History

SFIAAFF: Are you lonesome tonight?

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› kimberly@sfbg.com

Brad Renfro wasn’t the only cinematic figure neglected in the recent Academy Awards’ "In Memoriam" montage: the academy fumbled even harder in its omission of Taiwanese filmmaker Edward Yang, who died last June of colon cancer in Los Angeles at 59. The self-taught father of Taiwan’s cinematic new wave and a runaway Seattle software engineer who abandoned the tech field that made his classmates wealthy for his true love of filmmaking, Yang only created only eight films during his short, multi-career life, but during that brief span the Shanghai-born, Taipei-raised auteur managed to lend an influential, helping hand in the difficult birth of serious Taiwanese movie making.

Yang’s so-called old drinking buddies, screenwriter Wu Nien-chen and fellow director Hou Hsiao-hsien, were more than just sodden shoulders to cry on; they grappled with manifold frustrations of working independently in the Taiwanese film industry (described by Yang as "fragmented and run-down," with only a limited pool of experienced actors). This gang of three supported each other financially and artistically: according to Jeff Yang’s account in Once upon a Time in China (Atria, 2003), Wu spearheaded the anthology In Our Time (1982), which showcased Yang’s first theatrical film, and Hou mortgaged his house to underwrite Yang’s second feature, Taipei Story (1985), which Hou also starred in — and ended up losing his shirt for after it lasted all of four days in theaters.

Twin brothers by different mothers and both born in 1947, Hou and Yang created their breakthrough films in 1986: the former’s Dust in the Wind was also — surprise! — written by Wu, while the latter’s The Terrorizers is a handsome, cerebral urban psychological drama that flaunts new wave roots like a glittering pop offspring of Jean-Luc Godard. Inspiring critic Fredric Jameson to praise its "archaically modern" textures, The Terrorizers broke down, as writer David Leiwei Li writes in Chinese Films in Focus (BFI, 2003), the hidebound binaries of East and West as "tradition versus modernity, enabling readings that recognize both the border-transcending flow of global commerce and the reflexive capacity of residual local cultures."

It’s easy to read Hou’s and Yang’s early works as responses to one another, a relic of their barroom-pal give-and-take back in the day, and some might view Yang’s masterpiece, A Brighter Summer Day (1991), as simply a rejoinder to Hou’s critically acclaimed, box office record-breaker City of Sadness (1989), though it was made amid far more hazardous conditions — 1989 was the year the bottom fell out of the Taiwanese market for locally produced films, and audiences turned to Hong Kong–made entertainments. A few critics might even tag Yi Yi: A One and a Two as Yang’s greatest feature — for its warm, humanist blend of The Terrorizer‘s postmodern urban landscape, Yang’s evocative roundelay of reflective surfaces, and the gentle gaze he levels on its quietly deteriorating family, headed by a software company manager pater familias, played by Yang’s old friend Wu, and a mother in the throes of spiritual crisis (Day‘s Elaine Jin).

For its unseen but subtly telegraphed depths, referential richness, and the sheer breadth and long-shot scope of its four-hour running time, Day nonetheless deserves the praise lavished on it. Much like City, writes Emilie Yueh-Yu Yeh and Darrell William Davis in Taiwanese Film Directors: A Treasure Island (Columbia University Press, 2005), Day‘s "local history turns the lock on long-suppressed ideas," convincingly plunging the personal into an epic sphere. Rarely screened and unavailable on DVD (much like The Terrorizer), Day has been described as a Taiwanese Rebel Without a Cause (1955) — a true descriptor if one discounts the very specific mise-en-scène of early ’60s Taipei and the film’s dense connective web of cultural, political, and familial allusions, obligations, and affiliations, one that’s as many-tendrilled and enmeshing as that of your average multigenerational Chinese family.

Ensnared by filial duty as well as street gang politics and placed in the sweepingly de-centered core of Day is its proto–James Dean, Xiao Si’r, portrayed by the baby-faced Chang Chen (the nomadic hottie in Yang’s Taiwanese cohort Ang Lee’s Crouching Tiger, Hidden Dragon [2000]). The director opens Day with Si’r’s Shanghainese intellectual father arguing with teachers about his son’s grades, and then widens his aperture imperceptibly, ingeniously onto the arboreal byways, flat-lit classrooms, vertigo-inducing corridors, and shadowy hideouts of Si’r’s world. It’s a realm in which the children of the Kuomintang live an uneasy existence much like their elders: residing in Japanese houses less than 20 years after their parents fought the Imperial army on the mainland, these Taiwanese teens listen to American doo-wop and early rock and form street gangs that parallel the battling political factions of the People’s Republic. Tanks rumble by as brownouts underline the sense of rupture.

Resembling in its panorama and chapterlike parts such historical epics as Bernardo Bertolucci’s 1900 (1976), Day unfurls like a scroll, peppered by the shouts and orders of parents, peddlers, and teachers, and peopled with pungent characters like the Tolstoy-reading, romantically heroic hood Honey and his guilelessly calcuutf8g survivor of a sweetheart Ming — as well as Si’r’s bookish father, who’s torn from his self-absorption when taken into custody by the secret police. All bear the marks of severance from one’s past, papers, homeland, and other familiar signposts of identity. The quiet, troubled, and piercing irony that Yang applies to the scene of Si’r’s father’s arrest, one in which his children repeatedly play Presley’s "Are You Lonesome Tonight" in order to translate the lyric "Does your memory stray to a brighter summer day" to sing at some future sock hop haunted by the specter of Honey’s death — shades of the Jesus and Mary Chain — makes this teeming opus worth turning over again and again in your own memory. It’s like a battle hymn to a faltering family, or a love song to the death of innocence.

TRIBUTE TO EDWARD YANG

The Terrorizer

March 14, 9 p.m.

Yi Yi: A One and a Two

March 20, 7 p.m.

Pacific Film Archive

A Brighter Summer Day

March 19, 7 p.m.

Clay Theater

>> Complete Asian American Film Fest coverage

SFIAAFF: Take one

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>Buddha Collapsed out of Shame (Hana Makhmalbaf, Iran, 2007) Buddha marks the feature debut of Hana Makhmalbaf, one of acclaimed Iranian director Mohsen Makhmalbaf’s daughters (she made her first short, The Day My Aunt Was Ill (1997), when she was only 9 years old). It has already won eight awards at different international film festivals, a fact that becomes more impressive when one considers the filmmaker’s age: she’s 19. Reminiscent of Abbas Kiarostami’s cinema, her first feature is shot in a neorealist style in Bamian, Afghanistan, and features a 5-year-old girl named Baktay (the extraordinary Nikbakht Noruz) as its main character. In following the youngster during her struggles to attend school, the film becomes a stunning exploration of how Afghanistan’s violent political history affects its youth. (Maria Komodore) March 15, 12:45 p.m., Castro; Tues/18, 8:45 p.m., Pacific Film Archive.

>Happiness (Hur Jin-ho, South Korea, 2007) One of the most adept melodramatists working in South Korea, Hur casts an affectionate, gently comic glance on the see-sawing declines and resurrections of the hard-partying, handsomely weather-beaten Young-su (the talented Hwang Jung-min), an aging club kid with a raging case of cirrhosis. Luckily, the man is able to rub a few brain cells together and get himself to a rural health retreat that specializes in detoxifying worst-case-scenarios with clean living, herb gathering, fresh air, and outrageously light exercise. Young-su is also lucky enough to win over the clinic’s sweet, fragile princess, Eun-hee (Lim Soo-jung), who suffers from lung disease and just might keel over if forced to break into anything more strenuous than a stroll. But can you keep the playboy down on the farm once his liver is back in business? (Kimberly Chun) March 15, 6 p.m., Castro; March 16, 5 p.m., PFA; March 22, 7 p.m., Camera.

Never Forever (Gina Kim, South Korea/USA, 2007) At first, it’s purely business: as a last-resort response to her Korean American husband’s infertility, Sophie (The Departed‘s Vera Farmiga, sporting an ice-blond ‘do) lurks after a Korean immigrant (Jung-woo Ha) she spots at a fertility clinic. She pays him big bucks to have sex with her and possibly make a baby — therefore saving her husband (David L. McInnis) from depression and getting his intensely Christian family off their backs. Of course, things get complicated mighty fast. Farmiga is riveting in this deliberately quiet (save its melodramatic violin-heavy score) drama, a delicate exploration of doing the wrong thing for the right reasons — and grappling with the sudden realization that wrong and right are often not so easy to define. (Cheryl Eddy) March 15, 9:15 p.m., Clay; March 16, 7:50 p.m., PFA.

>Ping Pong Playa (Jessica Yu, USA, 2007) Energetic direction by Jessica Yu — best-known for docs like the Henry Darger portrait In the Realms of the Unreal (2004) and the Oscar-winning short Breathing Lessons (1996) — perfectly complements a star-making turn by Jimmy Tsai as Christopher "C-Dub" Wang, a slacker who discovers he’s got talent as a ping-pong teacher and, eventually, competitor. Yu and Tsai cowrote the hip-hop flavored script, filled with rapid-fire dialogue and culturally targeted zingers (as when C-Dub assures an opponent, "I hope you’re hungry, because I’m about to serve you some Chinese take-out!"). Winning from start to finish, Ping Pong Playa achieves the near-impossible: it makes infectious hilarity seem entirely effortless. (Cheryl Eddy) March 14, 6:45 p.m., Clay; March 17, 9:30 p.m., Kabuki; March 22, 2:15 p.m., Camera.

Santa Mesa (Ron Morales, USA/Philippines, 2008) Ron Morales’s first feature focuses on 12-year-old Hector (Jacob Kiron Shalov) and his efforts to fit in when he’s forced to leave the United States (where he was born and raised) to be with his grandmother Lita (celebrated Filipino actor Angie Ferro) in Manila, Philippines, after his mother’s death. Despite Shalov’s awkward performance and some uneasy sentimental scenes, Mesa‘s yellow-hued cinematography attractively portrays the colorful, throbbing city, and the young boy’s eagerness to internalize his surroundings without knowing how to speak Tagalog is brave and touching. (Komodore) March 15, 7 p.m., Clay; March 22, 4:30 p.m., Camera.

>3 Days to Forever (Riri Raza, Indonesia, 2007) After a night of partying makes Ambar (Adinia Wirasti) miss a flight to her sister’s wedding, she hitches along with cousin Yusuf (Nicholas Saputra), who’s in charge of driving a set of delicate dishes to the event. Drugs, detours planned and accidental, and frank talk about what it’s like to be a rebellious teen in Indonesia (Ambar’s sister is getting married because her parents caught her having sex) — and an uncertain teen, period — color this road movie. 3 Days to Forever echoes 2001’s Y tu mamá también‘s racy tone and the-journey-is-the-life-lesson message, and boasts similarly photogenic young leads. Bonus for armchair travelers: it also makes Indonesia look like the most magical place on earth. (Cheryl Eddy) March 14, 9:30 p.m., Kabuki; March 18, 9:30 p.m., Clay; March 23, 2:15 p.m., Castro.

Traveling with Yoshitomo Nara (Koji Sakebe, Japan, 2007) Punk’s not dead! And neither are the wide-eyed little girls, drowsy dogs, and the other indelibly etched creatures that populate Yoshitomo Nara’s oeuvre: they’re alive and evolving in Nara’s studio. Koji Sakabe and his crew tail the artist as he travels to public appearances at museums and radio stations where he’s treated like a rock star; as he creates a massive village installation in his hometown of Hirosaki, Japan; and then follow Nara back to his studio, where he conjures his avatars of cuteness all by his lonesome. That’s where things get interesting: watching the bashful yet driven enigma study his own paintings, one hand on his camouflage-encased hip, and then home in with a brush on a fillip in a wide-eyed tot’s ‘do. (Kimberly Chun) March 16, 12:30 p.m., Clay; March 23, 2 p.m., Camera.

The Unseeable (Wisit Sasanatieng, Thailand, 2006) For those whose eyes are still adjusting from the ultraviolet palette of Wisit Sasanatieng’s stunning debut, the genre-bending 1999 western Tears of the Black Tiger, the clammy greens and dusky grays that hang over The Unseeable feel like so much dust on the lens that can’t be wiped off. Unfortunately, you can still see everything coming from a mile away in this ghost tale of a country mouse trapped in (where else?) a decaying mansion. At least the magical touches of 2005’s Citizen Dog seem like genuine quirks in the fabric of reality. Here, the supernatural is an excuse to trot out tired new Asian horror staples like the crazy old lady or spooky child, and the multiple twists of the Shining-aping finale only work to make an already shaky premise all the more hamstrung. (Matt Sussman) March 16, 9:45 p.m., Kabuki; March 21, 9:15 p.m., PFA; March 23, 4:45 p.m., Camera.

>> Complete Asian American Film Fest coverage

More funny money at City College

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EDITORIAL The chancellor and the board of the San Francisco Community College District have tried hard to act as if the diversion of $30,000 in public funds for political purposes was just an isolated error, easily fixed. But as G.W. Schulz reports on page 14, an audit has found at least one other diversion, this time of at least $28,670 — and it’s starting to look as if there’s a pattern here.

The college administration, possibly with the knowledge of some of the trustees, has been spending public money on political campaigns. Money earmarked for public education has gone to promote bond acts that bring in money for the district — and that’s not only sleazy and unethical, it’s clearly a violation of law.

San Francisco District Attorney Kamala Harris is reportedly looking at the second diversion — but she needs to expand the probe immediately. If the administration of the outgoing Chancellor Philip Day shuttled public cash to bond campaigns twice, there’s a good chance it happened a few more times. And at a certain point, this rises to the level of serious criminal charges.

The first diversion, first reported in the Chronicle, involved a $30,000 payment from a motorcycle school that was using college parking lots for its classes. That rent money never made it into the public coffers; instead, it wound up helping to pay for the campaign for the latest round of City College bonds.

The latest revelation is just as smelly: the Foundation of the City College of San Francisco, a nonprofit that takes in donations for the school, gave $35,000 on November 6, 2006, to a political group that supports statewide college bond elections. A day later, on Nov. 7, the college itself handed $38,670 (the school’s $28,670 and another $10,000 in private money) to the foundation. That’s odd in and of itself — the foundation usually gives money to the school, not the other way around. And the timing is highly suspect; given the history of questionable financial moves at City College, the idea that some administrator would use the foundation to launder a cash contribution to a political group is not at all beyond the imagination.

The college board needs to hire its own special counsel to check every contribution to local college bond acts to see if there’s any more evidence of improper diversion of public funds. But an internal audit isn’t enough; Harris needs to look into this and make public her findings.

City College is a valuable public institution, and for years, the people running it have undermined public confidence in its financial integrity. That’s a crime itself — and if someone broke the law along the way, the district attorney has to make clear that it won’t be tolerated.

On shaky ground

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› gwschultz@sfbg.com

The violations were purported to be accidental. Top administrators broke the law in two separate incidents in 2005 when they diverted a total of $30,000 belonging to City College of San Francisco to a local bond campaign committee, although they said it was an innocent mistake.

Now new documents obtained by the Guardian show an apparent pattern to this misuse of public funds. A special audit indicates that on Nov. 7, 2006, administrators from the school district transferred $38,670 to a bank account controlled by the Foundation of the City College of San Francisco, a nonprofit that seeks donations for the school and funds scholarships.

Just one day before, on Nov. 6, 2006, the foundation made a $35,000 cash contribution to the Community College Facility Coalition Issues Committee, which lobbies for and promotes statewide bonds to benefit schools like City College. State law bars City College from using public funds for such political purposes.

When asked about the money transfers, Vice Chancellor Peter Goldstein conceded to the Guardian that $28,670 of the newly uncovered funds were improperly moved to the foundation to replenish the Nov. 6, 2006 contribution, but he referred questions regarding who made that decision to outgoing chancellor Phil Day, who did not return a call.

The firm that conducted the audit, Louie & Wong, based in San Francisco, could find no evidence that the foundation’s board approved the contribution, and a lawyer hired by the foundation says the directors were not aware of the transfer of district funds into the foundation bank account at that time.

Although some of the board members later recalled authorizing the contribution, it wasn’t reflected in meeting minutes, and the directors say they never intended to launder public funds into a political contribution.

These revelations further damage the credibility of City College administrators, who for several months have undergone an investigation by the District Attorney’s Office into political fundraising efforts by the school. Spending public funds to support or oppose a ballot measure or candidate is against California law.

Two school trustees, Rodel Rodis and Julio Ramos, confirmed for the Guardian that the district attorney in recent weeks requested documents related to the transactions and will be interviewing senior administrators at the school soon, presumably including Day, who is leaving for a new job in Washington, DC, as this story goes to press. Both say the trustees only learned about the audit’s conclusions this month, although it was completed last summer.

"The way it’s always been presented to me is the foundation is supposed to give the district money in order for the district to fulfill its function of educating students," Ramos told us, "not vice versa."

The District Attorney’s Office will neither confirm nor deny the existence of such probes, but its investigation has been confirmed by sources and reported in both the San Francisco Chronicle and the Guardian (see "Day’s Dilemma," 8/8/07).

Day characterized the earlier diversions from the 2005 bond campaign as a simple misunderstanding when they were publicized last year. His administration wasn’t trying to do anything illegal, he wrote in a public statement at the time, and a resulting internal investigation called for by City College’s board of trustees seemed to confirm his claim.

"The 2005 campaign was compressed into little more than three months, and as a result of this rush, we made some mistakes," Day wrote in response to the report when it was released in January. "As the chancellor and CEO of this college, I take responsibility for these missteps."

But despite the breadth of the internal investigation, which filled 232 pages and detailed the history of the hastily organized 2005 bond election, its scope never reached the foundation’s political activities.

Now it appears that after the Chronicle published stories last April exposing the misdirected funds from 2005, the foundation’s board of directors asked for a special audit to ensure that all its financial transactions between 2005 and 2007 were free from any association with public funds the board wasn’t aware of.

The foundation at that time hired a lawyer, Peter Bagatelos, who told the Guardian that the board didn’t know $38,670 was transferred to the foundation’s bank account on the day of the November 2006 statewide election, when voters were asked for $10.4 billion in bond money to support California’s public schools.

"It was never done with their consent or knowledge or participation," Bagatelos said.

During the same two-year period covered by the audit, the foundation made cash donations to other political action committees (PACs) totaling $110,000, including $75,000 that went toward City College’s $246.3 million local bond election in 2005.

Those transactions appear to be legal because the foundation is a 501(c)3 nonprofit that technically operates separately from the school and can promote political causes that benefit community colleges within certain parameters, according to a coalition lobbyist. Each of those contributions were approved and properly documented by the foundation’s board, unlike the transactions from early November 2006.

Goldstein also said that the foundation’s board was not happy about the discovery and that the directors returned the money last April, just as the Chronicle‘s stories were breaking. He said the remaining $10,000 was legally acquired from yet another nonprofit controlled by the college and through a private vendor, but the foundation’s board elected to return that money as well on the advice of legal counsel "to avoid any appearance of impropriety."

"Any funds that the college is entitled to cannot and should not be transferred to the foundation," Goldstein told us. "The particular item that you’re asking about was absolutely a mistake. It should not have been transferred. It was found internally, corrected, and the funds were distributed to a variety of student organizations."

The Community College Facility Coalition, which received the $35,000 donation, was formed by a small group of school presidents in the spring of 1993 and today includes 52 districts across California. Its "issues committee" was created expressly for financing statewide bond campaigns.

The political action committee’s state election filings show that the foundation’s contribution was actually made on the same day City College transferred the $38,670 to the foundation’s bank account, rather than a day earlier as the audit states.

City College has aggressively sought such state money — nearly $200 million since 1998 — to match funds raised through local bonds from San Francisco taxpayers to help with its ongoing capital projects like a new gymnasium, a performing arts center, and campuses in the Mission and Chinatown.

The $35,000 contribution was among the largest made to the coalition’s PAC leading up to the election, and Paul Holmes, a lobbyist for the coalition, said only 10 to 12 schools use their foundations to support ballot measures each year. Rarely does it receive a donation of more than $20,000, he said. Holmes added that many colleges use their supporters for donations.

Judy Iannaccone, a spokesperson for the Rancho Santiago Community College District in Orange County, which helped raise $13,600 for the 2006 election, said they did so by forwarding the names of potential donors to the coalition, which allowed the school to remain impartial.

"The money was absolutely not from the general fund," Iannaccone told us.

Colleges and universities commonly form nonprofit foundations to raise money on their behalf from alumni and other supporters, like the behemoth $1.1 billion endowment of the UCSF Foundation, which encourages and administers private giving to the medical school and health-related research of the University of California-San Francisco.

City College’s foundation is considerably smaller. It had $22 million in net assets at the end of the 2007 fiscal year, according to district documents, and describes itself in an audit as a discrete component of the school. The foundation gives out hundreds of relatively small scholarships to students every year, some worth up to $3,000, but most for smaller amounts of between $250 and $500.

The foundation also maintains a separate board of directors that, like many higher-education foundations, contains top officials from the school itself, like Chancellor Day and Vice Chancellor Goldstein.

Most of the foundation’s other directors, however, are simply civic leaders who support City College’s mission but don’t work for the district and aren’t affiliated directly with Day’s administration.

The two entities are still close enough that the district handles bookkeeping for the foundation and shares its employees. For instance, the audit shows that the foundation’s finances — including its political contributions — were often prepared by City College’s chief administrative services officer, the title carried by Stephen Herman, who was implicated in the first round of illegal diversions made public last year.

"People literally thought that the college was obligated to make a contribution to this statewide campaign and that meant funds that would otherwise be under the college’s control could be eligible for a donation," Vice Chancellor Goldstein told us. "But, of course, that’s incorrect."

george micheal

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FOR IMMEDIATE RELEASE:

GEORGE MICHAEL ANNOUNCES FIRST NORTH AMERICAN TOUR IN 17 YEARS, A NEW ALBUM AND MAKES AMERICAN ACTING DEBUT

George Michael
HP Pavilion in San Jose on June 19th

Tickets are onsale Monday, April 7th at 10am!

San Francisco, CA (March 24, 2008) – After performing 80 shows in 12 European countries for a staggering 1.3 million fans over the past year alone, legendary superstar George Michael will be bringing his smash 25 LIVE tour to North American Arenas in the summer of 2008, including a local show at the HP Pavilion in San Jose on June 19th, in support of his new retrospective record. This will be Michael’s first North American tour in 17 years. His last Bay Area performance was on October 1st, 1991 at the Oakland Coliseum. The new record, titled Twenty-Five, will be released April 1st and is a 29-song, 2-CD set featuring several new songs (including duets with superstars Paul McCartney and Mary J. Blige) in addition to many of Michael’s iconic songs from both his solo and WHAM! career. In addition, a companion 2-disc DVD of 40 videos will also be made available.

The 25 LIVE tour broke several ticket sales records, most notably in Copenhagen. Michael’s concert at The Parken Stadium sold over 50,000 tickets in the matter of minutes, shattering the previous ticket sales record at the venue, formerly held by U2. On the 25 LIVE tour, Michael left both fans and critics alike in awe:

“It was a master class in pop genius.” – The Observer

“George proved he is simply one of the best vocalists this country has ever produced. A stunning performance.” – The Sun

“Worth waiting for. The show was, in every single meaning of the word, perfect.” – De Morgen

“A tremendous singer, a complete showman, all George Michael needs is a mike, his songs, and the magic on stage is instantaneous.” – La Parisien

The North American leg of the 25 LIVE tour will kick off in San Diego on June 17th and will continue through San Jose, Las Vegas, Los Angeles, Seattle, Vancouver, Minneapolis, Chicago, Dallas, Houston, New York and several other major cities. The tour will incorporate 22 shows over the course of seven weeks and Michael will perform material taken from the entire span of his career, including some classic Wham! tracks. Michael has recently teamed up with iTunes and Ticketmaster to produce an innovative media package which allows fans rare access to Michael’s videos, songs, and tickets to one of his North American 25 LIVE concerts. The package goes on sale on iTunes on March 25th.

Tickets to the 25 LIVE tour at the HP Pavilion will go on sale to the general public on Monday, April 7th at 10am at www.livenation.com, Ticketmaster outlets and charge by phone at 415-421-TIXS or 408-998-TIXS. Tickets are priced at $55.50, $89.50 and $175.50 for reserved seating plus applicable service charges.

George Michael has enjoyed one of the most successful and enduring careers in the history of pop music, selling more than 85 million records globally and encompassing seven US No. 1 singles, two Grammy awards, three American Music Awards, an MTV Video Music Award and two prestigious Ivor Novello awards for songwriting. His record “Faith” has sold over 20 million copies alone. In addition, Michael has garnered 11 British No. 1 singles and seven British No. 1 albums. He recently was declared the most played British artist on radio over the course of the last 20 years. On March 27th, Michael can be seen making his American acting debut on the new hit ABC series, Eli Stone, in which each episode is titled after one of his songs.

For more information about the George Michael, please visit:
www.georgemichael.com

For media inquiries, please contact:

North America:
Cindi Berger
Bianca Bianconi
PMK-HBH Public Relations
(212) 582-1111

International:
Connie Filippello
Connie Filippello Publicity
+44 (0) 207 229 5400

OFFICIAL 25 LIVE U.S. CONCERT DATES:

6/17 San Diego/San Diego Sports Arena
6/19 San Jose/HP Pavilion
6/21 Las Vegas/MGM Grand
6/22 Phoenix/US Airways Center
6/25 Los Angeles/Great Western Forum
7/2 Seattle/Key Arena
7/4 Vancouver/General Motors Place
7/7 St Paul/Xcel Energy Center
7/9 Chicago/United Center
7/13 Dallas/American Airlines Center
7/14 Houston/Toyota Center
7/17 Toronto/Air Canada Centre
7/18 Montreal/Bell Centre
7/21 New York/MSG
7/23 New York/MSG
7/26 Philadelphia/Wachovia Center
7/27 Boston/TD Banknorth Garden
7/29 Washington DC/Verizon Center
7/31 Atlanta/Philips Arena
8/2 Tampa/St Pete Times Forum
8/3 Sunrise/Bank Atlantic Center

###

Aaron Siuda | Marketing Director / Northwest – Music
(:: (415) 281.9216 / (415) 243-9532 fx
8:: aaronsiuda@livenation.com
*:: 260 5th Street | San Francisco, CA, USA | 94103

More on the Nader-Gonzalez question

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Photo courtesy of National Press Club
I got a call from Matt Gonzalez this morning and he wasn’t happy about my post yesterday on his decision to run for vice president, which wasn’t surprising. But I was surprised to hear him sound so wounded and to say that my tone “was almost like a personal animosity.”

Displaying such thin skin is an inauspicious way to begin a presidential campaign, particularly one in which they’re arguing for the right to compete on the same playing field as the heavily scrutinized Democratic and Republican nominees. Ralph Nader was going to run anyway, Gonzalez said, and “if I’m his running mate then we’ll be talking about electoral reform.”

Less than a half-hour after our conversation, Gonzalez and Nader appeared on KQED’s Forum, in which the host brought up my criticisms, to which Gonzalez answered, “That particular journalist needs a basic civics lesson.” Nader also used the “civics lesson” barb against other critics.

Nobody is questioning their right to run, and I don’t dispute the need for electoral reforms that would chip away at the two-party hold on power. But Civics 101 also teaches that in electoral politics, it’s not enough to be right. You still must find a way to coalesce majority support behind your ideas, and at this point in history, a Nader-Gonzalez campaign might just be counterproductive to that goal.

“Cinema Piemonte”

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PREVIEW The northwestern Italian region of Piemonte is noted for production of wine, wheat, and Fiats. Its principal city, Turin, a.k.a. Torino, was briefly the nation’s capital after unification — and soon afterward became the focus of its early film industry as well. While both crowns were eventually stolen by Rome, the area maintained a role in Italian cinema through the decades. That history is sampled in this weekend of features set in Piemonte, presented by the Associazione Piemontesi of Northern California in collaboration with the Italian Cultural Institute and Regione Piemonte. The four programs run a wide gamut, not least because they span 90 years between them. The closer on Sunday should be a major occasion: a restored print of Giovanni Pastrone’s 1914 Cabiria, the apex of the lavish costume epics that dominated Turin’s industry and proved a huge influence on the likes of D.W. Griffith and Cecil B. DeMille. This three-hour tale of ancient Rome will be accompanied live by pianist Stefano Maccagno, playing his original score. Another big international hit was 1949’s Bitter Rise, a heady brew of neorealism and noir melodrama that made Silvana Mangano — at the time a very well-developed 19 years old — into the first postwar Euro bombshell. Packed into tight clothes as a scheming peasant rice harvester, she seemed the very embodiment of wanton s-e-x years before Bardot, Monroe, and Loren came along. Mario Monicelli’s 1963 I Compagni, a.k.a. The Organizer, is a somewhat more serious labor drama, with Marcello Mastroianni, superb as usual, portraying a professor agitating for improved textile worker conditions at the dawn of the 20th century. Opening the weekend, and serving as its lightest note, is Davide Ferrario’s Dopo Mezzanote (After Midnight, 2004), a whimsical romantic comedy set in Turin’s Mole Antonelliana — a beautiful 19th-century structure that happens to house Italy’s National Museum of Film.

CINEMA PIEMONTE Fri/29, 7 p.m.; Sat/1, 4 and 7:30 p.m.; Sun/2, 4 p.m., free

Cowell Theater, Fort Mason Center, Marina at Laguna, SF

www.piemontesinoca.com, www.fortmason.org

Life during wartime

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Engaging, even experiential, Chicago 10 eschews a traditional documentary approach to capture the playful exuberance of the yippie generation. Through animation and rare video footage, producer-director Brett Morgen brings Abbie Hoffman, Jerry Rubin, and their experiences of the infamous Chicago 7 trial to life, in turn allowing them to bring a message of resistance that transcends decades. I recently spoke with Morgen.

SFBG What inspired you to make this film?

BRETT MORGEN There was political inspiration and then there was filmic inspiration.

We conceived of the film around 2002, when the US had just invaded Afghanistan and they were talking about going into Iraq. It didn’t seem like there were that many people out protesting. Greg Carter, the producer, came to me and asked what I thought about making a film on the Chicago 7 because those guys were like rock stars, they totally inspired him when he was young.

I told him I grew up in the ’80s, with the weight of the ’60s on my shoulders. My generation was constantly being told that we’d never be as passionate or as vibrant or as impactful. So I said, "I don’t want to make a film with that holier-than-thou attitude. If we’re going to make a film about this period, ultimately to reintroduce it to generations of Americans who haven’t been exposed to this story, let’s do it in the language of the youth movement today."

The world doesn’t need another movie about ’68 scored by Buffalo Springfield and music that’s really the soundtrack to our parents’ lives. This [film] isn’t a history lesson; this isn’t a movie that’s even about ’68. It’s really a fable for all times: there’s a war, there’s opposition to a war, and there’s a government that’s trying to silence the opposition.

CHICAGO 10


Opens Fri/29 at Shattuck Cinemas

Tooth and consequences

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› culture@sfbg.com

It’s two days after Christmas and I’m sprawled out on a plastic-lined chaise lounge, sipping fluoride and waiting for the blood to stop gushing from my gums so the doctors can get back to work. Beyond the noise of drills and X-ray machines I hear grunts from several other patients and the sounds of merchants outside hawking sombreros, sweetbread, bootleg Fendi bags, and pottery. Kind of strange, but I’m not worried anymore. This is my second day at Dr. Rafael Lopez’s dental clinic, and I’m no longer freaked out that it’s nestled among trinket stores and cantinas in a bustling bazaar in Mexico.

I also don’t care that the dentists here speak hardly any English, nor I any Spanish. I mean, it’s not like I’m alone. All the other patients at Dr. Lopez’s office are either Canadian or American, and all the people shopping out front are too. In fact, nearly every person I’ve met on the streets here is Caucasian and an English speaker. We’re all dental tourists, and we’ve come to Los Algodones — a sunny border town near Yuma, Arizona, which allegedly has more dental clinics and pharmacies per block than any other city in the world — to save money. In my case, I’m in for three root canals with posts and crowns for the price of a secondhand scooter on eBay: $1,850, about a third of what I’d pay for the same procedures in the States.

I’d heard about Dr. Lopez’s clinic through a friend of my mother’s, but Los Algodones, like other dental tourism destinations, was easy to find on the Web. In fact, the town’s Web site, www.losalgodones.com, is actually a dental clinic referral network, with pictures of smiling clinicians and graphic before and after shots flashing across its home page. Clinics like Dr. Lopez’s, which often handle 10 to 20 patients a day, are set up exclusively for foreigners. Dr. Lopez estimates that 80 percent of his customers are American and 20 percent are Canadian; most Mexicans in the area can’t afford his rates. Many of them come to towns like this for big-ticket procedures like bridges and reconstructive surgery, some of which can cost more than $10,000 at home.

And they’re coming in increasing numbers. According to HealthCare Tourism International, a nonprofit accreditation and information organization set up to monitor the medical tourism boom, an estimated 1 million Americans will travel abroad this year for some of sort of medical service, up from the National Coalition on Health Care’s figure of about 150,000 in 2004. Of the procedures sought, 40 percent will be dental related. A recent article in the New York Times on the dental tourism phenomenon cited a boom in luxury travel packages designed around dental procedures. A root canal followed by a little fly-fishing in Costa Rica? Why not? The money you save can justify a short vacation.

ROOTS OF THE PROBLEM


Dr. Lopez’s clinic is, hopefully, the end of the road for me. I’ve been struggling with dental problems (and the potential resulting bills) for years. With all this talk of health care reform, you’d think I would have been able to find a decent low-cost US dentist, especially in civic-minded San Francisco. But it just wasn’t happening. For whatever reason, dental care and health care are viewed as two separate issues in the United States. When it comes to diseases, colds, and broken bones, you can usually catch a break, but good luck trying to get your teeth fixed on a budget. The truth is, even if you have some form of dental insurance, which is unlikely — according to the American Dental Association (ADA), only about half of all Americans do — dental care is nearly impossible for average wage earners to afford. At least, I’ve never been able to afford it. And I’ve looked everywhere.

My own dental horror story began nearly a decade ago when the Marine Corps kicked me off my retired father’s lifelong dental plan. I was fine for about a year, until the day I awoke with a terrible pain in my mouth. I was 19 at the time, taking classes at a community college and working at a café — barely able to pay rent, let alone find the time and money for a visit to the dentist. So I did the next best thing: simply ignored the pain, staving it off with copious amounts of ibuprofen when it got intense. The over-the-counter denial did the trick for almost two years, but I knew I would be forced to eventually bite the bullet, however softly.

And then it happened. My teeth started breaking. Not hurting, at least no more than usual, just breaking off — in huge, gray chunks.

This went on for years. By the time I was 25, four of my teeth had shattered and the rest seemed well on their way to doing the same. I adopted the diet of a five-month-old, unable to chew anything tougher than bananas or scrambled eggs. It was time to act, but I had no idea where to go. As a full-time student, getting by on financial aid, loans, and whatever I could rake in as a part-time waiter, I was nearly destitute. I’d recently transferred to San Francisco State University, but at that time, in order to purchase the student dental plan the school offered, I also had to purchase its medical plan, a combination that would have increased my monthly bills by nearly $200.

It was tempting, particularly in comparison with most employer-related or individual plans I qualified for, which could run into the thousands. But SFSU’s dental plan screened out existing problems, like the trainwreck I had going on, and carried an annual cap of less than $1,000. (Unlike medical insurance plans, which feature deductibles, most dental plans have annual monetary ceilings.) So even with the plan I would still be unable to afford even a fraction of the work I needed to have done. Since my student days, SFSU has implemented a dental-only plan available to undergrads, but often the limits are too low to cover anything other than cleanings and fillings.

Thus I began my search for a pro bono dentist, figuring that with all the uninsured people living in the city there must be someone around. It quickly became clear, however, that scoring free dental is harder than finding a decent vegetarian restaurant in rural Alabama.

QUEST FOR DENTAL


First, I had a glimmer of hope: a medical and dental clinic in Berkeley that had the word free in its name.

The Berkeley Free Clinic (BFC) has been offering free medical and dental care to the hard-up since 1969. It provides free HIV tests, medicine, preventative education, and more. But I needed dental work — and that was another story. As the only clinic in Northern California offering free fillings, extractions, and referrals to discount dentists, BFC is insanely popular. And since it’s run by volunteers and donors, it’s also chronically understaffed. Jessica Hsieh, a clinic coordinator, explained that the facility does as much as it can with limited resources. "We used to take patients on a first-come, first-served basis," she says. "But there were so many people lined up every night that our waiting room and hallway became fire hazards."

To deal with this problems, the clinic has devised a maddening selection system, which includes spotty business hours and a name-in-the-hat-style lottery. It sounded a little sketchy, but I gave it a go.

After making the 45-minute commute from my home, I arrived at the clinic at exactly 5:30 on a Monday evening. I scribbled my name on a small slip of paper, handed it to the receptionist, and took a seat in a waiting room crowded with students, broke workers, and homeless people. A nurse came out and told everyone to sit tight; the dentists were taking our names into a separate room and she’d return soon with their random choices. Ten minutes later, she came out again, read off three names, and then told everyone else to go home.

The room had been quiet as we all waited to see who’d won, but when a young blond girl with designer jeans and a fancy cell phone rose to claim her prize, the atmosphere became tense.

"That’s fucking bullshit," said a man with dirt on his face and ripped boots. "I’ve been coming here for weeks. This is her first fucking time!"

One of the dentists apologized and reminded us that we were welcome to keep trying as many times as we liked. I took his advice and returned three more times, missing a day of study or work for every fruitless visit until I gave up. One of my teeth in the back had started aching like hell, and I couldn’t stomach the wait any longer.

I broadened my search to include dental schools like that at the University of California San Francisco, where the wait times were rumored to be long, but once on the list, getting work done was guaranteed. After talking to students at the UCSF clinic, though, I realized treatment would require several days off from work and school because each step a student made during surgery would have to be approved by a busy professor and analyzed by other students. And the discount wasn’t exactly phenomenal.

The average cost of a single complete root canal procedure (root canal, post, and crown) at UCSF is more than $1,100, almost twice the amount I wound up paying in Mexico and way more than I could afford at the time.

So I scrapped the dental-school idea and dug deeper, figuring that if I couldn’t find free or cheap dental work, I could at least find a place that offered a payment plan. And I did find such a place.

Western Dental is like the McDonald’s of dental clinics. With multiple locations in almost every city in California, it’s effectively cornered the market on affordable dental work. Only it’s not cheap. A complete root canal procedure on one tooth can cost up to $1,590 — a lot less than a regular dentist, but much more than a dental school and about three times as much as Dr. Lopez charged me in Mexico. People flock to Western Dental because it lets you pay off your dental work like you would a car. You plunk down $99 for a yearlong membership, make a 20 to 30 percent down payment, and then pay the rest off monthly over the course of one year. And Western Dental doesn’t take your credit history into account when working out a plan.

Out of desperation, I eventually did get one of my teeth fixed at the Mission and 24th Street location, and wound up paying a $350 deposit and monthly installments of $110 for the next 12 months.

CAVITY CAVEATS


With my most painful tooth taken care of, I could now focus on finding a better deal, which is how I wound up in Mexico. So far it seems to have been a pretty smart decision. My new teeth look great and they’re holding up fine. I was treated extremely well by Dr. Lopez’s staff. But there are many reasons not go to Mexico for cheap dental work. And Brad Hatfield, a Korean War vet and retired city planner from Arizona City who asked that I not use his real name, knows them all.

Hatfield has been making the three-hour trip to Los Algodones for nearly a decade. He’s seen the town evolve from a haven for cheap trinkets and booze into what it is now: a medical resort for Americans with expensive tooth and eye issues. Hatfield started going to Los Algodones when he realized that even with his insurance he’d never be able to afford necessary dental work. But now, many years and thousands of dollars later, he’s learned his lesson.

"The problem with dentistry in Mexico," says Hatfield, "is that there’s no recourse. If something bad happens, you can’t sue anyone. All you can do is ask for your money back." And that’s just what Hatfield did when he returned from Los Algodones recently and discovered that his new teeth were worthless. Indeed, he claims that almost none of the work he’s gotten in Mexico has held up longer than a year or so.

This last time was the worst. "As soon as I got home," says Hatfield, "my gums started hurting really bad and bleeding off and on." When he called his clinic to complain, they denied his request for a refund and invited him back for some discounted work instead. Hatfield went back, got the work done, and thought his problems were over. But a few days later he realized they weren’t. "I was sitting here eating a piece of chocolate, and all of a sudden I realized I was chewing on two of my teeth and the bridge that was connecting them. All the work they had done had just fallen out."

Hatfield has tried repeatedly to get his dentist to refund his money back, but all he gets in response are invitations to return for more work. "Now they want to just rip all my teeth out and give me a full set of implants. It’s going to cost thousands of dollars on top of the $10,000 I’ve already spent there over the past year."

Hatfield is currently trying to get his problems fixed at a dental college in Mesa, Arizona, but he’s facing steeper prices and will probably have to return to Mexico soon. "My dental and medical problems have ruined me as a person," he says. "I can’t get a job because my teeth are so screwed up, and I can’t think through all this pain. I just don’t understand why dental work is so expensive. It’s much worse than medical."

THE BIG YANK


Hatfield brings up a good point. For some reason dental issues aren’t included in national or local debates about health care. Healthy San Francisco, the universal, citywide health care access program operated by the San Francisco Department of Public Health, doesn’t cover access to dental services, which were never even considered for inclusion. When reached by the Guardian for comment on this exclusion, SFDPH spokesperson Eileen Shields stressed the difference between the city’s program and regular insurance plans, saying "[Healthy San Francisco] is a health access plan, providing access to basic medical care. I mean, my health plan doesn’t even include dental — does yours?"

Denti-Cal, the state dental insurance program offered as part of Medi-Cal, is an option for California residents with a low income, a social security number, and at least one child. But it obviously doesn’t help the throngs who fill the waiting rooms of Western Dental. San Francisco General Hospital keeps an oral surgeon on call for extreme emergencies but if you want your janked-out teeth replaced or aren’t doubled over in chronic pain, SF General can’t help you.

It doesn’t look like any of this is changing soon. None of the candidates running for president this year has announced a platform that specifically deals with the high cost of dental care in America. Why? Why are medical and dental issues treated as two separate entities? And why is it so hard to afford dental treatment even with insurance?

Hsieh of the BFC thinks it may have to do with the fact that dental issues aren’t thought to be as life-threatening as medical issues. But if an infected tooth is left untreated, it can lead to death just as surely as unchecked pneumonia. On its Web site, the ADA acknowledges the high cost of dental insurance but privileges prevention over treatment, claiming that most dental problems are preventable. If Americans would just take care of their teeth, use their paltry insurance plans for routine checkups, and quit eating so much candy, they wouldn’t have to get root canals. But I brush after meals, floss regularly, and stay away from sweets — and I’ve been in and out of dental clinics with major problems since I was five.

Another theory has to do with the high costs of dental school and specialized equipment, which makes sense. But the truth of the matter, commonly pointed out in the ongoing health care debate, is that mixing profit with patients is a recipe for disaster. As long as insurance companies are able to make billions by fleecing their customers, and as long as dental clinics and drug companies are allowed to set their own prices, the general population is going to be cavity ridden and kind of ugly.

For now, it seems dental tourism may be the best option for people with normal-to-low incomes and chronic problems. Two months after my visit to Mexico, my teeth feel much better and I’m back on solid food. But this kind of travel isn’t for the fainthearted. The weather and food in Los Algodones are great. But getting your teeth ripped out and reconstructed in a foreign country with no legal recourse is dangerous and scary, especially during the high-traffic winter season when the tendency to rush through patients escalates.

My triple root canal, for example, took a mere two visits. The doctors hacked away for 10 hours straight, let me heal for one day, and then stuck on the crowns and pocketed my check. I stumbled out of Dr. Lopez’s office a few days before New Year’s, in a Novocain-induced daze, with blood on my shirt and pieces of rubber molding stuck to my cheeks. My jaws and head ached as I shuffled through the mile-long border-crossing corridor, sweating and dry-heaving.

As I approached the checkpoint, I wondered if I had made the right choice.

Then I remembered that I hadn’t actually made one. It was this or nothing.

Emma Lierley contributed to this report.


>>View a video interview with a Canadian dental tourist

Noise Pop: Joy Rides and Darby Crash test dummies

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› a&eletters@sfbg.com

In the current glut of music biopics and documentaries, it seems any band or scene worth its salt in influence and innovation is fair game for the big screen. Chalk it up to corporate tie-ins or affordable filmmaking equipment, Behind the Music or DIY videozines, but chances are your favorite group will someday make it to a theater near you. Eschewing polished product for its annual film program, the Noise Pop festival spotlights several ragtag productions focused on left-of-the-dial music legends.

To begin with the cream of the crop, Chris Bagley and Kim Shively’s Wesley Willis’s Joy Rides balances a measured introduction with an intimate appreciation of the titular hero. The film will inevitably be compared to In the Realms of the Unreal (2004) and The Devil and Daniel Johnston (2006) for its profile of an outsider artist and its clever animations of Willis’s colorful cityscapes, but Willis was simply too one of a kind for Joy Rides to be anything but. Willis’s music and art flowed directly from the outsize personality of the hulking Chicagoan, who was raised in the projects. Bagley and Shively evidently spent a lot of time filming Willis in the years before his 2003 death, and their movie is much the better for Willis’s constant jiving, affable head butts, and offhand bouts of inspired wordplay.

Not that all of Joy Rides goes down so easy. It’s wincingly uncomfortable to watch Willis, who was a diagnosed schizophrenic, knock himself upside the head while trying to "get the demons out," and some of the film’s talking heads veer dangerously close to "magical black man" territory. But there’s a discernible difference between transparency and exploitation, and Joy Rides decidedly sways toward the former. Bagley and Shively had Willis create the documentary’s credits sequences, which seems emblematic of a broader mutual appreciation. Given Willis’s prolificacy, it’s no surprise he would want a hand in the film: the next time I encounter creative restlessness, I’ll be sure to think of Willis’s maxim "The joyride keeps my ass busy."

Darby Crash was similarly driven during his brief life, but the punk vocalist’s ferocity is blunted by biopic clichés in the weirdly saccharine What We Do Is Secret. Rodger Grossman’s film follows the course of Crash’s five-year plan, which took him from high school dropout to rock ‘n’ roll suicide. The director catches some of the excitement of the Germs’ hopelessly abbreviated sets and lucks out in a nice performance by Bijou Phillips as bassist Lorna Doom, but his tendency toward sitcomish lighting and confessional monologues sinks the band’s fire in a morass of conventionality. The original Germs recently tapped Crash impersonator Shane West for a cash-in tour, proving that some legacies are never safe.

A pair of low-key documentaries cast a wider net in their hard-rock forays, with varying results. Such Hawks, Such Hounds profiles a few of the most vibrant interpreters of heavy music (Comets on Fire, Dead Meadow, Om) but without much purpose. Filmmaker John Srebalus floats between interviews with divergent bands without offering any of the categorizing insights or personal passion that made Metal: A Headbanger’s Journey (2006) such a hit.

Joe Losurdo and Christina Tillman’s documentary You Weren’t There, on the other hand, is a thrillingly exhaustive survey of early Chicago punk. Viewers may not be familiar with outfits like Strike Under and Silver Abuse, but the documentary’s detailed time line and great stock of interviews and primary documents thoroughly pinpoint that most elusive beast of rock music: the scene. Whether parsing overlapping band lineups, defunct venues, or long-out-of-print zines and records, You Weren’t There strays from the master narrative of punk, recovering a local history no less vibrant for staying below the radar.

The Jamie Kennedy vehicle Heckler chooses the route of takedown rather than appreciation, serving up a feature-length revenge act on critics — the title fudges the film’s true target. As strangely compelling as it is to watch the likes of Jewel and Henry Winkler spill their guts, Heckler is too indulgent of its interviewees’ bipolar bursts of insecurity and bullying to shape much of an, er, critique. This just in: bloggers take cheap shots at celebrities! Then again, no one likes a … you know how it goes.

>>Back to Noise Pop page

“Low Life Slow Life: Part One”

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REVIEW "Low Life Slow Life: Part One" is a self-curated portrait of the artist Paul McCarthy as a young man told with a few of his favorite things. It’s a very personal exhibit, much of it culled from the archives of a now-grown enfant terrible, and lays out a canny narrative about artistic influence that throws the viewer more than a few MacGuffins.

Before McCarthy fully developed his taboo-vioutf8g aesthetic — which found its most abject expression in his foodstuff- and prosthesis-filled performance pieces of the 1970s and ’80s — he was a Utah painting student whose first steps in using his body as a medium were guided by the action-based events of artists such as Allan Kaprow, Kazuo Shiraga, and Yves Klein. A first edition of Kaprow’s canon-making Assemblage, Environments, and Happenings (H.N. Abrams) is on display here, alongside paintings, photographs, sculptures, and printed matter by or related to several of the artists included in the 1966 volume.

Much of what McCarthy has chosen would slot neatly into the syllabus for one of the art history classes he now teaches at the University of California at Los Angeles. Which is to say that he is aware of how institutions inevitably shape an artist’s time on Earth into a career, placing it within a historical context in relation to and often as a reaction against other artists. McCarthy’s piss take on these sorts of creative genealogies starts with Dada collagist John Heartfield’s swastika-shaped Tannenbaum (1934), then jumps 30-odd years to Joseph Beuys’s 1962 sculpture made with fallen pine needles, whose brown color is shared by McCarthy’s dead Xmas tree and bric-a-brac pileup (2007). The trees’ tinder skeletons look like the survivors of a pillow fight on a paintball range. Wisely, McCarthy leaves other works out of such daisy chains of facetious art history scholarship. Mike Henderson’s giant, ghoulish oils Nonviolence and Castration (1968) stand alone as apocalyptic visions of the dark underside of American life. I wonder if they remind McCarthy of his salad days of stuffing Barbies up his ass while besmirched with ketchup. (Matt Sussman)

LOW LIFE SLOW LIFE: PART ONE Through April 12. Tues. and Thurs., 11 a.m.–7 p.m.; Wed. and Fri.–Sat., 11 a.m.–6 p.m. CCA Wattis Institute for Contemporary Art, 1111 Eighth St., SF. (415) 551-9210, www.wattis.org

Going solo

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› andrea@altsexcolumn.com

Dear Andrea:

Regarding the recent column on women who can’t have orgasms [1/30/08]: I hate to say it, but it looks like you phoned this one in. Where are the partners in the equation? If you were the boyfriend, wouldn’t it seem rude for your girlfriend to say, "I’m going to put you on hold while I play with toys to feel better sexually"? I think it would be better for her to say, "We need to talk," then describe what’s going on with her sexual responses and feelings. Why shut him out? That doesn’t help the relationship. They can figure it out together; maybe it can even be a playful exercise in experimentation. If he can’t deal, then he wasn’t the right boyfriend for her anyway.

I really do enjoy your column.

Love,

All about the Teamwork

Dear Team:

Hey, that’s OK. I really do enjoy your feedback. I actually didn’t phone this one in, though. I told the young women to put their boyfriends on hold for a while because partnered sex was not working for them. And desperately trying to have a good time works about as well in bed as it does out on the town on New Year’s Eve, which is to say, not at all. If I neglected to tell the young women that they ought to at least notify the boyfriends that they would be checking out for a bit to do some exploration on their own, well, that was sloppy, and I do apologize. (Girls, tell your boyfriends why you’re not having sex for a while, OK?) But I stand by my original suggestion that they should, indeed, skip the partnered sex in favor of masturbation until they can at least say with some conviction that they know what an orgasm feels like.

I said in the original column that it isn’t fair, but women often get out of touch with their sexual responses in a way that’s pretty rare for men. And although women certainly have no lock on extreme self-consciousness, what gets in our way is a mostly female blend of "Oh no, he’s looking at me and he’ll see I don’t look like [insert current icon here]" and "Oh no, I’m taking too long. What if he thinks I’m selfish or gets bored?" plus fear of losing self-control and looking slutty. And sometimes the only way to ditch all of that stuff is to run away alone.

I also mentioned Lonnie Barbach and Betty Dodson but somehow forget to include Julia Heiman and Joseph LoPiccolo, whose Becoming Orgasmic (Prentice Hall, 1976) has been around since the ’70s and originated some of the ideas I toss around as though they were obvious, which I realize they are not. Heiman and LoPiccolo do not begin their program with "tell your partner what you like" or "masturbate in front of him" or any of the other fairly advanced techniques that sex experts throw at women who are having trouble with orgasms (I’m sorry, I’m enough of a geek that I can’t see that phrase without thinking, immediately but unhelpfully, of tribbles). Instead, it starts way back, with examining your history and your ideas about sexuality before you even get close to literal physical examination — and when you do get there, you get there alone. (For those who prefer their sex help with early ’90s hair, there is a video version, also called Becoming Orgasmic [Sinclair Institute, 1993], which you can order online.)

The idea of solo exploration before allowing the partner back into the bedroom reminds me of something else (besides tribbles, that is), and now I realize what it is. It’s all very similar to the late, lamented (he seemed like a nice guy, and he sure wrote a useful book) therapist Bernie Zilbergeld’s well-known program for overcoming premature ejaculation in his (please forgive me) seminal book The New Male Sexuality (Bantam, 1984), which was rooted in the work of Masters and Johnson. You start slowly, with guided imagery and masturbation, and not even particularly fun masturbation. Gradually, over weeks or months, you add partnered activities. The program works much better for men in stable partnerships, but that doesn’t mean the partner is involved every step of the way.

So no, I didn’t mean to imply that the anorgasmic girls’ club ought to nail up a permanent "No boyz allowed" sign, and of course I think it would be silly and almost certainly destructive to embark on such a program without fully informing any partners first. But if the problem is compounded of various parts self-consciousness, bad messages, fear of judgment, and just plain fear, then no, I don’t think taking one’s very first, faltering steps toward sexual self-confidence in front of an audience is necessarily the best idea.

Love,

Andrea

Andrea is home with the kids and going stir-crazy. Write her a letter! Ask her a question! Send her your tedious e-mail forwards! On second thought, don’t do that. Just ask her a question.

You cannot afford Mars

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› annalee@techsploitation.com

TECHSPLOITATION Mars used to teem with life, but now it’s a dead world. I’m not referring to actual Martian history, which we still know very little about. I’m talking about the way humans used to think of Mars and how they think about it now. As recently as the 1950s, Mars was packed with scary, incomprehensible creatures and hulking buildings set in a web of gushing canals. But now it’s a cold, dry land full of rocks that are fascinating mainly due to their extraterrestrial nature. We even have two robots who live on Mars, sending us back pictures of mile after mile of beautiful emptiness that looks like the Grand Canyon or some other national park whose ecosystem is so fragile that tourism has already half-destroyed it.

Mars has, in short, been demystified. It’s not an exotic source of threat or imagination; it’s a place to which President George W. Bush has vowed to send humans one day. And Feb. 12 to 13, a conference was convened at Stanford University to discuss the feasibility of a United States–led mission that would send humans to the Red Planet. The attendees, mostly scientists and public policy types, were all pragmatism.

Reuters reports that consensus at the conference was that the National Aeronautics and Space Administration would need an additional $3 billion per year to plan for a Mars mission that would leave in the 2030s. (NASA’s current budget is $17.3 billion per year.) So the question geeks like to ask one another — "What would you take with you to colonize another planet?" — now has a depressing and very non-science-fictional answer when it comes to Mars. It’s $75 billion, paid out over the next 25 years.

But just to put things in perspective, a congressional analysis done in 2006 pegged the cost of the US war in Iraq at $2 billion per week. Last year the total amount of money spent on the war surpassed $1.2 trillion.

So it’s a hell of a lot cheaper to colonize Mars than it is to colonize our own planet. Still, it’s too expensive. US aerospace geeks are hoping that we can turn to Europe, Russia, and perhaps Asia to collaborate on a Mars mission because nobody expects that NASA will ever get even a sliver of the budget that the US war machine does.

There is a tidy way to wrap this up into a lesson about how we’re willing to spend more on destroying life as we know it than extending life to the stars. About how we’d rather burn cash on war than healthy exploration of other planets. But that’s not the whole story.

Let’s say the US government decides to leave Iraq alone and spends $2 billion per week on a mission to Mars instead. A mission that would culminate in a human colony. We could follow a plan somewhat like the one outlined in Kim Stanley Robinson’s book Red Mars (Bantam, 1993), in which we first send autonomous machines to create a base and begin some crude terraforming. And then we send a small group of colonists, to be followed by bigger and bigger waves of colonists, who eventually live in domes. And who wage wars and rape the Martian environment.

I think the problem with colonizing Mars is that it would look all too much like colonizing Earth. We might even be killing a fragile ecosystem that we’re not yet aware of. But most of us haven’t demystified Mars enough to realize that. Sure, we know it’s not packed with cool aliens, but we haven’t realized that hunkering down on another planet isn’t going to solve our basic problems as humans. On a planet, given the chance, we’ll exploit all natural resources, including one another.

It’s not that I’m against a mission to Mars. I just think getting the money for that mission is really the least of our problems. What I’m worried about is what humans tend to do with money when they aim it at something, whether that’s a nation, a people, or a planet. Maybe it’s better for Mars that we can’t afford to go there.

Annalee Newitz is a surly media nerd who would rather live on an artificial halo world than a colonized planet.

No shelter from the budget storm

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Arriving at the steps of Buster’s Place on a cold night is a familiar, comforting act for many of the city’s chronic homeless people. Or rather, it was until recently, when a sign was posted informing clients the facility will be closing its doors for the first time in almost a year.

Buster’s Place, the only centrally located 24-hour drop-in center in San Francisco, is on the chopping block to meet the demands of one of the city’s most drastic midyear budget cuts in recent history. The $1 million cut (roughly the one-year operating cost of Buster’s) is only a piece of the $9.25 million the city’s Department of Human Services must trim from its annual spending.

Buster’s has logged more than 34,000 visits from an estimated 700 clients in the past year. The center serves all walks of life, from lonely elders to those who cannot manage the complex shelter reservation system to newcomers who don’t know where to turn. While staff and resources are limited, Buster’s provides easy access to essential facilities like showers, bathrooms, and laundry rooms. It’s the stop of last resort, as I learned during my recent undercover investigation (see "Shelter Shuffle," 2/13/07, and "Search for Shelter," on the Guardian‘s SF blog).

"There’s a need for this place," Louis Ramon, who is the only case manager working at Buster’s and has been at the center since it opened, told the Guardian. "This is where the too sick, the too paranoid, the too mentally ill come who cannot be housed. Nobody is working with these clients — the really hardcore ones."

Jennifer Friedenbach, the executive director for the Coalition on Homelessness, has been a leading advocate for 24-hour homeless centers and is pressuring city hall to reinstate funds to carry Buster’s through the end of the year.

"It’s frustrating when the mayor makes random and arbitrary decisions without consulting relevant community-based organizations or the homeless themselves," Friedenbach told us. "This is another attempt by the mayor to put a nail in the coffin of overnight shelters."

In a Feb. 14 press conference Mayor Gavin Newsom held with Dariush Kayhan, his newly appointed homeless czar, Newsom discussed plans to redesign the city’s shelter system, as well as the midyear budget cuts. "We’ve got a lot of resources that are being spent, but they could be spent more wisely by coordinating strategies," he said.

"With respect to 24-7 access, we’re going to have that with the [Mobile Assistance Patrol] vans, to ensure that people still have that. People can, in rare instances, come to the shelters directly if they’re in a dire emergency and access a bed if needed," Kayhan said. "And we also want to engage those folks because we don’t think sitting in chairs, around the clock, at night — and especially since a lot of those folks are seniors and disabled — that’s not a proper place to be."

Less than five months after it opened last year, Buster’s was slated to close during the regular fiscal-year budgeting last June. Homeless advocates came to Buster’s rescue and had the Board of Supervisors reinstate most of the funding for the center.

However, many homeless advocates and Department of Public Health officials are less optimistic about this round of budget reductions. For one thing, midyear cuts are generally more reactionary, made with little public deliberation, and made because the deficit is bigger than expected.

"This year is much different because the amount of money we need to cut is much more severe," said David Nakanishi, coordinator for community programs at the DPH and responsible for spearheading the planning of Buster’s Place. "Last year Buster’s was the only cut being made to homeless programs, so the community could rally around that one issue. The fiscal situation is much more dire this year. The supervisors will probably not reinstate the money."

Sup. Chris Daly, whose District 6 includes Buster’s Place, isn’t optimistic. "I will fight, but I won’t be successful," he told us, referring to his reduced power on the board after being removed as chair of the Budget Committee last year. "The cut list resembles very closely the list of board priorities from last year. The board cannot compel the mayor to spend."

Over the past year, Buster’s Place has had an uncertain future. The center was created after the temporary closing of the McMillan Drop-in Center, the city’s previous 24-hour drop-in center, at 39 Fell Street. Homeless-rights advocates campaigned for the creation of a 24-hour facility until Daly lobbied the DPH to keep an all-night drop-in center open. The city then contracted the Haight Ashbury Free Clinics to open Buster’s.

However, since the DPH established the center on a short timetable, it did not follow standard procedures for awarding the contract. The DPH is now going through a request-for-proposals process for a 24-hour drop-in center. Of course, if the midyear cuts are approved, this process will stop.

During a night at Buster’s, visitors can count on a few things: hard plastic chairs, restless sleep (if any), and good conversation with familiar faces. While Buster’s provides 24-hour shelter, it also serves as an important social hub for the homeless community. Elisa Frank, who handles shelter reservations through the city’s CHANGES system at the 150 Otis Street administrative office, sends up to 60 people per night to wait for beds at Buster’s.

"Buster’s is a community for a lot of people. They want supervision so they’re not just on the street doing dirt. Some people even have houses. Some who are in [single-room occupancies] and even some who just live alone come to Buster’s just for company," she told us.

One 31-year-old homeless client at Buster’s told us he has been in and out of shelters and illegal housing for most of his life. He has been staying at Buster’s occasionally over the past year and hopes to get his own apartment.

"When I don’t have a place to stay, I get suicidal," he told the Guardian on a chilly night outside Buster’s. "More people are going to die on the street if this place closes."

Milked

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OPINION It seems that everyone, from current politicians to former friends and lovers of Harvey Milk, is scrambling to serve as a spokesperson for the new Hollywood movie about the life of Milk, the first openly gay elected official in a major United States city.

Milk joined the San Francisco Board of Supervisors in 1977, only to be assassinated (along with then-mayor George Moscone) one year later by Dan White, another member of the board.

Cleve Jones, who worked as a student intern in Milk’s City Hall office (and later started the AIDS Memorial Quilt), is now serving as a consultant for the Gus Van Sant film. At the Castro Theatre on Feb. 4 he encouraged a crowd of extras gathered to re-create the candlelight march that took place after Milk’s murder by saying, "We made history on these streets, and we’re gonna do it again tonight."

But remaking historical moments from the pain and glory days of the past is hardly the same thing as making history in the present. In the 1970s queers fled abusive and stifling families and places of origin to move to San Francisco by the thousands and join dissident subcultures of splendor and defiance. Of course, queers still flee similar conditions; it’s just that the hypergentrified San Francisco of 2008 barely offers the space to breathe, let alone dream.

The excitement around reenactment obscures the reality that some of the same smiling gay men who came to San Francisco in the 1970s have consistently fought misogynist, racist, classist, ageist battles — from carding policies to policing practices to zoning and real estate wars — to ensure that their neighborhood (Milk’s Castro) remains a home only for the rich, white, and male (or at least those who assimilate to white middle-class norms).

Check out a quote from Dan Jinks, one of the producers of the movie, in the Dec. 27, 2007, Bay Area Reporter: "Our great hope is this will revitalize this district and make it a major tourist destination."

Revitalize the Castro, where you’re lucky if you can rent a flat for less than $4,000 or buy property for less than $1 million? Everyone who’s ever set foot in the Castro knows it’s filled with tourists from around the world!

Oh, I know what Jinks means: straight tourists. Some gay people are so anxious to participate in their own cultural erasure.

After White’s 1979 trial, at which he was convicted of manslaughter instead of murder and given a lenient sentence, rioting queers torched police cars and smashed the windows and doors of City Hall. Later that night vengeful cops went to the Castro and destroyed the windows of the Elephant Walk (now Harvey’s), entered the bar to beat up patrons and trash the place, and swung their batons into anyone they encountered.

I’m wondering if the new Van Sant film will end at the candlelight march, thus avoiding talk about such market-unfriendly issues as systemic police violence and property destruction as a political act.

Unfortunately, San Francisco is now more of a playground for the wealthy than a space for the delirious potential of dissidence. But there are still plenty of reasons to protest. Got housing? Got health care? Got citizenship? Nope, we’re just getting milked.

Mattilda Bernstein Sycamore

Mattilda Bernstein Sycamore (www.mattildabernsteinsycamore.com) is the editor, most recently, of Nobody Passes: Rejecting the Rules of Gender and Conformity (Seal Press, 2006) and an expanded second edition of That’s Revolting! Queer Strategies for Resisting Assimilation (out in June from Soft Skull Press).

Depth charge: artist Katsushige Nakahashi re-creates pieces of WWII

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By Megan Ma

The depiction of war can seem alarmingly passé to the generation removed from it. Death and destruction are a given, and we glibly accept them through the linear narrative of documentaries or the History Channel. Of course, what we choose to reflect in art can sometimes, as Roland Barthes wrote, also reflect memories of past and present that coexist.

SF Camerawork‘s latest show, “Katsushige Nakahashi: Depth of Memory,” achieves a fusion of the historic and/or collective memory of what has been and the personal memories that seem to counter the former. Nakahashi makes a full-scale replica of the Kaiten, a Japanese torpedo used in the last days of WWII as a final, desperate resort by the Imperial army.

A literal death trap, kamikaze pilots delivered themselves to a horrible death in these steel machines. But there’s nothing solid about Nakahashi’s interpretation: it’s made up of thousands of glossy square photos of the actual thing, all taped and bound together into an imperfect replica. The 48-foot long surface of the Kaiten is deflated and somewhat baggy, a receptacle for our own interpretations and memories. True to his vision, Nakahashi asked hundreds of volunteers to arrange his photos, re-living together their own memories of war and swapping stories.

Robert Moses Kin’ and Black Choreographers Festival

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PREVIEW In February, as the days start getting longer again, two things come to mind: Black History Month summons deep reflections, and all of that extra light brings the advent of fresh views. In the Bay Area no better example of clear-sighted perspectives can be found than in the work of the Robert Moses’ Kin company and from the codirectors of the fourth Black Choreographers Festival: Here and Now, Kendra Kimbrough Barnes and Laura Elaine Ellis. Moses starts his two-week season at the Jewish Community Center of San Francisco on Feb. 14, while the Barnes-Ellis team is entering its festival’s second half at Project Artaud Theater in San Francisco.

From Moses, be prepared for a smaller company of six dancers performing in a brand-new program that includes three world premieres and a revival of 2007’s Rose (set to Beethoven), which is new to San Francisco. In addition to choreographing, the prodigious Moses also created the score for one of the evening’s pieces, Reflections on an Approaching Thought. In step with the company’s tradition of addressing social issues, the program’s Consent delves into the ethics of medical experimentation on poor people.

The Black Choreographers Festival has scheduled three lineups spanning work representative of the African diaspora — jazz, African, Afro-Brazilian — as well as modern and dance theater. If you have never seen site-specific choreographer Joanna Haigood and her Zaccho Youth Group, from the Bayview neighborhood, don’t miss them on the afternoon of Feb. 17. They are exceptional young artists.

ROBERT MOSES’ KIN Thurs/14–Sat/16 and Feb. 20–23, 8 p.m.; Sun/17 and Feb. 24, 2 p.m.; $23–$26. Jewish Community Center of San Francisco, 3200 California, SF. (415) 292-1233, www.jccsf.org

BLACK CHOREOGRAPHERS FESTIVAL Fri/15–Sat/16, 8 p.m.; Sun/17, 3 and 7 p.m.; $10–$20. Project Artaud Theater, 450 Florida, SF. (415) 863-9834, (510) 801-4523, www.bcfhereandnow.com

The return of the return of the DJ

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Born from the ashes of New York hip-hop DJ supergroup the X-ecutioners and from a frustration with the current state of turntablism, Ill Insanity are on a mission to return the art of the DJ to its former glory.

Composed of ex-X-ecutioners Rob Swift and Total Eclipse along with younger inductee DJ Precision, the turntable trio have just released their progressive scratch music debut, Ground Xero, on Fat Beats, which includes among its turntable guests fellow former X man Roc Raida, plus Excess and DJ Q-Bert.

Ill Insanity’s ongoing national tour, which stops in San Francisco on Feb. 21 for a performance and a workshop at Guitar Center and a party-rocking throw-down at Levende Lounge, seems less like a jaunt and more like a crusade to its three impassioned turntable ambassadors.

"This is the beginning of us taking the art form back," Rob Swift said, sounding something like one of the Marvel Comics heroes from which his original group, the X-Men, took their name. "And I feel that we are putting it on our shoulders to show people that this is real creative music. And we are educating people about this art form because it seems to me like no one else is really doing it right now."

Speaking a few weeks ago at Swift’s Queens, NY, apartment, which also serves as the group’s recording studio and rehearsal space, the trio had gathered to mourn what they see as a creative lull in the art of turntablism and to prepare for its pending renaissance.

"Basically we were all bored with music, and that’s what brought us together," Total Eclipse said. All three agreed that for several years now DJ battles, traditionally the barometers gauging the advancement of the turntable art form, have been in a decline. "There has been a really poor attendance at DJ battles for the past five years, especially here in the US," said Precision, the 2007 USA DMC Finals DJ battle champion. "And it’s because the art form has slipped so much."

Part of this artistic stagnation, they believe, is because DJs of recent years have been satisfied with merely imitating instead of trying to innovate. "The younger DJs are too caught up with looking up to what came before, so they stop practicing when they master that trick that QBert or whoever has already done years ago," Swift said, "and consequently now everyone is sounding the same."

Precision jumped in: "And a lot of them don’t even know the complete history of the DJ, like that Steve Dee created beat juggling."

In performance Ill Insanity’s setup includes five turntables, three mixers, and computers to operate the Serato program. "What we are trying to do is to use the new technology without dumbing down the art," Swift insisted. "We have much respect for what came before us, still applying the skills of Grandmaster Flash, party-rocking, and so on…. But we’re saying, ‘Let’s do a 2008 version of what’s already been done in the past.’<0x2009>"

And as for the future of turntablism? Swift is optimistic: "There could be a kind of DJ revolution again. I predict that in a couple of years things will go back to the way they were." (Billy Jam)

ILL INSANITY

Feb. 21, 6 p.m. performance and workshop, free

Guitar Center

1645 Van Ness, SF

(415) 409-0350

www.guitarcenter.com

Reject Dick Sklar and Ryan Brooks from the PUC

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By Bruce B. Brugmann

2/12/08

To the supervisors (by immediate fax and email):
It is high time for the supervisors to stand up to the mayor today and reject his PG&E friendly nominees for the PUC and PG&E’s latest attempt through PG&E’s Eric Jaye (PG&E is his client) to keep the PUC safe for PG&E for yet another generation. It is high time to start undoing the longtime policy: When PG&E spits, City Hall swims.

B3, who is watching the fumes from the ruinous Potrero Hill power plant from my office window at the bottom of Potrero Hill, courtesy of PG&E

Click to read editorial: Reject Sklar and Brooks

Click to read editorial: Standing up to the mayor

I’ll keep you posted on yet another chapter in the ongoing PG@E/Raker Act Scandal, which the Guardian and I consider the biggest urban scandal in U.S. history. If you doubt it, check our stories and editorials since l969.
B3

Weekly tries a “gotcha” — and fails

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It was a wild day in court in the Guardian’s lawsuit against the SF Weekly. Bruce Brugmann took the stand. He generally made the SF Weekly’s lawyer look silly – but the Weekly’s out-of-town hit man, Andy Van De Voorde, was almost giddy with his attempts to say that Bruce Brugmann did poorly as a witness.

I’m biased, of course (so is the hit man), but I have to disagree: Bruce laid out the Guardian’s history, explained how the Weekly had attacked us, and stood up remarkably well under a cross-examination that may have given Van De Voorde something to write about, but didn’t really present many relevant facts to the jury.

Several times during cross examination, Weekly attorney H. Sinclair Kerr tried to pull the legal equivalent of a “gotcha.” He kept pushing the notion that the media marketplace in San Francisco is so crowded with so many competitors that the Weekly and the Guardian really aren’t fighting over a discrete slice of that market. Bruce had none of it. Kerr kept trying to get Bruce to talk about competition in general and kept trying to get him to admit that the Weekly isn’t our biggest or most important competitor; Bruce would have none of it.

“I’m talking about competition in general,” Kerr said at one point.
“Well, I’m talking about competition with New Times,” Bruce replied.

Kerr tried to say Bruce wasn’t much of a publisher because he didn’t go on sales calls, but Bruce made quick work of that, too, saying that he was the Guardian’s editor as well, that editors generally don’t do sales calls, that we have a sales staff to do that, and besides “I’m a busy guy – I’m blogging.”

The jury members laughed.

Ficks’s Sundance (and Slamdance) picks

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1. Downloading Nancy (US) As the movie unfolds, the self-destructive couple at the center of Johan Renck’s film enabled me to feel what they could not. I was hypnotized by Nancy‘s bitter, snowy sadness (emphasized by Christopher Doyle’s camera work); it forced me to sob and, at the same time, made me want to run toward the exit. In fact, dozens of people left during the press screening, and not in a casual way. Watching it twice in two days made it clear that knowing the plot would affect the experience. Just watch this film.

2. Momma’s Man (US) A man hides at his parents’ home to figure out his mid-midlife crisis while his wife and newborn child await his return. Filmed with director Azazel Jacobs’s real parents in their real home, this is a throwback to the great films that Sundance showcased in the early 1990s.

3. Funny Games U.S. (UK/US/France) For those who don’t understand why Austrian bad boy Michael Haneke remade his 1997 intellectual torture-porn classic shot for shot, blow for blow … well, how about the fact that Americans don’t like subtitles? For those who haven’t seen the original, prepare to be traumatized.

4. Paranormal Activity (US) A couple buy a video camera to record the unexplained occurrences happening in their house while they sleep, and I was holding my breath though most of the film’s subtle freakiness. Oren Peli’s chiller, which played at the Slamdance Film Festival and is about to screen at San Francisco IndieFest, is worthy of its comparisons to The Blair Witch Project.

5. Pariah (US) A young lesbian struggles with her identity at school, at the clubs, and at home in this short by Dee Rees, which presents the most honest 27 minutes you’ll see this year. Luckily, it’s going to be extended into a feature. Wendell Pierce (Bunk from The Wire) packs quite a punch as a confused father.

6. My Mother’s Garden (US) Cynthia Lester’s bare-all documentary (winner of the Slamdance Jury Honorable Mention) sensitively explores a mother’s hoarding disorder and her children’s difficult job of helping her understand her problem. Directed by the woman’s daughter, it conveys a similar familial love as Jonathan Caouette’s Tarnation.

7. Because Washington Is Hollywood for Ugly People (US) With the best title of the fest, Ken Tin-Kin Hung’s hyperactive video game collage has meticulous designs of political figures fighting one another while inhabiting celebrity bodies. MC Paul Barman narrates this clusterfuck, bringing it to the level of downright genius. Also worth watching is Hung’s five-minute prepresidential election battle Gas Zappers.

8. Hamlet 2 (US) Finally, a movie that made me laugh! This vehicle to help British comedian Steve Coogan make his United States crossover has him playing a Dudley Moore–esque high school teacher who decides to write and direct a sequel to Hamlet. Andrew Fleming’s satire was purchased for one of the highest prices in Sundance history ($10 million, by Focus Features), and its first and last half hours are some of the funniest things I’ve seen in years. Thank gawd, because all of those cynical films were starting to take their toll.

Should you be ‘dancing?

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The Sundance Film Festival is like Los Angeles (in fact, for 10 days Park City, Utah, really is LA, plus snow). Each year you think it can’t possibly get any more congested and shallow, yet it does. This is largely the fault of umpteen opportunists (people who set up celebrity gifting lounges! Paris Hilton!) who show up to exploit the enormous and indiscriminate media spotlight.

But the festival must also share blame, its original "purity" having given way to a marketplace and red-carpet zone often barely distinguishable from the entertainment mainstream. This year found such personalities representing indie cred as U2, Robert De Niro, and Mary-Kate Olsen. Media attention invariably goes to the most high-profile films — for which folks like Josh Hartnett and Tom Hanks suffer pay cuts for art’s sake — which almost invariably disappoint. Ultimately unwanted and unloved this year were such big-noise entries as The Deal (William H. Macy, Meg Ryan, and LL Cool J … together at last!) and What Just Happened? (De Niro, Bruce Willis, Sean Penn), both soft satires of that kwazy industry.

There was the ongoing curse of the Sundance selection that plays like a moderately quirky cable flick, this time encompassing The Last Word (Winona Ryder and Wes Bentley), Smart People (Dennis Quaid and Sarah Jessica Parker), The Year of Getting to Know Us (Jimmy Fallon and Lucy Liu), and so forth. There were literary adaptations (of Chuck Palahniuk’s Choke and Michael Chabon’s The Mysteries of Pittsburgh), each easier to take if you hadn’t read the book; sophomore slumps (Super Size Me director Morgan Spurlock’s Where in the World Is Osama bin Laden?, aptly described in the Sundance catalog as "a Happy Meal of a documentary"); and the usual cases of festival acquisition fever likely to look less all that in the sobering light of theatrical release. Principal examples: American Teen, a heatedly bid on doc that smells as manipulated as an MTV reality show (in fact some MTV staff told me so), and Hamlet 2, which is Waiting for Guffman plus Dead Poets Society minus about 45 percent of the laughs that description would lead you to expect. Fifty-five percent ain’t bad, but is it worth Focus Feature’s $10 million?

Of course, there were plenty of good movies at Sundance. Nonfiction cinema is usually where the most quality is concentrated, this year being no exception. There was an astute appreciation of Hunter S. Thompson (Gonzo) and one of Derek Jarman. Anvil! The Story of Anvil paid fond tribute to a Spinal Tap–ish Canadian ’80s metal band that refuses to quit even though it probably ought to. On the "my movie, my self" tip, Christopher Bell’s Bigger, Stronger, Faster was a funny, surprisingly sympathetic look at steroid use, while Londoner Chris Waitt’s A Complete History of My Sexual Failures made autohumiliation hilarious.

On the fiction front, there was less to get excited about — The Wackness was yet another teen-angst exercise, albeit a good one, with Ben Kingsley cast more or less as Dennis Hopper. Tuvalu director Veit Helmer’s Absurdistan is definitely the German Azerbaijani Lysistrata whimsy of the year. But only one film at the festival knocked my socks way off: Half Nelson makers Anna Boden and Ryan Fleck’s Sugar, about a Dominican Republic pitcher’s culture shock when drafted into the United States minor leagues. I don’t even like baseball — but this movie is the rare kind so enjoyably right that after a while you find yourself grinning like a fool from sheer pleasure.

Speed reading

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In 2005, Xiu Xiu embarked on a tour and invited their fans to send them blank Polaroid instant film and an SASE. In turn, photographer David Horvitz took on the task of documenting the group’s travels, snapping shots in places ranging from backstage nooks to hotel bathrooms. Each day, Horvitz mailed packages containing 10 unique candid photos to the fans who provided film and envelopes: anyone who participated was rewarded with personal art from the tour. But Horvitz first scanned the photos and compiled them to create Xiu Xiu: The Polaroid Project (Mark Batty Publisher, 126 pages, $24.95). The result is a book containing nudity, blood, and urine, as well as empty skies, ocean views, and the landscape of backwoods America. The reader is left to fill in the blanks and imagine the circumstances behind each photo Even for those unfamiliar with the band, the adventure is well worth it. (Vice Cooler)

Continuum’s 331/3 series takes an unexpected turn with critic Carl Wilson’s witty, insightful, same-named exploration of Celine Dion’s Let’s Talk about Love (Continuum, 176 pages, $10.95). Tellingly, the book is subtitled A Journey to the End of Taste; the 1997 album — which sold more than 30 million copies and contains the dental-office standard “My Heart Will Go On” — is not. Wilson discusses how his feelings for his fellow Canadian’s music shifted from loathing to — well, he never becomes a fan, but during her Vegas show he has a moment of near appreciation. Along the way, he peers into the singer’s soul, touching on Quebec’s cultural history (including Dion’s rise from hometown hero to international superstar), Dion bashing at the height or depths of Titanic mania (in a chapter titled “Let’s Talk about Hate”), and the meaning of schmaltz, via analysis and some well-placed pop-cult references. He also investigates bigger questions that transcend the Dion debate: by whose standards, exactly, do we define guilty pleasures — and bad taste? (Cheryl Eddy)