International Archives — Page 72 of 100 — San Francisco Bay Guardian Archive 1966

Tango No. 9

April 28, 2009

PREVIEW Entertain whatever stereotypes you will about tango as a relic of an openly macho era: tango in San Francisco is alive. Okay, and kicking.

You might envision a wacky, tacky ballroom competition — but not so rapido says Tango No. 9’s founder and violinist Catharine Clune, whose explorations over the last decade have unearthed what she calls "the many faces of tango." With trombonist Greg Stephens, pianist Joshua Raoul Brody, accordionist Isabel Douglass, and newest member Zoltan Lundy singing the Argentine blues, Tango No. 9 revels in tango’s many approaches to music, to dancing, and to life. And it’s not alone. "There’s an underground squadron of tango dancers, ranging from their 20s to their 60s," Clune says. "You can dance tango every night in the Bay Area. It’s in these crazy little back rooms you didn’t know existed, and that’s where we’ve practiced our chops." As social dancing, which she notes hasn’t been a mainstream American cultural movement since the ’50s, tango is "something people seem to want."

Professional dancers will be on hand at Noe Valley Ministry to perform the sultry moves, but if you only ogle los bailarines, you’ll miss half the fun, or half the pain. "If you can lose anything, from a horse race to a heart, they talk about it," Clune says of the moving and theatrical side of tango’s songs — for listening, not just getting down at the local milonga. In a set that traverses the genre, from its roots to the obscure late works of Astor Piazzola, the group performs the first "sentimental" tango, Carlos Gardel’s inspirational rendition of Pascual Contursi and Samuel Castriota’s "Mi Noche Triste," which set fire to an international phenomenon mourning lost love and tragedy. Like, Lundy says, "being left by a woman who was also your prostitute."

TANGO NO. 9 Sat/2, 8:15 p.m., $16-$18. Noe Valley Ministry, 1021 Sanchez, SF. (415) 282-2317. www.tangonumber9.com

SFIFF 52 review: “Crude”

April 28, 2009

By Natalie Gregory

If you were unaware of the lawsuit between the indigenous Ecuadorian people and Chevron/Texaco, watching Joe Berlinger’s Crude will get you up to speed. It’s a documentary about the case following the plaintiffs and their lawyers in their seemingly impossible fight against one of the most powerful American companies. Pablo Fajardo is the Ecuadorian native lawyer who battles with impressive, inspiring fervor on behalf of his indigenous citizens. Joining him is New York attorney Steven Donziger, a bilingual Harvard whiz who seems amazed that they are even getting through proceedings (the film certainly mentions the David vs. Goliath element of the lawsuit). The case is still locked in litigation and pending testimonies. But the film is powerful in its defense for the native people of Ecuador, and the state of the Amazon. If you only half-questioned Chevron’s ethics before, this film will make you opt for a Shell station — or some form of alternative transportation.

Crude screens at the San Francisco International Film Festival Wed/29, 6:30pm, Sundance Kabuki; Thurs/30, 6:30pm, Sundance Kabuki; and Sat/2, 6:15pm, PFA.

A weekend under the influence: SFIFF 52

April 28, 2009

By Lynn Rapoport

Mabel (Gena Rowlands, in an ~~Oscar-winning~~ Oscar-nominated performance) has a rare calm moment in A Woman Under the Influence.

The first weekend of the 52nd San Francisco International Film Festival produced a cheerful, if windblown, bottleneck along Post between Fillmore and Webster. The one outside the Castro on Sunday night had a slightly more shell-shocked emotional tenor. The crowd seemed in good enough spirits (though this reviewer admits to getting a bit misty-eyed) while giving Gena Rowlands a standing ovation when the 78-year-old actor came onstage before John Cassavetes’s A Woman under the Influence (1974). But the film’s two and a half hours of abrasive familial dysfunction and poorly attended-to mental illness are rough going, and no one could be blamed for wandering home in a torn-up, overwrought fugue. (Think happy thoughts: like the 2008 restoration of the film by the UCLA Film and Television Archive, underwritten by Gucci.)

Less emotionally brutalizing was Friday evening’s screening of Art & Copy (screening again Tues/28, 4 p.m., Sundance Kabuki), where doc maker Doug Pray (Hype!, Scratch, Surfwise) expressed satisfaction at finally getting a film into SFIFF and noted that this one was centered on “the idea that if you hate advertising, make better advertising.”

Radio, radio: a scene from Art & Copy.

DVRs, defaced billboards, and legislation to calm the traffic of branding on virtually every visible surface of public space also spring to mind. However, these and other options are left unexplored in favor of a brief history of the revolution that occurred in advertising midcentury; commentary by some of the rebel forces and their descendants, including locals Jeff Goodby and Rich Silverstein (Goodby, Silverstein, and Partners); entertaining behind-the-scenes tales of famous ad campaigns (Got Milk?, I Want My MTV); and stats sprinkled throughout on advertising’s cultural presence, nationally and globally.

Self-comparisons to cave painters and a sequence near the close that feels like an advertisement for advertising (emotionally evocative images of children’s faces upturned in wonder to the sky: check) are somewhat uncomfortable to witness. But Pray has gathered together some of the industry’s brighter, more engaging lights, and his subjects discuss their vocation intelligently, thoughtfully, wittily, and often thoroughly earnestly. It would have been interesting to hear, amid the earnestness, and the exalted talk of advertising that rises to the level of art, some philosophizing on where all this branding and selling gets us, in an age when it’s hard to deny that breakneck consumption is having a somewhat deleterious effect on the planet. Or to learn from these creatives whether there were any ad campaigns they wouldn’t touch, such as one centered on nuclear energy, or the reelection of George W. Bush. After all, many of the interviewees come across as shaggy ex-hippies and liberals. (Last fall, trade paper the Denver Egotist referred to “the entire creative world uniting against John McCain in support of Barack Obama” in a piece on Goodby, Silverstein-made anti-McCain spots that the agency cofounders reportedly underwrote personally.) Still, the film is successful in humanizing and developing a richer picture of a vilified profession. And what it reveals about the visions of its subjects (one compares a good brand to someone you’d like to have over for dinner; another asserts that “great advertising makes food taste better”; another that “you can manufacture any feeling that you want to manufacture”) makes it worth watching, even if you make a habit of fast-forwarding past the ads.

SFIFF 52: Opening night

April 24, 2009

The scene: the Castro Theatre. The event: opening night of the 52nd annual San Francisco International Film Festival. The crowd: mob-sized.

Benjamin Bratt prefers it slow and low.

Before I say anything else, I know what you’re really wondering: what was in the gift bag? Besides Pop Chips — which seem to be engineering some kind of snack food takeover via film festivals (see also: the Noise Pop Film Festival) — there was a battery-operated sticky-note dispenser, a DVD of Vanaja (when I used to co-host the San Francisco Film Society-affiliated SF 360 Movie Scene on Comcast’s local channel — we got canned in August — that title was the top giggle-attack-getter on the set. You try saying “Vanaja” five times fast), a yo-yo, and a piece of biscotti. I devored the edibles, pocketed the yo-yo, and settled in for La Mission, a locally-made drama from writer-director Peter Bratt; his brother, Benjamin (a Law and Order vet whose career admirably survived 2004’s Catwoman), stars.

Beer Fest blues? Wash ’em down …

April 23, 2009

By Molly Freedenberg

It’s Beer Fest time again, which means those lucky enough to have scored tickets to the always sold-out event are prepping their drinking pants for three hours of madness — and those who’ll miss the affair are prepping to, well, drip tears into their (non-festival-acquired) beers. We can’t blame their lachrymosity. The festival features more than 300 varieties from a mind-boggling number of breweries and brewpubs, from locals like Anchor Steam to internationals like Guinness. Then there are the hard ciders and nonalcoholic options. Oh, and the food from the city’s best restaurants. And a commemorative stein to use for tasting and then take home. It’s enough to make a beer fan weep like the condensation on an ice-cold pilsner glass.

We’re sorry to say there’s not much we can do for the people who don’t already have tickets — but we can recommend ways to ease the pain. How about staging your own tasting? Pick up a variety of ales, lagers, pilsners, and more from the dizzying selections at City Beer Store (1186 Folsom, SF. 415-503-1033, www.citybeerstore.com), Healthy Spirits (2299 15th St., SF. 415-255-0610, healthy-spirits.blogspot.com), or New Star-Ell Liquor (501 Divisadero, SF. 415-567-7900). Or let the experts choose unusual, exciting Belgian varieties for you at La Trappe (800 Greenwich, SF. 415-440-8727, www.latrappecafe.com), Monk’s Kettle (3141 16th St., SF. 415-865-9523, www.monkskettle.com), or the Trappist (460 Eighth St., Oakl. 510-238-8900, www.thetrappist.com). Granted, these options aren’t the Beer Fest, but they’re all pretty fantastic as alternatives go. And remember, there’s always next year.

SAN FRANCISCO INTERNATIONAL BEER FESTIVAL 7-10 p.m. $60. Festival Pavilion, Fort Mason, SF

www.sfbeerfest.com

Angels

April 22, 2009

› le_chicken_farmer@yahoo.com

CHEAP EATS Not even duck soup can save me now. The children I put to sleep … they want stories.

“I had a black eye,” I began, “a swollen, purple nose, and tears streaming down my face.” I was lying on my back on the floor in the dark, next to their bunk beds.

“No no no,” the voice on top said. “Make one up this time.”

“When I was a little girl,” I began, as I always do when I’m making one up.

The voice of the bottom bunk interrupted. “In this one make the fox eat the chicken.”

“No no no,” said the voice on top. “Make one up where the chicken eats the fox.” He laughed his angelically evil laugh.

“Yeah!” she said, laughing hers. “Yeah, where — ”

“This story doesn’t have any chickens in it,” I said.

The silence was spectacular, my audience mine. I promised the usual: that if neither one said another single word, from that moment on, I would stay right there in the room with them when the story was over, until everyone was asleep. I said that in any case I would see them in the morning, and if anyone had any questions or comments we would discuss them over pancakes. “But if you want me to stay in the room right now,” I said, “you have to put your heads on your pillows, close your eyes, and just listen.”

This they did, the sweeties, but Top Bunk, being a little too eager to please, overshot the pillow and bounced his head off the headboard, necessitating an ice pack. When I came back from the kitchen, Bottom Bunk was cold and wanted me to snuggle with her.

The story I told, finally, from the floor, once everyone was properly iced and snuggled and re-sworn to silence, started with “When I was a little girl, between your age and yours,” and ended last night at the International Terminal of the San Francisco Airport.

In between there was plenty of time for two little children to fall asleep, wake up, go to school, grow into adults, and surrender to the cold, stark reality of make-believe, or — who knows — maybe even experience, just once, the upending shock of true, fiery, electric, and impossible love, the kind where whole worlds, not just bodies, collide.

Kids aren’t angels. They’re kids. They kept their heads on their pillows, their eyes presumably closed, and bravely just breathed. Then afterward I could hear their wheels spinning, the little coughs and sniffs, restless repositioning of arms and legs.

Their questions went without saying, but I knew what they would be, and had marked them all, along the way, for later, for morning, for pancakes …

What does pneumonia feel like? What’s an exchange student? Oxygen tent? How can duck soup taste so dark and good and still be medicine? And why couldn’t you finish it? Can you go to jail for stealing a roll of toilet paper from a ladies room? What does Fung Lum mean? Can people really fly higher than airplanes? If you liked the same stuff and never wanted to stop playing together, why did you stop? How come we wish on stars but not the moon?

Adults aren’t angels. The dishes needed done, the counters wiped, and the kitchen floor swept. It was garbage night. I hadn’t slept since Sunday, bathed since Monday, or changed my clothes since Tuesday. I’d cancelled meetings, missed deadlines, left work early, and concocted a really very unforgivable dinner that no one, not even parents, could quite fathom. That was Wednesday. On Thursday they ordered pizza.

And I lay on the kids’ room floor long after they’d both spun down into differently delicious dreams, forgetting every single thing except and until pancakes. Awake as always, as low, loved, and lonely as the kid-beaten, bent-tailed, poopy-butt cat curled up next to me, I lay with my black eye and almost-broken nose, tears brining my crows feet and basting my ears, thinking soft fingers on faces and wondering how in the world I would answer the one about the moon.

Fung Lum Restaurant

SFO International Terminal, SF

(650) 821-8282

Beer & wine

AE/D/MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

SFIFF: Shots in the dark

April 21, 2009

THURS/23

La Mission (Peter Bratt, USA, 2009) A veteran S.F. vato turned responsible — if still muy macho — widower, father, and Muni driver, 46-year-old Che (Benjamin Bratt) isn’t the type for mushy displays of sentiment. But it’s clear his pride and joy is son Jess (Jeremy Ray Valdez), a straight-A high school grad bound for UCLA. That filial bond, however, sustains some serious damage when Che discovers Jes has a secret life — with a boyfriend, in the Castro, just a few blocks away from their Mission walkup but might as well be light-years away as far as old-school dad is concerned. This Bratt family project (Benjamin’s brother Peter writes-directs, his wife Talisa Soto Bratt has a supporting role) has a bit of a predictable TV-movie feel, but its warm heart is very much in the right place, and the affectionate location shooting makes this an ideal SFIFF opening-nighter. (Dennis Harvey) 7 p.m., Castro.

FRI/24

It’s Not Me, I Swear! (Philippe Falardeau, Canada, 2008) Ten-year-old Leon Dore (Antoine L’Écuyer) is a Harold without a Maude, forever staging near-fatal "deadly accidents" that by now no one blinks twice at — whether they’re expressions of warped humor, cries for attention, or actual (yet invariably failed) suicide attempts). Mom and dad are forever at each others’ throats, while their older son pines for a domestic normalcy that ain’t happening anytime soon. One day mom simply announces she’s splitting for Greece to "start a new life," pointedly without husband and children. This event rachets Leon’s misbehaviors — which also encompass theft and vandalism — up a few notches. Set in kitschily-realized late 1960s Quebec suburbia, director Philippe Falardeau’s adaptation of two linked novels by Bruno Hebert is a very deft mix of family dysfunction, preadolescent maladjustment (or maybe budding sociopathy), and anarchic comedy. (Harvey) 5:45 p.m., Sundance Kabuki. Also Sat/25, 2:45 p.m., Sundance Kabuki; Tues/28, 1 p.m., Sundance Kabuki.

SAT/25

Adoration (Atom Egoyan, Canada/France, 2008) When orphaned teenager Simon (Devon Bostick) writes a paper for French class in which he imagines himself as the son of real-life terrorists, his teacher (Arsinée Khanjian) tacitly encourages its being taken for fact. The resulting firestorm (largely taking place on the Web) raises questions about the boy’s actual parents, free speech, religio-political martyrdom, and so forth. This is the first Atom Egoyan feature based on his own original story — as opposed to literary sources or historical incidents — in 15 interim years. While his fame has certainly risen in the interim, some of us haven’t liked anything so well since that last one, 1994’s Exotica. Adoration recalls such early efforts in the cool intellectual gamesmanship with which characters and technologies are manipulated toward a hidden truth. Yet provocative as it is, there’s something overly elaborate and ultimately dissatisfying about his gambits that makes Adoration less than the sum of its parts. (Harvey) 6:15 p.m, Sundance Kabuki. Also Mon/27, 6:30 p.m., PFA.

Tulpan (Sergey Dvortsevoy, Kazakhstan/Switzerland/Germany/Russia/Poland, 2008) Possible new genre alert: the docu-comedy. Documenatarian Dvortsevoy turns his camera on his native Kazakhstan, and nothing depicted suggests anything Borat might’ve broadcast. The country’s stark, southern steppes form the backdrop for a family of nomads, including married-with-children Samal and Ondas, and Samal’s brother Asa, who returns from his Russian naval service longing for his own flock of sheep. Alas, he can’t get a flock until he lands a wife — and the only local prospect, Tulpan, rejects him on the basis of his "big ears" (and the small fact that she would like to move out of the sticks, into the city, and maybe even attend college). Traditional ways bump up against more ambitious ones (as when Asa dreams of a satellite dish), just as comedic moments trade screen time with grittier scenarios (including actual footage of a sheep giving birth). The end result is an intimate and somehow totally relatable look at a fascinatingly foreign world. (Cheryl Eddy) 6:15 p.m., PFA. Also Mon/27, 9:15 p.m., Sundance Kabuki; April 30, 4:45 p.m., Sundance Kabuki.

TUES/28

In the Loop (Armando Iannucci, England, 2009) A typically fumbling remark by U.K. Minister of International Development Simon Foster (Tom Hollander) ignites a media firestorm, as it seems to suggest war is imminent even as both Brit and U.S. governments are downplaying the likelihood of the Iraq invasion they’re simultaneously preparing for. Suddenly cast as an important arbiter of global affairs — a role he’s perhaps less suited for than playing the Easter Bunny — Simon becomes one chess-piece in a cutthroat game whose participants on both sides of the Atlantic include his own subordinates, the prime minister’s rageaholic communications chief, major Pentagon and State Department honchos, crazy constituents, and more. This frenetic comedy of behind-the-scenes backstabbing and its direct influence on the highest-level diplomatic and military policies is scabrously funny in the best tradition of English television, which is (naturally) just where its creators hei from. (Harvey) 9:30 p.m., Sundance Kabuki. Also May 2, 9:30 p.m., Sundance Kabuki.

APRIL 30

California Company Town (Lee Anne Schmitt, USA, 2008) This land isn’t your land, or my land, and it wasn’t made for you and me — such is the insightful and incite-full impression one gets from California Company Town. Schmitt’s beautifully photographed, concisely narrated, and ominously structured look at the Golden State and the state of capitalism is labor of love, shot between 2003 and 2008; it’s a provocative piece of American history. On a semi-buried level, it’s also an extraordinary act of personal filmmaking that subverts various stereotypes of first-person storytelling by women while simultaneously learning from and breaking away from some esteemed directors of the essay film. (Johnny Ray Huston) 8:35 p.m., PFA. Also May 2, 6:45 p.m., Sundance Kabuki; May 4, 3:30 p.m., Sundance Kabuki.

Rudo y Cursi (Carlos Cuarón, Mexico, 2008) A who’s-who of Mexican cinema giants have their cleats in soccer yarn Rudo y Cursi: stars Gael Garcia Bernal and Diego Luna, and producers Alfonso Cuarón (whose brother, Carlos, wrote and directed), Alejandro González Iñárritu, and Guillermo del Toro. But while Rudo is entertaining, it’s surprisingly lightweight considering the talent involved. Bernal and Luna play Tato and Beto, rural half-brothers discovered by a jovially crooked soccer scout (Guillermo Francella) who gets them gigs playing on Mexico City teams. But athletic achievement seems barely a concern. Of far more importance are Tato’s crooning dreams and high-profile romance with a vapid TV star, and Beto’s left-behind wife and kids — not to mention his raging gambling addiction. Though the drama boils down to one final game (of course), Rudo is really about the bonds and brawls between brothers, not sports teams. Goal? (Eddy) 6:15 p.m., Sundance Kabuki. Also May 1, 4 p.m., Sundance Kabuki.

MAY 1

D Tour (Jim Granato, USA, 2008) There’s been many a band-on-the-brink doc about groups torn apart by substance abuse, or creative differences, or just plain nuttiness (see: 2004’s DiG! and Some Kind of Monster, and any number of Behind the Music eps). In D Tour, local indie popsters Rogue Wave face, and are drawn together by, an entirely different brand of crisis: drummer Pat Spurgeon’s urgent need for a kidney transplant. Director Granato is given full access to subjects who are very open about their feelings (and, in Spurgeon’s case, unpleasant medical procedures). The result is a music- and emotion-filled journey that’ll no doubt inspire many to check off the "organ donor" box on their driver’s licenses. A sadly ironic, late-act twist involving a different band member will come as no surprise to Rogue Wave followers, but D Tour incorporates the tragedy into its storyline without ever exploiting it. (Eddy) 9 p.m., Sundance Kabuki. Also May 4, 3:15 p.m., Sundance Kabuki; May 7, 5:15 p.m., Sundance Kabuki.

MAY 2

The Immaculate Conception of Little Dizzle (David Russo, USA, 2009) Animator Russo’s first feature is a (mostly) live-action whimsy about rudderless Dory (Marshall Allman from Prison Break) who gets fired from his white-collar job and lands in the much scruffier employ of Spiffy Jiffy Janitorial Services. Its punky artist-type staff clean a high-rise’s offices, including one for a test-marketing trying out "self-warming cookies." When our protagonists develop an addictive liking for these treats, strange things begin to occur — like hallucinations and, eventually, male pregnancies of mystery critters. Depending on mood, this arch quirkfest with an ’80s feel (think of all the similar, mildly surreal indie comedies that rode 1984 release Repo Man‘s coattails) may strike you as delightful or just plain irritating. (Harvey) 11 p.m., Sundance Kabuki. Also May 6, 3:30 p.m., Sundance Kabuki.

Tyson (James Toback, USA, 2008) Director Toback is picking up this year’s Kanbar Award for "excellence in screenwriting," but his latest film is a doc scripted largely in the mind of its subject. To call Mike Tyson a polarizing figure is an understatement (and raises the question: Does anyone really like him except Toback, whom he’s known for two decades?). This film — narrated by Tyson, the sole interviewee — won’t endear him to a public that’s seen him besmirch his glorious boxing-ring talents with an array of bad behavior, from a rape charge (here, Tyson calls his accuser a "wretched swine of a woman") to the chomping of Evander Holyfield’s ear. Though he chokes up on occasion and admits at one point that he starting taking fights just for the money, he’s still about as unsympathetic as humanly possible. Fun fact: a friend convinced him to go tribal with the face tattoo. Tyson himself wanted hearts. (Eddy) 4 p.m., Sundance Kabuki.

MAY 3

Moon (Duncan Jones, England, 2008) The Bay Area’s own Sam Rockwell has quietly racked up a slew of memorable performances in variable films — including 2002’s Confessions of a Dangerous Mind and 2008’s Choke — so the fact that he’s pretty much the whole show in this British sci-fi tale is reason enough to see it. A one-man space saga à la Silent Running (1972), it has him as Sam Bell, the lone non-mechanical worker (Kevin Spacey voices his principal robot assistant) on a lunar mining station in the not-too-distant future. He’s just about to finish his long, lonely contracted three-year stint and return home to a desperately missed family when strange things begin to occur. First there are hallucinations, then physical disabilities, then finally the impossible — there’s company aboard the station. Debuting feature director Duncan Jones orchestrates atmosphere and intrigue, though despite one major game-changing twist his original story seems a little thin in the long run. Nevertheless, Rockwell commands attention throughout as a character whose exhaustion, disorientation, and eventual panic feel alarmingly vivid. (Harvey) 9 p.m., Castro.

The Reckoning (Pamela Yates, USA/Uganda/Congo/Colombia/Netherlands, 2008) Yates’ latest documentary chronicles the long-delayed launch and bumpy first years of the International Criminal Court, a Hague-based body founded to prosecute (primarily) war crimes that member nations were unwilling or unable to do so themselves. Its authority is not yet recognized by several nations — including the Big Three of U.S.A., Russia, and China — while prosecutions of various military or political leaders who ordered crimes against civilians are often hampered by political minefields. Nonetheless, the still-struggling court is a beacon of hope for peace and justice around the globe. Yates lays out its work so far as an engrossing series of detective stories investigating instances of mass murder, rape, plunder, etc. in Uganda, the Congo, Darfur, and Colombia. (Harvey) 5:30 p.m., Sundance Kabuki. Also May 5, 6 p.m., PFA; May 6, 6:15 p.m., Sundance Kabuki.

Still Walking (Hirokazu Kore-eda, Japan, 2008) It’s no joy for Ryota (Hiroshi Abe) to bring his wife and stepson up from Tokyo on an annual visit to his elderly parents. The occasion is to commemorate the passing of an older brother who’s been dead for decades but is still held up as the yardstick by which Ryo will always fall short. Mom (Kiki Kirin) is well intentioned enough, if often insensitively blunt-spoken. But retired dad (Yoshio Harada) is an imperious grump who resents Ryo’s not following him into medical practice, disapproves of his marrying a widow, spurns her son from that prior union as less than a "real" grandchild, and is generally kind of a dick. This latest from Hirokazu Kore-eda (2004’s Nobody Knows, 1998’s After Life) is a quiet seriocomedy with lots of discomfiting moments. Yet it’s suffused with enough humor, warmth and surprising joy to easily qualify as one of SFIFF’s best 2009 picks. (Harvey)

8:45 p.m., Sundance Kabuki. Also May 5, 6:30 p.m., Sundance Kabuki.

SFIFF: 52 pick-up

April 21, 2009

cheryl@sfbg.com

In early April, a long-range rocket blasted off from deepest, darkest North Korea; according to a Reuters.com news report, the communist country claimed that its satellite was "launched into orbit and [is now] circling the Earth transmitting revolutionary songs." Um, yeah. Most folks say the rocket failed — and that its real purpose was to test North Korea’s dropping-warheads-on-our-enemies capabilities. Recent rumors of ill health aside, North Korea’s Kim Jong-il appeared shortly after the incident to mark his re-election as the chairman of the Democratic People’s Republic of Korea’s National Defense Commission.

As scary as it is to imagine the pompadored, isolationist "Great Leader" with his mitts on nukes, to focus on North Korea’s threat to the outside world takes away from the atrocities committed within its borders, against its own citizens. As NC Heikin’s quietly terrifying Kimjongilia reveals, the dictator’s country is a cruel, brutal place. The doc features interviews with North Korean refugees whose tales of escape are as harrowing as their recollections of life back home — a place where simply listening to music from a capitalist country or dropping a newspaper with a photograph of Kim on the floor were infractions that could mean imprisonment for three generations of a single family. Starvation, torture, and constant fear factor into nearly every story; families are separated, and even those who escape struggle, such as a woman whose "freedom" in China translated into years of sex slavery. For these people, WMDs are the least of their concerns.

Peering beyond what’s obvious is a theme at the 52nd San Francisco International Film Festival, with a slate that’s particularly doc-heavy. For every gesture that’s a little debatable (you can spin that Francis Ford Coppola directing award however you want, but Apocalypse Now came out in 1979, and 2007’s Youth Without Youth sucked), there are many that deserves high praise: groundbreaking local documentarian Lourdes Portillo receiving the Golden Gate Persistence of Vision Award, for example. Read on for the Guardian‘s coverage of this year’s fest, and keep watching the skies.

KIMJONGILIA

May 3, 3:30 p.m.; May 6, 3:15 p.m., Sundance Kabuki

May 4, 6:30 p.m., PFA

THE 52ND SAN FRANCISCO INTERNATIONAL FILM FESTIVAL runs April 23–May 7. Main venues are the Sundance Kabuki, 1881 Post, SF; Castro, 429 Castro, SF; Pacific Film Archive, 2575 Bancroft, Berk; and Clay, 2261 Fillmore, SF. Satellite venues are Premier Theater, Letterman Digital Arts Center, Bldg. B, One Letterman Drive, Presidio, SF; and Roxie, 3117 16th St, SF. Tickets (most shows $12.50; special programs vary) and additional information at www.sffs.org.

More: Reviews, interviews, and more SFIFF 52 coverage on the Pixel Vision blog as the festival unfolds.

Uncivil unions

April 21, 2009

steve@sfbg.com

Who really cares about an appointment to the Golden Gate Bridge, Highway and Transportation District Board of Directors? There isn’t a delicate balance of power on the board or any major initiative at stake in this fairly obscure district. San Francisco certainly has more pressing issues and concerns.

Yet the Board of Supervisors’ April 14 vote to reject Larry Mazzola Jr. and select Dave Snyder for that board says more about San Francisco’s political dynamics, the state of the American labor movement, the psychological impact of the recession, how the city will grow, and the possibilities and pitfalls facing the board’s new progressive majority than any in recent memory.

It was a vote that meant nothing and everything at the same time, a complex and telling story of brinksmanship in which both sides of the progressive movement arguably lost. And it was a vote that came at a time when they need each other more than ever.

"It was a win for the Newsom-oriented elements of labor," Sup. Chris Daly, who helped spark the conflict, told the Guardian.

The bloc of six progressive supervisors who shot down Mazzola — who helps run the powerful plumbers union and was the San Francisco Labor Council’s unwavering choice for an appointment that has traditionally been labor’s seat on the bridge board — is the same bloc the unions helped elected last year. It is also the same bloc that has been fighting the hardest to minimize budget-related layoffs.

The vote says a tremendous amount about the crucial alliance between progressives and labor, how that delicate partnership formed, and what the future holds.

PLUMBERS VS. PROGRESSIVES

The Mazzola name carries a lot of weight in San Francisco labor circles. The Web site for the United Association of Journeymen and Apprentices of the Plumbing and Pipefitting Industry Local 38 (UA 38) features a photo of U.S. Secretary of Labor Hilda Solis standing between Larry Mazzola Sr. and Larry Mazzola Jr., the father and son team that runs the union.

But the Mazzolas and their union are also controversial. As the Guardian has reported ("Plumbers gone wild," 2/1/06), the union owns a large share of the Konocti Harbor Resort (which a lawsuit by the Department of Labor said was a misuse of the union’s pension funds) and owns the Civic Center Hotel, which tenants and city officials say has been willfully neglected by a union suspected of wanting to bulldoze and develop the site. The plumbers and other members of the building trades have also fought with progressives over development issues and generally back moderate-to-conservative candidates.

Sup. Chris Daly and several progressive groups locked horns with the union over the hotel a few years ago, and Mazzola Sr. responded by opposing Daly’s 2006 reelection campaign, targeting him with nasty mailers and donating office space to Daly’s opponent, Rob Black. Yet more progressive unions like Service Employees International Union Local 1021, which represents city employees, convinced the Labor Council to back Daly and union support helped Daly win.

So when Mazzola Jr. came before Daly’s Rules Committee last month, the supervisor unloaded on him, and Mazzola gave as good as he got, telling Daly he didn’t want his support and defiantly telling the committee he didn’t know much about the bridge district, or its issues, but he expected the job anyway. Those on all sides of the issue agree it was a disaster.

"He was just patently unqualified for the position," Daly told the Guardian. Mazzola tells us his experience with labor contracts would be an asset for the position, but he admits the committee meeting didn’t go well. "I was caught off-guard and put in a defensive mode that altered my planned presentation," Mazzola told us.

Whatever the case, Sup. David Campos joined Daly in keeping the Mazzola nomination stuck in committee while the progressive supervisors privately asked labor leaders to offer another choice. "We said, ‘Give us anyone else as long as they can intelligently talk about transportation issues and the bridge district," Daly said.

But labor dug in. "It seemed as though the board was trying to dictate to labor what labor should do," Michael Theriault, who heads the San Francisco Building and Construction Trade Council. And the other unions decided to back the trades, for a number of complicated reasons.

"The reason we supported Larry Mazzola is because this was important to the plumbers union," said Mike Casey, president of the Labor Council and head of Unite Here (which includes the Union of Needletrades, Industrial and Textile Employees and the Hotel Employees and Restaurant Employees International Union). "To the extent we can support the trades, we want to."

So when the four most conservative members of the Board of Supervisors used a parliamentary trick to call the Mazzola nomination up to the full board on April 14, the stage was set for the standoff.

THE STATE OF LABOR

Labor is truly a house divided, despite its universal interest in minimizing recession-related layoffs and taking advantage of a new Congress and White House that is generally supportive of labor’s holy grail: the Employee Free Choice Act, which would make it far easier to form unions.

The April 25 founding convention of National Union of Healthcare Workers (NUHW) in San Francisco caps a years-long battle between Sal Rosselli’s United Healthcare Workers (UHW) and their SEIU masters (see "Union showdown," 1/28/09). Rosselli and many others say SEIU under Andy Stern has become undemocratic and has climbed in bed with corporate America, while SEIU says getting bigger has made the union better able to advocate for workers. Both accuse the other of being power-hungry and not fighting fair.

"Inside SEIU, we’ve been struggling for four years basically on a difference of ideology and vision of what the labor movement is," Rosselli told us. David Regan, who SEIU named as a UHW trustee after ousting Rosselli, told us the union divisions have been overstated by the media. "Everyone is together in pushing the Employee Free Choice Act," he said, glossing over the fact that the legislation is in trouble and recently lost the support of U.S. Sen. Dianne Feinstein.

Nationally, SEIU has been at war with all of the most progressive unions. The union recently made peace with the California Nurses Association after a particularly nasty struggle that involves many of the same dynamics as SEIU vs. NUHW, including accusations by CNA that SEIU was a barrier to achieving single-payer healthcare and was illegally meddling in its internal affairs.

SEIU is also accused of breaking up Unite Here, which fought the most high-profile labor battle here since Newsom became mayor in its contract fight with the big hotel chains. Last month, a large faction from the old Unite affiliated with SEIU, whose officials say they were just helping out after the end of what all knew was a bad marriage. "This is an example of a merger that didn’t take," SEIU spokesperson Michelle Ringuette told us. But the building trades have backed Unite Here in its fight against Sterns’ SEIU. As Casey told us, "We’re in a major fight over our right to exist. There’s no other way to characterize it."

Yet in San Francisco, SEIU plays a different role. Local 1021 is the advocate for the little guy, representing front-line city workers who deliver social and public health services. It is the union facing the deepest layoffs in the coming city budget fight and is still negotiating contract givebacks with the Mayor’s Office. The union’s biggest allies in City Hall are the exact same six supervisors who voted against Mazzola.

So why this standoff? SEIU, Unite Here, and other progressive unions share the Labor Council with the building trades, which are traditionally more conservative and friendly with downtown and, these days, starting to really get desperate for work. "We have thousands of guys on the verge of losing their homes and families," Theriault said. "We are desperate."

That was one reason the San Francisco Labor Council last year cut a deal with Lennar Corporation to back Proposition G, which lets Lennar develop more than 10,000 homes in the southeast sector of the city. Daly, who wanted firmer guarantees of more affordable housing, was livid over the deal and has been at odds with the council ever since. But Daly said labor’s undercutting of progressives goes back even further and includes the early reelection endorsement Rosselli’s UHW gave Newsom in 2007, which helped keep big-name local progressives out of the race.

Tenants groups, affordable housing advocates, and alternative transportation supporters form the backbone of progressive politics, but on development projects, they often clash with the trade unionists who just want work. And labor expects support from the progressive supervisors. As Mazzola pointed out, "It was labor that got most of those guys elected."

But labor has its own fights on the horizon. SEIU fears deep city job cuts if the Mayor’s Office can’t be persuaded to start supporting new revenue measures. NUHW is getting challenged by SEIU for every member the try to sign up. And Unite Here’s hotel contracts start expiring in six months, reopening its battle with downtown hotel managers.

"We’re going to be in a real war with some of those employers," Casey said. Yet he said its actually good time for the otherwise distracting fights with SEIU over how nice to play with big corporations. "I embrace this fight because I think this is exactly the struggle we need to have in the labor movement."

But the Mazzola fight was one that neither side relished.

TO THE BRINK

The Board of Supervisors chambers was filled with union members flying their colors on April 14, but the progressive supervisors were just as unified, voting 6-5 to reject Mazzola. All that was left was the political posturing, the decision of what to do next, and the fallout.

"I am disappointed and surprised by the board’s action," Sup. Sean Elsbernd (who voted for Mazzola and publicly called it "a sin" to deny him) told us, refusing to confirm the private joy over the outcome that many sources say he has expressed. "What shocked me is a majority of the board turned their back on labor."

Daly admits that the standoff hurt progressives. "I’m not sure who came up with it, but it’s certainly true that the Sean Elsbernds of the world were able to take full advantage of the situation to drive a wedge between unions and progressives," Daly said.

Yet Daly noted how ridiculous is was for Sups. Elsbernd and Michela Alioto-Pier to be publicly professing such fealty to labor while opposing revenue measures that would minimize layoffs. "At the same time the plumbers were attacking me, I was sponsoring paid sick days," Daly said. "It’s the six members of the board that are the most pro-labor who voted against Larry Mazzola."

Politically, Elsbernd says the progressives misplaced their hand. "I think the easy middle ground for them was to reject Mazzola and send it back to committee," Elsbernd said. Others echoed that point. Instead, supervisors appointed Synder, a widely acclaimed transportation expert who created the modern San Francisco Bicycle Coalition then started Transportation for a Livable City (now Livable City) before becoming the first transportation policy director for the San Francisco Planning and Urban Research Association (SPUR).

"I don’t like how that went down, and I’m not happy with the inability of the board and labor to come to an agreement," Snyder told us. "I was stuck in the middle. I wish they had sent someone the board could have agreed to."

After the vote, Snyder went back to the SPUR office and resigned. SPUR director Gabriel Metcalf admits that labor leaders lobbied him to pressure Snyder to withdraw his name, and that he asked Snyder to do so. But Metcalf said he didn’t want to lose Snyder, whose vast knowledge of transportation issues as been a real asset to SPUR. "It was his choice and not my preference."

"This issue is not why I left SPUR, but it was the precipitating event," said Snyder, whose progressive values have occasionally differed from SPUR’s stands. "My sense of social justice has more to do with class issues than I was able to pursue at SPUR."

In fact, the clashes between progressives and developers (who are often backed by the trade unions) often revolve around how much affordable housing and community benefits will be required with each project approval. Snyder said the defining question is, "How do we accommodate development in San Francisco and maintain progressive values in a capitalist economy?"

He didn’t answer that question, but it is one the building trades also understand. Theriault said he supports holding developers to high standards, even when progressives have block certain projects to get them. "I’m okay with that as long as I see the endgame," Theriault said.

He expects the progressive board to listen to labor more than Daly or Democratic Party chair Aaron Peskin, who Theriault said helped shore up the progressive opposition to Mazzola (which Peskin denies). "With the exception of Daly, the relationships are reparable. But they have to show some independence from Daly and Peskin," Theriault said. "The real fear for me is what comes next."

Theriault was referring to things like new historic preservation standards that supervisors will soon consider, as well as the string of big development projects coming forward this year. And for progressives, they hope their efforts to save city jobs will be followed by labor support for progressive candidates for the Board of Supervisors (such as Debra Walker and Rafael Mandelman) in next year’s election.

"The one thing I know about labor is, we’ve been screwed by politicians on the left and the right," Casey said. "Are we angry about this and disappointed? Yes. But does that mean the alliance between labor and progressives is dead? No. We’re going to work through this stuff, talk, take deep breaths, and move forward."

NUHW’s founding convention takes place April 25 from 10 a.m. to 5 p.m. at Everett Middle School, 450 Church St., San Francisco.

Should the state bar investigate torture lawyer Yoo?

April 17, 2009

By Tim Redmond

Protests are going to continue at UC Berkeley over John Yoo, the lawyer who wrote memos authorizing CIA torture. I’m generally an academic-freedom purist, and I hate to suggest that anyone be fired from a university position because of his or her political statements.

On the other hand, the California bar does have rules of professional conduct, and one of them goes like this:

Rule 3-210. Advising the Violation of Law

A member shall not advise the violation of any law, rule, or ruling of a tribunal unless the member believes in good faith that such law, rule, or ruling is invalid

Would that include international law? Would that include advocating torture? I’m not a lawyer or an expert on legal ethics, but perhaps the state bar ought to look into this.

Film Festival 52

April 15, 2009

Innovative docs, fractured fairy tales, Disney ditties, dinosaurs, and at least one scene-stealing camel highlight the Fest’s fifty-second year. Our critics take a peek at some of the more buzz-worthy entries below.

>>52 pick-up
SFIFF rides again, with a quietly terrifying North Korea doc
By Cheryl Eddy

>>In the realms of the real
Sacred Places and Z32 — SFIFF’s unconventional docs
By Max Goldberg

>>Unhappily ever after
The film fest’s fractured, freaky, and feminist fantasies
By Kimberly Chun

>>Oaktown fugue
Everything Strange and New: stillness interrupted
Lynn Rapoport

>>Tune Boom
SFIFF’s catchy ditties and dino-riffs
By Dennis Harvey

>>Shots in the dark
Our short, sharp takes on other SFIFF flicks

Fiends, eyepatches, and femmes fatales

April 15, 2009

The cause of showing neglected old films on 35 mm — that vanishing format — is one recently taken up by a number of local presenters, including the Film on Film Foundation and Midnites for Maniacs. We’re not alone in that pursuit, with one notable purveyor of vintage esoteria on celluloid being Austin, Texas’ Alamo Drafthouse. Its Cinemapocalypse programmers are currently on an "Invasion U.S.A." tour bringing disreputable shlock to big screens along the West Coast.

Yerba Buena Center for the Arts’ double bill on Saturday spans the Atlantic with gratuitous violence and toplessness. Fernando Di Leo’s 1976 Mister Scarface is a lively example of the crime thrillers Italy churned out back then for the international grindhouse circuit. Italian-looking German and Fassbinder regular Harry Baer and German-looking Egyptian Fulci/Franco regular Al Cliver play cocky play dudes out to shake down Jack Palance’s titular mob boss. As their flamboyant older sidekick Vittorio Caprioli opines, "That’s a-Scarface. He’s-a bad news, I tell ya. Just-a looking at him and my asshole a-twitches."

Its marginally less obscure co-feature is Paul Nicholas’ incredibly tawdry 1983 Chained Heat, considered by many the greatest of all W.I.P. (Women in Prison) flicks. The cast alone clinches it: Linda Blair, Sybil Danning, Tamara (1973’s Cleopatra Jones) Dobson, Stella Stevens, Edy Williams — you get the idea.

Midnites for Maniacs gets into the Texas action with a "Fighting Back in the ’80s" quartet at the Castro Theatre on Sunday. Escape from New York (1981) you’ve seen, and 1983’s Vigilante, a.k.a. Street Gang (Fred Williamson and Robert Forster go Death Wish on the usual cackling punk-scum "animals"), is no rarity. But curious minds really want to know about 1982’s kitchen-sink exploitation blowout (cannibal monks! T&A! Kung fu! Cameron Mitchell!) Raw Force. And you haven’t lived till you’ve seen Lady Terminator, a 1988 Indonesian whatsit about an ancient nymphomaniac water goddess who towels off to wreak havoc on the police force and civilian penises of modern Jakarta. It’s vagina dentaterrific. (Dennis Harvey)

SAT/18, MISTER SCARFACE (7 P.M.) AND CHAINED HEAT (8:45 P.M.)

$8-$10

Yerba Buena Center for the Arts

701 Mission, SF

www.ybca.org

SUN/19, VIGILANTE (2 P.M.); RAW FORCE (4 P.M.); ESCAPE FROM NEW YORK (6 P.M.); LADY TERMINATOR (8 P.M.)

$10

Castro Theatre

429 Castro, SF

www.castrotheatre.com

Wiggletronics

April 15, 2009

superego@sfbg.com

SUPER EGO “Many people confuse us with Spain,” MC Kalaf of worldwide dance sensations Buraka Som Sistema says — a back-end hint of fado-like melancholy mixing into his unfailingly chipper voice — when we talk over the phone about how the fab foursome has finally put their homeland, Portugal, on the club-must map. Buraka, two of whose members hail originally from Angola and two from that sunny strip along the Atlantic, represents a double bubbling up of the repressed: the crew has exploded onto the nightlife radar by melding the underground sounds of Luanda’s bumping kuduro dance movement with Lisbon’s buzzy, overlooked electronic music scene.

Last year Buraka’s sophomore release Black Diamond (Enchufada/Sony BMG) quickly shot up the hit lists of beats connoisseurs by jumping the current trend of streaming developing-world rhythms through the latest sonic technology. “We took the sound of the Lisbon suburbs where many Angolan immigrants live — our suburbs are not like your ‘Desperate Housewife’ suburbs — and used our years of dance music on it, and the crowds loved it,” says Kalaf.

Kuduro is often translated as “stiff bottom,” heh, or “hard ass,” referencing the form of lowdown, hips-wiggling motion that sometimes accompanies the deliciously uptempo sound, a hybrid of sensuous zouk, raucous soca, and free-flow hip-hop that shares an affinity for analog atmospherics with early dub. (Or rather, that dance is mostly reserved for women — men tend to go pop and lock crazy, as you can see in the video below.) Along with Kalaf, Buraka members Li’l John, DJ Riot, and Conductor apply their extensive hip-hop, house, and breakbeat production experience to blow the lid off kuduro’s possibilities.

The superkinetic results reference everything from Ed Banger hardcore and hyperdub freakouts to Orb-esque kaleidoscopics and the late ’80s Sheffield bleep scene. Scoring MIA to guest on “Sound of Kuduro” helped kick that track up the club charts, and basing the excellent “Kalemba (Wegue-Wegue)” on a misheard lyric from the classic Afro Acid house remix of More Kante’s “Yeke Yeke” gave fanboys a theoretical boner. Live, Buraka’s a tornado, with toasting MCs, fierce singers, and, as Kalaf points out, “anything that makes you scream.” Last time the crew was here, a topless female fan stormed the stage. Kalaf half-joked that an upcoming tour of Japan is brief because “if they throw us out of the country, at least we won’t lose a lot of money.”

Some things get lost in the laptop filtration, however. Kuduro isn’t just a groove; like rap, it’s built on extended narratives of hood life. Buraka jettisons those for catchy calls to the dance floor and global unity “I’m from Angola,” Kalaf admitted, “and even I can’t follow most of what they say.” And, for all the talk on its records of the primacy of Africa, the group has yet to tour the continent. “We’re going in 2010,” Kalaf said, “and to be honest, I’m a little afraid. It may be mental.” But Buraka has helped bring the Angolan guests on its tracks an international audience, while waking up the Western world to yet another vital cultural expression on its edges. Let’s get suburban, y’all.

BURAKA SOM SISTEMA

Tue/21, 8 p.m., $14. Rickshaw Stop, 155 Fell, SF. www.rickshawstop.com For more on Buraka’s kuduro connections, click here.

The Sisters explode!

April 10, 2009

By Cheryl Eddy

It’s Easter time, which means drugstore aisles are bloomin’ with Peeps, bonnets are being bedecked, and aspiring Hunky Jesuses (the Biblical kind, not the Madonna-datin’ kind) are frantically doing ab exercises prior to the annual Sisters of Perpetual Indulgence celebration in Dolores Park. This year, the annual bash is extra-special, marking 30 years of good works (and fabulous accessorizing) by the organization, which has gone global — the theme is "Nun World Order" and some 150 national and international Sisters will be in attendance. Can’t get enough Sisterhood? Make sure you check out "Under a Full Moon: 30 Years of Perpetual Indulgence," on view at the San Francisco Library and the Yerba Buena Center for the Arts. Featured are archival materials chronicling the group’s three decades of colorfully-dressed, white-faced, charity-supporting, queer- and sex-positive, Pope-exorcising, boundary-pushing history.

UNDER A FULL MOON: 30 YEARS OF PERPETUAL INDULGENCE Opening party Fri/10, 8 p.m., free. Installation on view Tues–Wed and Fri–Sun, noon–5 p.m.; Thurs, noon–8 p.m., $5–$7. Through June 28. Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Also: through May 7. Sun, noon–5 p.m.; Mon and Sat, 10 a.m.–6 p.m.; Tues–Thurs, 9 a.m.–8 p.m.; Fri, noon–6 p.m., free. San Francisco Main Library, third floor, James C. Hormel Gay and Lesbian Center, 100 Larkin, SF; (415) 557-4499.

NUN WORLD ORDER: THE SISTERS’ 30TH ANNIVERSARY CELEBRATION. Sun/12, 11 a.m., free
Dolores Park, 19th St at Dolores, SF (after-party, 6 p.m., free, Noe at Market, SF); www.thesisters.org

Bruce Willis honored at Sonoma International Film Festival

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April 8, 2009
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By Juliette Tang

The 12th Annual Sonoma International Film Festival, a festival celebrating “the best in food, wine, art and music,” ended weekend with a big tribute and party in honor of Bruce Willis, an inexplicable choice in every sense except that he happens to be good friends with the Festival’s executive director, Kevin McNeely. Personally, I’ve never been not the biggest Bruce Willis fan, though I thought his performances in The Sixth Sense and Twelve Monkeys were understated and effective. Bruce is not just an actor in the cut-and-dry sense, but an uber-celebrity. His movies regularly make billions of dollars worldwide, and he is the 7th highest grossing actor of all time. Even though I’m not the type of person to watch action movies, I’ve seen every single Die Hard, either at friend’s houses, or on an airplane somewhere, or just because it was a Saturday and I was tuned onto TNT – it’s one of those movies that, chances are, you will somehow see even if you don’t try to see it, just by merit of being alive. And despite (or maybe, because of) the baldness-induced machismo and the faint but perceptible odor of sleaze he emits, some women really like him. How? Why?

Perhaps Bruce Willis’ special brand of je ne sais quoi is due to his beautiful singing voice? Check out some great vintage Bruce, after the jump.

Shielding Goni

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April 8, 2009
0

news@sfbg.com

Top Democratic Party pollster Stanley Greenberg rolled into San Francisco last month to promote his latest book, Dispatches from the War Room — In the trenches with five extraordinary leaders (2009, St. Martin’s Press). The slight, bespectacled man spoke at the Commonwealth Club, sharing what he hoped were "honest and frank" accounts of working with leaders such as Nelson Mandela and Bill Clinton.

While he happily pontificated on the lessons these experiences held for President Barack Obama, he was a bit more defensive on why he had proudly featured in the book Gonzalo "Goni" Sánchez de Lozada, former president of Bolivia who is currently wanted for his role in a massacre of 67 people in October 2003.

Greenberg was drafted in 2002 to help Goni, a wealthy University of Chicago-educated businessman, get elected president during a time of social upheaval created largely by U.S.-backed neoliberal economic policies. Branding Goni as the only man who could "resolve the crisis," Greenberg and other U.S. political consultants helped their client scrape an electoral victory with just 23 percent of the popular vote.

The deaths took place less than a year later when Goni announced deeply unpopular plans to privatize the country’s natural gas reserves and give foreign corporations more control over Bolivia’s resources. Road blockades erected by protesters in the poorest outlying neighborhoods of the high altitude city of La Paz effectively cut off supplies. Goni signed a decree that instructed the army to clear the roads and promised "indemnification for any damage to property and persons which might occur." That effective carte blanche resulted in the army shooting live ammunition indiscriminately at men, women, and children.

Military repression brought to a head one of the country’s bloodiest years, in which more than 150 people died in social protests. Rising popular anger led Goni to flee the country to exile in the United States. He has since lived comfortably in Chevy Chase, Md., protected by Republicans and Democrats alike.

Greenberg admits in the book that the violence caused him "to take stock," yet he ends up saying he is now "more certain of my course and his [Goni’s]." He concludes: "I am proud of what we did to help Goni become President." From the podium at the Commonwealth Club, he blamed the atrocities on the supposed "parallel violence" by the protestors.

It seems a surprising conclusion for a man who is supposedly in touch with the electorate. Goni is universally reviled in Bolivia as a corrupt and arrogant politician who devalued Bolivian lives. Even Goni’s Vice President Carlos Mesa denounced him and swore that he would never use violence to enforce policies. Two-thirds of Bolivia’s Congress — including many who had formed part of Goni’s coalition — approved a trial seeking responsibility for the massacres. Disgust at Goni’s "free market" (or neoliberal) economic and social policies, which increased poverty and inequality, was partly behind the landslide 2005 electoral victory of one of the leaders of the protest movements, Evo Morales.

Yet sadly, Greenberg’s positive spin of Goni seems to be a view that is widely shared with the Democratic Party. At a Washington launch event for Greenberg’s book, Speaker of the House Nancy Pelosi also appeared to hold Goni in high esteem, warmly welcoming him to the event and calling him a "very special man." Goni’s former defense lawyer, Gregory Craig, is now Obama’s White House counsel. The Democrats’ historic loyalty to one of their favored pro-American friends seems to outweigh their commitment to human rights and fair legal process.

Rogelio Mayta, the resolute lawyer representing the families whose loved ones were killed in October 2003, tries to give Pelosi the benefit of the doubt. "We want to believe in the good faith of … Pelosi and believe that these praises are due to misinformation rather than a concrete line of action and thinking by the U.S. government," he said.

Yet the anger of Eloy Rojas, who lost his eight-year-old daughter when troops entered his village and started shooting indiscriminately, is harder to hide. "Every effort that allies of Sánchez de Lozada make to present the ex-president as a victim and an honest man is for us an offense. It is an offense against the pain and suffering that his terrible actions had for our lives. His determination to defend his and other people’s economic interests meant that he stopped valuing peoples’ lives … That is why we continue to seek justice."

In March, Bolivian families who lost loved ones marked a significant milestone in their struggle to end the legacy of impunity for political elites like Goni. After five years of navigating political games and legal loopholes, a date was set for the trial of responsibility for Goni and seven of his ministers. Yet the main defendant, Goni, will be missing because the U.S. government has ignored requests for extradition for several years.

Many in the U.S. and worldwide continue to hope that Obama’s inauguration will mark a new chapter in relations worldwide, especially in Latin America, where there has been a new wave of resistance against U.S. attempts to impose its economic interests. Obama has made some important first steps in ordering closure of the Guantánamo Bay detention facility and reinvigorating the use of diplomacy in regions such as the Middle East. But if he really wants to start a new chapter of international relations rooted in human rights, he doesn’t need to travel abroad. He just needs to respond to Bolivia’s lawful request for extradition and send home the man who lives just seven miles from the White House. 2

Nick Buxton is a British journalist who was based in Bolivia for many years before moving to San Francisco last year. His blog, Open Veins, is at www.nickbuxton.info.

The budget mysteries

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April 8, 2009
0

sarah@sfbg.com

San Francisco’s top budget advisors are predicting that dollars from President Obama’s stimulus package will help reinvigorate the economy over the next three years. But they also warn that the recovery will be slow, and that deficits will be part of political life for some time to come.

The findings are contained in a three-year budget projection report jointly compiled by the Mayor’s Office, the Controller’s Office, and the Budget Analyst’s Office and released to the news media at a hastily announced March 31 roundtable.

During the roundtable, Mayor Gavin Newsom announced that the city faces a "staggering" $438 million budget shortfall in fiscal year 2009-10 — a deficit, financial experts warn, that could balloon to $750 million by fiscal year 2011-12 if cuts and wage concessions aren’t made and structural reform and revenue creating measures aren’t undertaken.

Those future numbers are scary — and a bit apocryphal. Nobody seriously thinks the city will simply ignore this year’s problems and put them off until next year, which means future deficits should be smaller.

But the decisions that will have to be made to keep the red ink under control have been the subject of intense speculation since December, when Newsom announced that the city was facing a deficit equal to cutting every other dollar in the city’s discretionary general fund.

REFORMS? WHAT REFORMS?

In January newly elected Board of Supervisors President David Chiu sought to address the anxiety crashing over the city’s business and labor leaders by inviting stakeholders, including Newsom, to budget meetings at City Hall. But Newsom only agreed to get involved once the youthful board president’s other bright idea — a special election that combined cuts, revenue generating measures, and structural reforms to save as many jobs, programs, and services — was off the table.

And with only two months to go until he submits his 2009-10 budget proposal, Newsom still has not clarified what budgetary reforms he will support this fall, even as the labor unions are being asked to give back $90 million in promised benefits, and the Board of Supervisors gets ready to prepare an annual appropriations ordinance by the end of July.

Newsom did announce last week that he will be is asking some, but not all, departments for 25 percent cuts in the coming fiscal year. Human Services Director Micki Callahan confirmed that 730 pink slips have been sent out since July 2008.

Yet the actual cuts remain a mystery. "I will not be accepting 25 percent cuts from some departments, but from others, I will," Newsom said. "I don’t believe in across-the-board cuts."

Asked which departments he would accept 25 percent cuts from, Newsom told reporters: "You’ll find out when you read my budget."

Within days of Newsom’s statement came news of a deal between the Mayor’s Office and Service Employees International Union Local 1021, the largest city-workers union.

"The goal of this tentative agreement is to protect vital services for San Franciscans, minimize layoffs to employees, preserve the integrity of the collective bargaining agreement, and assist the city with its economic recovery," read a joint public statement.

As of press time, SEIU’s 1021’s Robert Haaland told the Guardian that the two sides are still in negotiations, but confirmed that the union is discussing giving up about $40 million over 16 months, including furloughs and other benefits.

"At the end of the day, our members recognize that they need to share the pain," Haaland said. "The idea is to save jobs and programs."

These givebacks from SEIU are part of the $90 million in concessions the city hopes to get from unions, including those that represent police, firefighters and nurses.

THE PERILS OF TWO-YEAR BUDGETING

As it becomes clear that givebacks and cuts won’t be enough to solve the city’s fiscal crisis, there is talk that the mayor wants to switch to a two-year budget process. Critics say that could represent a massive transfer of power to the Mayor’s Office, unless the Board of Supervisors also gets the power to approve the mayor’s midyear cuts.

"As it is right now, we have power through the Board of Supervisors for one month of the year," said one community organizer, who asked to remain anonymous. "The rest of the time Newsom moves his own agenda through his midyear cuts."

A summary of a March 16 Controller’s Office "budget improvement project" recommends that "the board’s add-back process should require that program restorations and enhancements be reviewed and analyzed by department staff and the board’s budget analyst;" that the "mayor and board should outreach to the general public regarding budget priorities;" and that the "city should adopt a two year budget process consistent with the city’s financial plan."

Sup. Chris Daly said he thinks this year’s grim three-year budget projections make a strong argument against a two-year budget process. "Projections are never right," said Daly, who used to chair the powerful budget committee. "Two years ago we weren’t projecting how bad it was going to be. We can’t do budgets for years out past the current fiscal year. It just doesn’t work."

Sup. David Campos, who sits on the current budget committee, said he wants to see the increased Federal Medical Assistance Percentage (FMAP) funding being provided to the city’s public health and human services departments used to restore proposed cuts, jobs, and services.

Much of the federal money will be earmarked for non-General Fund infrastructre projects at the Municipal Transporation Agency, Housing Authority, airport, and San Francisco Public Utilities Commission.

"We’re saying that if FMAP is coming in so that revenue cuts are not made in the public health area, then why not use these monies to fill gaps, replace cuts, restore funds, preserve programs?" Campos asked.

Campos also wants the mayor and the board to sit down and talk about the November ballot. "I don’t think the budget hole is going to be closed on backs of labor alone," Campos told us. "We’re focused on cuts, elimination of programs, layoffs … But why aren’t we talking about what revenue measures we are putting on the November ballot?

Chiu said he thinks Newsom is committed to some form of tax-based revenue measure. "Just as we can’t solve our budget deficit by taxing our way out of it, so we can’t solve it by cutting our way out of it either," Chiu said. "None of our tax or revenue-generating options would come close to filling 25 percent of that gap."

Noting that business is "more open to taxes that share the burden of who pays," Chiu observed that "it’s important to balance the cuts so it’s not just social services and the health department taking the burden."

What’s Newsom got to offer?

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April 7, 2009
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EDITORIAL The front-line city employees have stepped up to the plate. Members of Service Employees International Union Local 1021, the largest of the city-worker unions, are discussing concessions worth close to $40 million, the equivalent of the raises they were set to get in next year’s budget. Other unions will likely follow suit, meaning that as much as 20 percent of the city’s budget deficit could come directly out of the pockets of city workers.

That was probably inevitable, and Local 1021 members were willing to give up pay increases to avoid further layoffs. Nevertheless, it makes the point very clear: Labor was willing to come to the table and offer to do its share. Now Newsom needs to do the same thing.

In a press briefing March 31, the mayor gave only the tiniest hints of his budget plans. He said he’s calling for 12.5 percent cuts in all departments, plus another 12.5 percent in contingency cuts. He told reporters that not all departments will face 25 percent cuts, although some probably will. Which programs are getting the deepest cuts? Newsom won’t say. "You’ll find out when you read my budget," which won’t be released for another six weeks, he told the press.

So the city’s facing a deficit for fiscal 2009-10 of a staggering $438 million — and the mayor wants to keep his plans secret. That’s not just ridiculous and counterproductive, it’s bad faith. The budget’s going to be awful, and the only way to keep it from becoming a bloody train wreck is to start discussing all the options now, with all the stakeholders, in public.

The problem of course, is that closing a budget deficit requires two steps that Newsom is loathe to take. First he has to set priorities — to acknowledge that some programs are more important than others, and tell us where he draws those lines. Then he has to look for ways to raise new revenue, and that means hiking taxes — which won’t help his campaign for governor.

By the time Newsom releases his budget, the supervisors and the activists will have only a month or so to hold hearings, examine the fine print, discuss priorities, and make changes. It’s a notoriously inefficient way to run the city, and it leaves far too much of the budget power in the hands of the chief executive. The supervisors and the people whose lives will be affected by budget cuts need to be in the loop right now.

And Newsom needs to tell us what he’s willing to accept as part of a budget deal, and what he’s willing to give up. His office is full of highly paid staffers working on projects designed to help his political ambitions. Is that more important than public health and after-school recreation programs? What significant tax hikes will the mayor promise to support on the November ballot? Will big businesses, developers, and Pacific Gas and Electric Co. be asked to take on some financial pain the way city workers have? Will Newsom raise money and shift some of his formidable campaign apparatus into saving San Francisco’s public services this fall? Will he present a budget that assumes not just cuts but, say, $250 million in permanent revenue hikes?

Everyone in San Francisco is going to find something to hate about next year’s budget. Every resident will have to pay more, whether in taxes or Muni fares or use fees, and get less. Most people can live with that — if the costs and cuts are fair, the pain is properly shared, and there’s plenty of time to discuss it openly.

Time’s running out here. Where’s Newsom? *

Editorial: What’s Newsom got to offer?

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April 7, 2009
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Every resident will have to pay more but most people can live with that if the cuts are fair, the pain is properly shared, and there’s plenty of time to discuss it openly. Where’s Newsom?

EDITORIAL The front-line city employees have stepped up to the plate. Members of Service Employees International Union Local 1021, the largest of the city-worker unions, are discussing concessions worth close to $40 million, the equivalent of the raises they were set to get in next year’s budget. Other unions will likely follow suit, meaning that as much as 20 percent of the city’s budget deficit could come directly out of the pockets of city workers.

That was probably inevitable, and Local 1021 members were willing to give up pay increases to avoid further layoffs. Nevertheless, it makes the point very clear: Labor was willing to come to the table and offer to do its share. Now Newsom needs to do the same thing.

Iraq: Six gay men shot at clerics’ urging

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April 6, 2009
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By Marke B.

Today came word that six men had been shot for being gay in Baghdad’s Sadr City — two last Thursday and four earlier, their bodies unearthed on March 25 with signs reading “pervert” pinned to their chests. Shiite cleric Muqtada al-Sadr had called for a “crackdown” on gays. “Sermons condemning homosexuality were read at the last two Friday prayer gatherings in Sadr City, a sprawling Baghdad slum of some 2 million people,” according to Reuters

“Two young men were killed on Thursday. They were sexual deviants. Their tribes killed them to restore their family honor,” a Sadr City official who declined to be named said.

“This (homosexuality) has spread because of the absence of the Mehdi Army, the spread of sexual films and satellite television and a lack of government surveillance,” said the office’s Sheikh Ibrahim al-Gharawi, a Shi’ite cleric.

According to an eyewitness, a cafe known for being a gay hangout was also burned down.

“Homosexuality is not a crime in Iraq,” said our own State Department (specifically, John Fleming, the public affairs officer for the Bureau of Near Eastern Affairs) last Thursday when confronted by an international outcry over the alleged possibility of “execution in batches” of gays imprisoned for “moral crimes” there.

Io-wha???

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April 3, 2009
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By Marke B.

Lat night, I attended the annual gala for the International Gay and Lesbian Human Rights Campaign (or IGLHRC) — last year’s gala feted Archbishop Desmond Tutu, and this one, while considerably smaller, was also mega-inspiring. It was held mostly to honor Helem, an incredible and youthful gay rights organization based in Lebanon, but it also served as an introduction to IGLHRC’s new Executive Director, Cary Alan Johnson. The intensely charismatic Johnson spoke of how he had just visited nine starving gay prisoners in Senegal, convicted of “engaging in acts against the order of nature” and ordered to serve eight years — the men in fact had simply gathered at an apartment to discuss AIDS education (and were therefore also convicted of conspiracy.)

He also spoke about how IGLHRC’s small ground team in Uganda was desperate to combat a huge new wave of creepy American religious right extremists (totally creepy — one horrid group of them is called “Extreme Prophetic Ministry!”), who were openly and vocally attacking Ugandan LGBTs and insisting they could be “cured.” Johnson also described IGLHRC’s role in assisting all the people who had been beaten senseless in the backlash against South Africa’s recent adoption of same-sex marriage laws.

The speech was pretty rousing and I was soon wiping my eyes on the bf’s sleeve as the emotions poured out for my persecuted peeps around the globe. Would there ever be any bright spots in the seemingly eternal struggle to get other people to fucking mind their own goshdarned business?

Labor deal leaves open issues

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April 3, 2009
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By Steven T. Jones

Yesterday’s joint announcement of a wage concession deal between the Mayor’s Office and Service Employees International Union Local 1021 — the largest union of city employees — included few details, and sources on both sides have been reluctant to give out much information until the rank-and-file have the chance to review it (they say more details could be forthcoming on the union’s website by tonight).

“The goal of this tentative agreement is to protect vital services for San Franciscans, minimize layoffs to employees, preserve the integrity of the collective bargaining agreement, and assist the City with its economic recovery,” read the brief joint public statement.

The Chronicle’s Marisa Lagos got a bit more, with unnamed sources telling her the union has agreed to forgo $40 million in promised pay increases over the next 16 months, including raises that were set to kick in this Saturday. While the promise to “minimize layoffs” was in there, the real question is how to do that, including whether Mayor Gavin Newsom will cooperate with the desire by labor and the left for a package of local tax measures later this year.

Given this week’s report predicting unprecedented budget deficits for each of the next three years — reaching a staggering $750 million by 2011 — there is growing recognition that service cuts alone simply will not solve this city’s fiscal crisis.

Smells like 20-something angst: 500 Days of Summer

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April 3, 2009
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By Juliette Tang

Wednesday night at the Sebastiani Theatre in downtown Sonoma, the Sonoma International Festival kicked off with a showing of 500 Days of Summer, an indie-romance starring the lovely and blue-eyed Zooey Deschanel and the surprisingly-cuter-as-he-ages Joseph Gordon-Levitt, alum of 3rd Rock. Directed by music video director Marc Webb, the cloyingly sentimental movie makes liberal use of a twee ‘supermix’ of popular college radio love songs, which included The Smiths, Regina Spektor, Doves, Belle & Sebastian, Black Lips, Spoon, Jack Penate, and Feist — “Mushaboom,” during a wedding scene, no less. About an unstable romance between two scruffy, marginally hip 20-somethings in Los Angeles, the movie was a hit with a Sonoma audience, who clapped and cheered after the showing. It ought to be mentioned, though, that this audience inexplicably also loved the Comcast commercial that played during the previews, clapping and cheering after that as well.

Deschanel and Gordon-Levitt play Summer and Tom, two people who look like everything that protagonists in ‘quirky’ emo rom-coms are supposed to look like. She has long wavy hair with bangs, wears opaque tights, ballet flats, and little cardigans over vintage dresses. He appears to have a large collection skinny ties, sweater vests, Pumas, and messenger bags. Tellingly, in one scene, Tom actually admits that he fell in love with Summer at first sight, because she looks like what his dream girl would look like. Called 500 Days of Summer because Tom’s relationship with summer lasts – hah – 500 days, most of those 500 days are wasted away by Tom, who is either pining after Summer, or subsequently whining when their whirlwind relationship ends abruptly. The film’s message is that Tom’s grave was entirely self-dug because he didn’t recognize the warning signs. As viewers, we’re left wondering why we should feel sorry for Tom at all if the mess was of his own making.

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