the end of an eight-month fact-finding trip to the region carried out in 1994 and 1995. Her findings for Human Rights Watch helped propel her to international notoriety as more NGOs focused on illegal arms flows coming from private brokers.

"The Rwandan genocide was really the watershed, for me and for Bout," Austin said. "In the early years, he’s building his empire and I’m beginning to narrow what I want to investigate. I was becoming more and more convinced that in all the wars I was looking at, it was logistics. It was all about who could bring in the guns, the fuel — keep the war going."

Back then, Bout was still a bit player among many weapons suppliers working on the continent, according to Austin. But he soon did something that would significantly boost his career and help make him what another Bout pursuer once described as "the McDonald’s of arms trafficking." He switched sides and helped the new post-genocide Rwandan leadership topple the neighboring Zairian presidency of Mobutu, Bout’s own longtime client.

Zaire is known today as the Democratic Republic of the Congo. Bout would make yet more money years later aiding another warlord who attempted a violent coup inside the country, Jean-Pierre Bemba. The International Criminal Court last month charged Bemba with mass brutality and rape committed against civilians between 2002 and 2003.

"He [Bout] has no loyalty," a Bout associate told Merchant of Death authors in 2006. "His loyalty is to his balls, his sweet ass, and maybe his wallet."

Probably Bout’s most cynical move occurred in Afghanistan. At the start of his career, in the early 1990s, he allegedly maintained an intimate business relationship with commanders of the Northern Alliance, the tribal army that fought Taliban extremists for years until gaining power in Afghanistan with US help following the Sept. 11 terrorist attacks.

US officials began openly acknowledging in 2005 that Bout earned as much as $50 million also furnishing the Taliban with military equipment during its reign over the country.

Austin’s upbringing is the antithesis of what one might expect from an international human rights investigator. The oldest of five kids, she played guitar in a country-and-western band with the rest of her siblings, embarking on tours throughout the South from their home in Richmond, Va.

"We would play for people who had no money," she said. "We’d camp out for three days just to give them some music."

In the ’60s , the family of Baptists played at small African American churches during the climax of Southern segregation and against the backdrop of racist terror. They defied the neighbors and invited black friends over for dinner or socialized with them publicly. The Austins were largely apolitical, but Kathi says her parents insisted on human decency and encouraged a basic sense of justice and rebellion.

Her exposure to the destitution of many formerly enslaved black families in the South translated seamlessly in her own mind to Africa, a continent that fascinated her. But her understanding of the continent was limited.

"I just wanted to go save Africa one day. It was what I said I wanted to do with my life when I was really young…. I had this kind of missionary zeal, this very naïve, humane impulse."

Few people in her family considered going to college, but Austin hungered for academic achievement, securing a scholarship to the University of Virginia in the late ’70s.

Civil rights turmoil at the school politicized her and transformed her deeply. A model Organization for African Unity held for college students each year at Howard University in Washington, DC had the greatest impact. She attended it devotedly for several years. After competitive debates, politicians, professors, and other experts would speak to the students about Africa’s colonialist history and the anti-Apartheid movement.

"I really began to understand a lot of the underpinnings of what was going on with the African liberation movement in South Africa," she said. "I became engrossed in it and learned a lot intellectually and got a good sense of what I thought."

Austin began to zero in on the Ronald Reagan administration’s agenda of undermining Soviet communist influence in the region. The United States covertly backed the UNITA rebels in Angola against a communist-led liberation movement there, and continued to support the white-dominated and separatist apartheid regime of South Africa.

She wanted to investigate the unsavory relationships Reagan’s White House had developed on the African continent in its crusade to defeat communism during the Cold War. But Austin was aware of only two think tanks in the capital that examined such issues and had a reputation for attracting left-leaning luminaries. One was the nonprofit National Security Archive, a repository of declassified intelligence and foreign policy documents obtained largely through Freedom of Information Act requests.

Headquartered at George Washington University, lawmakers concerned about US covert activities abroad and some of the nation’s best-known journalists, including New Yorker writer Seymour Hersh, palled around at the independent, nongovernmental research library after it was founded in 1985 by a group of muckracking reporters and scholars.

Austin’s internship there in 1988 created a new realm of possibility — solo investigations — and sparked an interest in following the intricate paper trails that accompanied her growing knowledge of Africa’s geopolitical landscape, frequent outbreaks of low-intensity conflicts, and evasive weapons procurers.

But she still had never been to Africa. "That was my big ambition," she said. "If there’s anything about me it’s that I’ve got to see for myself."

As her ties to Washington expanded, she joined a World Bank urban rehabilitation team, writing political and economic background reports on Angola in 1989, believing she could make a difference inside the ill-reputed lender to developing countries.

She didn’t, but it was enough to give her first contact. After that trip to Angola, Austin used her savings to stay behind, joining a UN mission overseeing the withdrawal of Cuban troops above the 19th parallel, who were there as a result of Angola’s years-long civil war. She later went to Mozambique on a MacArthur Foundation grant and interviewed private mercenaries operating there for a report called "Invisible Crimes" that included a simple investigative formula she would employ for years to come: What’s wrong? And who’s doing it?

"Through the years, you realize just what kind of danger she’s in," her sister, Cindi Adkins, said from Virginia. "We would go days, weeks, months without hearing from her. My mom would say, ‘We have to call the Red Cross and see if we can find out that she’s okay.’<0x2009>"

Wanting to escape Washington culture, she moved to North Beach in 1997 after becoming entranced by San Francisco’s slower pace. Between missions, she’d spend full days at Caffe Sapore on Lombard Street writing a book about arms trafficking she’s still working on today.

Stanford University’s Center for African Studies invited her to become a visiting scholar for a year, researching arms proliferation and lecturing students, while the Goldman School of Public Policy at the University of California, Berkeley, did the same thing shortly afterward.

But the San Francisco–based Ploughshares Fund became one of Austin’s biggest supporters, helping her finance the creation of a local arms and conflict office for the Fund for Peace, an antiwar think tank in Washington.

"At that time, one of the areas we did a lot of funding in was the control of small arms and light weapons," said Deborah Bain, Ploughshares’ communications director. "Kathi was someone who did a lot of very courageous work tracking arms flows around the world. We were very impressed with the work she was doing and the kinds of results she was getting."

By then the UN had grown to understand the need for knowledgeable people on the ground who could travel across various war-torn African countries and gather evidence on who was vioutf8g arms embargos and how they were doing it. In the coming years, Austin served as a consultant and official expert on panels that investigated sanctions violations in Liberia, the Congo, Uganda, Burundi, Sudan, and Sierra Leone with teams of other human rights investigators who’d long followed Bout’s operations.

Her ex-boyfriend, Todd Ewing, a foreign economic development specialist and Bay Area native who began dating her in East Africa during the ’90s, described Austin as intense and ambitious. While his own blonde hair and six-foot frame made him conspicuous in the region, he said Austin’s "big brown eyes" and polite manner enabled her to slyly convince gritty characters to talk.

"Her MO at that time would be to just disappear for months [on fact-finding trips]," Ewing said. "I always liked to describe her as a sort of spy for the good guys."

Observers say that history handed the equally ambitious Victor Bout a perfect storm in 1991 at just 24 — an age when many Americans are looking for their first post-collegiate job.

The Soviet empire dissolved that year, ending the Cold War between Russia and the United States. Economic globalization expanded and gave every creative entrepreneur with good connections, criminal or legit, a chance to make a fortune. Aging Cold Warriors in the Beltway during the Bill Clinton era and later in George W. Bush’s cabinet maintained a stark binary ideological view of the world and failed to take seriously the growing threat posed by transnational criminals who had exchanged ideology for profit.

After the Berlin wall fell, corrupt Russian oligarchs infamously plundered the country’s assets as they were privatized following years of state control. Some robbed Russia’s rich oil reserves. Bout sought its military installations and airfields containing rows of cheaply available and unused commercial planes, all essentially abandoned by the central government.

Profiles of Bout put him in Angola — and possibly Mozambique — working as a translator for Russian peacekeepers when the Soviet Union broke up. US officials say Victor Anatolijevitch Bout was born in Dushanbe, Tajikistan, a deeply impoverished former Soviet state, and speaks several languages.

Bout told the New York Times in a rare 2003 interview that he purchased three Antonov aircraft for next to nothing in 1992 and used them to exploit a gap in the transit market, at first ferrying innocuous cargo like flowers from South Africa to the Middle East.

But the mogul quickly fostered connections to old Eastern bloc manufacturing and storage facilities in places like the Ukraine and Bulgaria, which were filled with AK-47s — ubiquitous in the developing world — ammunition, tanks, helicopters, and other military equipment.

Over time, investigators say he erected a complex web of cargo and airline companies designed to throw off suspicion. If one firm faced too much attention from aviation authorities, another was created to hold the assets. Otherwise, bribery, fraud, and forged documents were used, according to a report on Bout created by the US Treasury Department. In many African countries, aviation regulations are weak and international law is rarely enforced.

"Unless confronted with documentary evidence to the contrary, Bout’s associates consistently deny any involvement with Bout himself or playing any role in arms trafficking," the treasury report from 2005 reads.

US officials believed by then that he controlled the largest private fleet of Soviet-era aircraft in the world and employed hundreds of people, overseen partly from a nerve center in the United Arab Emirates, at the time a fast-growing and highly unregulated intercontinental transportation hub east of Saudi Arabia.

The Treasury report and other investigations say Bout became a confidante of the Liberian dictator Charles Taylor, supplying him with gunships and missile launchers. Taylor is currently on trial in the Hague for directing horrifying atrocities in neighboring Sierra Leone, ranging from widespread and extreme sexual violence to drugging and forcing children into combat.

When treasury officials here finally moved to seize Bout’s assets and bar Americans from doing business with him in 2004, they concluded that he had received diamonds extracted from Sierra Leone in exchange for supplying arms to Taylor.

That year saw one of Austin’s boldest attempts to confront the trafficking of illicit goods, on an airport tarmac in the Democratic Republic of the Congo, at that time under its own arms embargo. A UN team Austin worked with uncovered piles of questionable registration records during a surprise inspection of two dozen planes, some of which fit Bout’s profile, as their Russian crews stood by, annoyed.

"I only told one or two high-ranking UN officials to get their permission, so we could be sure it didn’t get leaked out," Austin said. "None of the people involved in the actual inspection knew about it until that morning…. I’m still surprised it was so effective. I’m not sure it would work again."

International aviation rules require pilots to maintain several different types of documents, but the group found that 21 planes had invalid registration papers, two had false airworthiness certificates, and three had no insurance to speak of — telltale signs of smuggling. The group determined that weapons in the area were being exchanged for illegally mined columbite-tantalite, or coltan, a valuable mineral contained in some modern electronic devices such as cell phones.

The revelation led the UN Security Council to place Douglas Mpamo, a prominent alleged Bout manager in the region, on the DRC sanctions list, along with a pair of well-known Bout subsidiaries. With Austin’s help, another reputed top Bout lieutenant named Dimitri Popov made a similar security watch list in the United States.

Meanwhile lower-level bureaucrats in the US State and Treasury departments collected evidence on Bout for years, assisted by Austin, who occasionally met with them to relay information she had gathered on fact-finding missions. She testified to Congress about the proliferation of small arms, too, but after Sept. 11, the White House drifted away from a growing campaign to stop Bout.

"I don’t think the Bush administration should get any credit for the fact that Victor Bout was arrested," Austin said. "I think it has to do with the DEA being insulated from the policy influences of the administration. They kept the case so secret they were able to succeed. In the past, once it became an interagency issue or problem, bureaucratic inertia and turf wars entered in and always raised some obstacle to the actual pursuit of Bout."

Eventually, that bureaucratic inertia began to look like something far more shameful.

On April 26, 2005, several state and federal law enforcement agencies including the FBI, IRS, and Dallas Police Department, raided two homes and an office in Richardson, Texas, looking for evidence that Bout’s tentacles had reached the United States.

The properties belonged to a Syrian-born American citizen named Richard Chichakli, who had served in an aviation regiment of the US Army during the first Gulf War. After being discharged in 1993, Chichakli helped create a free trade zone in the United Arab Emirates.

That’s where Chichakli likely first met Bout. Chichakli later returned to the US and became licensed as an accountant and an expert in military contracting. Officials found records showing that the 49-year-old Chichakli had created American companies connected to Bout.

Also discovered during the raid were wire transfer statements showing hundreds of thousands of dollars at a time moving from Bout-connected companies in the UAE to Chichakli in Texas, and credit card invoices managed by Chichakli listing Bout’s lavish purchases at businesses serving the nouveau riche of Moscow.

The raids were the result of a July 2004 executive order signed by President Bush — who, facing pressure from the UN, authorized the raids and prohibited Americans from doing business with Bout due to his connections to Taylor in Liberia.

The White House’s action came years after Austin and other investigators compiled their own research on Bout’s role in arming African warlords. Thirty companies and four individuals were added to a blocking order as a result. Federal court records from the case include extensive references to UN reports on Bout, including some Austin worked on, like one citing witnesses who saw a Bout-connected plane transporting large volumes of arms and ammunition through a Congolese airport between February and May 2004. Something was finally being done, or so it seemed.

But Austin and her colleagues were furious to learn that the US Defense Department hired Bout’s vast air armada with taxpayer money nearly 200 times in 2004 alone to ferry supplies and construction materials into Baghdad after the start of the Iraq war.

Merchant of Death co-author Braun, a Los Angeles Times national correspondent, reported for the paper in December 2004 that two well-established Bout companies, Air Bas and Irbis, had contracted with the US Air Force and Army as well as private companies like FedEx and Kellogg Brown & Root, the much-maligned former Halliburton subsidiary. The State Department had circulated a list of Bout companies warning its officials not to use them, Braun wrote, but the Pentagon made no similar effort.

A fuel purchase agreement included in Chichakli’s court file shows that the Defense Department used Air Bas "for official government purposes" just nine days after Wisconsin Democratic Sen. Russ Feingold questioned top defense officials, including then–Deputy Secretary of Defense Paul Wolfowitz, about such contracts. But Wolfowitz didn’t acknowledge what he eventually characterized as the "inadvertent" use of Bout’s planes for Feingold until months later.

When Austin delved into the issue in 2005 with fellow Merchant of Death author Farah, a former West African bureau chief for the Washington Post, the pair obtained new information for an article in the New Republic showing that the US military also used Bout-controlled companies during a four-month period in 2005, long after the "inadvertent" contracting had first been publicized.

The discoveries were a major letdown for Austin. She’s discussing with some NGOs the possibility of suing the federal government for vioutf8g its own presidential executive order. But Austin knows that even if Bout lands in a US prison for life, there will be someone else to take his place. It’s already happening, she says. As dark as it sounds, Austin will never have to go without a job.

"I’ve seen so much of the same thing go on year after year," Austin said. "You just have to take it in stride and keep coming back punching and hitting. That’s just the nature of the beast, the nature of the work that I do. You just have to keep going."

Judge denies SF Weekly motion for new trial

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Judge Marla Miller July 18th rejected attempts by the SF Weekly and its chain owner to overturn the Bay Guardian’s victory and $16 million jury award in a predatory pricing case.

The ruling on the defendants’ post-trial motions marked the end of the first full round of this legal fight and sets the stage for a shift to the California Court of Appeal. All that remains to be decided by Judge Miller is the Guardian’s upcoming motion for attorneys’ fees, which are expressly allowed to a prevailing party under the California Unfair Practices Act.

SF Weekly and Village Voice Media had asked Miller to overturn the jury verdict or order a new trial, and the company lawyers spent hours July 8th arguing that the evidence presented in a five-week trial didn’t justify the jury’s decision. And they claimed, in a laundry list of challenges, that Miller had issued improper jury instructions and erred in admitting evidence at trial.

Defense attorneys James Wagstaffe and H. Sinclair Kerr also tried to get the judge to overturn the 16-paper chain’s liabilty for any damages awarded by the jury. That would have left the Weekly as the only guilty party. VVM had admitted in earlier post-trial proceedings that the Weekly has a negative net worth and alone would be unable to pay the Guardian anywhere near $16 million.

Miller, with little comment, denied those requests.

In her “order denying defendants’ motion for new trial” Miller stated:

“To the extent that the motion for New Trial is based upon the grounds of insufficiency of the evidence to justify the verdict (Civil Procedure Code #657(6) and excessive damages (Civil Procedure Code #657(5) the court has weighed the evidence and is not convinced from the entire record, including reasonable inferences therefrom, that the jury clearly should have reached a different verdict. To the extent that the motion for New Trial is based upon errors at law which Defendants contend occurred at the trial and were excepted to by them (Civil Procedure #657(7), the Court finds these contentions lack merit.”

The defendants have said they plan to appeal.

The case centered around the Guardian’s charge that the Weekly had for years violated California’s Unfair practices Act by selling advertising space below the cost of producing it for the purpose of injuring the locally owned, independent competitor.

Evidence presented at trial showed that the Weekly had consistently lost money, as much as $2 million a year, since New Times, now known as VVM, bought the paper in 1995.

The chain later bought the East Bay Express, and transformed it from a profitable paper to one that consistently lost money. Between the Weekly and the Express, VVM has lost some $25 million in San Francisco.

The evidence also showed that VVM’s executive editor, Michael Lacey, had vowed to put the Guardian out of business, and that Weekly advertising and business staff were instructed to try to take business away from the Guardian by below cost pricing, whatever the sacrifice in revenue and profits.

And while the VVM lawyers mounted a convoluted legal argument to claim that the parent company wasn’t legally liable for any damages, the trial showed that the senior executives at the Phoenix-based chain were not only aware of the predatory strategy but were active participants in enabling the Weekly to carry out its pervasive program of below-cost sales..

In fact, two senior officers, CFO Jed Brunst and Controller Jeff Mars, testified on the stand or in pretrial depositions that the SF Weekly would have gone out of business years ago if the chain hadn’t made a policy of shipping large sums of money from headquarters into the San Francisco operation to subsidize below-cost sales.

After the trial, jurors said they were convinced that VVM sought to destroy local competition. Juror Kerstin Sjoquist, a local business owner and graduate student, said in an interview that “it felt overly predatory on the part of the Weekly” and that “the predatory intent trickled down from the top.”

Although the VVM lawyers have 60 days to file their notice of appeal, there’s already some indication of what the chain will try to argue to the higher court. Even before the trial started, Andy Van De Voorde, VVM executive associate editor, who flew in from Denver to cover the trial for the Weekly, argued in his blogs that the California Unfair Practices Act was out of date and irrelevant. Referring to the act as a “depression era law,” (actually, the act dates back to 1913, California’s Progressive Era), Van De Voorde suggested that modern competitive markets made such a law pointless.

The law bars any business from selling a product or service below cost with the intent to harm a competitor or destroy competition. That prohibition has been upheld by many appellate court decisions, some as recent as the 21st century. The state Legislature has reviewed and even amended that part of the state code many times in recent decades, but has declined to make any fundamental changes in the protections afforded by the Unfair Practices Act.

And the trend toward chain ownership and consolidation of businesses in everything from coffee shops to bookstores and hair salons would seem to suggest that the need for a law protecting independent local merchants from predatory chains is greater than ever today.

That’s certainly true for the news media: One company new owns almost every daily newspaper in the Bay Area.

Both before and after the trial, the VVM lawyers also argued that a ban on predatory pricing would violate the Weekly’s First Amendment rights. If the paper was forced to live within its means – that is, to raise ad rates and stop relying on big subsidies from the chain – Weekly managers might have to cut the size of the staff, thus reducing editorial coverage, the lawyers argued.

Two judges – first Richard Kramer, who handled pre-trial rulings, and later Miller – rejected that argument wholesale.

As the Guardian’s lawyers argued, newspapers have always had to follow basic business regulations – even when they might cost money that could have gone to editorial staffing. No newspaper has ever seriously tried to claim that labor laws, or environmental laws, or workplace-safety laws, or tax laws were a First Amendment violation.

Still, those claims may appear again in the appellate briefs.

Meanwhile, the costs to VVM and the Weekly will continue to rise: If the verdict is upheld on appeal, the chain will have to pay interest on the jury award, which is now accruing at about $4,300 a day. And at this point the Guardian has an additional statutory right to recover reasonable attorney’s fees, which could add a substantial amount to the current judgment of more than $16 million

The Guardian’s lawyers are Ralph Alldredge, Richard Hill and E. Craig Moody.

You can read the Guardian’s key legal brief on the post-trial motions here. For a detailed history of the case, click here

The challenge to Newsom…and all of us

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cic 5.jpg
Photo from Portland’s recent ciclovia by Steven T. Jones

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

Yosvany Terry

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PREVIEW With his new suite of songs, "Ye-dé-gbé and the Afro-Caribbean Legacy," Yosvany Terry puts his audience on a swivel, looking forward while also looking back. The Cuban-born composer-saxophonist-percussionist incorporates elements of Arará rhythms — a style brought to Cuba by slaves taken from Dahomey, now Benin, in West Africa — into his angular modern jazz writing.

"Even though I’m looking back at history, I’m trying to create something which can be combined with the most modern material I’ve been working on," Terry said from his New York City home. Three of Terry’s compositions were recorded on pianist Gonzalo Rubalcaba’s latest album, Avatar (Blue Note), which was released this spring. Though Terry was most recently heard on that disc with Rubalcaba’s brilliant new quintet, the "Ye-dé-gbé" project has a more anthropological genesis. Terry traveled to Matanzas, Cuba, and studied with Mario "Mano" Rodriguez Pedroso, one of the greatest living drummers in the Arará tradition. He even had his own Arará drums made there. "The way the drums are played with sticks is a Dahomey tradition, which I bring up to date," he explained. "You can hear the deep foundation, which is very old, but at the same time, you hear it in a context which sounds very modern."

The music combines percussive layers with call-and-response chants and modern jazz soloing. Terry also gives credit to Bay Area percussionist Sandy Perez as a key element in the development of the suite, which receives its West Coast premiere in a series of Bay Area performances by Perez and his Afro-Caribbean Legacy band. The group includes lead vocalist and percussionist Pedro Martinez, pianist Osmany Paredes, dancer Felix "Pupi" Insua, percussionist Roman Diaz, and Terry’s brother Yunior Terry on bass. (Marcus Crowder)

YOSVANY TERRY AND THE AFRO-CARIBBEAN LEGACY With Jesus Diaz, John Santos, and Michael Spiro. Fri/18, 8 p.m., $12–$15. Lecture-demonstration by Terry, Tues/22, 7 p.m., $10–$12. La Peña Cultural Center, 3105 Shattuck, Berk. (510) 849-2568, www.lapena.org. Also Sat/19, 1–3 p.m., free. Yerba Buena Gardens Festival, Mission and Third Sts., SF. www.ybgf.org. Also Sun/20, 7:30 p.m., $14–$28, Stanford Jazz Festival, Dinkelspiel Auditorium, Stanford. (650) 725-ARTS, www.stanfordjazz.org

Diaboliques

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› a&eletters@sfbg.com

Sex is such an unalloyed force in Catherine Breillat’s films that it actually seems to consume narrative. Among a controversial lot that includes Fat Girl (2001) and Romance (1999), The Last Mistress is unique for its classical trimmings, but its plot points and character development are still no more or less important than the emotional content of a moan. All the French writer-director’s films are anatomies of hell, but this time she’s courting provocations instead of simply imposing them. The thickening of Breillat’s stock may be due to her 2004 stroke, or her decision to adapt an earlier work (the film freely elaborates on an 1851 novel by Jules Amédée Barbey d’Aurevilly), or the fact she’s finally snagged an actress who enlarges her take on female appetite-for-destruction.

That actress is Asia Argento. In performances typically labeled raw or animalistic by a mostly male press, the daughter of Dario bottles up the rage simmering underneath every black magic woman and femme fatale in film history. It’s telling that Argento’s daredevil acting style doesn’t conjure other actresses so much as rockers like Diamanda Galás, PJ Harvey, and Courtney Love — women who live on the literal edge of a stage.

In The Last Mistress, Argento isn’t so tongue-in-cheek that she’s willing to slobber a rottweiler (as in a much-discussed moment from Abel Ferrara’s 2007 Go Go Tales). Breillat has given Argento a character who dovetails with her persona. Her Vellini is constantly described as a creature and, in a key moment, as a mutt. Her titular courtesan — rumored to be the illegitimate offspring of an Italian princess and a Spanish matador — is conjured by flashbacks and the looks and idle gossip of others. The film opens with a churlish count and countess plotting to inform Vellini that the object of her longtime amour fou, Ryno de Marigny (Fu’ad Ait Aattou), is marrying the virginal Hermangarde (Roxane Mesquida). Our first image of Argento — a double-portrait of actress and character, stretched over a divan in a classic pose of seduction — instantly explodes any element of Merchant-Ivory farce, with the actress already burnishing the angry glow of her character’s typecast destiny.

A moment later, Vellini is relishing Ryno’s porcelain weight, her pleasure-hungry visage adjacent to the glassy eyes and growl of a stuffed tiger head. The shot suggests Breillat is playfully embracing her unsubtle craft. Radical plot offensives aside, she isn’t so different from Joseph Mankiewicz in her camera movements, editing, and composition. Her reactionary feminism might sink into serviceability except for one thing: when it comes to staging and directing her actors’ body language, she’s a master.

Pascale Ferran’s Lady Chatterley (2006) flushed cheeks where Breillat’s dark drama gnashes teeth, but the films are united in loosing their actresses to trammel over history. Ferran crafts an amorous epic; Vellini climaxes only a few minutes into Last Mistress, raising the discomfiting question: what if the enabling (and ennobling) freedom that lets us do as we please only turns us into slaves of desire? The answer might look something like Sofia Coppola’s fizzy tonic of lethargy and shopping, Marie Antoinette (2006), though Argento’s supporting role as Comtesse du Barry in that film practically beggared Breillat’s fleshy rejoinder. Where Sex and the City‘s infantilized Manhattan suggests constant airbrushing, woman directors such as Breillat make Paris drawing rooms, Versailles, and the French countryside shimmer with unsettled agendas.

THE LAST MISTRESS

Opens Fri/18 at Bay Area theaters

See Movie Clock at sfbg.com

www.ifcfilms.com

You’re going to myth me

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You don’t need to pick up all the subtleties of Berkeley-born Iranian American artist Ala Ebtekar’s work to appreciate the resonant beauty of, for instance, The Ascension II (2007), and its angelic, part-griffin, semi-human, quasi-Homa messenger drawn from Persian mythology, winging across reams of Farsi as assorted readers’ delicate notes intricately lace the printed manuscript. But it helps to know that the iconography of that winged messenger reaches back 5,000 years to a pre-Islamic Iran, was eventually appropriated in depictions of Ayatollah Khomeini, and that the angels with keys dangling from their necks, surrounding the wary mythical creature, refer to the child soldiers enlisted during the Iran-Iraq War (1980–88) to run across battlefields and detect land mines. "They’d give these kids these keys to heaven," explains Ebtekar at his Palo Alto studio near Stanford University, where he received his MFA. "It’s like, ‘Whoa!’ That’s a certain kind of mythology, but it’s tapping into something apocalyptic."

And you don’t need to know the specifics of aerospace design to appreciate the watercolor, acrylic, and ink jets tearing across script in The Breeze of Time (2002): they happen to be the exact ones used in the Iran-Iraq War. Ebtekar is aware that viewers bring their own connections to the work. "Yeah, I was doing this stuff before 9/11, in school, on book pages, and then 9/11 happened and I stopped. I thought, there’s no way I can do this," he recalls. Much of his work tied in directly with the Iran-Iraq War, a part of his own personal mythology, and the reason his activist Iranian parents remained in the States. "I was very much tapped into those older stories and histories. But then they announced the [Iraq] war, and I thought, actually, if there’s any time to do it, it’s more important to do it now than not."

The urgency of the present continues to call to Ebtekar, who draws from his studies in Iran of the refined art of Persian miniature painting and the less-known, more visceral field of coffeehouse painting for his works, which range from the aforementioned pieces that play off rich layers of text and imagery — and Iranian poetry and history — to large-scale graphite drawings that superimpose the outlines of Iranian wrestlers — current street-level mythological heroes — with hip-hop figures culled from Ebtekar’s music-obsessed youth, one spent DJing at parties and interning as a hip-hop DJ at KALX 90.7 FM.

As we listen to classic tracks by his mother’s pop idol, Iranian diva Googoosh, and scope out images of strongmen striking poses in a zurkhaneh (house of strength), juxtaposed with aerodynamic break-dancers in his studio — aptly situated over a downtown Palo Alto coffeehouse and crammed with art supplies, books, cassettes, vinyl, and a Tehrangeles T-shirt Ebtekar made for the 2006 California Biennial — it’s clear the artist’s pop interests still find a way to light: witness the 2004 Intersection for the Arts show that saw Ebtekar pairing a white-washed Iranian coffeehouse installation with shoes sporting fat laces fashioned from ornate Persian textile. "Bay Area Now 5" will find him combining his two approaches with a piece that layers ancient and modern-day warriors in a ghostly epic that looks backward and forward — a gesture familiar to Ebtekar, who rolls his eyes over John McCain’s comment on recent cigarette exports to Iran — "Maybe that’s a way of killing them" — and is currently teaching art at UC Berkeley in preparation for his dream. By 2011, he wants to start an art foundation and school in Iran.

After the US presidential election, Ebtekar hopes he can make it happen. First, he says, "there needs to be more diplomacy. In Iran, there’s this thing about nostalgia. You had such a great empire in the past — how do you move forward?" As a Bay Area 18-year-old who fell in love with Iran when he studied art there in 1997, he’ll be able to synthesize the past and future, bringing his ancestral mythology back to the old country in new forms. "It’s like having these multiple identities and being able to tap into this side of you and that side of you," Ebtekar explains. "They’re not clashing, you know what I mean. They’re rocking it full force."

Doing it naturally

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Donald Fortescue and Lawrence LaBianca’s "Bay Area Now 5" work — jokingly referred to earlier this month as the "Top Secret Oyster Project" — is not just about the creation of a well-crafted object. The piece also deals with the current state of San Francisco Bay’s wildlife, tides, and geography. So the two artists decided to let the physical environment affect the work — literally.

After putting in plentiful research, studying ocean survey charts, and talking with local environmental authorities on the work’s impact of their piece, the pair hired a diver to install the steel-table form they built — a muscled-up version of traditional cabriole or animal-legged furniture, as Fortescue describes it — on the floor of Tomales Bay, where it was designed to sit for several months. During the installation, however, their diver told them that the conditions weren’t the best for the hoped-for weathering and oyster- and barnacle-encrusting process, so the table was relocated to Pillar Point. In the meantime, they gathered hydrophone recordings in Bodega Bay to augment the work.

Fortescue, an Adelaide, Australia, expatriate who now heads the California College of the Arts’ furniture department, and LaBianca, who teaches interior architecture at CCA, share more than a keen interest in the physicality of the Bay Area: the two master craftsmen have a history of creating fine-art sculpture. "For me, it’s all just one spectrum — sometimes located more in one area than the other," says Fortescue from Sebastopol. Although this will be the pair’s first manifestation of an object together, it’s not the first time they’ve worked together. The met in Chicago six years ago when they each had work in a retrospective show of recipients of Virginia A. Groot Foundation grants. About two years ago, they collaborated on a proposal to the Yerba Buena Center for the Arts for an installation based on Herman Melville’s Moby Dick. Even though that project didn’t get the green light, they learned a great deal about collaboration, an approach that seems suited to the Bay Area art scene. "Unlike New York, with artists jockeying to get into the best galleries, you see a lot less ruthless, cutthroat behavior here," Fortescue says. "This is a much more friendly environment, much more helpful.

"I wouldn’t be surprised if what we are making is the most crafted object" in "BAN 5," Fortescue continues. "We use making as a way to explore new ways of making — crafting as an excuse for crafting." Oh, and it’s a great excuse to spend even more time amid the Bay Area’s natural settings.

Nuclear fallout

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› sarah@sfbg.com

As the US Navy prepares to deal with its radioactive past at the Hunters Point Shipyard (HPS) — inviting folks to submit comments by July 28 on its proposed cleanup plan for Parcel B — community members are struggling to understand the threat and its implications.

Bayview–Hunters Point residents and environmental and public health advocates gathered July 8 at City College’s Southeast Community Facility to hear from and question Navy officials, but few came away satisfied. Most expressed doubts about the Navy’s credibility, or confusion about the exact risks to human health and the environment from the plan to clean up radiological, soil, and water contamination.

For the past 25 years, this 59-acre property has housed a colony of artists in the site’s Building 103, in studios rented through the San Francisco Redevelopment Agency. In September the artists will be ejected, either to portables and buildings on the shipyard or to an offsite location, so the Navy can excavate the building’s storm drains and sewers where low levels of radiological contamination have been found.

HPS Base Realignment and Conversion Environmental Coordinator Keith Forman explained at the meeting that when the Navy first presented a cleanup plan for Parcel B in 1997, it had not surveyed for radionuclides, remnants of the shipyard’s military past.

That 2001 survey revealed that there are 14 sites on Parcel B that may have been exposed to radiation, including Building 103. The Navy’s 2004 Historical Radiological Assessment reveals that while Building 103 began as a non-nuclear submarine barracks, Operation Crossroad personnel subsequently used it as a decontamination center after an atomic test went awry in July 1946 in the South Pacific.

In that test, the Navy detonated two bombs the size used on Nagasaki in the lagoon of Bikini Atoll. One bomb, the HRA notes, was an underwater burst called Shot Baker, which "caused a tremendous bubble of water and steam that broke the ocean’s surface."

"Then a huge wave, over 90 feet high … rolled over target and support vessels as well as the islands of the atoll," the HRA records. "Vast quantities of radioactive debris rained down on the target and support ships, islands and lagoon."

Seventy-nine ships were sent to the Navy’s radiological center at Hunters Point Shipyard for decontamination, a site chosen in part because University of California, Berkeley and Stanford University were nearby to support the radiation studies.

The following year, from April through August 1947, the Navy burned 610,000 gallons of radioactively contaminated ship fuel at HPS. Also, workers sandblasting contamination at the shipyard’s dry docks showered in Parcel B’s Building 103, raising the current concern that cesium-137, cobalt-60, plutonium-239, radium-226 (from radioactive decay of uranium-238) and strontium-90 could be present in underground drains and sewers.

The 2004 HRA also identified two plots on Parcel B, IR07 and IR18, as having been used as dumps for radioluminescent devices and possibly more sandblast debris. It also listed a discharge channel between a pump house and Drydock 3 as radiologically impacted.

Currently the Navy is proposing to excavate soil from IR-07 and IR-18, including known mercury and methane spots, and ship it to dumps in Idaho and Utah; fill and seal the suspect discharge channel; cover potentially radiologically impacted soil; and stipulate that these two areas be used as open space in future plans for the base.

The cost of the Navy’s proposed radiological cleanup is $29.6 million. The Navy also proposes spending $13 million on amended soil and sediment cleanup, and $2.7 million on amended groundwater remediation.

Forman told the crowd that the Navy’s old soil remedy was a "bad fit." Excavations were larger than expected, Forman said, and showed no pattern of release. "There was no end in sight for the Navy," Forman said. "It didn’t look as if we were doing what we were meant to do: namely, find Navy-caused spills."

Forman also criticized the Navy’s old groundwater remedy as being "very passive." He proposed a remedy that includes more monitoring along the shoreline and using contaminant-eating bacteria to cleanup groundwater contaminants.

"The old remedy did not consider risks to wildlife and aquatic organisms at the shoreline, whereas the amended remedy will," Forman noted. "It was silent on this issue, yet we know the area has a shoreline."

Ultimately, amending the Navy’s cleanup plan is "about protecting human health and the environment," Forman said.

Green Action’s Marie Harrison was critical of the Navy’s failure to explain the risks in simple terms. "You talked about risk assessment, but you never told us what the risks were," Harrison said. "What is the risk to human life? How is capping going to stop it going into the bay? I’m not a scientist. I don’t have a PhD. I was hoping you were going to give me some kind of knowledge."

Harrison also worried that the Navy was not factoring in the cumulative risks for people living and working in the surrounding community who visit the shoreline to relax. Told that manganese, nickel, and arsenic are present in risky quantities, Harrison was referred to online information at www.bracpmo.navy.mil and to documents housed at the San Francisco’s Main and Third Street libraries.

Other community members criticized the Navy for not doing enough outreach to the Samoans, Latinos, and Asians in the community, and for having taken too long to acknowledge radiological impacts.

"Do you really want us to believe that no one was aware of nuclear waste and spills, given this was a Superfund site?" said Espanola Jackson, a BVHP resident since 1948.

"What I expect you to believe," Forman replied, "is that until 2002, no one who had technical and scientific expertise had looked at the evidence, sifted through history, and done an analysis to put together a radiological assessment."

Jackson also accused the Navy of "fast-tracking the cleanup in order for Lennar to build houses," referring to the efforts of Mayor Gavin Newsom, Speaker of the House Nancy Pelosi, and others to hasten the shipyard’s cleanup and early turnover to the city so the area can be turned into a massive development project pursuant to the voter-approved Prop. G.

"We are not going to accept anything less than total cleanup," Jackson said. "If you have to move that dirty dirt, do it. We need $10 billion. You said $60 million. You can’t even scrape the surface with that amount."

Melanie Kito, the Navy’s lead remedial project manager, replied that the Navy is "chartered to clean up releases of spills from Navy activities. Whatever remedy we put forth, we have to demonstrate that we are protecting human health and the environment."

Kristine Enea, a member of the community-based Restoration Advisory Board, told the Guardian that she felt that the Navy did not do a great job of explaining the risks of contaminants in, say, a major earthquake.

"If there’s an earthquake, would the risk be like getting 10 x-rays at once, or having a three-headed baby?" Enea said.

Pamela Calvert, deputy director of Literacy for Environmental Justice, told the Guardian she’s worried about shipping the contamination elsewhere.

"I’m really concerned that we don’t solve problems in Bayview by creating ones for another community," Calvert said. "It’s best to deal with it here. There is no such thing as ‘away.’ It’s someone else’s backyard."

Saul Bloom, executive director of Arc Ecology, which does contract work for the Redevelopment Agency, said that Calvert’s concerns strengthen the argument for simply capping Parcel B so that the contamination can’t escape rather than removing the material.

Bloom said he blames the Navy’s "incompetence" for the city losing the opportunity to transfer Parcel B early and speed development. "If we’d got rid of Parcel B in 2004, we would have been part of the housing boom, not the housing bust," Bloom said.

He believes the Navy’s proposed plan is acceptable, feasible, and protective, but that "whether it’s the best use given the needs of the BVHP is another debate."

While some residents are arguing for a total excavation of the site down to the sea floor, Bloom disagrees: "I think the covering strategy is a protective solution." He criticized the Navy for only having scheduled 11 days between its July 28 public comment deadline and its final draft, due out August 8.

"I’m concerned about the length of time they’ve allotted for the question that comes up and that no one has the answer to," Bloom said. "I don’t think it is adequate or seemly from a ‘we take your comment seriously’ point of view."

Shipyard artist Rebecca Haseltine, who has rented at Building 103 for 18 years, says that she has consistently trusted Arc Ecology’s advice on the shipyard cleanup. "But I also feel that we still don’t know the half of what happened on the shipyard. The Navy denied that any radioactive material had been used at the base, until a reporter with the SF Weekly published a story about it in 2001."

Campaign pain?

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› a&eletters@sfbg.com

November’s presidential election already looms on the horizon like a herpes outbreak, promising nothing so much as a painful, shame-filled denouement to a drunken and ill-conceived flirtation with someone you thought you knew. So it’s refreshing that the San Francisco Mime Troupe’s seasonal offering of free, rabble-rousing political theater is an election-year special in which the opposing candidates from the two monopolizing parties are conspicuously absent. Instead, Red State, which opened by tradition July 4 in Dolores Park, focuses on the screwed-if-you-do/screwed-if-you-don’t quandary of voting itself, and does so with populist gusto tinged with a reddish hue — a thematic color imbuing everything from the design scheme to the pointedly funny dialogue’s New Deal–style social-democratic slant. It also reflects the rising blood pressure that results from underlying but palpable frustration and outrage.

Reclaiming red from the dusty color wheel of history, Mime Troupe head writer Michael Gene Sullivan’s smart and consistently funny script — brilliantly delivered by a uniformly sharp and charismatic cast and fueled by composer–band leader Pat Moran’s eclectic set of apt and catchy songs — posits FDR’s small-town America as marooned at Francis Fukuyama’s end of history. Set in a puny Kansas ‘burb named Bluebird, Red State casts November’s "Countdown to Armageddon" (as the play’s CNN reporter colorfully advertises his network’s election coverage) in the screwball style of Depression-era comedies as Bluebird becomes the unlikely tiebreaker in an electoral dead heat.

Suddenly the nation’s eyes are riveted on an otherwise microscopic microcosm of average American life at the beginning of the 21st century. This focus on the lives of the town’s humble and much abused citizens throws everyone for a loop, not least the government’s smarmy and ambitious election official (Velina Brown), who is so obsessed with thoughts of a cush Washington, DC-based promotion that she has difficulty remembering which state she’s even in.

For its part, Bluebird feels like a town under siege, but just who the enemy is remains initially hard for the inhabitants to fathom, or agree on, anyway. Is it the wrath of God? The communists? It all depends on whom you ask among the locals, a population whose representative eccentrics include a God-fearing, Jesus-toting fundamentalist (Noah James Butler, bearing cross and life-size Christ) and a rabid (and equally anachronistic) anticommunist named Eugene (Robert Ernst).

What is clear enough is that jobs have dried up (the local pencil factory — the onetime pride of the town, which liked to promote itself as "the Number 2 pencil capital of North Central Kansas" — just relocated to the cheap labor environs of Uzbekistan), public services have dwindled to nil, and the dilapidated sidewalks and roads are a physical menace (nearly undoing a local soldier, played by Adrian C. Mejia, who’s just returned in one piece from Afghanistan).

If that wasn’t enough, the town’s only electronic voting machine is on the fritz. But this little debacle, in the context of an electoral tie, ends up being an opportunity that gets the town thinking and the earth trembling beneath Washington, DC. Deciding to withhold their votes until the proper share of their tax dollars gets re-diverted back to their community where it belongs, and away from endless war-making and corporate welfare, Bluebird manages (in the most unlikely but coruscating of Capra-esque scenarios) to hold a corrupt and hubristic system at bay, spotlighting the government–big business alliance that for decades has fleeced towns like Bluebird of their taxes, able-bodied military-age youth, and everything else not nailed down. Or so to speak: before the town turns the tables on the system, even Bluebird’s fundamentalist is driven in desperation to ask the Antiques Roadshow host, "How much for Jeezus?"

RED STATE

Through Sept 28, free

Various Northern California locations

Visit www.sfmt.org for schedule

Newsom political loyalist to head staff

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In another sign that Mayor Gavin Newsom is increasingly looking past San Francisco’s needs into his own political future as a candidate for governor, he has announced the resignation of chief of staff Phil Ginsburg, a competent manager and bureaucrat who appears to have been forced out for not having sharp enough political teeth. Replacing Ginsburg is Newsom’s longtime homeless policy point person, Trent Rhorer, a young political animal whose fierce loyalty to Newsom has often been at odds with his obligations as a public servant. As head of the Human Services Agency, Rhorer recently helped gut services to humans in favor of big executive salaries for partisans like himself. In covering eight California counties over my newspaper career, I’ve never encountered a more politicized and less diplomatic department head than Rhorer, who seems acutely aware that Newsom is his meal ticket. “He’s a Newsom sycophant,” Sup. Chris Daly said.
Board of Supervisors president Aaron Peskin also makes another salient point about Rhorer: “This will be the first time in the history of San Francisco that we’ll have a chief of staff who lives in Oakland.” In fact, Rhorer has often joined the chorus of other outsiders like the Chronicle’s CW Nevius in sounding the suburban perspective on the realities of urban life, an approach we’ll likely see more and more of out of Newsom, whose recent flip-flop on cooperating with the feds is just the beginning of the jilting of San Franciscans in favor of more conservative Californians.
I asked Newsom’s press office (which has also become more partisan in the last year or so) about all of the above via e-mail, and press secretary Nathan Ballard responded simply, “Smart remarks like that one cost Peskin his seat on the selection committee.”

Can’t knock the Tussle

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› johnny@sfbg.com

Playing name-that-tune with Tussle isn’t easy. The San Francisco group makes instrumentals. As founding member Nathan Burazer puts it, they’re "not very word-oriented." And neither am I, it turns out, when faced with the challenge of matching the eight out of nine songs I’ve heard from their propulsive Cream Cuts (Smalltown Supersound) with the album’s final track listing. For a minute, I try to get new member, bassist and electronics player Tomo Yasuda, to ID songs based on my descriptions, but noting that one number — "Transparent C" — has a beep-beep motif, not unlike that of a Road Runner cartoon, only gets us so far. There’s some merriment when another song with handclaps that a mutual pal describes as the "gay one" turns out to have the title "Rainbow Claw." But in the end, it’s easiest to discuss and define Cream Cuts while listening to it.

Which is fine with me, because from first listen I’ve considered Cream Cuts one of the best albums of the year — a metamorphosis in which the band’s rhythmic core becomes more sinuous, its atmospherics more expansive, and its overall sound both deeper and more party-ready. Though the foreboding planet-of-the-vampires ambience of "Third Party" would not be out of place on Cluster’s underrated Cluster 2 (Brain, 1972), Burazer is clear that he and fellow original member Jonathan Holland are striving to move beyond the "File under: ESG" or "File under: Can" download dog-tags sometimes attached to their 2004 debut Kling Klang (Troubleman Unlimited) and 2006’s Telescope Mind (Smalltown Superound). In fact, "File under: Wu-Tang" would be a more interesting — and correct — frame of reference for the new release’s downtempo moments. "We listen to a lot of hip-hop," Burazer says. "A lot of Wu-Tang, Ghostface, Lil Wayne, and J-Dilla."

The cover art for Cream Cuts, by Simon Evans and Lart Cognac Berliner, uses hand-woven colored paper. The music inside is bathed in moonlight. This nighttime resplendence is apt, since all four current members of Tussle — including Holland’s fellow drummer Warren Huegel — are fans of the blind street musician and compositional visionary Moondog. But whereas Moondog’s old stomping ground was Sixth Avenue in NYC, Tussle is creating a SF city sound. It’s a sound that can be traced back to North Carolina in 1994, when Burazer and Holland first turned one room in a shared apartment into a place to make music. On new tracks such as "ABACBA" and "Titan," the jam session intuitiveness at the core of Burazer’s and Holland’s bond takes on a new finesse, momentum, and flair for drama.

All of the above reach anthemic immediacy on Cream Cuts‘ "Night of the Hunter." There, the chunkiness of past Tussle recordings gives way to a more fluid and formidable funkiness. It takes a certain nerve to give a song the same name as a classic film, but Burazer has an innate understanding of the Southern menace and beauty within Charles Laughton’s 1955 masterwork. The electronics player’s childhood in Carolina included time spent in a cult. "My parents and I were full-time volunteers in this hospice in the mountains [that turned into a cult]," he explains. "There was a guru, everyone met on the full moon, and there was wife- and child-swapping. There were no drugs or sexual violence — it was mild. But it was a cult."

The experience — one I relate to somewhat — left Burazer "allergic to holier-than-thou authority figures." Instead of a follow-the-leader dynamic, he and Holland built Tussle on a foundation of cooperative intuition, and they’ve discovered another level of open, even-handed collaboration with the group’s newest member, Yasuda. "Tomo puts me at ease," Burazer says. "He’s so easy to work with and so brilliant. He has a calming quality. Things are light with him, even though he’s carrying the low end musically. As a person, he’s playful." This playfulness is just as fruitful in another of Yasuda’s current projects, Coconut, where he and visual artist Colter Jacobsen create meandering folk and jazz improvisations that Arthur Russell might appreciate.

Tussle in 2008 aren’t without a sense of humor or adventure, whether it involves playing under the influence of natural hallucinogens in a Museum of Natural History or bringing a Gay.com Frisbee in their percussion bag to a show at CellSpace. In the end, naming what they do or attempting to define it is beside the point. "Some of the [song] titles come from [playing] Mad Libs on tour," Burazer offers when I ask how this group of instrumentalists deals with words. It makes sense: Cream Cuts is Tussle’s mad liberation from past constraints, a ‘shrooming world of sound that offers pleasure right now, and hints of greater possibilities to come.

TUSSLE

With Christopher Willits, Mi Ami, the Drift, and Eyes

July 17, 9 p.m., $8

Gray Area Gallery

1515 Folsom, SF

www.mcmf.org

COCONUT

With Waters and Hollers, and Shygrape

July 17, 9 p.m., $5

Argus Lounge

3187 Mission, SF

www.mcmf.org

Speed Reading

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BALDWIN’S HARLEM: A BIOGRAPHY OF JAMES BALDWIN

By Herb Boyd

Atria

272 pages

$24

Herb Boyd’s Baldwin’s Harlem is a successful primer on James Baldwin’s work and a well-researched travelogue through the history of ever-changing Harlem. But it’s also something more.

When Boyd, an accomplished journalist for the Amsterdam News in Harlem, was approached to write a biography of a native son and his native soil, it probably seemed like an apt placement. And therein lies the rub.

In the book’s preface, Boyd writes that he "felt a pressing need to defend [Baldwin] from some of those writers and critics who seemed to relish bashing him with each new publication, or renouncing him for being less than totally committed to the struggle for Black liberation." He then proceeds to relish in a similar type of bashing and renouncing — in this case, connected to sexual liberation.

Over the course of Baldwin’s prolific writing career, he had more beef than 50 Cent and LL Cool J combined. Baldwin may have possessed a postmodern understanding of beef as a way to gain notice, a knowledge employed later by the aforementioned rappers. Boyd continues this legacy by excoriating Baldwin (and the word excoriate). He does this through off-hand commentary wedged between well-researched biographical and bibliographical elements. These comments reveal more about the biographer’s none-too-flattering personal opinion than they do his subject’s life. One striking example occurs when Boyd describes a young Baldwin’s sexual deflowering by an older tough as his being "turned out." The homophobic contempt in that chapter alone taints Boyd’s portrait of Baldwin. Being a black writer from New York is simply not enough to give James Baldwin the justice he deserves.

Beyong the nerd herd

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› a&eletters@sfbg.com

REVIEW Amid impoverished rural segregation, my parents were part of the first bus boycott in Montgomery, Ala. While my father studied Frantz Fanon and tae kwan do in Okinawa, my mother went on to be a probation officer in Los Angeles during the Watts riots. I was born in a riot-torn Washington, DC, around the time my father helped take over the administration offices of Howard University. I’m a Black Movement baby, and Ta-Nehisi Coates is one of my number.

Coates’ The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood (Spiegel and Grau, 240 pages, $22.95) is a memoir about growing up in Baltimore through the Black Power 1970s and crack power ’80s as one of the seven children of Paul Coates, owner and founder of Black Classic Press.

Judging from recent books such as Junot Diaz’s The Brief and Wondrous Life of Oscar Wao to Shawn Taylor’s Big Black Penis, the black nerd has become the locus of pomo literary style. And why not? Who, besides me, didn’t love Urkel? Coates begins his tale as a sensitive black nerd — Beautiful Struggle even has a Dungeon and Dragons–esque map of Old Baltimore on the inside front cover. Swords, dragons, and Monotype Corsiva font chart intersections like Garrison and Liberty, where, as the author relates, "the Orcs cold-played me for my scullie." Ultimately Coates moves beyond the nerd trend, instead playing the vulnerable, reluctant warrior with grace and wit.

Initially unwilling to fight, Coates is sucker-punched, jacked, and tormented on the mean streets. To navigate Baltimore’s threats and perils means acquiring what he calls "The Knowledge": street smarts and savvy that is "the sum experience of our ways from the time Plymouth Rock landed on us." This knowledge is built upon the realization that "death was jammed in us all, hell-bent on finding a way out," and that a man shouldn’t measure his "life in years but in style."

In Beautiful Struggle, Coates contrasts his older brother Bill and father Paul. Bill is a popular player in a decaying neighborhood, struggling to make it to the outside world. Paul is a former Black Panther and full-time revolutionary attempting to raise seven kids to attend the mecca of Howard University, where he’s a janitor, rogue black historian, and would-be publisher.

Watching Bill embrace hip-hop, smoke blunts, chase dimepieces, and pack a biscuit, Coates becomes versed in The Knowledge. He sets it against his father Paul’s "Knowledge of Self," as drawn from Kwanzaa, Nkrumah, and the consciousness of being more god than man and more man than animal. In attempting to find a balance between these tropes, Coates invokes the words and experiences of J.A. Rodgers, Rakim, George Jackson, Ishmael Reed, and KRS-ONE with uncanny ease. He embodies both the hope and the bane of the Black Power movement, and his flashbacks capture its tender and toughening moments.

It is this tension that gives The Beautiful Struggle its potency. Coates charts the seemingly boundless optimism of his father’s generation and the rising cynicism of his and brother’s. He does so with a compassionate, poetic voice that is rooted in a no-bullshit grasp of his personal history and of American history over the past 60 years. To read this book is to catch a glimpse of the profound legacy and letdown of a generation raised to rebel but forced instead to fight disappointment, imprisonment, and despair. As Coates puts it, "The Knowledge Rule 2080: From maggots to men, the world is a corner bully. Better you knuckle up and go for yours than have to bow your head and tuck your chain."

A rictal dysfunction

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According to Peter Bogdanovich, 1928 remains unique in film history as Hollywood’s greatest year. The latter-day American director cites landmark silent film contributions such as King Vidor’s The Crowd, Victor Sjöström’s The Wind, and Buster Keaton’s Steamboat Bill Jr. as evidence that synchronized sound — first used in 1927’s The Jazz Singer — initially limited rather than expanded the cinematic medium. Alongside those celebrated pictures, Bogdanovich also praises a 1928 German Expressionist classic produced in the United States: Paul Leni’s macabre mutilation drama The Man Who Laughs.

Based on an 1869 novel by Victor Hugo, The Man Who Laughs is a mordant and often morose satire about a deformed clown in the Stuart Court. It follows the sad character of Gwynplaine, the son of a British duke who is orphaned and forsaken to die at the command of the British sovereign.

Gwynplaine survives, but with a horribly butchered mouth permanently twisted into a smile, He grows up amid a wandering freak show, becoming its main attraction. His only pleasure comes in the form of his adopted family — carnival mountebank Ursus the Philosopher and the blind beauty Dea, who loves Gwynplaine and remains unaffected by his strange visage. But when word reaches Queen Anne that an heir to the dead duke remains alive, she commands that Gwynplaine be installed as a lord and made to marry the reigning duchess Josiana. Forced to leave Dea and Ursus for the royal court, Gwynplaine soon bears the brunt of a royal freak show whose insidious machinations are alien to the golden-hearted clown.

The Man Who Laughs was produced by Universal in the wake of its increasingly popular horror pictures, particularly the 1925 blockbuster The Phantom of the Opera. Budgeted at the then-unprecedented amount of $1 million, Leni’s film became a flamboyant melding of costume melodrama and Expressionist mise-en-scène. It stars Mary Philbin as the blind heroine Dea and Conrad Veidt — a German Jewish actor featured in Robert Wiene’s The Cabinet of Doctor Caligari (1919) — as the mutilated clown. Without reliance on dialogue, and beneath a rictus held in place by prosthetic hooks, Veidt produces an extraordinary gamut of emotion through little more than a lachrymose stare. Often mantling his disfigurement with a cape and moving with the rigid gait of a trauma victim, his Gwynplaine becomes a kind of paralytic, living and communicating only from his goitered eyes. He is a casualty of what Hugo declares "an art/science of inverted orthopedics." The film’s image of Veidt influenced comic book writer Bob Kane when he created Batman’s arch-nemesis The Joker.

Leni’s film hasn’t enjoyed the immediate critical attention of Expressionist classics such as Fritz Lang’s Metropolis (1927) or F.W. Murnau’s Nosferatu (1922). But its anticipation of the horror genre’s waves of mutilation — from Georges Franju through to David Cronenberg — is remarkable.

THE MAN WHO LAUGHS

Sat/12, 7:45 p.m.

Castro Theatre

429 Castro, SF

(415) 621-6120, www.castrotheatre.com


THE 13TH SAN FRANCISCO SILENT FILM FESTIVAL runs July 11–13 at the Castro, 429 Castro, SF. Advance tickets (most shows $12–$17) are available by calling 1-800-838-3006 or visiting www.silentfilm.org

Bootie turns five!

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Holy crap. Has it really been five years since DJs Adrian and Mysterious D started their Bootie mashup parties right here in SF? Since then, the bi-weekly parties at DNA Lounge have become one of the city’s favorite dance nights — and Bootie parties have become an international phenomenon.

Whether you like mash-ups or not (and I wholeheartedly do), it’s hard not to appreciate the work and dedication this DJ team have put into making Bootie ground zero for mashup culture.

Celebrate with them at their biggest party yet, this Saturday. The night features special performances by A&D, a retrospective of mashup history by stellar live mashup band Smashup Derby, an upstairs lounge dedicated to cover songs, and several performances by artists like Felicia Fellatio, Trixxie Carr, and members of SF Boylesque.

BOOTIE 5-Year Anniversary Party
Saturday, August 9
9pm, $10-$15
DNA Lounge
375 11th St., SF
www.bootiesf.com

Bootie.jpg

Domestic unrest

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› a&eletters@sfbg.com

Survival often depends on one’s ability to scurry around. Dancers and smaller-scale presenters must use their wits if they want to show their audiences more than homegrown fare. For the most part, the process at SCUBA — a presenters’ network that shares companies out of Seattle, Minneapolis, Philadelphia, and San Francisco — works. Sometimes, however, there is a glitch. Such was the case June 26–28 with one of the two dance installations presented as part of "ODC Theater Festival 2: Local Heroes/Big Picture," Kate Watson-Wallace’s House and Karen Sherman’s Tiny Town.

Watson-Wallace has made something of a reputation for herself in her home city of Philadelphia, where she takes over physical locations and transforms them through performance. Since these are acutely site-specific works, traveling with them is difficult. At Theater Artaud, she was confronted with a huge space that has a strong personality of its own. It proved particularly problematic during the first of two performances on opening night when the soft light of dusk streamed through the huge, history-crusted windows of Artaud’s loading dock. She also had to deal with memories (at least this audience member’s) of Lizz Roman, Joanna Haigood, and other artists who have presented their own — and stronger — interpretations of Artaud. Watson-Wallace works best with intimacy, and her production simply needed more confinement than the space or the budget allowed.

House consisted of what probably were three excerpts from the original piece, performed in the theater’s loading dock and lobby. To create the dining room, she placed a long table and six chairs in a corner, which afforded some sense of enclosure. This first part was choreographically the richest, and well performed by Watson-Wallace, Megan Mazarick, and John Luna with local dancers Sebastian Grubb, Jocelyn Lee, and Marisa Mariscotti. Shifting relationships — on, over, and under the table, as well as up the wall — flowed with the inevitability of clock time, yet they were filled with nuanced little fits and starts. An emotional climate redolent with suggestions of love, rebellion, and fatigue recalled tense moments around anyone’s family dinner table. People came and went, hands tentatively touched, looks were exchanged, support was given and withdrawn.

In the living room — suggested by a sofa, rug, and coffee table nailed halfway up a wall — Mazarick’s slow-paced solo had to deal with gravity as she slithered, climbed, and hung over the furniture. This was bland. Two pillows attached to Artaud’s lobby served as Watson-Wallace and Luna’s bedroom. A live video projected their movement onto a lumpy mattress. The duo’s well-danced intimacy — tender, playful, troubled — suggested two people used to each other in bed and out. I kept wondering whether an element of voyeurism was supposed to be at play between the real and the virtual performance. If there was, I didn’t see it.

Sherman resides in Minneapolis but was born in St. Louis. The person sitting next to me at the show was familiar with the choreographer’s birthplace and caught local references that escaped me. Tiny Town was a sardonic but curiously affectionate portrait that peeled away the layers of what the program described as a "Midwestern landscape," yet this could be any small town. It’s a place where everyone minds everyone else’s business, where residents frantically try to keep up and fit in — and woe to those who can’t.

Tiny was meticulously crafted with rich production values. It ran a little flat toward the end, but showcased fine performances from dancers Sherman, Joanna Furnans, Megan Mayer, Morgan Thorson, and Kristin Van Loon. You knew that not everything was right behind the set’s picket fences when a rising cloud revealed two atomic reactors and a woman with her legs tied literally turned herself upside down to "walk." She ended headfirst in a stack of pancakes, and that was just for starters. In this world of superficial prettiness — flowers stuffed in mailboxes, glittery party dresses — tomboys get beaten up and toothy housewives are indeed desperate.

The dancing was appropriately stiff-legged and fractured, full of moments infused with a dogged persistence. It spoke volumes about discomfort within one’s skin, if not outright self-hatred. And all of it was presented with pasted-on smiles.

Centiclubs

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› kimberly@sfbg.com

SONIC REDUCER "It’s like an old ship. Things break, things fall apart, and you just keep bailing water and hope you hit land someday!"

That’s Guy Carson, Café Du Nord owner and ex-Hotel Utah booker, on owning a 100-year-old club. Yes, there are the inevitable aches and pains attendant with a structure erected just two years after the great ‘quake, as well as eerie little trap doors and escape hatches from the Prohibition era. But, oh, the stories the Du Nord, House of Shields, and Hotel Utah — a troika of oases overflowing with libation and live music that have all hit the century mark in the past year — could tell. ‘Member the time PJ Harvey played a not-so-secret show at the Utah, triggering round-the-block queues? Or the first San Francisco show by rock legends the Zombies at the Du Nord? Or the rumored gunfight played out by Comstock Lode robber baron William Sharon in front of his then-men’s social club, now known as the House of Shields?

‘Course you don’t. So much has been lost in the mists of Bay Area mythology and Barbary Coast conjecture. But there’s always word of mouth — in full effect at the shambling, loving June 19 celebration of the Utah’s centennial, as Birdman Records’ David Katznelson presented witnesses like owner Damian Samuel, a ukulele sing-along by music writer Sylvie Simmons and Bart Davenport, and tributes by artists who have stomped Utah’s boards, including Paula Frazer and Greg Ashley.

Since its days as Al’s Transbay Tavern (name-checked in 1971’s Dirty Harry) through the years owned by screenwriter Paul Gaer (who brought in Robin Williams and puppet shows), the venue has not only been instrumental in establishing a beachhead for local bands — Cake was considered a resident outfit in the 1990s and Counting Crows, Jewel, and Tarnation were onetime regulars ("For a while I used to say that the Hotel Utah was Geffen’s A&R department," recalls Carson). Its communities include "open mic–ers, the regulars, and the people who live in the building," Samuel offers. "It’s a live amoeba of sorts that has its own direction." He says the UK’s Noisettes now call the Utah its home base, and past staffers include ex-booker Mike Taylor (Court and Spark), Cory McAbee (Billy Nayer Show), and Shannon Walter (16 Bitch Pile-Up). One of Samuel’s fave tell-alls: in 1997 he had to walk future Guns N’ Roses guitarist Buckethead around the block so he could make a dramatic entrance onstage. "Here I am walking him around in SoMa, a chicken bucket on his head," Samuel recalls. "He kept saying, ‘I didn’t realize this block was so long.’<0x2009>"

Uptown, a century ago, the House of Shields also threw open its doors — in a much more hush-hush way: the venue began life as a men’s social club, and the only women permitted in until the ’70s were, says owner Alexis Filipello, "working girls." These days, the venue that got its name from its ’30s owner Eddie Shields is more likely to see indie artists like Sean Smith and Beam than highly establishment swells sneaking a stiff drink, but the crowd remains raucous, gathered around the elegant bar originally meant for the Pied Piper watering hole in the Palace Hotel across New Montgomery. When artist Maxfield Parrish made his Pied Piper of Hamelin mural (1909) far too long for the piece, the bar was sent over to Palace cobuilder William Sharon’s other nightspot. After Filipello bought the watering hole in 2003, she restored the natural wood, refurbished the moldings, reupholstered the booths, and jettisoned the "funky" taxidermy. "It was just such a beautiful old location, a piece of San Francisco’s history," she recalls. "We did a lot of work to get it back up to its beauty." No plans, however, for the firmly closed underground passage that links House of Shields to the Palace. Persistent rumors have it that in 1923, President Warren Harding died, not in the Palace as officially reported, but in the Shields’ speakeasy, and was transported through the tunnel back to his suite to avoid Prohibition-period scandal.

The ground is still shaking, happily, around Café Du Nord, which hit its 100th in October. In the next year Carson hopes to create a coffeehouse/art space upstairs next to the club, where performers can show their work, then play a show upstairs at the Swedish American Hall — which has hosted performers ranging from Cat Power to Michael Hurley — or downstairs at the Du Nord. He also plans to install an elevator where the Du Nord women’s room now sits, renovating the space so he can do the unique, one-off shows he prefers.

Carson is striving to continue nurturing the creative spirit of the Utah. "The difference between then and now is that everything costs so much. Our overhead here is so high, you can’t fail," he says. Back in ’90 when Gaer hired him at the Utah, he adds, "it wasn’t a big financial nut to crack, and we ran it like a living art experiment. I really miss those days. It was fun!"

QUESTION AUTHORITY?

MEGAFAUN


Backwoods Table of the Elements crustastic jams? The Durham, N.C., trio also joins Akron/Family at the High Sierra fest for a Mega-Akron set. Wed/2, 8:30 p.m., pay what you can. 21 Grand, 416 25th St., Oakl. www.21grand.org. Also Thurs/3, 9 p.m., $8. 12 Galaxies, 2565 Mission, SF. www.12galaxies.com. Fri/4–Sat/5, check Web site for times, $30–<\d>$168. High Sierra, Quincy; www.highsierramusic.com

BATTLEHOOCH


Kooky, crunchy spazz-tastic moves for kids? The SF band dons Baagersox guise for the first anniversary Lazerdance dance-off Thursday, then goes into seven-piece mode Saturday. Thurs/3, 10 p.m., $5. Knockout, 3223 Mission, SF. www.theknockoutsf.com. Also Sat/5, 9:30 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

RETRIBUTION GOSPEL CHOIR


All-boy rock testimonials from Low’s Alan Sparhawk? Tues/8, 9 p.m., $10. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com